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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:16:15 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:16:15 -0700 |
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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Bell's Cathedrals: The Cathedral Church of St. Paul</p> +<p> An Account of the Old and New Buildings with a Short Historical Sketch</p> +<p>Author: Arthur Dimock</p> +<p>Release Date: April 30, 2008 [eBook #25266]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL CHURCH OF ST. PAUL***</p> +<p> </p> +<h3 class="pg">E-text prepared by Jeannie Howse, Jonathan Ingram,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (http://www.pgdp.net)</h3> +<p> </p> +<div class="tr"> +<p class="cen" style="font-weight: bold;">Transcriber's Note:</p> +<br /> +<p class="noin" style="text-align: left;">Obvious typographical errors have been corrected. +For a complete list, please see the <span style="white-space: nowrap;"><a href="#TN">end of this document</a>.</span></p> +<p class="noin">Click on the images to see a larger version.</p> +</div> +<p> </p> +<hr class="full" /> +<p> </p> + +<div class="img"><a name="frontis" id="frontis"></a> +<a href="images/frontis.jpg"> +<img border="0" src="images/frontis.jpg" width="85%" alt="St. Paul's Cathedral" /></a><br /> +<p class="attrib" style="margin-top: .2em;"><i>Photochrom Co. Ltd. Photo.</i></p> +<p class="cen" style="margin-top: .2em;">ST. PAUL'S CATHEDRAL, FROM THE SOUTH BANK OF THE THAMES.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> +<hr /> +<br /> + +<h3 style="margin-bottom: -1px;">THE CATHEDRAL CHURCH OF</h3> +<h1 style="margin-bottom: -1px; margin-top: -1px;">SAINT PAUL</h1> +<h3 style="margin-top: -1px;">AN ACCOUNT OF THE OLD AND<br /> +NEW BUILDINGS WITH A<br /> +SHORT HISTORICAL SKETCH</h3> + +<br /> + +<h5>BY</h5> + +<h3>THE REV. ARTHUR DIMOCK, M.A.</h3> + +<p class="cen">Rector of Wetherden, Suffolk</p> + +<a name="title" id="title"></a><br /> +<br /> + +<h4>WITH XXXIX <img border="0" src="images/title.jpg" align="middle" width="15%" alt="Arms of the See" /> ILLUSTRATIONS</h4> + +<br /> +<br /> + +<h3>LONDON GEORGE BELL & SONS 1900</h3> + +<br /> +<hr /> +<br /> +<br /> +<br /> +<span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span><br /> + +<h3>PREFACE.</h3> +<br /> + +<p>The MSS. relating to St. Paul's are deficient in regard to the earlier +periods, but become gradually more complete as time progresses. They +have been published or quoted, probably, more extensively than those +belonging to any other religious foundation in this country, unless it +be such communities as St. Alban's, which have attracted the continued +attention of the editors working under the Master of the Rolls. In +consequence, although our knowledge, not only of the Romano-British +period but of many succeeding centuries, is defective or altogether +wanting, yet as time advances after the Norman Conquest the merely +printed material at our disposal becomes gradually almost +embarrassing. When we come to the present Cathedral, we know not only +exactly <i>when</i> it was built, but to a great extent <i>how</i> and <i>why</i>.</p> + +<p>In the <i>Parentalia</i> Wren's grandson, Stephen, partly in his own words, +partly in those of his famous grandfather, lifting the curtain, +discloses the personal history and inner self of the architect at his +work.</p> + +<p>Among the leading authorities are the following, giving the place of +honour to the—</p> + +<p><i>Parentalia or Memoirs. Completed by his</i> [Sir Christopher's] <i>son, +Christopher. Now published by his grandson, Stephen Wren, Esq.</i> +(London, 1858).</p> + +<p><i>The History of St. Paul's</i>, by Sir William Dugdale (Ellis' edition, +1818).</p> + +<p><i>Repertorium</i>, by Richard Newcourt (London, 1708).</p> + +<p><i>Radulfi de Diceto, Decani, Lundoniensis Opera Historica</i> (vols. i. +and ii., edited for the Master of the Rolls by the Bishop of Oxford).</p> + +<p><span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span>I have to thank the Dean for permission to consult the Chapter copy of +the <i>Registrum Statutorum</i>, edited for private circulation (1873) by +that enthusiastic and accurate St. Paul's scholar, the late Dr. +Sparrow-Simpson, one of the last of the Minor Canons on the old +foundation, Librarian and Sub-dean. There is a supplement (1897).</p> + +<p>Dr. Sparrow-Simpson also wrote or edited the following—</p> + +<p><i>Documents Illustrating the History of St. Paul's Cathedral</i> (Camden +Society, 1880).</p> + +<p><i>Chapters in the History of Old St. Paul's</i> (1881).</p> + +<p><i>Visitation of Churches</i> (Camden Society, 1885).</p> + +<p><i>Gleanings from Old St. Paul's</i> (1889).</p> + +<p><i>St. Paul's and Old City Life</i> (1894).</p> + +<p>His remaining work, the Catalogue of the Library, I have not +consulted.</p> + +<p><i>Annals of St. Paul's</i>, by Dean Milman (1868).</p> + +<p>The learned and talented historian did not live to see this his last +work through the press. In consequence there are printer's errors as +to dates, &c., which I have not thought it necessary to point out.</p> + +<p><i>Domesday of St. Paul's</i>, by Archdeacon Hale (Camden Society, 1858).</p> + +<p><i>The Three Cathedrals dedicated to St. Paul</i>, by William Longman +(Longmans, 1873).</p> + +<p>Amongst other sources of information are the lectures delivered in St. +Paul's by Bishop Browne when a residentiary, and published by the +S.P.C.K. The value of these to the students of early Church History is +in an inverse ratio to their size. The origin of our secular colleges +yet remains to be written; but I am again indebted to Mr. Arthur +Francis Leach for the Introduction to the <i>Visitations of Southwell</i> +(Camden Society, 1891), for valuable information on this subject.</p> + +<p>In regard to the efforts to complete Wren's designs by mosaic +decorations, I have carefully observed all that has been <span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span>done, and +have attentively followed much that has been said and written. In +particular I have been interested by a statement that has gone the +round of the press. Certain young ladies and gentlemen of the Slade +School of Art and elsewhere are reported to have protested that even +good and appropriate decoration would be contrary to the wishes of Sir +Christopher Wren.</p> + +<p>My thanks are due to the Dean for his courtesy and trouble in +rendering me all the assistance I asked for; to the Bishop of Oxford +(like the Bishop of Bristol, a former residentiary) for providing me +with a list of authorities at the commencement of my task; to the +librarians of All Souls' College, Oxford, and their committee, and +particularly to Mr. George Holden, assistant librarian, for permission +to use their invaluable collection of Wren's designs and drawings; to +the Archdeacon of Middlesex for information concerning the +inscriptions on the stalls; to Canon Milford, successor to Wren's +father as Rector of Bishop-Knoyle, for communicating to me the +irregularity about the registration of Wren's baptism, and for the +loan of Mrs. Lucy Phillimore's <i>Life and Times of Wren</i>, a work out of +print and not to be procured at the London Library; to Mr. Peter +Cazalet for kind assistance in drawing one of the arches and also in +describing the monuments; and if last, certainly not least, to the +ever courteous officials of the Cathedral, who have rendered me every +facility in my study of Wren's building.</p> + +<p class="right">ARTHUR DIMOCK.</p> + +<p style="margin-left: 2em;"><span class="sc">Wetherden Rectory,</span><br /> +<span style="margin-left: 4em;" class="sc">Haughley, Suffolk,</span><br /> +<span style="margin-left: 6em;"><i>January 3, 1900.</i></span></p> + +<br /> +<br /> +<br /> +<span class='pagenum'><a name="Page_x" id="Page_x">[x]</a></span><br /> +<a name="toc" id="toc"></a><hr /> +<span class='pagenum'><a name="Page_xi" id="Page_xi">[xi]</a></span><br /> + +<h3>CONTENTS.</h3> +<br /> + +<div class="centered"> +<table border="0" cellpadding="1" cellspacing="0" width="70%" summary="Table of Contents"> + <tr> + <td class="tdr" width="15%" style="font-size: 80%;">CHAPTER</td> + <td class="tdl" width="75%"> </td> + <td class="tdr" width="10%" style="font-size: 80%;">PAGE</td> + </tr> + <tr> + <td class="tdr">I.</td> + <td class="tdl"><a href="#CHAPTER_I">Foundation and History to the Accession of Dean Colet + (61-1505)</a></td> + <td class="tdr">3</td> + </tr> + <tr> + <td class="tdr">II.</td> + <td class="tdl"><a href="#CHAPTER_II">From the Accession of Dean Colet to the Great Fire + (1505-1666)</a></td> + <td class="tdr">19</td> + </tr> + <tr> + <td class="tdr">III.</td> + <td class="tdl"><a href="#CHAPTER_III">Old St. Paul's. Exterior</a></td> + <td class="tdr">36</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_40">Interior</a></td> + <td class="tdr">40</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_48">Precincts</a></td> + <td class="tdr">48</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_54">Dimensions</a></td> + <td class="tdr">54</td> + </tr> + <tr> + <td class="tdr">IV.</td> + <td class="tdl"><a href="#CHAPTER_IV">From the Fire to the Completion of New St. Paul's + (1666-1710)</a></td> + <td class="tdr">55</td> + </tr> + <tr> + <td class="tdr">V.</td> + <td class="tdl"><a href="#CHAPTER_V">New St. Paul's. Exterior</a></td> + <td class="tdr">77</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_84">North and South Fronts</a></td> + <td class="tdr">84</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_86">East End</a></td> + <td class="tdr">86</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_86">West Front</a></td> + <td class="tdr">86</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_89">The Dome</a></td> + <td class="tdr">89</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_93">The Lantern</a></td> + <td class="tdr">93</td> + </tr> + <tr> + <td class="tdr">VI.</td> + <td class="tdl"><a href="#CHAPTER_VI">New St. Paul's. Interior</a></td> + <td class="tdr">94</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_95">The Nave</a></td> + <td class="tdr">95</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_97">The Main Arcade</a></td> + <td class="tdr">97</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_98">The Triforium Belt</a></td> + <td class="tdr">98</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_98">The Clerestory</a></td> + <td class="tdr">98</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_98">The Vaulting</a></td> + <td class="tdr">98</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_100">The Nave Aisles</a></td> + <td class="tdr">100</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_100">The West Chapels</a></td> + <td class="tdr">100</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_102">The Geometrical Staircase</a></td> + <td class="tdr">102</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_103">The Dome—The Arcading</a></td> + <td class="tdr">103</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_104">The Whispering Gallery</a></td> + <td class="tdr">104</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_104">The Drum</a></td> + <td class="tdr">104</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_106">The Cupola</a></td> + <td class="tdr">106</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_107">The Pulpit</a></td> + <td class="tdr">107</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_107">The Mosaics</a></td> + <td class="tdr">107</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_111">The Transepts</a></td> + <td class="tdr">111</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_112">The Choir—The Stalls</a></td> + <td class="tdr">112</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_114">The Organ</a></td> + <td class="tdr">114</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_115">The Reredos</a></td> + <td class="tdr">115</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_116">The Apse</a></td> + <td class="tdr">116</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_116">The Mosaics</a></td> + <td class="tdr">116</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_120">The Reredos Arch</a></td> + <td class="tdr">120</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_121">The Monuments</a></td> + <td class="tdr">121</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_132">The Crypt</a></td> + <td class="tdr">132</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_136">The Galleries and Library</a></td> + <td class="tdr">136</td> + </tr> + <tr> + <td class="tdr">VII.</td> + <td class="tdl"><a href="#CHAPTER_VII">Conclusion</a></td> + <td class="tdr">138</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdl"><a href="#APPENDIX_A"><span class="sc">Appendix A.</span> Bishops and Deans</a></td> + <td class="tdr">143</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdl"><a href="#APPENDIX_B"><span class="sc">Appendix B.</span> Comparative Size</a></td> + <td class="tdr">147</td> + </tr> + <tr> + <td class="tdr"> </td> + <td class="tdlp"><a href="#Page_148">Dimensions</a></td> + <td class="tdr">148</td> + </tr> +</table> +</div> + +<br /> +<br /> +<br /> +<br /> +<a name="toi" id="toi"></a><hr /> +<span class='pagenum'><a name="Page_xii" id="Page_xii">[xii]</a></span><br /> + +<h3>LIST OF ILLUSTRATIONS.</h3> +<br /> + +<div class="centered"> +<table border="0" cellpadding="1" cellspacing="0" width="70%" summary="List of Illustrations"> + <tr> + <td class="tdl"> </td> + <td class="tdr" style="font-size: 80%;">PAGE</td> + </tr> + <tr> + <td class="tdl" width="85%"><a href="#frontis">St. Paul's, from the South Side of the Thames</a></td> + <td class="tdr" width="15%"><i>Frontispiece</i></td> + </tr> + <tr> + <td class="tdl"><a href="#title">Arms of the See</a></td> + <td class="tdr"><i>Title</i></td> + </tr> + <tr> + <td class="tdl"><a href="#imagep002">South View of Old St. Paul's in 1658, after Hollar</a></td> + <td class="tdr">2</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep012">Monument of John of Gaunt</a></td> + <td class="tdr">12</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep017">The Shrine and Altar of St. Erkenwald</a></td> + <td class="tdr">17</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep020">Dean Colet, from Holland's "Heroologia"</a></td> + <td class="tdr">20</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep021">Tomb of Dean Colet, after Hollar</a></td> + <td class="tdr">21</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep029">Inigo Jones' Portico, after Hollar</a></td> + <td class="tdr">29</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep033">St. Paul's in Flames, after Hollar</a></td> + <td class="tdr">33</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep041">The Nave of Old St. Paul's, after Hollar</a></td> + <td class="tdr">41</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep043">The Choir of Old St. Paul's—looking East, after Hollar</a></td> + <td class="tdr">43</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep049">St. Paul's Cross, from an old picture of 1620</a></td> + <td class="tdr">49</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep051">The Chapter House and Cloister, after Hollar</a></td> + <td class="tdr">51</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep053">Plan of Old St. Paul's in 1666, from Dugdale</a></td> + <td class="tdr">53</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep057">Elevation and Section of Wren's rejected design, from his own drawings</a></td> + <td class="tdr">57</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep060">Sir Christopher Wren, after a portrait by Kneller</a></td> + <td class="tdr">60</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep064">Relative Position and Area of Old and New St. Paul's</a></td> + <td class="tdr">64</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep066">Model of Wren's First Design</a></td> + <td class="tdr">66</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep067">Interior of the Model, from a sketch by Rev. J.L. Petit</a></td> + <td class="tdr">67</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep069">The "Warrant Design," from Wren's drawing</a></td> + <td class="tdr">69</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep071">A Later Design, as reproduced in Dugdale's "St. Paul's"</a></td> + <td class="tdr">71</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep076">The West Front of St. Paul's Cathedral, from a photograph</a></td> + <td class="tdr">76</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep085">North-East View</a></td> + <td class="tdr">85</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep090">Section of the Dome</a></td> + <td class="tdr">90</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep092">The Lantern, from the Clock Tower</a></td> + <td class="tdr">92</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep096">The Choir and Nave, from the East End</a></td> + <td class="tdr">96</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep097">The Order of the Interior, drawn by Peter Cazalet</a></td> + <td class="tdr">97</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep101">The Geometrical Staircase</a></td> + <td class="tdr">101</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep105">Interior of the Dome, from an engraving by G. Coney</a></td> + <td class="tdr">105</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep110">The South Choir Aisle</a></td> + <td class="tdr">110</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep111">Bishop's Throne and Stalls on the South Side</a></td> + <td class="tdr">111</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep117">The Choir, Altar, and Reredos</a></td> + <td class="tdr">117</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep123">The Wellington Monument</a></td> + <td class="tdr">123</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep128">Nelson's Monument</a></td> + <td class="tdr">128</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep131">Monuments of Dr. Donne and Bishop Blomfield</a></td> + <td class="tdr">131</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep133">Nelson's Tomb</a></td> + <td class="tdr">133</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep135">Church of St. Faith in the Crypt</a></td> + <td class="tdr">135</td> + </tr> + <tr> + <td class="tdl"><a href="#imagep136">The Library</a></td> + <td class="tdr">136</td> + </tr> + <tr> + <td class="tdlsc"><a href="#imagep150">Plan of the Cathedral</a></td> + <td class="tdr"><i>At end</i></td> + </tr> +</table> +</div> + +<br /> +<hr /> +<br /> +<br /> +<br /> +<br /> + +<div class="img"><a name="imagep002" id="imagep002"></a> +<a href="images/imagep002.jpg"> +<img border="0" src="images/imagep002.jpg" width="95%" alt="South View of Old St. Paul's in 1658." /></a><br /> +<p class="cen" style="margin-top: .2em;">SOUTH VIEW OF OLD ST. PAUL'S IN 1658.<br /> +<i>After the Etching by Hollar, in Dugdale's "History of St. Paul's Cathedral."</i> +<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> +<br /> +<br /> +<br /> +<a name="CHAPTER_I" id="CHAPTER_I"></a><hr /> +<span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span><br /> +<br /> +<br /> +<br /> + +<h2>ST. PAUL'S CATHEDRAL.</h2> + +<br /> +<br /> +<br /> +<br /> +<hr /> +<br /> + +<h3>CHAPTER I.<span class="totoc"><a href="#toc">ToC</a></span></h3> + +<h4>ITS FOUNDATION AND HISTORY TO THE ACCESSION OF DEAN COLET (61-1505).