Wren the Goth
Sir Christopher Wren is probably Britain’s most famous architect. Most people know him as the designer of St Paul’s Cathedral and of the churches that replaced those destroyed during London’s great fire of 1666. Because of this glorious legacy, we think of Wren mainly as a classical architect, a man at home with domes and Corinthian capitals. But Wren was a versatile architect – the rich variety of his London steeples shows that – and he could turn his hand to Gothic too.
St Mary Aldermary (the curious repetitious name is probably an indication that this was originally the oldest of London’s churches dedicated to the Virgin) is Wren’s great essay in the Gothic style – Pevsner thinks that it and St Mary’s Warwick are the two best Gothic churches of the period. It’s not quite the kind of Gothic a medieval master mason would recognize: that’s a plaster vault, not stonework. But with its fan vaulting, flattened arches, and tracery, it’s still a beautiful take on the late Gothic that became fashionable in the 15th century.
This church is also an example of the architect’s ability to adapt to his sites. Nearly all Wren’s city churches are hemmed in by the surrounding building plots, so they often have irregular or unconventional plans. In the case of St Mary Aldermary, the east wall with its big window is not at 90 degrees to the flank walls. The effect is rather odd, but it’s also another example of the endless adaptability of Sir Christopher Wren.
