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St Mary Abchurch

Wren's intimate masterpiece crowned by a celestial dome and adorned with Grinling Gibbons' finest carvings.

4.6

Nestled on a narrow lane off Cannon Street, St Mary Abchurch is one of Sir Christopher Wren's finest parish churches, rebuilt between 1681 and 1686 following the Great Fire of London. This architectural gem features a breathtaking 40-foot dome—an engineering marvel with no supporting columns—painted with celestial imagery by parishioner William Snow. The interior showcases exquisite limewood carvings by master craftsman Grinling Gibbons, including a gilded pelican reredos. Despite wartime bombing damage during the 1940 Blitz, the church has been meticulously restored and remains virtually unchanged from Wren's original vision.

A brief summary to St Mary Abchurch

  • Abchurch Yard, London, EC4N 7BA, GB
  • +442076261555
  • Visit website
  • Duration: 0.75 to 1.5 hours
  • Free
  • Environment icon Indoor
  • Mobile reception: 4 out of 5

Local tips

  • Look up immediately upon entering to fully appreciate William Snow's 1708 dome painting depicting the tetragrammaton surrounded by a heavenly choir—the interior's most breathtaking feature.
  • Study the Grinling Gibbons reredos closely; the gilded pelican at its centre symbolises both the Eucharist and Corpus Christi College's crest, connecting the church to Cambridge's academic heritage.
  • Visit on a weekday morning when the church is quieter; the intimate square interior and original box pews create a contemplative atmosphere best experienced without crowds.
  • Note the carved board listing rectors from 1323 onwards—a tangible record of over 700 years of continuous spiritual leadership at this site.
  • Explore the churchyard for refreshments at the coffee and snack stalls, and look for the 1841 hydrant cover incorporating a parish marker—a charming detail of Victorian infrastructure.
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Getting There

  • Underground Railway

    Bank Station on the Northern, Central, and District Lines is approximately 200 metres away. Exit onto Threadneedle Street, then walk south towards Cannon Street. The church entrance is on Abchurch Lane, a narrow passage linking Cannon Street and King William Street. Journey time from central London zones is typically 10–25 minutes depending on your starting point.

  • Mainline Railway

    Cannon Street railway station is directly adjacent to the church location, approximately 100 metres away. Exit the station onto Cannon Street and locate Abchurch Lane, which runs between Cannon Street and King William Street. Walking time is less than 2 minutes.

  • Bus

    Multiple bus routes serve the area, including routes 11, 15, 23, and 26, which stop on Cannon Street or nearby streets. Journey times vary depending on your starting location but typically range from 15–40 minutes. The church is a 3–5 minute walk from most bus stops on Cannon Street.

  • Walking

    The church is accessible on foot from the Thames riverside, St Paul's Cathedral (approximately 400 metres north), and the Monument (approximately 300 metres east). The surrounding streets are flat and pedestrian-friendly, though Abchurch Lane itself is narrow and can be congested during weekday lunch hours. Allow 5–15 minutes walking time from nearby landmarks.

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Discover more about St Mary Abchurch

A Church Rooted in Medieval London

St Mary Abchurch traces its origins to 1198–1199, making it one of London's oldest parishes. The name likely derives from a Saxon benefactor named Abba or Abbe, though some scholars suggest it may be a corruption of "Up Church," referencing its elevated position on one of two hills within the City of London—the other being the hill upon which St Paul's Cathedral stands, with the valley of the River Wallbrook between them. Before the Great Fire of London in 1666, the medieval church stood as one of 107 parish churches within the square mile of the City. Like so many of its contemporaries, it was consumed by the flames, leaving only ruins and memories.

Wren's Architectural Experiment

Following the Great Fire, Sir Christopher Wren was presented with an almost perfectly square site—an opportunity he seized to explore one of architecture's greatest challenges: placing a dome on square foundations. Rebuilding commenced in 1681 under Wren's direction, with mason Christopher Kempster overseeing construction. Kempster, who had worked on St Paul's Cathedral and other significant City churches, brought exceptional craftsmanship to the project. The church was completed in 1686, emerging as a masterpiece of restrained elegance. Its plain red brick exterior with Portland stone dressings and a simple lead steeple belies the extraordinary interior that awaits visitors. The building represents Wren's experimental period with domes—a design philosophy he would later perfect on a vastly grander scale at St Paul's Cathedral.

The Magnificent Dome and Celestial Painting

The church's most striking feature is its domed ceiling, spanning more than 40 feet across without support from columns or buttresses. This architectural achievement distributes the entire weight of the dome directly through the four brick walls—a feat of engineering that creates an illusion of spaciousness within the relatively modest interior. The dome was painted in 1708 by William Snow, a parishioner whose artistic vision transformed the interior into what has been described as London's miniature Sistine Chapel. Snow's composition depicts the tetragrammaton—the name of God in Hebrew characters—at the centre, surrounded by rays of glory and a heavenly choir of worshipping angels and cherubs in adoration. Below this celestial scene are eight seated female figures painted in monochrome, representing the Christian virtues. The dome suffered severe damage during a bombing raid in September 1940 during the London Blitz, but was skilfully restored between 1948 and 1953 by W. Godfrey Allen, with repainting completed by Walter Hoyle in 1952.

Grinling Gibbons and the Reredos

The church's interior is dominated by one of the finest examples of decorative woodcarving in any London City church: the reredos created by Grinling Gibbons, widely regarded as the greatest wood-carver of his generation. This large wooden screen behind the altar showcases intricate carvings of fruit, flowers, and foliage, with a gilded pelican standing prominently at its centre. The pelican symbolises the Eucharist and also serves as the crest of Corpus Christi College, Cambridge, which has held the church's patronage since the Reformation. Gibbons' original receipt for this work, dated 1686, is preserved in the Guildhall Library. The carvings were originally finished in natural limewood but were darkened with Victorian-era varnish, which somewhat obscures their original delicate beauty. The reredos was removed from the church for safekeeping during the Second World War and survived intact, unlike many other treasures lost to bombing.

Furnishings and Civic Heritage

The church contains numerous original furnishings and monuments reflecting centuries of City life. The pulpit, dating to circa 1685 and crafted by William Grey, ranks among the finest examples in any City church. Original box pews line three sides of the interior, creating an intimate atmosphere enhanced by the rich dark woodwork. Two ceremonial wrought-iron sword-rests adorned the front pews, bearing the coats of arms of Lord Mayors George Scholey (1812) and Samuel Birch (1814), used to support the Lord Mayor's sword of office during official visits. A stone monument to Sir Patience Ward, Lord Mayor of 1680–1681, stands near the south-east window. Two 17th-century poor-boxes, each inscribed with the gilded words "Remember the Poor," remain at the back of the church. The font cover and Royal Arms were crafted by William Emmett and William Kempster respectively. A carved board listing rectors from 1323 to the present day provides tangible evidence of the church's continuous spiritual ministry across seven centuries.

Hidden Depths and Wartime Revelations

Beneath the church lies a small rib-vaulted crypt accessible via steps in the south aisle, and below the baptistery, reached by a steep ladder, is a boiler-house containing a marble slab inscribed "The Entrance to the Vault belonging to Mr Westbrooke's Family" with the Latin word "Resurgemus"—we will rise again. The 1940 bombing, while devastating to the dome, inadvertently revealed a previously unknown vaulted chamber beneath the churchyard dating to the 14th century, likely the undercroft of a lost chantry chapel. This archaeological discovery added another layer to the church's complex history.

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