</h4> +<br /> + +<p><b>Romano-British.</b>—Tacitus, in his characteristically concise style, +introduces London into authentic history during the apostolic era and +the reign of Nero.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> Suetonius Paulinus, governor of Britain, came in +hot haste from Mona, suspending the slaughter of the Druid leaders in +this their last fastness, to restore the Roman arms. For Boadicea, +Queen of the Iceni, outraged at the treatment of herself and her two +daughters, had, like a second Deborah, raised a popular uprising +against the foreign invaders. Colchester fallen, the ninth legion +annihilated, nothing remained but to abandon the thriving mart of +London itself for a time to the fury of the natives, before the Roman +sway could be restored.</p> + +<p>The ground rising both from the northern bank of the Thames, some +three hundred yards distant, and from the eastern bank of the Fleet +beck, forms an eminence. Here, to protect the riverside mart below, on +or about the site of the present churchyard the Romans formed a camp; +and looking down what is now Ludgate Hill, the soldiers could see the +Fleet ebbing and flowing with each receding and advancing tide. +Northwards the country afforded a hunting ground, and a temple to +Diana Venatrix would naturally be erected. During the excavations for +New St. Paul's, Roman urns were <span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span>found as well as British graves; and +in 1830, a stone altar with an image of Diana was likewise found while +digging for the foundations of Goldsmith's Hall in Foster Lane. On +such incomplete evidence rests the accuracy of the story or tradition +that a temple of Diana occupied part of the site of the present +Cathedral.</p> + +<p>Suetonius himself restored order in London; and in spite of +insurrections, she progressed during the next three centuries to +become a centre of such importance, Roman highways spreading in +different directions, that the accurate and impartial Ammianus +Marcellinus concedes to her (<i>circa</i> 380) the style and title of +Augusta. And it was during these three centuries of progress that +Christianity obtained a firm footing, but when and how we know not. +The picturesque story, which deceived even Bede, how that Lucius, +"king of the Britons," sent letters to Eleutherus, a holy man, Bishop +of Rome, entreating Eleutherus to convert him and his, must now be put +down as a pious forgery.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> Tertullian (<i>circa</i> 208) says that the +kingdom and name of Christ were then acknowledged even in those parts +inaccessible to the Romans; and we are probably on the safe side in +asserting that missions had been successfully introduced into London +by the end of the second century. Neither are we in much doubt or +difficulty as to whence they came. Gaul, visited by missionaries from +Ephesus, in turn sent others on; and the Church in London, as +throughout these Isles, in Romano-British times can be safely +described as a daughter of Gaul, and a granddaughter of the Ephesus of +St. Timothy. Beyond we know little, if anything at all, more than that +a Bishop of London, known by the Latinised name of +<span class="sc">Restitutus</span>, was one of three British prelates at the Council +of Aries (314). And while there is no reason to suppose otherwise than +that the bishops, of whom Restitutus could not have been anything like +the first, had their principal church erected in the neighbourhood, at +least, of St. Paul's churchyard and dedicated to that saint, neither +site nor name can ever be authenticated. When the Roman troops +retired, so thoroughly did the invading savages destroy all records, +that our <span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span>knowledge of the British Church in London may be compared, +not inaptly, to our knowledge of Thornhill's paintings in the concave +sphere of the dome. We know that they exist; but even on a bright May +day they are invisible from below.</p> + +<p><b>Saxon, Angle, and Dane.</b>—In the early years of the fifth century the +Romans are stated to have finally abandoned this country. If certain +lists are to be credited, Bishops of London of the original British +series continued until the flight of Theorus in 586. These lists have +now been rejected,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> although as the taking of London by the East +Saxons was not prior to the date above, there is reason in the +suggestion that church and bishop were still in existence. In the +pages of Bede, writing about a century later, we come across something +more definite, which readers interested in St. Paul's may care to +have.</p> + +<p>"In the year of our Lord 604, Augustine, Archbishop of Britain, +consecrated two bishops, viz., Mellitus and Justus; Mellitus to preach +to the province of the East Saxons, who are divided from Kent by the +river Thames, and border on the eastern sea. Their metropolis is the +city of London, situated on the bank of the aforesaid river, and is +the mart of many nations resorting to it by sea and land. At that time +Sabert, nephew to Ethelbert [Augustine's King of Kent] by his sister +Ricula, reigned over the nation, though under subjection to Ethelbert, +who had command over all the nations of the English as far as the +river Humber. But when this province [East Saxons] also received the +word of truth by the preaching of Mellitus, King Ethelbert built the +church of St. Paul in the city of London, where he and his successors +should have their episcopal seat."<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p> + +<p>Bede, in one sense most interesting, becomes in a second sense most +irritating. We would give much to know how long an interval had +elapsed since the last bishop, whether this rude East Saxon building +was erected on the ruins of another or on a different site, whether +the name <span class="sc">St. Paul's</span> was a continuation or no. Bede is silent, +ignoring the distressed and defeated Britons as an inferior race.</p> + +<p><span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>Ethelbert may have given the endowment of Tillingham in Essex. "And if +any one should be tempted to take away this gift, let him be anathema +and excommunicated from all Christian society." Whether the deed with +these lines originated with him or with some unknown and later donor, +it is certain that the language has been respected; for when the +valuable estates were alienated, this particular donation was reserved +for the fabric fund; and in consequence the Dean and Chapter are by +far the oldest county family in Essex.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p> + +<p>Sabert and Ethelbert were gathered to their fathers; and both were +succeeded by pagan sons. London and the East Saxon province or +kingdom—let us say Middlesex and Essex, with perhaps Herts—seem to +have been ruled by the three sons of Sabert in commission, who, +disregarding whatever thin veneer of Christianity they had found it +convenient to adopt during their father's lifetime, boldly +apostatised, and the East Saxons readily followed. Entering St. +Paul's, as the bishop was celebrating, the three scoffed and mocked, +"We will not enter into that laver, because we do not know we stand in +need of it; but eat of that bread we will." Giving the bishop the +alternative of compliance or expulsion, he withdrew after an +episcopate of twelve years and retired across the Channel. Returning +in answer to the entreaties of Laurentius, "the Londoners would not +receive Bishop Mellitus, choosing rather to be under their idolatrous +high priests." Eventually he succeeded Laurentius at Canterbury. And +for a second time London relapsed into paganism.</p> + +<p>Thus the good fruits of the mission of Augustine were completely lost. +An interval occurs, and then Sigebert the Good, on a visit to King +Oswy of Northumbria, was converted by the reasoning of his host, and +baptised by Bishop Finan of Lindisfarne. Finan had no connection with +Rome, but belonged to that remarkable body who traced their origin to +Ireland and Iona. Sigebert took south with him two brothers, English +by race, recommended by Finan, of whom one was <span class="sc">Cedd</span>; a third +brother was the more famous Chad. The work of re-planting was at once +set about with the help of Sigebert's example and protection. Up and +down the province <span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span>they went, and gained so many converts that Finan +felt justified in consecrating Cedd bishop of the East Saxons. The new +bishop now employed much of his time in training converts, natives of +the province, for the priesthood, both at Ythancester, near +Tillingham, and at Tilbury.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> He acted as interpreter at the Whitby +Conference, where he was won over to the continental method of +reckoning Easter, and died shortly after of the plague (664). A later +visitation of the pestilence is assigned as a cause of half of the +diocese relapsing, while the other half, governed by Sebbe, remained +faithful. King Wulfhere of Mercia—the then overlord—sent his own +bishop Jaruman with a number of clergy, who effected a complete +restoration. Mellitus, Cedd, Sabert, Sigebert, and Sebbe (said to have +been buried at St. Paul's) now appear in the transept windows as +founders of English Christianity.</p> + +<p>Thus we find, after various vicissitudes and relapses, the Christian +religion planted in the East Saxon province before the end of the +seventh century. The succeeding centuries must be rapidly passed over. +A staff of clergy was formed who came to be called canons; other +endowments by degrees added; the services at St. Paul's maintained as +a model for the diocese; parish churches and monasteries built. We +must even pass over Bishop Erkenwald, the hero of so many stories, and +whose shrine was the most popular in Old St. Paul's. In 962, just +after Dunstan had left the bishopric for Canterbury, St. Paul's was +burnt, and the same year rebuilt. Both before and after this London +suffered from the ravages of the Danes.</p> + +<p>The Primate Elfege, the victim of a drunken rabble, was buried at St. +Paul's (1014), as was Ethelred the Unready (1017), and nearly fifty +years later Edward the outlaw, the representative of the house of +Cerdic and of Alfred.</p> + +<p>William the Norman, bishop (1051-1075) in spite of the Confessor and +his nominee the Sparrowhawk, occupied the see long enough to greet his +countrymen on taking possession; and just before his death would be +present at the great council held in his cathedral presided over by +Lanfranc. Norman though he was, he was in touch with the citizens +around his church, and earned their enduring gratitude and friendship +by obtaining a fresh grant of their privileges, as he did for the +cathedral. "I will," said the Conqueror, "the said church to <span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>be free +in all respects, as I trust my own soul to be at the Judgment Day."</p> + +<p><b>The Normans.</b>—Maurice, of course a Norman, had been only recently +elected bishop in the room of Huge de Orivalle, when the tenth century +church of Bishop Elfstan was destroyed in a fire that consumed the +greater part of the City (1086 or 1087).</p> + +<p>He set to work to build another on a larger scale and after the +approved Anglo-Norman method. Fresh ground was procured, and houses +pulled down for the enlargement of church and churchyard. "Barges," +says Mr. J.R. Green, "came up the river with stone from Caen for the +great arches that moved the popular wonder, while street and lane were +being levelled to make space for the famous churchyard of St. Paul's." +Maurice died before the work was anything like finished, but Richard +de Belmeis, a most munificent prelate, devoted his episcopal revenues +for the purpose.</p> + +<p>An earthquake in the second year of Rufus, followed two years later by +a destructive November storm, impeded the progress, but in spite of +all drawbacks and hindrances, builders and workmen toiled on, Henry I. +exempting the stone from toll. "Such is the stateliness of its +beauty," said William of Malmesbury, "that it is worthy of being +numbered amongst the most famous of buildings; such the extent of the +crypt, of such capacity the upper structure, that it seems sufficient +to contain a multitude of people." It was the variation of an inch or +two in the regularity of the arching of Maurice's new nave that +afterwards sorely vexed Wren.</p> + +<p>We have now come to a time when Domesday gives us some interesting +information. A commencement had been made of endowing separate stalls. +Certain of the estates were parcelled out in this way, partly because +they may have been safer from alienation, partly that the canons might +be responsible, if necessary, for the services of religion in the +manors and townships in which their endowments, technically known +afterwards as <i>corpses</i>, were situated. In Domesday, St. Pancras, +Rugmere (in St. Pancras), and Twyford, in Willesden, appear, and may +fairly be set down as the three original <i>prebends</i>, although the term +"prebend" does not yet appear, neither do the distinctive names of the +stalls. To these three some would add Consumpta-per-Mare in the Essex +Walton, so called <span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span>because the glebe was <i>consumed</i> by the +encroachments of the sea. We will dismiss this obscure subject by +anticipating a little, and stating that, what with parts of the old +endowments and what with additions, by the end of the twelfth century +the thirty prebends were complete. The names and inscriptions will be +found in the account of the interior of the present Choir.</p> + +<p>The two Caddingtons were a gift in Bedfordshire in the diocese of +Lincoln; the remaining twenty-eight were in Middlesex and Essex. The +corporate property of the Chapter by the same date must have reached +24,000 acres.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p> + +<p>The Conquest brought other changes in its train. Originally the bishop +was head of the Chapter, and the canons his assistants. But, beginning +not later than with Maurice, who held high office under the Crown, the +bishops became more and more immersed in politics, and found no time +to preside, while the Chapter would naturally raise no objection to +greater independence. What our French neighbours now call a <i>doyen</i>, a +senior from among the canons, took the bishop's vacant place, and +became dean.</p> + +<p>John de Appleby, so late as 1364, dean by virtue of papal proviso, was +only allowed to summon the Chapter, and could not preside until he had +obtained a prebend by exchange. A hundred and fifty years later Colet +was a prebendary. I find no traces of archdeacons—London, Essex, +Middlesex, or Colchester—prior to the Conquest, but these eyes of the +bishop soon appear afterwards; and the Chanter becomes Precentor; the +Sacrist, or keeper of the plate, vestments, and other valuables, +becomes Treasurer; and the Master of the Schools, Chancellor. For the +sake of convenience looking forward a little, these changes, begun in +Norman times, were completed not long after.</p> + +<p><b>The Plantagenets.</b>—As in the tenth century and as in the eleventh, +that evil demon Fire for a third time, "three days before the +Christmas of 1136," partially destroyed, or at least <span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span>seriously +injured, St. Paul's, during a conflagration which reached from London +Bridge to beyond the Fleet. In rebuilding, the then method was to +throw a coating of the more refined Romanesque of the day over the +older work;<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> and this is how I explain an obscure passage in +Pepys—"It is pretty here to see how the late church was but a case +wrought over the old church; for you may see the very old pillars +standing whole within the wall of this."<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> The old pillars of the +nave were restored, and furnished with graceful engaged columns, and +vaulting shafts rising from the ground. As the choir was afterwards +superseded by another, we cannot tell what was done to it.</p> + +<p>We have now come to a time when it is impossible even to catalogue the +numerous stirring events which the cathedral witnessed. William +Fitzosbert the Longbeard, for thundering forth at <span class="sc">Paul's +Cross</span>—where the citizens' folk-mote was wont to be held—against +tyranny and corruption in high quarters, suffered the extreme penalty. +But people in a higher position were soon to do the same. When John +and Innocent formed their strange alliance against the national +liberties, it was at St. Paul's that Stephen Langton produced the +Charter of Henry I. Here John publicly handed over his kingdom to the +Pope, and received it back as a vassal. Here came the counterblast, +when Louis, son of King Philip II. of France, received the kingdom +from the assembled magnates. After the death of John and Innocent the +papal claims were upheld; and at a council in 1232, at which the papal +legate presided, he took for his text, "In the midst of the throne and +round about the throne were four beasts."<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> The four beasts were not +the four Evangelists, but four opposition prelates, including the two +primates and the Bishop of London, Roger the Black. It was the great +bell of St. Paul's which in the days of Simon de Montfort summoned the +citizens to rise against their king.</p> + +<p><b>Old St. Paul's completed.</b>—Whilst the nave was constantly witnessing +scenes like this, and whilst clergy and people were protesting against +encroachments on their liberties <span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>from abroad or at home, a new and +more magnificent choir, and a new or restored north aisle to either +transept were in course of construction, the ways and means being +found with the help of indulgences issued by various bishops, Scotch +and Irish included, over a lengthy period.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> In 1240 the king and +the Cardinal Legate Otho attended the consecration of so much of the +new work as was then completed; and Bishop Roger was supported by the +Primate, Edmund Rich, and other prelates.</p> + +<p>East of the cathedral was St. Faith's, one of those parish churches in +which cathedral cities are notoriously prolific—churches with +parishes of the size of an average meadow, or less.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> Whether it be +owing to greater wealth, or to greater subdivision of property, or to +enthusiasm kindled at a religious centre, nowhere do donors and +benefactors appear to have been more numerous than in these ancient +cities, like London, Norwich, and Exeter. St. Faith's was pulled down, +and the rights of the parishioners made good by allotting to them the +new crypt underneath the site of their old church. About this time +also the vaulting was renewed throughout, and various adornments added +from time to time. In 1312 the choir was paved with marble at a cost +of fivepence per foot; and three years later the old and ruinous +steeple was superseded by a new one of wood covered with lead, rising, +according to the lowest estimate—that of Wren—to a height of 460 +feet, without the cross. The cross had a "pomel well guilt" set on the +top, and contained relics of different saints, put there by Bishop +Gilbert de Selgrave with all due solemnity, accompanied by an +indulgence, for protection. Thus was finished Old St. Paul's, the most +magnificent church in England, meet to be the cathedral of the +capital, which London had now become.