Sunday 29th December 1940

After Sunday Evensong the church was locked up but its seasoned timbers proved perfect tinder for the fire-bomb which pierced the roof. Some things were rescued from the flames including the medieval gospel lectern which had survived the Great Fire of 1666. But most was destroyed. The famous bell's of St Bride's melted and fell but the steeple prevailed, testament to Wren's design, despite the flames pouring from it.

Cyril Armitage surveys the task ahead of him

The on-going war meant that any attempts to restore the parish had to be delayed. It was the next incumbent, Cyril Moxon Armitage, who was to oversee the resurrection of St Bride's along with architect Godfrey Allen. The church they rebuilt was not a replica of that which Hitler destroyed. Allen had access to Wren's own drawings and he, assisted by John Stammers, faithfully reproduced Wren's concept without the many additions that had been made to the original building.

Now the church is furnished in collegiate style. Gone are the extensive galleries replaced with Wren's simple Minstrel's Gallery. The new organ, gift of Lord Astor of Hever, has its pipes concealed in openings in the west wall. The east end now features the great free-standing canopied oak reredos dedicated to the Pilgrim Fathers which stands in front of a seemingly half-domed apse. This apse is actually a magnificient trompe d'oeil painted by Glyn Jones who was also responsible for the painting of the Crucifixion and oval stained-glass panel on the reredos.

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Wherever the eye roves in St Bride's, from the black Belgium and white Italian marble floor to the magnificent vaulted ceilings, there is an act of worship expressed by craftsmen to whom we all owe a great debt of gratitude.