Church Heritage Record 623355

Nave of five bays with west bell-cote and south porch, transepts opening out of the eastern bay. Small apsidal chancel housing the sanctuary. Small vestry to the north of the north aisle. The church is unfinished at the west end.

The church was built in 1849-50 and was consecrated on 5th April in the latter year. The architect was Edward Ellis of Bruce Grove, Tottenham, a member of the congregation. The new church was built to serve a congregation formed in Upper Edmonton by The Revd. Thomas Tate, a curate of the parish church of All Saints, who from 1842 held services in a chapel formerly belonging to the Countess of Huntingdon's connection. In 1847 John Snell of Snell's Park died and left one and a half acres of the park as a site for a church and school. A building committee was formed and funds were raised. The builders of the church were Messrs. Curtis and the cost was £3,800. It was designed to seat 620 (of which number half were free seats) . A parish was assigned to the new church on 29 August 1851.

The church was a very cheap building, and is a simple essay in the lancet style. The nave has paired lancets in the aisle walls and there is no clerestory, the aisles being marked externally only by a change in pitch of the roof slopes. The west wall is built of brick and was obviously not intended to be permanent; it has two lanets set far apart in the lower part of the nave wall and five stepped lancets above (all this doubtless dictated by the position of the organ on a west gallery within) and the aisles have single lancets in the west walls. At the east end of the north aisle is a vestry under a pent roof and at the west end of the south aisle there is a porch with a cross gable and a doorway with an inner chamferedand outer moulded order. The bays of the aisles are divided by narrow buttresses. The small west bell-cote is of timber.

The transepts have tall windows of two lights with a quatrefoil above in the gabled walls and big single lancets in the east walls, the two bays separated by buttresses similar to those of the aisles walls. In the east gable of the nave, above the apse roof, there is a roundel containing an octofoil window. The apsidal chancel has no buttresses but instead odd triangular projections from the canted bays; these house niches inside. The three eastern bays of the chancel have two-light windows of two trefoiled lights with quatrefoils above.

The interior has tall arcades carried on cylindrical pillars of almost classical rather than gothic proportions with round moulded bases on square blocks and round moulded capitals. The arches have double chamfers. The roof of the nave is a primitive hammer-beam construction and the aisles have simple struts. At the east end the aisles open into the transepts through ungainly broad arches of low pitch, and the "crossing" between the transepts is marked by two semi-octagonal pillars set back to back with a shaft against the blank strip of wall between, again a rather crude feature. The transept arches are only slightly wider than those of the bays of the arcade. The floors of the alleys are paved with red and black quarry tiles and the pews stand on timber platforms. Those windows not filled with bad stained glass are glazed with opaque tinted glass. The west bay is taken up by the organ on a gallery. The crossing was arranged with choirstalls in 1882. The south transept has a door in the west wall. 

The chancel is only large enough to house the sanctuary and the walls are decorated with a scheme of late nineteenth-century decorative painting in cream, brown and gold. This takes the form of brick-like rectangles containing florets on the walls, panels with more rather geometrical stylised flowers on the curved bays of the roof and a text round the chancel arch. Three roundels above the chancel arch survive but the rest of the painting has been covered with limewash. In the lower parts of the sanctuary there are niches surroundedby dogtooth in the canted walls, and the three two -light windows are filled with deep-toned stained glass. The communion rails cross the arch (which has chamfered responds and heads carved as stops to the moulded hood on the west face). There is one step before the foot pace and the floor, which is presumably tiled, is all covered with a fitted red carpet.