</p> + +<div class="img"><a name="imagep012" id="imagep012"></a> +<a href="images/imagep012.jpg"> +<img border="0" src="images/imagep012.jpg" width="55%" alt="Monument of John of Gaunt, Duke of Lancaster." /></a><br /> +<p class="cen" style="margin-top: .2em;">MONUMENT OF JOHN OF GAUNT, DUKE OF LANCASTER.<br /> +<i>After Hollar.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>Wycliffe and Gaunt.</b>—The Primate Sudbury and Bishop Courtenay tried +John Wycliffe at the cathedral on a charge of heresy (February 13, +1377). This was in the days of rival popes at Rome and Avignon, and +one or other or both had been described by the accused as "Antichrist, +the proud, worldly priest of Rome, and the most cursed of clippers +and <span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>purse-kervers."<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> By an alliance almost as strange as that +between John and Innocent, Wycliffe found himself supported by John of +Gaunt, with whom was the Earl Marshal, Percy, <span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span>Earl of Northumberland. +Wycliffe and the Duke of Lancaster had this much in common, they both +wished to confine the clergy to their strictly clerical duties, the +latter through jealousy, the former for higher reasons. An immense +concourse filled the cathedral. Courtenay was popular with the +citizens, Gaunt was not; and Percy was strongly suspected of a wish to +abolish the mayoralty, and as Earl Marshal to appoint a captain of his +own instead. During an angry altercation Gaunt whispered loudly to a +neighbour, "Rather than I will take those words at his [Courtenay's] +hands, I would pluck the bishop by the hair out of the church." In the +tumult that followed this insult Gaunt and Percy with difficulty +escaped; the former fled across the river to Kennington, and his +palace at the Savoy was sacked. Yet, in spite of all this, Gaunt was +the only royal prince after the Conquest buried at St. Paul's. His +tomb under the arch on the north side of the high altar, enriched by a +noble canopy to which his spear, shield, and insignia were attached, +contained effigies of himself and of his second wife, Constance of +Castile. He had also a chantry.</p> + +<p><b>Bishop Robert de Braybroke.</b>—On Courtenay's translation to +Canterbury, Braybroke became bishop (1382-1404). A thoroughly +practical reformer, he held out the threat of the greater +excommunication because "in our Cathedral not only men but women also, +not on common days alone but especially on Festivals, expose their +wares as it were in a public market, and buy and sell without +reverence for the holy place.... Others play at ball or other unseemly +games, both within and without the church, breaking the beautiful and +costly painted windows, to the amazement of the spectators." He also +attempted to regulate residence. Owing to the increased value of the +corporate or common property divided amongst the residentiaries or +<i>stagiarii</i>, residence was no longer reckoned a burden, but sought +after. To keep the number down to two the canons in residence would +admit no fresh colleague unless he spent during his first year from +six hundred to a thousand merks in feasting and other useless +expenditure. Braybroke put a check to this abuse, and by the +arbitration of the king the practice of Salisbury was taken as a +model.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> It was after <span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span>his death (October 15, 1414) that the Use of +St. Paul in the religious services was superseded by the Use of Sarum.</p> + +<p>The Petty or Minor Canons now received their charter of corporation +immediately after the death of Anne of Bohemia, wife of Richard II. +Apparently when Becket's representative ventured on his dangerous +errand, deed of excommunication in hand, the canons' vicars or vicars +choral sang the services. In Braybroke's time we find a body +intermediate between the canons and their vicars. They were twelve in +number, were required to have good voices, and to understand the art +of singing, and by their charter were to pray for their royal +benefactor, as well as for the repose of the souls of his wife and +ancestors. The first ranked as Sub-dean, taking for many purposes the +dean's place in his absence, and the two next were the Cardinals. The +Sacrist, the Almoners, and the Divinity Lecturers endowed by Bishop +Richard de Gravesend and Thomas White were appointed from among them. +They enjoyed their own common hall, and elected their own warder and +steward; and two years after incorporation, drawing up their own +Statutes, provided that they were to be read in Hall every quarter, +and that no one was to shuffle his feet during the reading.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p> + +<p>The vicars choral either now or later had dwindled down to six, and +seem to have been only in minor orders. The Petty Canons had their own +endowments; but if the canons had to pay their own vicars, we need not +be surprised at this diminution.</p> + +<p><b>The Wars of the Roses.</b>—With this period St. Paul's is closely +associated. At St. Paul's the Yorkist leaders pledged their allegiance +to the unhappy Henry VI. on the Sacrament—only to break it. After +Barnet the dead bodies of the king-maker and his brothers were +exposed, and after Tewkesbury the murdered corpse of Henry received +similar treatment. Most striking of all is the grim figure of Richard +of Gloucester. He it was who caused Jane Shore to be put to open +penance on the ground that she had bewitched him, she "going before +the Cross on a Sunday with a taper in her hand," says Stow, <span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span>"out of +all aray saue her kirtle only." Hastings, the successor of Edward in +her affections, was implicated with her, and his offence read from +Paul's Cross. At Paul's Cross, newly restored by the bishop, the +younger Kempe, and while the boy king was a prisoner in the palace +hard by, that worthless sycophant, Dr. Ralph Shaw, the preacher (May +19, 1483), took for his text, "The multiplying brood of the ungodly +shall not thrive, nor take deep rooting from bastard slips, nor lay +any fast foundations" (Wisdom, iv. 3). His sermon went to prove to the +citizens that Richard was the only, or at least the senior, legitimate +member of the royal family. Richard was present to hear his own mother +dishonoured; and the preacher, pointing dramatically to him, argued +that, unlike his three elder brothers, he resembled the late Duke of +York. But the people showed no sympathy, would not cry "Long live King +Richard," and dispersed, fearing the worst for the poor lad immured in +the bishop's palace.</p> + +<p><b>The Clergy and Services.</b>—We may now conveniently glance at these +important subjects. The Bishop, who appointed all the dignitaries +except the dean, was Visitor. At the great festivals he was usually +present, and the bells were rung in his honour. How the <span class="sc">Dean</span> +always, or nearly so, held another stall has been already stated; how +he came to be presented by the Crown instead of elected by his +brethren is uncertain; but the Chapter somehow practically lost their +right of electing both bishop and dean, for either pope or king in +effect appointed their diocesan. The dean was visitor of the homes of +the clergy and of the chapter estates. To the four +<span class="sc">Archdeaconries</span> of London, Essex, Middlesex, and Colchester +was afterwards added the small one of St. Alban's on the dissolution +of that important abbey, but without a stall in the choir.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> The +office of <span class="sc">Precentor</span> is explained by the name. The +<span class="sc">Treasurer</span> was responsible for the very valuable +treasures—jewels, vestments, relics, and the like—as distinct from +the moneys. Lower in rank, but in reality of greater importance, came +the <span class="sc">Chancellor</span>. He had jurisdiction over the old school of +St. Paul's, and any others in the City with the exception of those of +St. Mary-le-Bow and St. Martin's-le-Grand, and was secretary and +keeper of the seals, receiving a pound of pepper for each deed sealed. +The thirty <span class="sc">Prebendaries</span> (or <span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span>rather twenty-nine when the dean +was one) could only hold one stall each at St. Paul's, but any number +of benefices elsewhere like the higher dignitaries; and it is by no +means certain that in the thirteenth century John Mansell did not hold +three stalls at St. Paul's simultaneously among his innumerable +benefices which together, according to Matthew Paris, amounted to +4,000 merks per annum.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> Of the prebendaries a varying minority in +residence, stagiaries (<i>stagiarii</i>, perhaps a corruption of the more +classical <i>stationarii</i>),<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> not only divided amongst themselves the +balance of the common fund, but were not above partaking of a share of +the capitular bakehouse and brewhouse. The dean, the three higher +dignitaries, and the prebendaries constituted the Chapter, in certain +matters the non-residentiaries having no jurisdiction, and, as +recorded in their Visitations, exercised a very great authority over +their various manors. Below the Chapter came the twelve <span class="sc">Petty +Canons</span>, officers peculiar to St. Paul's and Hereford;<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> and +there were over fifty <span class="sc">Chantry Priests</span> when suppressed. +Besides their appointed daily masses they would divide amongst them +the annual masses called <i>obits</i>, which amounted to about a hundred, +and were expected to assist the Petty Canons. They spent their +extensive leisure after the proverbial manner of idle and ignorant +men. The <span class="sc">Vicars Choral</span> had dwindled down to six by Colet's +time, were no longer in priests' orders, and eventually became laymen +pure and simple. Space would fail us to enumerate the remaining +official and semi-official officers. Among the latter were the twelve +scribes, who sat in the nave for the service of the illiterate public, +and were sworn to do nothing detrimental to the interests of the +Chapter.</p> + +<p>The Apostle's mass was sung the first thing in the morning, in earlier +days by a Vicar Choral, and subsequently by a Petty Canon; and next +came the two masses named after the Virgin and the Chapter, the +Cardinals taking the latter. The other <span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>daily services were the usual +Nocturns or Matins and the rest, ending with a combined evensong of +Vespers and Compline. We do not know how the old Use of St. Paul's +differed from that of Sarum. Besides the Conversion and Commemoration +of St. Paul, the Deposition (April 30th) and the Translation (November +14th) of St. Erkenwald were red-letter days when, before the peal was +sounded, the bells were rung two and two. On the eve of St. Nicholas +(December 5th), patron saint of <span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span>children, the choristers elected +their boy bishop and his clerks. On St. John the Evangelist's Day +(December 27th) at evensong the newly elected boy bishop in pontifical +vestments, with his boy clerks in copes, walked in procession, and +after censing the altar of the Blessed Trinity returned and occupied +dignitaries' stalls, and any evicted dignitary had to take the boy's +place as thurifer or acolyte, the boy bishop giving the benediction. +The next day (Holy Innocents) this youth preached and took the earlier +part of the mass. These choir lads were trained to act mysteries and, +later on, stage plays.<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a></p> + +<div class="img"><a name="imagep017" id="imagep017"></a> +<a href="images/imagep017.jpg"> +<img border="0" src="images/imagep017.jpg" width="55%" alt="The Shrine and Altar of St. Erkenwald" /></a><br /> +<p class="cen" style="margin-top: .2em;">THE SHRINE AND ALTAR OF ST. ERKENWALD BEHIND THE HIGH ALTAR.<br /> +<i>After Hollar.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>Each new Lord Mayor, accompanied by the Council, went in procession to +St. Thomas Acon, and from thence to the cathedral. He paid his +devotions at the tomb of Bishop William the Norman, in the nave, in +gratitude for privileges obtained from the Conqueror, and then at the +tomb of his predecessor, the Portreeve Gilbert Becket, father of +Thomas, in a little chapel in the churchyard. On Whitsunday and the +following Tuesday were great processions in which the Corporation +joined, as they did on seven other festivals. At Whitsuntide, +according to a sixteenth century account, a huge suspended censer was +swung along the nave, and the descent of the Holy Spirit illustrated +by the letting loose of a white pigeon. Those who are curious about +the shrines, and particularly of St. Erkenwald's, the scene of so many +reputed miracles of healing, and of the relics, which included a vase +believed to contain some hair, milk, and a garment of the Virgin, are +referred to Dugdale and other like works. Passing over <i>Te Deums</i> for +victories like Agincourt and Obsequies for the dead—this latter a +source of income to the officers—we will close this chapter with the +wedding of Arthur, Prince of Wales, a lad of fifteen, to Catherine of +Aragon, in November, 1501. The next spring Arthur died, and the king +effected the betrothal of the widow of eighteen to his younger son +Henry, aged eleven. Seven years later Henry VII. died, and lay in +state at the cathedral.</p> + +<br /> +<hr style="width: 15%;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Tacitus, "Annals," xiv. 33.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Bishop Browne ("The Christian Church in these Islands +before the Coming of St. Augustine," 1897, pp. 59-62; S.P.C.K.) in a +learned note disposes of this, as he does of the veteran claim of St. +Peter's, Cornhill, to take rank as the elder sister of St. Paul's.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The list in the south nave transept, compiled with the +assistance of Bishops Stubbs and Browne, leaves this period doubtful +and uncertain (<i>vide</i> Appendix A).</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> "Eccles. Hist.," book ii., chap. iii.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> The grant is in Dugdale, p. 288; in Domesday it runs +"tenet <i>semper</i> Paulus."</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Bishop Browne's "Conversion of the Heptarchy," p. 154 +(S.P.C.K.).</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Dugdale, p. 299 <i>et seq.</i>, quotes the Exchequer Domesday. +Also, Hale's "Domesday of St. Paul's" and Leach's "Southwell" (the +Introduction); Freeman's "Cathedral Church of Wells," p. 50 <i>et seq.</i>; +and Newcourt's "Repertorium." Hereford is the only other cathedral in +Domesday where canons held in this way. Southwell (now a cathedral, +though the prebendaries are gone), Bedford, Twyneham, and Stafford +were collegiate churches of a like kind.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Freeman's "Wells," p. 69.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> "Diary," Sept. 16, 1666. So far as the pillars are +concerned I know of no other time when this "casing" could have been +done; and the architecture in Hollar's prints, as reproduced in +Dugdale, agrees.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Dean Milman says the text was from Ezekiel, i. 5; was it +not from Revelation, iv. 6?</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> "Documents Illustrative," p. 175.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> St. Faith's parish reaches westward to 62, St. Paul's +Churchyard, north side.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> "Chapters in the History," p. 97.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Perhaps the residentiaries were increased to eleven.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> "Gleanings," chap. i. It is disappointing to find that +it was thought necessary to provide in the Statutes against gross +immorality, and that a fine of 3s. 4d. was deemed a sufficient +punishment for the first offence, to be doubled on repetition.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Were they ever members of the chapter <i>ex officio</i>?</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> If he had to read his share of the Psalter every day for +each, his time for affairs of State must have been encroached upon.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> So says Dr. Sparrow-Simpson. In the Gallican Church the +<i>stage</i> was the time of qualifying for residence. In modern French a +<i>stagiaire</i> = a licentiate in law going through his stage.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> In former days. The Vicars Choral of other foundations +are now called Minor Canons.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> "Chapters in the History," p. 53.</p></div> + +<br /> +<br /> +<br /> +<br /> +<a name="CHAPTER_II" id="CHAPTER_II"></a><hr /> +<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span><br /> + +<h3>CHAPTER II.<span class="totoc"><a href="#toc">ToC</a></span></h3> + +<h4>FROM THE ACCESSION OF DEAN COLET TO THE FIRE (1505-1666).</h4> +<br /> + +<p>With the Florentine studies of John Colet, remarks J.R. Green, a purer +Christianity awoke throughout Teutonic Europe. Born in 1466, a son of +a distinguished citizen who was twice Lord Mayor, after seven years at +Oxford he travelled with sufficient means to France and Italy, and +whether at home or abroad studied in particular Greek. "The knowledge +of Greek seems to have had one almost exclusive end for him,"<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> +continues Green; "Greek was the key by which he could unlock the +Gospels and the New Testament." Discarding the traditional +mediævalisms, his faith rested simply on a vivid realisation of the +Person of Christ; and whilst his active and lucid intellect exhibit +him in many lights, everything else was subordinate to his faith. +Returning to England, he lectured gratuitously at Oxford on St. Paul's +Epistles, and formed a friendship with Erasmus. So Erasmus became the +earnest pupil of an earnest master. Taking priests' orders, he was +appointed Dean of St. Paul's and Prebendary of Mora (1505), and +established a reputation as a preacher. In those days, and until +Wolsey as legate gave the preference to Westminster, the two Houses +held their sessions in the Chapter House and Nave of Old St. Paul's, +as the opening ceremony still reminds us. Preaching at the opening in +1512, he startled Convocation by declaring, "All that is in the Church +is either the lust of the flesh, the lust of the eyes, or the pride of +life." In vain his bishop, Richard Fitz-James, endeavoured to +establish a charge of heresy: the Primate Warham and young Henry +VIII. <span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>both admired and supported the Dean; and the Dean continued to +show his preference for the New Testament in the original Greek rather +than for the prevalent nonsense of the mediæval schoolmen.