History of the School

St Paul’s Cathedral School has existed for over nine hundred years. It has been on its present site for a mere forty. Now a co-educational school for around 285 pupils from four to thirteen, it was originally founded for only eight boys, educated free in exchange for singing the daily office in the cathedral.

Its Beginnings
There has been a song school associated with St Paul’s Cathedral since its foundation in 604. However, nothing much is known about it until the twelfth century when in 1127, Richard de Belmeis, Bishop of London re-founded it for the choristers, 8 boys in need of alms who were provided with a home and education in return for singing the Cathedral. Their house stood almost on the site of the Carter Lane School. St Paul’s seems to have been the earliest cathedral to house its choristers instead of boarding them out with canons. In 1263 the boys were in the charge of an almoner who, as ‘Master of the Children’ was responsible for their education, as well as looking after them.

The Fourteenth Century
In 1315 William of Tolleshunt was made almoner and was given a house near St Paul’s by Bishop Richard of Newport to accommodate the choristers. William of Tolleshunt died in 1329 and left a shilling to each of the senior choristers and 6 pence to each of the juniors. He also left £1, six shillings and eight pence to provide them with shoes in return for singing twice daily the psalm De Profundis, the Lord’s Prayer and Ave Maria for his soul.
Later in the fourteenth century the almoner recorded that if a clerk was not kept to teach the boys grammar they must go to St Paul’s school, the predecessor of Colet’s school, for their lessons. Gradually two schools emerged, the Choir School and the Grammar School. For many years they co-existed happily, the choristers graduating to the Grammar school to finish their education, until the latter was re-founded by Dean Colet in 1511 and became St Paul’s School which is now in Barnes and has only a tentative connection with the Cathedral.

Choristers Act at Court
In the sixteenth century, the school was more famous for its acting than its singing. Acting had always been a popular pastime with the ‘Children of St Paul’s’, and at one time they petitioned the king to prohibit certain amateurs from acting their plays. The choristers became such a favourite band of players that they were frequently asked to act at court, performing regularly at Greenwich Palace before Queen Elizabeth 1, and incurring the wrath of Shakespeare and his professional company just over the river. In Hamlet (Act 2, Scene 2), Rosencrantz rails against the nest of ‘little eyases’ (little eagles) who are roundly applauded for their histrionic efforts:
But there is, sir, an eyrie of children, little eyases, that cry out on the top of question and are most tyrannically clapped for ’t. These are now the fashion, and so berattle the common stages – so they call them – that many wearing rapiers are afraid of goose quills and dare scarce come thither.

Dean Newell instructed the master of the choristers, Thomas Gyles, to teach his boys writing, music and the catechism, and send them to St Paul’s School to learn grammar and read good books.

The small oil etching below depicts Bishop Dr John King of London preaching to James the First and his queen at Paul’s Cross in 1620, and in the background are twelve little white blobs – the choristers. Acting came to an end in 1626 as there had been instances of the kidnapping of boys to other groups of players. It was also thought to be inconsistent with their religious duties: ‘Those servants of the church whose duty it had been to perform the most solemn services should find some employment less offensive to God than singing his praises’ (Cromwell’s Commissioners).

The Restoration and the Great Fire of London
At the time of the Restoration it was with great difficulty that a sufficient number of suitable boys could be found to establish a new choral tradition and the choristers had a somewhat chequered history. The money set aside to run choir schools and feed the choristers was often sneakily redistributed into other funding areas so that organists could barely earn a living and the boys were left largely to their own devices. To add to the problem, the Great Fire of London in 1665 destroyed the cathedral and also Dean Colet’s school where the choristers had been educated during the war. A fortunate appointment however had been made in Dean John Barwick, himself a keen musician who worked hard to restore order out of chaos and even managed to gather a choir of boys. Whether it was for those boys or for another group is uncertain, but an almonry was built about 1666 in Pardon Churchyard. It was very soon demolished for fire reasons, being so near to the cathedral.

After the Great Fire of London, Christopher Wren was selected as the architect of the new St Paul’s, the previous building having been completely destroyed. Although the architect of many fine buildings, Wren is particularly known for his design for St Paul’s which is the only Renaissance cathedral in England. Michael Wise, celebrated church composer, became almoner and master of the boys in 1686 and John Blow, even more celebrated, one year later. In 1697 Charles King held the appointment while Jonathan Battishill, later to become a ‘great’ in church music, was one of his choristers.
King was popular with the boys as apparently he never used the cane!