</p> + +<div class="imgl" style="width: 45%;"><a name="imagep020" id="imagep020"></a> +<a href="images/imagep020.jpg"> +<img border="0" src="images/imagep020.jpg" width="95%" alt="Dean Colet." /></a><br /> +<p class="cen" style="margin-top: .2em;">DEAN COLET.<br /> +<i>After the portrait in Holland's "Heroologia," 1620.</i><a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> +<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>Where the consent of his Chapter was necessary, Colet's efforts at +reform were obstructed. The profanation of the sacred building he +could not stop: buying, selling, and promenading in the nave continued +the order of the day. The Chapter would have nothing to do with his +new statutes, but elsewhere he was more successful. The Chancellor's +School was not in accordance with his views; and in spite of Bishop, +Chancellor, and Chapter, out of his own means he built <span class="sc">St. Paul's +School</span>, towards the east end of the churchyard, and endowed it; +and leaving his colleagues out in the cold, left the management to the +Mercers' Company. His theology was manifest in the image over the +gate. It was neither Erkenwald nor Uncumber: it was not the Virgin or +even St. Paul himself, but the Child Jesus with the simple and +pregnant inscription, "Hear ye Him." The severity of his discipline, +although a Pauline parent or pupil would now resent it, was adapted to +those rough and hardy times, when people rose early and worked hard, +and when corporal punishment was general and often, and irrespective +of sex or age. William Lyly, an Oxford student who had studied in the +East, was his first high master. As the original St. Paul's School +became eventually absorbed in Colet's, this latter—now removed from +its old <span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span>home to stately buildings on the Hammersmith Road, and +possessing (1899), as a high master, a worthy successor of +Lyly<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a>—is in one sense a new foundation of Colet's, yet in <span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>another +is also a continuation of that venerable foundation under the charge +of the Chancellor. Looked at in this latter aspect, it may assert an +antiquity almost as great as St. Peter's, York, which claims—and not +without reason—to be the senior boys' school in the country. Colet so +looked forward to the different requirements of different ages that +his statutes did not tie his school down to any cut and dried course +of study; but let us hope place will always be found for the Greek +Testament. What are we to think of the preacher who, while denouncing +war, so pricked the conscience of Henry VIII. that the king sent to +consult him? What of the Bible student who thought that the story of +Creation was an allegory, and intended to teach the ignorant +Israelites that the one God had created everybody and everything? What +of the reformer who went beyond Erasmus in denouncing the profane +excesses perpetrated in the name of religion at the shrine of Becket +at Canterbury? Colet died of the "sweating sickness" at the early age +of fifty-three, in 1519; and it is idle to speculate on his action had +he lived until the breach with Rome. His monument in the south aisle +of the choir perished in the Fire; and in the new Renaissance +cathedral a second might well be erected to the memory of this great +leader of the Renaissance in theology and learning, the greatest among +many great occupants of the Dean's stall.</p> + +<div class="img"><a name="imagep021" id="imagep021"></a> +<a href="images/imagep021.jpg"> +<img border="0" src="images/imagep021.jpg" width="52%" alt="Tomb of John Colet, D.D." /></a><br /> +<p class="cen" style="margin-top: .2em;">TOMB OF JOHN COLET, D.D., DEAN OF ST. PAUL'S.<br /> +<i>After Hollar.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>Reformation Principles Opposed.</b>—The still smouldering doctrines of +Wycliffe were now fanned into a flame; and Wolsey endeavoured to +extinguish them without having resort to the stake Tyndal's New +Testament, translated into English in 1526 at Worms, must have been +speedily smuggled across the Channel. On the Shrove Tuesday of 1527 +Wolsey attended St. Paul's, accompanied by some six-and-thirty +prelates, mitred abbots, and other high dignitaries. Barnes of +Cambridge, formerly a friar, and five others, "Stillyard men," were +brought from the Fleet prison in penitential array, Barnes carrying a +heavy taper, the rest faggots. Testaments and other forbidden books +were in baskets by a fire in the nave. On their knees the penitents +recanted; while Barnes declared that he deserved to be burnt. Fisher +again preached; and the six pardoned offenders were taken inside the +rails and made to walk round the fire, after which the books were +burnt—by no means a solitary literary conflagration.</p> + +<p><span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span><b>Reformation Principles Advanced.</b>—In order to raise money, Henry +declared that as the clergy had acquiesced in the authority of Wolsey +as legate, and as such acquiescence was contrary to the Statute of +Provisors, all these benefices were forfeit to the Crown, and a heavy +subsidy must be paid as ransom. The clergy of the diocese of London, +considering that the arch-offender against this Statute was Henry +himself, and next to him the prelates and great mitred abbots, +attended a meeting at the Chapter House, and were assisted by a number +of their parishioners. John Stokesley, Bishop designate,<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> who +presided, and who had to see the assessment made, could neither keep +order nor gain his point: "We never meddled, let the bishops and +abbots pay." Fifteen priests and four parishioners were imprisoned, +and, of course, Henry gained his point.</p> + +<p>Throughout 1534 the deanery was vacant. The Bishop was directed to see +that the appointed preachers at Paul's Cross taught that the Pope had +no spiritual authority of divine right. Here as elsewhere it is +remarkable with what ease and unanimity the papal jurisdiction based +on the Petrine claims was done away with. No dignitary—and Bonner +that year became Prebendary of Chiswick—no priest of humbler rank +connected with the cathedral, either resigned or got into trouble on +this important doctrinal question; although the execution of those two +earnest men, John Fisher and Thomas More, who opposed the divorce and +the abrogation of the papal claims, was followed by a pronouncement of +excommunication, deposition, and an interdict on the part of Paul III. +Yet at St. Paul's, nineteen Anabaptists—a sect whom no one +pitied—were sentenced to be burnt, and of these a man and a woman +suffered at Smithfield, and the remainder in the provinces. The next +year (1536) Hugh Latimer, as earnest and good a bishop as Fisher and +his exact opposite, preaching before Convocation, denounced abuses in +the spirit of an age which did not hesitate to call a spade a spade. +"Lift up your heads, brethren, and look about with your eyes; spy what +things are to be reformed in the Church of England."</p> + +<p>But more dramatic and more effective than the sonorous ring of honest +Hugh's eloquence, was the sermon at the <span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>Cross (February 14, 1538) of +Bishop John Hisley, Fisher's successor at Rochester, and formerly +Prior of the Dominicans in London. His subject was an ingenious piece +of mechanism, called the Rood of Grace, from Boxley in his diocese, a +source of revenue from devotees. Now, this product of the mechanic's +art does not seem to have had any resemblance to a Rood—<i>i.e.</i>, a +large cross or crucifix—but rather was shaped like a big doll; and +Hisley demonstrated to his intelligent congregation of citizens how no +inherent power, but a man standing inside, with the aid of wires, +caused the rood to bow, and move its eyes and mouth.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p> + +<p>The exposure was followed next St. Bartholomew's eve by the removal of +the Great Rood at the north door, and those of our Lady of Grace and +of St. Uncumber. This last saint is supposed to be a foreign princess +of early times, styled also in England St. Wilgeforte. A peck of oats +was a favourite offering at her shrine in St. Paul's by those who +wished for favours; and according to Sir Thomas More she owed her +popular name because wives unhappy in their union so offered in the +hope that she would <i>uncumber</i> (<i>i.e.</i>, disencumber) them of their +husbands. The disgrace of Thomas Cromwell put a temporary stop to +actions of this nature; and we find Gardiner at the Cross denouncing +both Rome and Luther. We further find Barnes, our quondam penitent, +amongst those who replied from the same famous pulpit, and likening +himself and Gardiner to two fighting cocks, only that the <i>garden</i> +cock lacked good spurs. The result was that Barnes ended his chequered +career at the stake, as did others.</p> + +<p><b>Edward VI.</b>—So long as Henry lived it was dangerous to uphold either +the Petrine claims or the doctrine of justification by faith alone, +and it was equally dangerous to oppose the doctrine of +transubstantiation; but the Council of the child king would not have +this latter doctrine, and was distinctly Protestant. The endowments of +the chantries had been transferred to the Court of Augmentations in +the autumn of 1545 (37 Henry VIII. c. 4) for the benefit of the king; +but when at the beginning of 1547 Edward succeeded his father, St. +Paul's <span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>still enjoyed her own. Somerset and his Protestant council not +only wanted the property, but objected to masses for the dead, and a +renewing Act was quickly passed, Edward's name taking his father's +place. So went chantries and <i>obits</i> into the royal coffers, the list +in Dugdale, as returned to the Court, filling ten folio pages; while +but little commiseration was felt for the hard lot of these illiterate +chaplains deprived of their livelihood. And this was not all. Besides +any remaining roods and crucifixes, altars were demolished, tombs +wrecked, plate, jewels, vestments and frontals sold. Elaborate gold +and silver embroidered work found its way to Spanish cathedrals, and +up to a short time ago was reported to be still there.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> Pardon +Haugh Chapel was desecrated, and the bones carted away to Finsbury; +the Chapter House cloisters went to build Somerset House. The dean, +William May, was an advanced Protestant; but so was not his bishop, +Bonner. Bonner preached at the Cross upholding transubstantiation, and +was deprived and imprisoned. It is to the credit of his successor, +Ridley, that he supported Bonner's mother and sister at Fulham; "Our +mother Bonner"—he was unmarried—taking the head of his table. Yet +Ridley was one of the judges at St. Paul's who sent the Anabaptist +woman Joan Bucher to the stake for heresy. During the first year or +two of this reign, complains Dean Milman, "Sunday after Sunday the +Cathedral was thronged, not with decent and respectable citizens, but +with a noisy rabble, many of them boys, to hear unseemly harangues on +that solemn rite" [the Sacrament]. Ridley, after his translation +(1550) restored comparative order, and remained bishop long enough to +witness the introduction of the Second Prayer Book.</p> + +<p><b>Mary Tudor.</b>—When poor Edward came to his untimely end, Ridley sided +with the faction of Jane, and preached at the Cross, declaring both +Mary and Elizabeth illegitimate. For this he has been much censured; +but so far as the two princesses went—of course this would not make +Jane next of kin—he was but upholding the decisions of Ecclesiastical +Courts. In spite of any weakness in her title—and we have seen how +her mother had been married to Arthur at St. Paul's—Mary was +proclaimed, the bells rung, the Lords went in procession to hear <i>Te +Deum</i> chanted; Bonner went back, and Dean May was <span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>replaced by John +Feckenham. Yet Mary's party by no means had everything their own way. +Gilbert Bourne, Prebendary of Wedland, who had retained his benefice +throughout the late reign and was now Chaplain to the Queen, preaching +at the Cross, was rudely interrupted with cries and throwing up of +caps; and had it not been for two of his brother canons, John Rogers +of St. Pancras and John Bradford of Cantlers, and others, who +conducted him in safety to the adjacent schoolroom, matters might have +gone ill with Mary's champion. Gardiner recanted his former heterodoxy +concerning the papal supremacy in a sermon; and Pole appeared as +Legate. Ridley, Rogers, and Bradford were amongst those who suffered +at the stake, while May escaped.</p> + +<p>Of course the old services were reintroduced; and we turn from grave +to gay in a record of one of these revived functions. A doe was +offered on the Conversion and a buck on the Commemoration of St. Paul, +both in connection with some quaint old-world land tenure. Our records +tell us that Bonner wore his mitre, and the Chapter their copes, with +garlands of roses on their heads. The buck—it was the +Commemoration—was brought to the high altar, and at some time and +place not exactly defined but within the choir, was slain; and the +head, severed and raised on a pole, was borne before the processional +cross to the west door. Here a horn was blown, and other horns in +different parts of the City answered.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></p> + +<p><b>Elizabeth.</b>—After the death of Mary, as the diocese of London had +been the chief sufferer from the persecutions, and as the excitement +in the City ran very high, the sermons at the Cross were for a time +wisely discontinued. The Primate Pole, the last Romanist at Canterbury +and the last Legate openly accredited to an English sovereign, and +many of his suffragans likewise, died about the same time; and it was +left for Bonner to preside over a thin Upper House.</p> + +<p>What was to be done with the bishop? To allow him to continue in his +high office was tantamount to a grave scandal to religion, and his +person was not safe from the fury of the populace. He was replaced by +Edmund Grindal, and spent the remaining ten years of his life chiefly +in the security of the Marshalsea, without any undue vigour or +harshness. Mary's <span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>first dean, Feckenham, had been made abbot of the +resuscitated regular foundation of Westminster, and his successor was +quietly ejected in favour of the restored May, whilst a few of the +other dignitaries lost their stalls. The Epistle and Gospel were first +read in English, and eventually the Prayer Book was resumed; but the +changes were made gradually; and, considering the provocation, no +vindictive spirit was displayed.</p> + +<p>In June, 1561, the beautiful spire was destroyed by fire caused by +lightning or by a plumber's neglect, and the Chapter House seriously +injured. We have no trustworthy plates prior to this fire, and the +various estimates about the height of the spire and other matters are +anything but infallible. Service was held at St. Gregory's, and the +roof and other parts restored at a cost of £6,700, but the +architecture was never the same afterwards. Of course the disappointed +Romanists attributed the disaster to the Divine anger, and Bishop +Pilkington, of Durham, preaching next Sunday at the Cross, to the +still continued desecration.</p> + +<p>It is difficult for us to understand why this desecration was allowed +to go on. A pillory was indeed set up outside near the bishop's +palace, and a man convicted of fighting nailed there by his ears, +which were afterwards cut off; but this must have been an offence +exceptionally outrageous. "What swearing is there," says Dekker, "what +shouldering, what jostling, what jeering, what biting of thumbs to +beget quarrels." At Bishop Bancroft's Visitation a verger complained +that colliers with coal-sacks, butchers' men with meat, and others +made the interior a short cut. Bishop Corbet, of Norwich, wrote:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"When I past Paules, and travelled in that Walke<br /></span> +<span class="i2">Where all our Brittaine-sinners sweare and talke,<br /></span> +<span class="i0">Ould Harry-ruffians, bankrupts, suthe-sayers,<br /></span> +<span class="i2">And youth, whose cousenage is as ould as theirs."<br /></span> +</div></div> + +<p>The choir boys even during service time were on the alert for "spur +money," a fine due for the wearing of spurs. "Paul's Walk" (the +central aisle of the nave), said Bishop Earle, of Salisbury, "is the +land's epitome.... It is the general mart of all famous lies." +Shakespeare was thinking of his own time, as well as of the time of +Henry IV. (2 Henry IV., act 1, scene 2) when he makes Falstaff engage +Bardolph, out of place and standing at the servant-men's pillow to be +<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span>hired. John Evelyn called the cathedral a den of thieves. Before, we +have mentioned that this abuse existed in mediæval times; the above +authorities show that it still went on right up to the Fire. Doctrine +might be purified, and rites reformed; Paul's Walk was neither +purified nor reformed.</p> + +<p>John Felton nailed the Bull of Pius V. excommunicating and deposing +Elizabeth (<i>Regnans in Excelsis</i>) to the bishop's gate at night (May +15, 1570), and was hung on a gallows hard by. We pass on from this, +and from Elizabeth's "tuning of the pulpit" and various other matters, +to the Armada. By September some of the captured flags were displayed +on high outside, and waved over the preacher at the Cross. The last +Sunday in November was appointed for the State Thanksgiving, Aylmer +being bishop and Nowell dean. The Queen was driven in a chariot drawn +by four white horses. Bishop John Piers, of Salisbury, the Almoner, +was the preacher. His sermon has not come down, but the Form of Prayer +has—"Turning the destruction they intended against us upon their own +head." At the conclusion, the Queen remained in the City to dine with +the bishop.</p> + +<p>After the death of the great Queen, the leading conspirators in the +Gunpowder Plot<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> were executed outside the West Front. John King, +Dean of Christ Church, styled by James "the <i>king</i> of preachers," was +consecrated bishop in 1611; and the next year Bartholomew Leggatt was +condemned as a heretic in the Consistory Court, and burnt at +Smithfield; and a month later Edward Wightman suffered a like fate at +Lichfield. But the Marian persecutions had made all good citizens sick +of such sights, and henceforth, says Fuller, the king yielding to +public opinion, "politically preferred that heretics, though +condemned, should silently and privately waste themselves away in +prison."</p> + +<p><b>Inigo Jones.</b>—A certain Master John Farley agitated in favour of the +decaying and neglected fabric, and King James attended service in +state to hear his favourite preacher, the bishop, plead for +restoration from an appropriate text chosen by the king himself (March +26, 1620). After the service came a banquet at the bishop's palace, +and after the banquet a meeting; and a Royal Commission was appointed +before <span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>the end of the year on which the Lord Mayor was the first +person named. Amongst other commissioners was Inigo Jones, Surveyor of +the Royal Works. He had studied in Italy and was an enthusiastic +student of the Italian Renaissance. Unfortunately the public was +anything but enthusiastic, and only a small sum was contributed, which +went in the purchase of stone. Matters came to a complete standstill; +and shortly prior to his assassination the elder Villiers is reported +to have stolen part of the stone for a watergate for his new town +house.</p> + +<div class="img"><a name="imagep029" id="imagep029"></a> +<a href="images/imagep029.jpg"> +<img border="0" src="images/imagep029.jpg" width="85%" alt="Inigo Jones' Portico." /></a><br /> +<p class="cen" style="margin-top: .2em;">INIGO JONES' PORTICO.<br /> +<i>After Hollar.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The Commission died with the king, and Laud, becoming bishop, +persuaded Charles to issue a new one. This time a handsome sum was +collected, and work was commenced. As regards the exterior, the nave +and west sides of the two transepts were cased throughout, and some +repairs made to the east end.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> The chief alteration in the interior +was the <span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>adornment and restoration of the choir screen, at the expense +of Sir Paul Pindar, and with the laudable object of putting an end to +desecration. Inigo Jones added a noble classical portico to the West +End as a successor to Paul's Walk. We forgive the lack of harmony with +the Norman nave, when we recall the truly religious motive.</p> + +<p>But evil days for the cathedral were approaching. In the House of +Commons (February 11, 1629), Oliver Cromwell, Member for Huntingdon +town, made his maiden speech in a Grand Committee on Religion. He +complained that Dr. Alablaster had preached flat Popery at Paul's +Cross, and that the Doctor's bishop, Neile of Winchester, would not +have it otherwise.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> Alablaster was High Church, and the Third +Parliament of Charles was not.</p> + +<p><b>The Civil War.</b>—The outbreak of the Civil War put an end to the +Commission, and the moneys were confiscated.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> The Long Parliament +acquired the supremacy in the City, and from 1643 Inigo Jones ceased +to act as surveyor, dying before the Restoration. The whole staff was +expelled, and their revenues sequestrated; and Dr. Cornelius Burgess +was appointed preacher, some of the more eastern bays of the choir +being walled in by a brick partition as his chapel or conventicle. The +chief fault to be found with Burgess is that he was out of place in a +cathedral, otherwise there is much to be said in his favour. Even in +those times, when religious fanaticism went mad, he behaved with +discretion, and courageously headed the petition of London ministers +against the execution of the king. Hugh Peters figures in the crypt, +and other parts were assigned as meeting-houses. It is better to pass +over as quickly as may be the behaviour of the soldiery and populace. +"Paul's Cathedral," says Carlyle, "is now a Horseguard; horses stamp +in the Canons' stalls there [but the choir was mainly reserved for +Burgess and his sermons], and Paul's Cross itself, as smacking of +Popery ... was swept altogether away, and its leaden roof melted into +bullets, or <span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span>mixed with tin for culinary pewter."<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> Its very name, +the Cross, was against it; and thus fell, never to be restored, the +most famous pulpit in England, which through successive generations +had been part and parcel of English history. Carlyle also tell us that +Trooper Lockyer, of Whalley's Horse, "of excellent parts and much +beloved," was shot in the churchyard for mutiny, "amid the tears of +men and women."<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a></p> + +<p>Monuments which had escaped earlier vandals were now defaced and +destroyed; the scaffolding was seized; part of the roof on the south +side fell in, and the lead was used for water-pipes. The new portico +was hacked about and turned into stalls for wares, and, in a word, +Inigo Jones' work more than undone. Other doings of the soldiery are +unfit for publication.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></p> + +<p><b>The Restoration.</b>—Juxon was translated to Canterbury, and the +munificent and much-abused Gilbert Sheldon received London, only in +turn to succeed Juxon again three years later. At the beginning of the +Civil War the deanery had become vacant, and Richard Steward +designated for the vacancy. It was an empty appointment, and was +afterwards changed for another of a like kind, and Matthew Nicolas +became nominally dean. This preferment took actual effect from the +summer of 1660, when Nicolas was installed dean and prebendary of +Caddington Major, such of the other dignitaries as survived resuming +their stalls, and vacancies were filled up. Another bay was added to +the Burgess conventicle, and the cathedral services were resumed. But +the sad condition of the fabric called for action, and in 1663 another +Commission was appointed, and <span class="sc">Christopher Wren</span> appointed +surveyor. Taking example from his uncle's cathedral at Ely, he +suggested an enlargement of the area at the junction of the four +members of the cross, and subscriptions were raised.</p> + +<p><b>The Plague.</b>—There is a gap in the subscription list after March, +1665: the pestilence was already at work. As the summer advanced its +ravages were intensified; and the City, fortunate in escaping earlier +attacks, suffered so severely that the pest-houses proved +insufficient; and Harrison Ainsworth is responsible for a story which +may probably be depended on in its main outlines. The Lord Mayor and +City authorities, in <span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span>conjunction with the College of Physicians, +obtained the consent of Dean Sancroft (the second from Nicolas) and +his chapter for the conversion of the cathedral into a lazar-house; +and a meeting was held in the Chapter House, at which the Primate +Sheldon was present. Sheldon employed himself, co-operating with the +Lord Mayor, in making provision for the victims. "Chapels and +shrines," says Ainsworth, "formerly adorned with rich sculptures and +costly ornaments, but stripped of them at times when they were looked +upon as idolatrous and profane, were now occupied by nurses, +chirurgeons and their attendants; while every niche and corner was +filled with surgical instruments, phials, drugs, poultices, foul rags +and linen."<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> After its chequered career, Old St. Paul's was +destined to be used last of all as a hospital.</p> + +<p><b>The Fire.</b>—The house and Navy office of Samuel Pepys were in +Seething Lane, Crutched Friars, near where Fenchurch Street Station +now is. About three in the morning of Sunday, September 2, 1666, +Samuel and his wife were called by their servant Jane, who told them +of a fire visible in the south-west towards London Bridge. After +looking out, not thinking it a great matter, the couple returned to +bed; but getting up at seven Pepys heard a far worse account, and +instead of attending morning service went to the Tower, and called on +his neighbour Sir John Robinson, the Lieutenant. Robinson told him +that the house of Faryner, baker to the king, in Pudding Lane had just +caught fire, that Fish Street was in flames, and the church of St. +Magnus destroyed. These were near the north end of London Bridge, as +the Monument and St. Magnus both remind us.</p> + +<p>The origin of the Fire Pepys learnt later (February 24, 1667). +Faryner's people had occasion to light a candle at midnight; they went +as usual into their bakehouse to light it, but as the fire had gone +out, had to seek elsewhere. This striking a light in an unusual place +by Faryner, his son and daughter, is asserted to have been, somehow +and all unknown to them, the origin of the Fire. "Which is," says +Pepys, "a strange thing, that so horrid an effect should have so mean +and uncertain a beginning." About two in the morning, when the family +were <span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span>upstairs and asleep again, the choking sensation of smoke woke +them up, just in time to escape and tell the tale.</p> + +<div class="img"><a name="imagep033" id="imagep033"></a> +<a href="images/imagep033.jpg"> +<img border="0" src="images/imagep033.jpg" width="85%" alt="St. Paul's in Flames." /></a><br /> +<p class="cen" style="margin-top: .2em;">ST. PAUL'S IN FLAMES.<br /> +<i>Originally engraved by Hollar for the title of Dean (afterwards Archbishop) +Sancroft's sermon on the Great Fire.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>There was a drought, and the flames spread on their mission of +devastation, assisted by a breeze. St. Paul's and most of the hundred +City churches were not likely to be used for worship that morning. "To +see the churches all filling with goods by people who themselves +should have been quietly there at the time." But service was held as +usual at the Abbey; and just about sermon time, a newly elected king's +scholar, Taswell, noticing a stir and commotion—he was standing by +the pulpit steps—ascertained the cause. The news had spread that the +City was in flames. Like most boys the prospect of something exciting +coincided with his desire to escape a long sermon, so he hastened +outside in time to see four boats on the river, the occupants of which +had escaped in blankets. Let us hope that as he was not fully +admitted, he escaped Busby's birch. All through the Sunday St. Paul's +was safe—the distance from Pudding Lane was a little over half a +mile—and even the east end of Lombard Street was intact. The +parishioners of St. Gregory and St. Faith, lulled into a false sense +of security, remained confident that even though the conflagration +spread <span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span>westward, and the surrounding houses caught fire, the flames +would not leap across the vacant space of churchyard; and the +booksellers accordingly began to store their goods in St. Faith's as +though the crypt were a fireproof safe.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> So it might possibly have +been, and in spite of sparks, had the distracted Lord Mayor been firm +enough to prevent the storing of books in the churchyard, and had the +cathedral roof been in good repair. The flames gradually encircled the +churchyard; the goods there took fire, and the flames caught the end +of a board placed on the roof to keep out the wet. The Nemesis of +neglect!</p> + +<p>Our young friend Taswell first saw the flame at eight o'clock on the +Tuesday evening at Westminster. It broke out at the top of St. Paul's +Church, almost scorched up by the violent heat of the air and +lightning too, and before nine blazed so conspicuous "as to enable me +to read very clearly a 16mo. edition of Terence, which I carried in my +pocket."</p> + +<p>Pepys corroborates as to the day "Paul's is burned and all Cheapside," +writing of Tuesday, September 4th; and under the same date, Evelyn +adds: "The stones of St. Paul's flew like grenades, the melting lead +running down the streets in a stream, and the very pavements glowing +with a fiery redness, so as no horse or man was able to tread on them, +<i>and the demolition had stopped all the passages, so that no help +could be applied</i>, the eastern wind still more impetuously driving the +flames forward." By Wednesday night the central section of the City +was so burnt out that Pepys walked through Cheapside and Newgate +market. "It is a strange thing," he remarks, "to see how long the time +did look since Sunday." "Sad sight," he adds next day, "to see how the +river looks: no houses nor church near it." Friday, the 7th, early: "A +miserable sight of Paul's Church with all the roofs fallen in, and the +body of the quire fallen into St. Fayth's; Paul's School also, Ludgate +and Fleet Street."</p> + +<p>We will conclude this with some more extracts from the evidence of +Pepys. On the next Sunday, when it is interesting to observe the +drought came to an end, he attended service twice, probably at St. +Olave's, Hart Street, Mark Lane, in the neighbourhood of Crutched +Friars. In the morning "Our parson made a melancholy but good sermon; +and <span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span>many and most in the church cried, specially the women. The +church mighty full; but few of fashion, and most strangers. To church +again, and there preached Dean Harding [Nicolas Hardy, of Rochester]; +but methinks a bad, poor sermon, though proper for the time; nor +eloquent in saying at this time that the City is reduced from a large +folio to a decimo-tertio." The phrase "most strangers" is not +surprising, as besides St. Paul's, some eighty-five parish churches +were in ashes, including two without the walls but inside the +Liberties. Our last extract is under date 12th November following, and +illustrates how such remains as had hitherto escaped desecration were +treated in the general disorder. Bishop Braybroke's efforts at reform +have been already acknowledged: his tomb was behind the high altar +towards the east. "In the Convocation House Yard [apparently the space +within the Chapter House Cloisters] did there see the body of Robert +Braybroke, Bishop of London, that died in 1404. He fell down in the +tomb out of the great church into St. Fayth's this late fire, and is +here seen his skeleton with the flesh on; but all tough and dry like a +spongy dry leather or touchwood, all upon his bones. His head turned +aside. A great man in his time, and Lord Chancellor. And now exposed +to be handled and derided by some, though admired for its duration by +others. Many flocking to see it."</p> + +<p>Old St. Paul's, then, suffered the fate of its predecessors in the +first week of September, 1666. By the Friday the conflagration had so +far exhausted itself that Pepys was able to walk from Paul's Wharf to +the churchyard. The City within the Walls was well-nigh burnt out, and +of the eighty-three parish churches consumed only forty-eight were +rebuilt; and these with the thirteen untouched left accommodation more +than sufficient for the surrounding population. Our regret for the +cathedral would have been greater, had this magnificent monument of +mediæval genius—probably of its kind as fine as any in the +world—been capable of a conservative restoration: it is to be feared +that neglect, the destroyer, and the restorer had amongst them +rendered this task well-nigh impossible.</p> + +<p>So far as existing authorities guide us, it remains to describe the +architecture.<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a></p> + +<br /> +<hr style="width: 15%;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> "Short History," pp. 298, 299. Green says, "The +awakening of a rational Christianity."</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> See Dr. Lupton's "Life of Colet," 1887.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> When I was living in the parish of Kensington, St. +Paul's School was, as I believe it still is, <i>facile princeps</i>.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> Assuming that the date of the meeting from Hall's +<i>Chronicle</i> is correctly printed in Milman, November 7, 1530.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> "Chapters in the History," p. 169. Milman (p. 202) adds +that the hearers pulled the doll to pieces. The dean is made to say +"Ridley, now bishop of Rochester"; but Ridley was bishop 1547-1550, as +Milman elsewhere implies (p. 211).</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> Milman, p. 216.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> My authorities for this well-nigh incredible story are +in "St. Paul's and Old City Life," p. 234.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> "Plot" I must continue to call it, with all due +deference to certain modern apologists.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> Horace Walpole (quoted in Longman, p. 69) says that +Inigo Jones renewed the sides with "very bad Gothic." Assuming the +accuracy of the prints in Dugdale, it is difficult to see where the +Gothic comes in.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> Carlyle's "Cromwell," vol i., chap. iv.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> There is some confusion as to receipts and expenditure. +I take Dugdale to mean that under the Charles commission £101,000 was +raised, and £35,000 spent; but it seems uncertain whether we are to +include Sir Paul Pindar's liberality in this sum. Dean Milman +estimates that only £17,000 was confiscated. The enormous cost of the +army caused a chronic deficit.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> "Cromwell," vol ii., part v.: The Levellers.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Ibid. Friday, April 27, 1649.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> "Gleanings," p. 283.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> "Old St. Paul's," chap. v. I have found no corroboration +for this interesting incident related by Ainsworth in detail.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> Yet the vacant space was in many places very narrow, and +the bishop's palace was actually connected with the south-east end of +the cathedral.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> My quotations from Taswell and Evelyn are taken from +Milman, chap. xv. I cannot explain Taswell's mention of lightning. +Some assert that St. Paul's caught fire on the Monday.</p></div> + +<br /> +<br /> +<br /> +<br /> +<a name="CHAPTER_III" id="CHAPTER_III"></a><hr /> +<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span><br /> + +<h3>CHAPTER III.<span class="totoc"><a href="#toc">ToC</a></span></h3> + +<h4>OLD ST. PAUL'S—EXTERIOR.</h4> +<br /> + +<p>The church was cruciform, with aisles to every arm; and we will give +the external dimensions before the fire of 1561, which include the +lofty spire and exclude the portico. The figures must in all cases be +considered approximate.