The Eighteenth Century
The choristers and almoner all moved to a house in the parish of St Benet until Charles King’s death in 1748. His successor was William Savage and the boys lived with him at Bakehouse Court until he was dismissed for misconduct. Meanwhile, Maurice Greene, former chorister and composer of much well known church music, had been appointed organist and remained until his death in 1755. William Savage was succeeded as almoner by John Bellamy, followed shortly after by John Sale who found that his allowance for the boys was totally inadequate. He asked the Dean and Chapter for a larger allowance but was refused. He had no alternative but to turn the boys out onto the streets. Some went to their own homes, but those who lived further away were virtually homeless; as long as they turned up for service and practice, for the rest of the day there was not a soul who cared where they were or what they were up to, and of course they had no education at all.

Maria Hackett

In the 19th century, Maria Hackett began her great work for choristers, working to improve their welfare. Maria’s interest in the Choristers began in 1810, when she enrolled her seven-year-old orphaned cousin, Henry Wintle as a Chorister at St Paul’s. At that time, the boys were not receiving proper housing, education or supervision. They were routinely hired out, for the singing master’s profit, to perform at public concerts and dinners with little thought for their safety or welfare.

The archives of St Paul’s held the key to determining the Cathedral authorities’ responsibilities towards the Choristers, and after in-depth research, Maria sent the Bishop of London a detailed account of her findings in January 1811. His evasive reply prompted her to write to other Cathedral dignitaries, but with no more success. In 1813 she, George Capper, and her half-brothers initiated legal proceedings that had to be abandoned prematurely because of expense. 

Hackett continued her letter writing and research, and her efforts began to meet with success. She published her Correspondence and evidences respecting the ancient collegiate school attached to St Paul’s Cathedral (1811–32). She also began to investigate all the choral foundations of England and Wales, resulting in the publication of a ‘Brief account of cathedral and collegiate schools with an abstract of their statutes and endowments’ (1827).

A day in the life of a chorister in 1836 looked like this: Up at 7.30am (8am in winter) and choir practice before breakfast (milk, bread, and butter). Mattins at 9.45am, and music and singing practice from 11am to 2pm. On one morning of the week, six boys were given an Italian lesson, paid for by Miss Maria Hackett. Dinner was at 3pm (meat, vegetables and half a pint of beer). Evensong was at 3.15, and after a break the boys had lessons from 5.30 to 8pm. Supper was bread, butter and beer and bedtime was 9pm – or as late as midnight if it was an oratorio evening.

The Choristers regularly enjoyed treats brought by Maria when she came to the Cathedral to worship. For more than fifty years, she made autumn visits to other choral foundations, calling on each at least once in three years, noting the names of the Choristers in her diary and presenting to each boy with a book, a purse, and a new shilling. In 1845, Archdeacon William Hale became the almoner and the boys lived under his care in the Chapter House. Between 1848 and 1875 there was again no boarding. The boys attended the school in the Precentor’s house at 1 Amen Court daily and used the Lord Mayor’s vestry in the Cathedral as their practice room.

After many letters to the bishop, the dean and other dignitaries, Maria’s lifelong efforts were realised when, at the age of 90 she was shown the new St Paul’s Choir school in Carter Lane. Maria died at 91 and her funeral at Highgate Cemetery was attended by the choir of St Paul’s Cathedral, and in 1877 a memorial plaque was erected, paid for by choristers up and down the country.

Expansion of the Choir and Carter Lane
1872 was an important year in the musical life of St Paul’s. Former Chorister, John Stainer became organist in succession to Sir John Goss, and realised the need for a larger choir to fill the Cathedral. This expansion in numbers was desperately needed after the removal of the choir screen (against Wren’s wishes) which had previously cut the ‘music’ area off from the rest of the Cathedral. The Guild of the Companions of St Paul (also referred to as the Old Boys’ Guild) was founded to provide moral and financial support to former pupils and gained permission to enlarge the choir to 30 Choristers, 10 probationers and 18 in the Vicars Choral, requiring the building of a new choir school, and in January 1874 the foundation stone for the new school that Maria had fought so hard for was built in Carter Lane. A year later, was ready for occupation.

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The school at Carter Lane would have been where the Choristers were taught and they practised, as well as where they also lived. There was a chapel inside and a playground area on the roof where the boys played football and cricket.

The decorative text around the building and the ornate details in the graffito technique reads:=

MIHI AUTEM ABSIT GLORIARI NISI IN CRUCE DOMINI NOSTRI JESU CHRISTI / PER QUEM MIHI MUNDUS CRUCIFIXUS EST ET EGO MUNDO. But God forbid that I should glory, save in the cross of our Lord Jesus Christ, by whom the world is crucified unto me, and I unto the world – from St Paul’s letter to the Galatians 6:14.