</p> + +<p>The extreme length east and west is difficult to ascertain: +authorities do not agree; neither do their different estimates with +their scales. Mr. William Longman, upon the authority of Mr. E.B. +Ferrey, estimates it at 596 feet, and his accompanying scale even +more. If the accuracy of the comparative ground-plan in "St. Paul's +and Old City Life" can be depended upon, we must put it at a little +over 580 feet; but Mr. F.C. Penrose's invaluable excavations do not +appear to have fixed the precise termination of the west front. Mr. +Longman also gives a comparative ground-plan of the two cathedrals +from a drawing of Wren's (see below, p. 64); and this, though on a +small scale, is perhaps our safest guide, and we shall probably not be +far wrong if we say 580 feet or a little over, and divide our length +as follows: nave, 252 feet; across transept, 104 feet; choir, 224 +feet. To this must be added the portico of 40 feet, making a total +length of at least 620 feet. The old west end was some 70 feet nearer +Ludgate Hill, and with the portico 110 feet nearer. Length of +transepts, 293 feet, the two arms being equal; breadth of both nave +and transepts, 104 feet, Dugdale's scale making them exactly 100 feet: +breadth of choir a trifle less. Height of nave from ground to apex of +roof, about 130 feet, and of choir, 143 feet. Height of central tower +by Wren's estimate, the lowest, 260 feet, and of spire about 200 +feet; <span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span>altogether according to Wren, 460 feet, and according to others +still higher. Height of western towers with the spires I take the +liberty of adding, unknown. I have calculated the area at about 81,000 +to 82,000 square feet; and in this have excluded St. Gregory's (say 93 +X 23 feet plus the apse) and the Chapter House, with the surrounding +cloister; a square of 90 feet and more than half covered in. These two +members were structurally part and parcel of the building.</p> + +<p>Thus we see that Old St. Paul's was by far the largest cathedral +church in England. Its area exceeded York and Durham: its length +Winchester: the height of its graceful lead-covered spire exceeded +Salisbury; and this, taking Wren's safe and low estimate, and not +counting ball, cross and eagle weathercock of some thirty feet more. +If we allow St. Gregory and the covered part of the Chapter House +area, as we should, it equalled in area or slightly exceeded alike its +successor and Cologne and Florence, and was surpassed only by the new +St. Peter's, Milan, and Seville. "See the bigness," said Bishop Corbet +of Norwich, "and your eye never yet beheld such a goodly object."</p> + +<p>The difficulties which present themselves in any attempt to describe +the architecture still continue to beset us; such earlier drawings as +we have are contradictory and rude to a degree.<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> The <span class="sc">Nave</span> +was Norman, rebuilt to a great extent after the fire of 1137. The +aisles had the usual round-headed windows, with the unusual (for +England) circular windows above. There were flat buttresses; but I +must reject the flying-buttresses of some restorers. The clerestory +windows are a puzzle. Everybody maintains they were Pointed, and, if +so, they would have been inserted at the same time as the new roof; +but there seems to be no trustworthy authority for this. In Finden's +engravings after Hollar they are taken at a peculiar angle which is +apt to mislead. Hollar and his engravers give two windows on the south +side in the interior, <i>i.e.</i>, of the nave and clerestory. Both seem +alike; and Inigo Jones' patched-up north and south fronts represent +them both as round, so that the balance of evidence appears to be in +favour of round.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a></p> + +<p>Another difficulty is the question of the existence or <span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span>nonexistence +of the western towers. Mr. William Longman and Mr. E.B. Ferrey give +none in their south-west view, because "no drawings or plates are +known to exist which would settle the question." But it is our +misfortune that we have to reconstruct Old St. Paul's practically +without the help of drawings, until we come to Inigo Jones' finished +work. In Dugdale's ground-plan they cover almost exactly the same area +as one of the severies of the neighbouring aisles, and are flush with +the west front; in both respects resembling those of Wells and other +cathedrals. Besides, they are constantly mentioned, and at various +dates, as Mr. Longman duly acknowledges. The southern tower was the +original <span class="sc">Lollards' Tower</span> from which the Lambeth tower has +borrowed its name, and was utilised for a prison by the Bishops of +London for ecclesiastical offences. It was both bell and clock tower, +and abutted on to both the cathedral proper and St. Gregory's. So late +as 1573, Peter Burchet of the Middle Temple, shortly afterwards +executed for murdering his gaoler in the tower, was imprisoned here +for heresy, and would then have been sentenced to death but for +recanting.</p> + +<p>The north-west tower was likewise used at times as a prison, and was +connected with the bishop's palace. In the days of Bonner, an upper +floor almost as high as the parapet of the nave contained a room eight +feet by thirteen; and the two towers were connected by a passage in +the thickness of the west wall. Hollar's views show us that Inigo +Jones overlaid these towers with a new coating, and finished them off +with turrets. The original towers were probably crowned with spires of +wood and lead, and both projected some thirty feet from the aisles. +The high roof of the nave<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> of the middle of the thirteenth century +had an angle of about forty-five, and replaced an older one during the +rebuilding of the choir. The <span class="sc">Central Tower</span> had double +flying-buttresses with pinnacles springing from the clerestory; and, +assuming that the west towers had also spires, the grouping must have +been nearly perfect.</p> + +<p>Yet another puzzle is the architecture of the <span class="sc">Transepts</span>. The +north and south windows at the ends are sometimes <span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span>represented as of a +late date, but not by Hollar. They were probably Norman in their three +stages. In his report<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> Wren says, "The North and South Wings have +Aisles only on the West side, the others being originally shut up for +the 'Consistory.'" What he meant was that the two east aisles were +shut off from the rest of the transepts. Their architecture (of the +same dimensions as their western counterparts) was Geometrical as +regards windows, buttresses, and pinnacles. The rest of the transepts +resembled the nave; and this part of the south front was very much +broken. The cloister and chapter house occupied almost the whole of +the west side of the south transept, and four bays of the nave; St. +Gregory's Church occupied four more bays at the west of the nave, +leaving only three aisle windows of the nave on the south side.</p> + +<p>Taking the <span class="sc">Choir</span> next, we will at once dismiss as +untrustworthy the view taken in 1610 in Speed, as reproduced in "St. +Paul's Cathedral and Old City Life." Here the windows are represented +as Norman; but this is not the first time I have found Speed at fault. +We have records of the consecration of the western part in 1240, and +of the pulling down of St. Faith's and of the completion of the +eastern part by the end of the century, or, counting certain +additions, a little later. The western and earlier part extended to +the fourth window, which is broader than the rest; and the mouldings +were somewhat different in this part; but still the matter is not +without difficulty. The engravings represent the whole of the tracery +of the twelve windows on either side as Geometrical. We should have +expected the four western windows to be lancets; and there is no +explanation for the uniformity. The East End contained a great window +some thirty-seven feet in height, of seven lights and trefoiled at the +head; and above this the circular rose window, the four angles of the +square stage filled in with an arrangement of smaller circles. There +were eastern aisle windows on either side of the main window, and four +crypt lights below.</p> + +<p>When we add that the buttresses were crowned with pinnacles to +strengthen them in their resistance to the flying-buttresses of the +clerestory and to the aisle walls beneath, and that these pinnacles +contained niches for statues and were <span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span>terminated with crockets and +finials, so far as we can judge the exterior of the choir was in every +respect a fitting completion of the exterior of Old St. Paul's.</p> + +<p>We have already said sufficient of Inigo Jones, how he flagged [<i>i.e.</i> +cased] the outside of the nave and transept, says Wren, "with new +stone of larger size than before."<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> Owing to this, the plates are +silent as to the window mouldings and other details. Let us pass on to +the</p> + +<br /> + +<h4>INTERIOR.</h4> + +<p><b>The Nave</b> was of eleven bays (not twelve), with triforium and +clerestory, and aisles in addition. The outer coating only of the +pillars was of good stone. Wren says, "They are only cased without, +and that with small stones, not one greater than a Man's Burden, but +within is nothing but a Core of small Rubbishstone, and much Mortar, +which easily crushes and yields to the Weight." Even the outer casing, +he adds, "is much torn with age, and the Neglect of the Roof."<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> +Double engaged shafts reached to the clerestory, and supported the +springers. The actual arcading sprang from these shorter engaged +shafts, which had cushioned capitals; and the arcading of the +triforium was similar. The mouldings of the arches of arcading and +triforium look like the lozenge. The vaulting, too heavy for its +supports, was quadripartite, with cross springers intervening, and the +longitudinal rib unbroken. The <b>Transepts</b> were each of four bays, and +in their details similar to the nave. Their north aisles were shut off +by blank walls which displayed here and there the architecture of the +rest; and each aisle of four bays was further divided into two equal +parts of two bays each, making four compartments altogether. In one or +other of these four the Consistory Court, according to Wren, was held. +To the arcading of nave and transepts, Wren says that in later years +four new and stronger piers were added in the common centre under the +tower for the purpose of strengthening it. As these are not shown in +Dugdale's plates, we can only conjecture their date to have been after +the fire of 1445. By the plan they were far more massive than the +others, and we can well understand Wren's complaint that they broke in +upon the perspective.</p> + +<div class="img"><a name="imagep041" id="imagep041"></a><span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span> +<a href="images/imagep041.jpg"> +<img border="0" src="images/imagep041.jpg" width="65%" alt="The Nave of Old St. Paul's." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE NAVE OF OLD ST. PAUL'S.<br /> +<i>After Hollar.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The dates of the nave and transepts have already been suggested. After +the fire of 1087, Bishop Maurice and his successor built everything +afresh on a larger scale. The fire of 1136 did great damage, and +restoration on a considerable scale was effected. Mr. E.A. Freeman, by +a happy coincidence, touches on restorations at Wells of this time, +and contrasts our two dates.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> After the fire of 1136 the +restoration would be in a style "somewhat less massive, somewhat more +highly <span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span>enriched." I have already pointed out Freeman's statement that +the custom towards the middle of the eleventh century was to throw a +coating of the more refined Romanesque of the day over earlier Norman +work, and this agrees with the statements both of Wren and Pepys.</p> + +<p>We may, then, assume that while the former ground-plan and general +outline remained the same, after 1136 the pillars were encased and +more elaborate mouldings added. By another statement of the same +authority<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> it would seem that "the vaulting shafts run up from the +ground" belong to the second restoration, when the vaulting itself was +completed, and the date of this is indicated in Bishop Basset's letter +of 1255.</p> + +<p>Hence the nave and transepts were restored after the transitional +Norman style, and vaulting shafts added in the fully developed Early +English style, while the window tracery and other details of the +isolated north aisles of the transepts were Geometrical. The four +piers supporting the central tower were of a later date; but surely +there must have been others, though less massive, before, otherwise it +is difficult to understand how the tower and spire were supported.</p> + +<p>Dugdale gives only two monuments in the nave. Thomas Kemp, who died +bishop, reposed under the penultimate arch in the north side, in a +chapel enclosed by a screen and railings. The second was that of Sir +John Beauchamp, who died in 1358, and whose monument was under the +eastern arch on the south side. Somehow the populace entertained the +idea that this latter was the burial place of Duke Humphrey of +Gloucester, uncle to Henry VI., who was murdered in 1447 and buried at +St. Alban's. The adjacent part of the south aisle was called Duke +Humphrey's Walk: and the tomb seems to have been a sanctuary. At +dinner-time, needy people who lacked both the means to purchase a meal +and friends to provide them with one, and who chanced to loiter about +this sanctuary, were said <i>to dine with Duke Humphrey</i>, and the phrase +was equivalent to having no dinner at all.</p> + +<div class="img"><a name="imagep043" id="imagep043"></a><span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span> +<a href="images/imagep043.jpg"> +<img border="0" src="images/imagep043.jpg" width="50%" alt="The Choir, Looking East." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CHOIR, LOOKING EAST.<br /> +<i>After Hollar.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span> +</div> + +<p><b>The Choir.</b>—As our ancestors looked eastward from under the central +tower, both aisles of the choir were completely hidden from view by +the height of the blank wall. The choir screen in the centre was of +less altitude, had four niches for statues on either side, and a fine +Pointed doorway in the centre <span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span>of three orders of arches. The plates +are of a date too late to show any rood. Entering through this door +was the choir of twelve bays. Stephen Wren implies that the whole of +this magnificent member was completed by 1240;<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> but much of the +architecture belonged to a somewhat later date, and the prints are +corroborated by numerous documents.<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> The extension eastward on the +site of Old St. Faith's must have almost amounted to a rebuilding. +Where did this extension begin, and where did the choir of 1240 end? +Wren noticed that the intercolumnar spacing was less irregular to the +east. Mr. Longman points out that the clustered pillars towards the +west differed from the others, as did their capitals and the triforium +arcading, while the fifth arch-space was greater than all the rest. +Here we have the original east end.</p> + +<p>Westward, the square fronts of the pillars were left bare; eastward +they were covered with clustered shafts, and the springers which +supported the vaulting were continued to the ground. Westward, +moreover, the triforium arcading differed from that to the east, and +was occasionally even left blank.</p> + +<p>There remains, however, this peculiarity, that according to the prints +the main aisle windows were uniform throughout, and with Geometrical +tracery. The vaulting differed from the nave in this, that the +diagonals, where they met the longitudinal rib, had bosses, and three +single cross ribs alternated instead of one. The longitudinal rib was +again unbroken throughout.</p> + +<p>That part of the Choir devoted to public worship was limited to the +first seven bays, of which the three to the east were on a higher +level. The stalls of the dignitaries extended four bays, and shut out +the aisles. On the north side the organ occupied the third bay, and on +the south the bishop's cathedral throne, as now, was at the end. The +Chapel of St. Mary, or Lady Chapel, was east of the presbytery at the +extreme end, with St. George's to the north and St. Dunstan's south; +and the whole of the space outside the presbytery—north, south, +east—was taken up by some of those monuments which contributed so +much to the beauty and interest of the interior, and they even +encroached inside. Dugdale gives some seventy to eighty. <span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span>Between the +altar and the Lady Chapel was St. Erkenwald's noted and richly +decorated shrine, and the tombs of Bishop Braybroke and Dean Nowell. +Hard by in the north aisle slept John of Gaunt under his magnificent +canopy; and supporter of Wycliffe though he was, his tomb was rifled +and defiled during the Commonwealth. Near at hand was the monument of +Sebba, King of the East Saxons—a convert of Erkenwald, from whom he +received the cowl. In the disgraceful chaos after the Fire, the body +of Sebba, says Dugdale "was found curiously enbalmed in sweet odours +and clothed in rich robes." Here also could be read the unflattering +epitaph over the monument of Ethelred the Unready; and hard by the +tomb of John of Gaunt, in December, 1641, the corpse of another +Fleming by birth was interred. Sir Anthony Van Dyck had spent the last +nine years of his life in England at the invitation of Charles, and +this great pupil of Rubens was probably the last buried in the choir +before the Civil War. The Lady Chapel contained a wooden tablet to Sir +Philip Sidney, with the inscription:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"England, Netherlands, the Heavens and the Arts,<br /></span> +<span class="i0">The Souldiers and the World, have made six parts<br /></span> +<span class="i0">Of noble Sidney; for none will suppose<br /></span> +<span class="i0">That a small heap of stones can Sidney enclose.<br /></span> +</div><div class="stanza"> +<span class="i0">His body hath England, for she it bred;<br /></span> +<span class="i0">Netherlands his blood, in her defence shed;<br /></span> +<span class="i0">The Heavens have his soule, the Arts his fame,<br /></span> +<span class="i0">All Souldiers the grief, the World his good name."<br /></span> +</div></div> + +<p class="noin">Another wooden tablet in the north aisle was to the memory of his +father-in-law, the statesman Walsingham; and numerous other statesmen, +nobles, divines, and lawyers were buried, or at least remembered. We +can but regret that these are now things of the past, and gone, with +the exception of the effigy of Dean Donne—as remarkable as the man +himself—and a few mutilated remains. Even Colet's is gone.</p> + +<p>Before descending to the Crypt we may remark that the Interior must +have fully emphasised the sense of majestic beauty produced by the +Exterior. The long perspective eastward from the West Door, flanked on +either side by the arcading and terminating with a glimpse of the rose +window <span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span>over the choir screen, as depicted in Dugdale, leaves nothing +to be desired.</p> + +<p><b>The Crypt or Shrouds.</b>—The crypt was underneath the eight eastern +bays of the choir, and was about 170 feet in length.<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> The entrance +was from the churchyard on the north side, and the gloom was lit up by +basement windows both at the sides and east end. An additional row of +piers down the centre supported the choir pavement above; and the +whole undercroft may best be described as of eight arches in length +and four in breadth, the arches springing from engaged columns and the +vaulting quadripartite.</p> + +<p>The mouldings of the clustered columns were plain rounds and hollows, +and everything throughout appears to have been uniform and of the same +date. The four western bays, rather more than half, formed the parish +church of St. Faith; the eastern part the Jesus Chapel, which, after +the suppression of the Guild, was added to St. Faith's. These two +parts were separated by a wooden screen, and over the door was an +image of Jesus, and underneath the inscription:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Jesus our God and Saviour<br /></span> +<span class="i0">To us and ours be Gouernour."<br /></span> +</div></div> + +<p class="noin">These remarks about the Jesus Chapel, be it noted, date only from the +reign of Henry VI., by whom the Guild was incorporated, and the +members of which held high festival on the days of the Transfiguration +and of the Name of Jesus.</p> + +<p>At the south-west corner of St. Faith's, but outside, was the Chapel +of St. John the Baptist, and near this were the three Chapels of St. +Anne, St. Sebastian, and St. Radegund. Dugdale gives a list of sixteen +of the more noted tombs. They include that of William Lyly, the first +master of Colet's famous foundation. Had his bones not been disturbed +by Wren's workmen, they could still have been found underneath the +arcading due south-west from Dean Milman's tomb.<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> To Lyly's memory +his son George, Prebendary of Cantlers, also placed a tablet in the +nave above.</p> + +<p><span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span>Having mentioned our last chapel and altar, it may here be added that +the records enumerate not less than twenty chapels and three dozen +altars altogether. Besides the Guild of Jesus there were four +others—All Souls', the Annunciation, St. Catherine's, and the +Minstrels—and these do not seem to include the oldest of all, that +founded by Ralph de Diceto in 1197, which met four times a year to +celebrate the mass of the Holy Ghost. We now go on to the surrounding +buildings.</p> + +<br /> + +<h4>THE PRECINCTS.</h4> + +<p><b>St. Gregory's</b>, in reality part of the cathedral with the Lollards' +Tower common to both, is mentioned as a parish church in early +documents. Pulled down and rebuilt, in the plates of Hollar it appears +as an uninteresting building, hiding from view the four west bays of +the south aisle of the nave. After the Fire the parish was united for +ecclesiastical purposes to St. Mary Magdalen, Old Fish Street, and +both have since been by a further union annexed to St. Martin, Ludgate +Hill. The Petty Canons were parsons or rectors—that is to say, the +income of the benefice was devoted to their support, and so continued +until their suppression as a corporation. <b>The Bishop's Palace</b> was to +the north-west, and joined the tower. We know nothing of its +architecture, and it is last mentioned in Inigo Jones' Report of 1631.</p> + +<p><b>Pardon Church Haugh</b>, or Pardonchirche Haw, on the north side and +east of the palace, was not a church at all, and was situated probably +in St. Gregory's parish. How the "Haw," or small enclosure, received +its name is doubtful: there may have been some unrecorded connection +with pardons or indulgences. Here Thomas à Becket's father, who was +Portreeve, built his chapel, rebuilt by Dean Thomas Moore, whose +executors added three chantries. The Haugh was environed by a +cloister, and the tombs in this part traditionally exceeded, both in +number and workmanship, those in the cathedral, but this is all we +know about them. In the cloister was the picture of the Dance of +Death. Death, represented by a skeleton, leading away all sorts and +conditions of mankind, beginning with Pope and Emperor. The +accompanying verse of Dean John Lydgate, monk of Bury (or his +translation from the French), was as gruesome as the<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span> picture. +Somewhere here the Petty Canons had their common hall. Near the +cloister, and on the east side, was Walter Sheryngton's Library; and +adjacent to the north-west corner of the neighbouring transept, his +chapel with its two chantries. East of the Haugh and about opposite +the north point of the transept, was the <b>Charnel</b>, a chapel with a +warden and three chantries. Underneath was a crypt or vault for the +decent reception of any bones that might be disinterred, and hence the +name.</p> + +<div class="img"><a name="imagep049" id="imagep049"></a> +<a href="images/imagep049.jpg"> +<img border="0" src="images/imagep049.jpg" width="54%" alt="St. Paul's Cross." /></a><br /> +<p class="cen" style="margin-top: .2em;">ST. PAUL'S CROSS.<br /> +<i>From an Engraving in Wilkinson's "Londina Illustrata," after the picture +in the possession of the Society of Antiquaries, London.</i> +<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span>We have now arrived at the north side of the transept, and inside the +angle formed by chancel and transept stood <b>Paul's Cross</b>, in St. +Faith's parish. It was an octagon of some thirty-seven feet, and stood +about twelve feet from the old cathedral. Mr. Penrose excavated for +the site, and found it just at the north-east angle of the present +choir. The last structure—of wood on a stone foundation, and with an +open roof—was the gift of Thomas Kemp; but a pulpit cover existed in +1241. Above the roof rose the cross from which the name was derived; +and from 1595 the whole was surrounded by a low brick wall, at the +gate of which a verger was stationed. Against the choir wall was a +gallery of two tiers: in the upper was the projecting royal box or +closet, below the Lord Mayor's; and the parishioners of St. Faith had +a right to seats. In very bad weather an adjournment was made to the +crypt; but our sturdy forefathers endured alike stress of weather, +length of discourse, and undiluted frankness of speech, after a manner +that altogether puts us, their degenerate descendants, to shame.</p> + +<p>From a rude picture, painted in 1620 at the instance of Henry Farley, +we can see the preacher for the day with a sand-glass at his right +hand. King James, in his state box, has his Queen on his right, and +his unhappy son on his left, with the Lord Mayor below. These are to +the left of the preacher, who faces the transept. The congregation, +partly composed of parishioners of St. Faith, is seated on forms; and +the men wear their steeple-crowned hats. A dog-whipper is vigorously +belabouring a poor animal with a cat-o'-nine-tails; but the cries of +the victim do not in the least disturb either preacher or audience; +and two led horses are behind the preacher. A well-dressed youth, a +late arrival, bows and accosts a grave-looking citizen with "I pray, +sir, what is the text?" and the citizen answers, "The 2nd of Chron. +xxiv." A second citizen <span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span>is dropping a coin into a large money-box by +the transept door. The subject of the sermon, judging from the text, +was the much-needed restoration; and perchance the preacher was none +other than the diocesan, James' "king of preachers."<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a></p> + +<p>In 1633 the preaching was removed into the choir "for the repaire of +the Church," though we cannot quite see in what way this could help +the repairing. Those who shortly afterwards obtained control of the +City could tolerate neither the name nor the actual cross, and were +afraid of disturbances as well. The structure came down, and although +it was said at the time only to make way for another "fairer and +bigger," was never restored again. The endowments out of which the +preachers were paid went to the Sunday morning preachers, and these +latter are the legitimate successors of the old-time divines.</p> + +<div class="img"><a name="imagep051" id="imagep051"></a> +<a href="images/imagep051.jpg"> +<img border="0" src="images/imagep051.jpg" width="85%" alt="The Chapter House and Cloister." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CHAPTER HOUSE AND CLOISTER.<br /> +<i>After Hollar.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>The Clochier</b>, or <b>Bell Tower</b>, with its lead-covered spire crowned +with a statue of St. Paul, stood at the east end <span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span>of the churchyard. +There must have been a tower here from a very early period if this was +the bell that summoned the folk-mote. The Guild of Jesus owned the +four bells of later times; and when that body was dissolved they +reverted to the Crown, and were lost at dice to a Sir Miles Partridge, +subsequently executed for sharing in the fortunes of the Protector +Somerset. The cloister of the <b>Chapter House</b>, or <b>Convocation House</b>, +shut off almost entirely the west wall of the south transept and four +bays of the south wall of the nave. This was of the unusual +arrangement of two stories, and formed a square of some ninety feet on +the plan, with seven windows in either story. This was called the +"Lesser Cloisters," apparently to distinguish it from the cloister of +Pardon Church Haugh. In the centre of the square, and approached +through a vestibule from the east, was the Chapter House, an octagon +with a diameter of nearly forty feet, supported by massive buttresses. +In Dugdale's engraving the lofty roof has gone; and the tracery of +Chapter House and Cloisters alike are Perpendicular. It will be seen +there were two places for the two Houses of Convocation, one near the +west door of the nave, and this.</p> + +<p>There was St. Peter's College, where the Petty Canons lived, Holmes +College, and the Lancaster College. Thomas Plantagenet, Earl of +Lancaster, executed for high treason against his cousin, Edward II., +who was canonised by the people, though not by the Pope, had a tablet +somewhere in the church at which miracles were believed to be wrought, +and two offices to himself. But whether the Lancaster College referred +to him or to John of Gaunt, or where it was situated, is uncertain.</p> + +<p>Of all these various buildings which surrounded the cathedral and +added to its interest, the curious, by going to the south side of the +nave, may discern some traces of the old Lesser Cloisters and Chapter +House. Everything else has gone so completely that it would be +difficult to fix even the exact site.</p> + +<div class="img"><a name="imagep053" id="imagep053"></a><span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span> +<a href="images/imagep053.jpg"> +<img border="0" src="images/imagep053.jpg" width="95%" alt="Plan of Old St. Paul's in 1666." /></a><br /> +<p class="cen" style="margin-top: .2em;">PLAN OF OLD ST. PAUL'S IN 1666.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span><br /> + +<h4>DIMENSIONS.</h4> + +<p class="cen">OLD ST. PAUL'S.</p> + +<div class="centered"> +<table border="0" cellpadding="3" cellspacing="0" width="60%" summary="Dimensions of Old St. Paul's"> + <tr> + <td class="tdl" width="70%"><span class="sc">Length</span> of Nave</td> + <td class="tdl" width="10%"> </td> + <td class="tdr" width="20%">252 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2"><span class="sc">Length</span> across Transept</td> + <td class="tdr">104 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2"><span class="sc">Length</span> of Choir</td> + <td class="tdr" style="border-bottom: solid 1pt black;">224 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2"> </td> + <td class="tdr">580 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2"><span class="sc">Length</span> across Portico</td> + <td class="tdr" style="border-bottom: solid 1pt black;">40 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2" style="padding-left: 10%;">Total length</td> + <td class="tdr">620 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2"><span class="sc">Length</span> of Transept</td> + <td class="tdr">293 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2"><span class="sc">Breadth</span> of Nave</td> + <td class="tdr">104 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2"><span class="sc">Height</span> of Central Tower</td> + <td class="tdr">260 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2"><span class="sc">Height</span> Spire</td> + <td class="tdr" style="border-bottom: solid 1pt black;">200 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2" style="padding-left: 10%;">Total height</td> + <td class="tdr">460* feet</td> + </tr> + <tr> + <td class="tdl" colspan="2"><span class="sc">Height</span> of Nave roof</td> + <td class="tdr">130 feet</td> + </tr> + <tr> + <td class="tdl" colspan="2"><span class="sc">Height</span> Choir</td> + <td class="tdr">143 feet</td> + </tr> + <tr> + <td class="tdl">Area</td> + <td class="tdr" colspan="2">about 80,000 sq. ft.</td> + </tr> + <tr> + <td colspan="3" class="tdc" style="padding-top: .5em;">* This is Wren's estimate; others are higher.</td> + </tr> +</table> +</div> + + +<br /> +<hr style="width: 15%;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> Particularly so in the "Gleanings."</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> <i>I.e.</i>, assuming that Inigo Jones did not convert +pointed into round.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> Bishop Fulk Basset sent out in 1255 letters hortatory +for the contributions of the faithful. "Quod Ecclesia St. Pauli, in +retroactis temporibus, tantis turbinibus fuit quassata, &c. <i>ut totum +ejus tectum</i>, jam quasi in ruinam gravissimam declinare videtur" +(Dugdale, p. 9).</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> "Parentalia," p. 276.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> "Parentalia," p. 275.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Ibid.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> "Wells," p. 69. His exact dates are shortly after 1088 +and 1136.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> "Wells," p. 132.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> "Parentalia," p. 273.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> Particularly the 68 Indulgences between 1228-1316 cited +in "Documents Illustrating," p. 174.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> This crypt, under the extension of the thirteenth +century choir, cannot be that mentioned by William of Malmesbury. +According to the plan in Dugdale, there was no crypt underneath the +Norman cathedral.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> "Chapters on the History" (pp. 91-93) gives more details +about the crypt. Dean Milman calls Lyly John; and Chambers' "Book of +Days" buries him in the churchyard.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> "Chapters in the History," with plate, pp. 159, 222, +etc.</p></div> + +<br /> +<br /> +<br /> +<br /> +<a name="CHAPTER_IV" id="CHAPTER_IV"></a><hr /> +<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span><br /> + +<h3>CHAPTER IV.<span class="totoc"><a href="#toc">ToC</a></span></h3> + +<h4>FROM THE FIRE TO THE COMPLETION OF NEW ST. PAUL'S (1666-1710).</h4> +<br /> + +<p>Christopher Wren was the most distinguished member of a distinguished +family. His father's elder brother, Matthew, was fellow and senior +treasurer of Pembroke College, Cambridge, when James I. visited that +university in 1611, and won the favour of his sovereign by the ability +with which he acquitted himself in the "Philosophy Act." After serving +as chaplain to Charles in the journey to Spain, he received, amongst +other preferments, the Mastership of Pembroke and the Deaneries of +Windsor and Wolverhampton, and then was made, in quick succession, +Bishop of Hereford, Norwich, and Ely. We shall see that the Cathedral +of Ely exercised an influence over his nephew in designing the Dome of +St. Paul's. Matthew survived the Commonwealth after a lengthy +imprisonment without trial, and returned to Ely after the Restoration. +His younger brother Christopher was chaplain to Lancelot Andrewes, +Bishop of Winchester, who preferred him to the Rectory of East Knoyle, +Wilts.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> Charles I. made him chaplain in ordinary; and when Matthew +was preferred to Norwich, his brother succeeded him in his two +deaneries. The Dean, like his brother, was a learned scholar, and to +him posterity is indebted for the preservation of many valuable +records at <span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span>Windsor during the troubled times. He married Mary, +heiress of Robert Cox, of Founthill, in Wiltshire, and died in poverty +and deprived of his benefices before the Restoration. The only +surviving son of the marriage, Christopher, was born at East Knoyle, +October 20, 1632. Like others who have eventually lived to an extreme +old age, he was delicate during childhood, and, instead of being sent +early to school, received his primary instruction privately. Like his +father before him, he displayed great aptitude for mathematics, both +pure and applied, and was fortunate enough to have a capable teacher +in Dr. William Holder, the husband of a sister, in whose house his +father took refuge and died after his ejection from Windsor. At the +age of thirteen he was sent for a short period to Westminster, and +about the same time invented a new astronomical instrument. The next +year he was admitted as a gentleman commoner at Wadham College, +Oxford. Both the Warden, Dr. John Wilkins, and the Savilian Professor +of Astronomy, Dr. Seth Ward, observed his early promise, and gave him +every encouragement in the pursuit of his favourite studies, and he +continued to design ingenious instruments and models, Dr. Charles +Scarborough, a surgeon of note, making use of his talents in preparing +pasteboard models for his anatomical lectures.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> His intellectual +precocity can only be compared to that of John Stuart Mill, and with +this difference, that whereas Mill was forced by his father like a +plant under glass, Wren's studies were spontaneous and voluntary.</p> + +<p>Graduating in 1650, he was elected three years later, after taking his +Master's degree, to a Fellowship of All Souls, the next year began his +friendship with John Evelyn, and he was subsequently chosen Professor +of Astronomy at Gresham College<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> and Savilian Professor at Oxford. +Isaac Newton in the "Principia" cites him as an authority on +mathematics, and, had he never turned his attention to architecture, +he would still have taken high rank in other ways. By 1663, as appears +by a letter of Thomas Sprat, afterwards Bishop of Rochester, he was +looked upon as the fittest man to restore the dilapidated St. +Paul's, and was about the same time asked to go to Tangiers to direct +the extensive fortifications and harbour projected there. He refused +the offer of Tangiers on the plea of health, "and humbly prayed his +Majesty to allow of his Excuse, and to command his duty in England." +Although this post was to be accompanied by a reversionary grant of +the Surveyor Generalship of the Royal Works, one may well ask the +question, who, had he accepted it, would have rebuilt St. Paul's?