{Translated:}
The dean, R. G. Church, laid this cornerstone of the house being built for the use of the choir boys of St Paul’s in London on the day after the feast of the conversion of St Paul in 1874 in honour of almighty God and for the benefit of the holy Mother of the Church. . .. . . in the presence of the brothers, Canon Robert Gregory, Canon Henry P. Liddon, Canon Joseph B. Lightfoot, Canon Piers C. Claughton, the boys’ teacher Albert Barff and the architect Francis C. Penrose.

Queen Victoria’s Diamond Jubilee

In 1897 a Chorister, E Girdlestone, describes the great gathering on the cathedral steps for the Diamond Jubilee of Queen Victoria. The choirs of St Paul’s, Westminster Abbey, St George’s Windsor and the Chapel Royal were lined up in the middle of the steps with Sir George Martin, organist of St Paul’s, facing them. There were two military bands and the voluntary choir at the back — 650 voices and 200 instruments. In the meantime a great procession passed by consisting of British and colonial troops 50,000 in number with 200 guns. These were followed by many red and gold carriages carrying a variety of royalty. After some time he saw helmets and swords glittering in the sunshine; it was the procession of the princes. There followed the eight cream ponies of the Queen, and finally the Queen herself.

Queen Victoria Diamond Jubilee

When everyone was in their place Sir George Martin raised his baton for the Te Deum he had composed specially for the occasion. The service followed and at its end the Archbishop of Canterbury called for “three cheers for the Queen”. The Princess of Wales then beckoned to the boys of the choir to come closer to her carriage and as Girdlestone put it, ‘a stampede followed’. She gave them a bow and a smile which, said Girdlestone, they were able to return. As the procession was leaving, the archbishop summoned the boys to the front of the crowd so they might get a better view. Later they went up to the stone gallery and saw the searchlights playing on the dome which looked like a huge silver ball.

1928 - The whole school photographed inside the Deanery gates, between the Carter Lane Choir School and the Cathedral. Headmaster (1914-1937): Reverend Reginald Henry Couchman (d 1948). Organist (1927-1936): Sir Stanley Marchant (d 1949), who was also Sub-Organist from 1916 to 1927. Sub-Organists: Douglas Hopkins (1927-1946), a chorister from 1911 to 1919 and Reginald Yarrow (acting Sub-Organist 1917-1919 and 1927-1928), a chorister from 1885 to 1891.

First World War – Remembering the Choristers who Died
In St Paul’s Cathedral there stands a memorial to the 33 Choristers who died in the First and Second World Wars.
Here is a small account of the lives of just a few Choristers who died in the Great War.

 

Captain John Pritchard

John Pritchard became a chorister at St Paul’s Cathedral in 1897 at the age of 11, having been awarded a Clothworkers’ scholarship. During this time he gained several prizes for Good Conduct and Music.

In 1902 John became Captain of Cricket and joint Head Boy of the school. In that year the choir sang at the coronation of Edward VII. The now celebrated anthem “I was Glad” by Sir Hubert Parry had been composed especially for this occasion meaning that John sang the first performance.

On March 1st 1909, John and several of his work colleagues joined the Honourable Artillery Company and on 18th September 1914 he was one of the first to go to France, now with the rank of Sergeant. John took part in several major battles and was wounded twice, once in 1914 and again in 1915 when he suffered a gunshot wound and was sent home for treatment.

 

At about this time John was commissioned as an officer and had a sword made (by Wilkinson, the finest makers at the time). This sword adorned his coffin in 2013.

During the latter stages of the Battle of the Somme, John was promoted to Acting Major in 2nd Battalion HAC. The battalion then moved to Bullecourt on the renowned Hindenburg Line and it was here in the early hours of May 15th 1917 that John was killed, leading his men. He was just 31 years old. His body was not found and his belongings, including his sword, were given to his brother Ernest, a survivor of war and also a former Chorister at St Paul’s.
In 2009, his remains were uncovered exactly where he fell and identified due to an identity bracelet he was wearing at the time of death. John’s family were found and took part in a military burial on April 23rd 2013 in France, attended by Princess Michael of Kent.

 

 

 

 

 

Lieutenant Brian Penry Bernard Calkin
Born in 1897, Brian Calkin was educated at St Paul’s Choir School. He was a chorister and sang at the Coronation of King George V in 1911 at Westminster Abbey.

Brian enlisted soon after the outbreak of War, having ‘over stated’ his age (he was 16) and in due course he obtained a commission in the Queen’s Royal West Surrey Regiment. On 6th June 1917, he wrote his family a letter from France and on the envelope ’To be opened in the event of my being killed in action’. Shortly after this, Brian was gassed for the second time and returned to England to recover.
Whilst home, unknown to his family, he gave the sealed envelope to his father’s manager at Lloyd’s Insurance Brokers for safekeeping. Early on the morning of 10th July 1918, only four months before the war ended, Brian and four men in his trench were tragically killed by mortar fire. He was aged just 20.

 

The men were buried beside each other in the Bully Grenay Communal Cemetery. The wording on Brian’s grave stone was provided by his father Harry and reads “I shall not die but live and declare the works of the Lord”.
Returning to Brian’s letter of June 1917; after describing his part in an imminent battle, he finished his letter:
“It will comfort you to know that I am not in the least worried or concerned about what may happen to me, but am perfectly happy to leave the issue in the hands of God. My one concern is for you all, should I be taken. Do not, I beg of you, be unhappy, for I am, and you are convinced that I shall be happier with Him. Now I will refrain from soft talk etc.: because it is not in my line, but cheer up and keep smiling.
Good-bye all you dear ones. I could not have been blest with a better family.
May God bless and keep you all – and bring you all in his good time to your loving, Brian.”

 

 

Bandsman James Francis Basil Adkins
James Francis Basil Adkins (known as Basil Adkins) was born in Preston on 4 April 1898, the son of James Edward Adkins, an organist and composer, and his wife Louisa. He was educated at Preston Grammar School and at the Choir School.  J. F. Basil Adkins was at the school from 1908 when he was 10 years old to 1914, At school he was an all-rounder – Solo Boy for three years, Captain of Cricket and Football, Victor Ludorum and Head Boy. He sang at the coronation of King George V in 1911, and was a soloist from 1911 to 1914.

After his voice broke he was awarded the Merchant Taylors’ Musical Scholarship, and began studying with his father to become an organist. He was church organist for Christ Church, Preston. He also worked for Manchester & Liverpool District Banking Co.
Adkins’ uncle Hector Ernest Adkins was bandmaster of the 2nd Battalion of the Suffolk Regiment, and in May 1916, just after his 18th birthday, Adkins himself joined the same battalion, in order to become a line bandsman. He went to the Western Front in May 1917. On September 29th his leg was shattered by a bomb from an aeroplane while he was engaged as stretcher-bearer near Ypres at clearing station, and he died in hospital two days later. He was 19 years old.
The Chaplain who attended him in hospital said, “I was much impressed by his courage and pluck. He assured me that he was quite happy, and wanted nothing more; and at first he didn’t even want me to write to you (his father), for fear you might be alarmed. You may well be proud of him.… No one can pass over to the Other Side with such perfect faith in Christ unless they have lived a good life.”
Adkins is buried in the Lijssenthoek Military Cemetery CWGC Cemetery/(Memorial West-Vlaanderen) in Belgium.

The Second World War

At the outbreak of the Second World War the choristers were evacuated to Truro, where they sang services in Truro Cathedral. The juniors were housed in Trewinard Court, the boarding house of Truro Cathedral School, and the seniors were boarded out in the town. Dr John Dykes Bower, organist of St Paul’s and his assistant Dr Douglas Hopkins took it in turns to go down to Truro for a month at a time and in between, a month at St Paul’s where the lay clerks were singing the services. The Choristers were brought up to London occasionally for a short spell when it was thought to be safe.

Dr Dykes Bower was called up to the Royal Air Force just before the great fire bomb raid in the City – he had been appointed organist in 1936 from being organist at Durham Cathedral. He was a first class musician both as organist and choir trainer. When conducting he achieved miracles with the smallest amount of visible effort; someone once said his beat was like God “no beginning and no end”! He was known affectionately to his choristers as “Dickie-Boo”. He was knighted in 1968 shortly after his retirement.

The Choristers started the summer term of 1945 in Truro, but a few days before hostilities officially ceased they were summoned to London, and moved back to the shrapnel-scarred (but still standing) Choir School in Carter Lane and began singing in the bomb-damaged Cathedral.

Above photo: Choir Practice, 1945 – Back row: author Keith Biggin, Peter Beale, Wilkinson, Bartlett. Middle row (far left): Neil Howlett, Mark Churcher (partly obscured). Front row: Jeremy Cullum, James Turner, Pearcey, Derek Perry, Alan Haines, Pyves. Keith Warner and Brian Furlonger are in the middle row, behind Perry.