<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a></p> + +<div class="img"><a name="imagep057" id="imagep057"></a><span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span> +<a href="images/imagep057.jpg"> +<img border="0" src="images/imagep057th.jpg" width="45%" alt="Elevation and Section of Wren's Rejected Design for St. Paul's." /></a><br /> +<p class="cen" style="margin-top: .2em; margin-left: 15%; margin-right: 15%;">ELEVATION AND SECTION OF WREN'S REJECTED DESIGN FOR ST. PAUL'S.<br /> +<i>From his drawings in All Souls' College, Oxford, as reproduced in facsimile in Blomfield's +"Renaissance Architecture in England."</i><span class="totoi"><a href="#toi">ToList</a></span></p> +<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span> +</div> + +<p><span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span>We now begin to find him devoting what Sprat most truly called "that +great genius of yours" to architecture. He examined carefully the +leading churches of England and of some parts of the Continent.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> He +went to Paris the year of the Plague, and it is characteristic of the +taste of his time that no mediæval cathedral passed on the way is +mentioned. At Paris, under the auspices of Mazarin, many architects +and artists were assembled. "I hope I shall give you a very good +Account of all the best Artists in France," he wrote to a friend. "My +business now is to pry into Trades and Arts. I put myself into all +shapes to humour them; 'tis a comedy to me, and tho' sometimes +expenceful, I am loth yet to leave it." He mentions not only leading +men like Colbert, but more than twenty architects, painters, and +designers he met, and above all Bernini, the architect of the Louvre. +"Bernini's designs of the Louvre I would have given my skin for; but +the old reserved Italian gave me but a five Minutes View; it was five +little designs on Paper, for which he had received as many thousand +Pistoles: I had only time to copy it in my Fancy and Memory." In after +years, when his enthusiasm <span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span>had been tempered by a more mature +judgment, this eulogium would have been materially qualified. We may +add here that he was in course of time knighted, and became President +of the Royal Society.</p> + +<div class="img"><a name="imagep060" id="imagep060"></a> +<a href="images/imagep060.jpg"> +<img border="0" src="images/imagep060.jpg" width="55%" alt="Sir Christopher Wren." /></a><br /> +<p class="cen" style="margin-top: .2em;">SIR CHRISTOPHER WREN.<br /> +<i>From the engraving in Elmes' Memoirs of Sir C. Wren, after the portrait by Kneller +at the Royal Society's rooms.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>Such was the man to whom not merely the king and his advisers, but +public opinion, turned to repair the ravages of the Fire, and in +particular to rebuild St. Paul's. It was the Surveyor General, Sir +John Denham, who recommended Wren as his successor, and the death of +Denham in March, 1668, gave this recommendation full effect. One of +Wren's many <span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span>disappointments was that the opportunity was missed of +laying out afresh the whole City from Temple Bar to Tower Hill, and +from Moorfields to the river. His inventive genius projected broad +streets, generally rectangular, with piazzas, each the meeting-point +of eight thoroughfares, and quays and terraces along the river bank. +He calculated that by obliterating the numerous churchyards and laying +out healthier cemeteries in the suburbs, no owner would lose a square +foot of ground, and that, although they would not find their property +exactly on the same site, every building would be replaced, with the +immense compensation of an excellent situation in the finest and +healthiest city in the whole world. By this plan St. Paul's would have +directly faced a long and broad street running west and passing +through the present Law Courts, with St. Dunstan's Church in the +centre beyond the Fleet, and the narrow Strand joining from the west +at Temple Bar. At Ludgate, three hundred yards west of the cathedral, +this avenue of a width of some thirty yards began to open out until, +opposite the west front, it had increased to a breadth of a hundred +yards, leaving ample room for a piazza. Here an acute bifurcation was +formed, the northern street leading to the Exchange; the southern, a +broader and a nobler Cannon Street, with St. Paul's between. This +scheme, as laid before the King and Parliament, Wren declared to be +thoroughly practicable. Certainly it would have prevented congestion +of traffic unto this day, and given St. Paul's (although somewhat +hemmed in on the east) a position unique amongst churches.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> "The +only and as it happened unsurmountable Difficulty remaining was the +obstinate Averseness of great Part of the Citizens to alter their old +Properties, and to secede from building their Houses again on the old +Ground and Foundations"; and as rebuilding began almost as soon as the +smoke of the Fire had ceased, and long before anything definite could +be decided upon, a great opportunity was lost. The estimated +three-quarters of a million of souls and the vehicles innumerable now +crossing the boundaries every weekday are compelled, too often, to +traverse choked and narrow streets, and not without danger to life and +limb; while St. Paul's itself, cribbed, cabined, confined, becomes in +<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span>each successive generation more hemmed in as the surrounding emporiums +and magazines grow taller and taller.</p> + +<p>At first the idea was entertained of restoring the ruins, but this was +finally abandoned by royal warrant to the Commissioners in 1668, and +clearing and excavations began. The workmen with pickaxes stood on the +top of the walls some eighty feet high, and others below cleared away +the dislodged stones—a dangerous task in which lives were lost. Of +the Central Tower some two hundred feet remained, and a more +expeditious plan was adopted. A deal box, containing eighteen pounds +of gunpowder, was exploded level with the foundations at the centre of +the north-west pillar, and the adjacent arches were lifted some nine +inches, while these ruins "suddenly jumping down, made a great Heap of +Ruin in the Place without scattering." Wren estimated the whole weight +lifted at three thousand tons, and the labour saved equal to that of a +battalion of a thousand men. When the alarmed inhabitants of the +neighbourhood heard and felt the concussion, they naturally took it +for an earthquake. In the surveyor's absence a subordinate used too +much powder in attempting a second mine, and neither burying it low +enough nor building up the mouth, a stone was projected through an +open window into a room where some women were sitting at work. +Although no one was hit, the neighbours took alarm, and successfully +agitated against all further blasting. Delay was caused, and finally a +battering-ram some forty feet in length, worked by thirty men, +completed the demolition. The stones and rubbish were cleared away, +and used in different buildings and in repairing the streets. +Afterwards some houses on the north side which encroached on the +building, and may have been those that assisted the passage of the +Fire, were levelled, and their site included in the churchyard.</p> + +<p>When at length the ruins of Old St. Paul's had come down and the huge +mass of wreckage been cleared away, working from the west the +excavations for the new foundations were begun. The old cathedral had +rested on a layer of loam, or "pot earth" or "brick earth," near the +surface; and wells being sunk at various points to ascertain the depth +of this, it was found that the loam, owing to the ground sloping +towards the south, gradually diminished from a depth of six feet to +<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span>four. Sinking further, they found sand so loose as to run through the +fingers; next, freshwater shells and more sand, and continuing through +hard beach or gravel, they reached at last the London clay.<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> At one +point of the north-east corner, where the loam had been dug out, Wren +was compelled to rest the foundations on the clay; and it seems almost +a pity that this was not universally adopted, at whatever additional +cost of time and labour, in preference to the loam. The building had +not long been completed ere the great weight of the dome caused some +of the piers to sink from an inch to more than two inches, and Edward +Strong the younger had to repair cracks and fissures.<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> Dean Milman +tells us that in his time the City authorities once contemplated a +sewer on the south side; but the surveyor, Mr. R. Cockerell, +remembering that the sand and shells underneath the loam would be in +danger of oozing out, went in great haste to him, and on their joint +representation the project was abandoned.</p> + +<p>The old cathedral was not due east and west, neither did it directly +face Ludgate Hill. Owing to the lie of the land cleared away, both of +these peculiarities were increased by the surveyor, and the axis of +the New St. Paul's was swung some seven degrees further north than the +Old. He thereby made the best of his somewhat cramped site, and +avoided the foundations of the old walls. The excavations were not +completed nor the site fully cleared and made ready until 1674.</p> + +<div class="img"><a name="imagep064" id="imagep064"></a><span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span> +<a href="images/imagep064.jpg"> +<img border="0" src="images/imagep064.jpg" width="85%" alt="Relative Position and Area of the Ground-Plans of Old and New St. Paul's." /></a><br /> +<p class="cen" style="margin-top: .2em;">RELATIVE POSITION AND AREA OF THE GROUND-PLANS OF OLD AND NEW ST. PAUL'S.<br /> +<i>Reproduced from Longman's "Three Cathedrals of St. Paul's."</i> +<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>It has been the lament of many that the Pointed arch had by the time +of the Fire died out, and that the Renaissance style, borrowed from +Italy, had taken the place in England of Gothic architecture. "About +two hundred years ago," we are told in the "Parentalia," "when +ingenious Men began to reform the <i>Roman</i> Language to the Purity which +they assigned and fixed to the Time of <i>Augustus</i> and of that Century, +the Architects also, ashamed of the modern Barbarity of Building, +began to examine carefully the Ruins of <i>Old Rome</i> and <i>Italy</i>; to +search into the Orders and Proportions, and to establish them by +inviolable Rules: so to their Labour and Industry we owe in a great +Degree the Restoration of Architecture." Here we have the Renaissance +style defined. Wren would naturally have fallen in with the fashion of +his own time; and the faults he found in his elaborate surveys at Old +St. Paul's, Salisbury, and elsewhere confirmed him in his adherence. +He found "a Discernment of no contemptible Art, Ingenuity and +geometrical Skill in the Design and Execution of some few"; but this +was more than counterbalanced by grave <span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span>faults: "An affectation of +Height and Grandeur, tho' without Regularity and good Proportion, in +most of them." They are loaded with too much carving and tracery, and +in other ways offend his taste, but chiefly in the neglect of a due +regard to stability. "There is scarce any <i>Gothick</i> Cathedral, that I +have seen, at home or abroad, wherein I have not observed the Pillars +to yield and bend inwards from the Weight of the Vault of the Aile.... +For this Reason this Form of Churches has been rejected by modern +Architects abroad who use the better and <i>Roman</i> Art of +Architecture.... Almost all the Cathedrals of the <i>Gothick</i> Form are +weak and defective in the Poise of the Vault of the Aile."<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> On the +other hand, he reckoned the dome "a form of church-building unknown in +England, but of wonderful Grace," and, moreover, the dome wasted a +minimum of space, whilst a mediæval cathedral could accommodate only a +small auditory in proportion to its large area, so that every one +could both see and hear. Any place of worship was in his eyes badly or +imperfectly constructed in which the preacher's voice could not travel +so as to be distinctly heard. There is much to be said on both sides +in regard to the comparative merits of Gothic and Renaissance; and +instead of echoing complaints, it is surely better to be thankful we +have one cathedral, situated in the greatest centre of population, in +the latter <span style="white-space: nowrap;">style.<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a></span></p> + +<div class="img"><a name="imagep066" id="imagep066"></a> +<a href="images/imagep066.jpg"> +<img border="0" src="images/imagep066.jpg" width="85%" alt="Model of Wren's First Design" /></a><br /> +<p class="cen" style="margin-top: .2em;">MODEL OF WREN'S FIRST DESIGN<br /> +<i>Reproduced from Longman's "Three Cathedrals," &c.</i><br /> +[The western cupola is an addition to the design shown on p. 57]<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>In 1668 a small committee of eight, in addition to the Dean and +Chapter, was appointed, and about the same time Wren set <span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span>seriously to +work and soon after produced his first design (see p. 57). In addition +to the reasons already mentioned, he had at first to take into +consideration the all-important question of finance, for when he began +there were only voluntary contributions to fall back upon; but in 1670 +a share of the import duties on coal was granted, and soon constituted +the greater part of the rebuilding fund. In 1673 an enlarged +commission of over a hundred members was nominated by royal warrant, +with the Lord Mayor at its head, who took precedence over the Primate +and the Bishop; and Wren laid his first design before them, of which a +model was made. This was a kind of Greek cross; the external order was +the Corinthian, with Attic above. It bore a general resemblance to a +rotunda, and was crowned with a dome taken from the Pantheon at Rome. +This dome was of about the same diameter as the present, but less +lofty, and was likewise supported by eight pillars. West of the +rotunda part was the foot of the cross, and a secondary dome <span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span>was +afterwards added. When Wren began to design this we have seen that +amongst other considerations was that of finance<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a>; but even had the +coal dues been then granted, it is certain that he would have adhered +to it, for it was always a great favourite. In designing it he took +two facts into consideration: (1) that the outdoor sermons, formerly +preached at the Cross, were for the future to be preached inside, and +that a large auditorium would be required for this purpose (2) that +religious processions inside were now discouraged, and that a nave and +aisles were in consequence a useless waste of space and means.<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> +Forgetting these two important <span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span>items, a vast amount of adverse +criticism has been bestowed upon Wren's favourite. Its main drawback +was the absence of a proper Sacrarium; and yet so obvious were its +advantages, that when a cathedral was lately proposed for Liverpool, +no less an authority on architecture than the late Canon Venables +advocated its adoption.</p> + +<div class="img"><a name="imagep067" id="imagep067"></a> +<a href="images/imagep067.jpg"> +<img border="0" src="images/imagep067.jpg" width="53%" alt="Interior of the Model." /></a><br /> +<p class="cen" style="margin-top: .2em;">INTERIOR OF THE MODEL.<br /> +<i>A sketch by the Rev J.L. Petit.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The clergy and others wanted something with more resemblance to the +old cathedrals; and first of all the surveyor tried to humour them by +adding another secondary dome to the west. He next set to work making +a great number of sketches, merely, as his grandson says, for +"Discource sake"; and one of these was so much approved of that a +model was again made. But the demand for a building with choir, nave, +and aisles complete continued, and required to be satisfied; and at +length one design met with the approval of the king; and on the 14th +of May, 1675, Charles issued his warrant to the commissioners +accordingly, stating that he approved of this particular design +because it was "very artificial, proper, and useful," and could be +built by parts, and that his commissioners were to begin at once with +"the East-end or Quire."</p> + +<p>Wren had already become disgusted with the impediments and delays +caused by incompetent judges, and had determined to discontinue making +his drawings and plans public.<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a></p> + +<p>We shall never know all that took place during the building so as to +be able to account for the deviations from this design. The king gave +the surveyor permission to make alterations "rather ornamental than +essential," and left the whole to his management, so that the royal +commission was chiefly employed as treasurers. But even this scarcely +explains the great alterations made. The drum and dome of the design, +of comparatively modest dimensions, are crowned with a minaret-like +spire. The west front has but one order of columns, and the towers are +insignificant to a degree. These are amongst the features which were +altered, and they were "essential" as distinct from "ornamental." We +know that Wren developed as his experience was enlarged; and we know +also that certain alterations were made contrary to his wish. <span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span>Beyond +this we are lost in conjecture at the poverty of his design. Perhaps, +despising the taste of the commissioners, he never seriously intended +to adhere to it, anticipating he would be his own master.</p> + +<div class="img"><a name="imagep069" id="imagep069"></a> +<a href="images/imagep069.jpg"> +<img border="0" src="images/imagep069.jpg" width="55%" alt="The "Warrant" Design." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE "WARRANT" DESIGN.<br /> +<i>From a drawing in All Souls' College, Oxford. Reproduced from Blomfield's +"Renaissance Architecture."</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span>Quickly following on the royal warrant, the first stone was laid June +21, 1675, at the south east corner of the choir.<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> By 1685 the walls +of the choir were finished, with the north and south porticoes, and +the dome piers raised to a like height. When fixing the centre of his +dome, Wren directed a labourer to place a stone as a mark. The man +took a broken fragment of an old gravestone on which was inscribed the +word <i>Resurgam</i>; and by many this was naturally taken as a favourable +augury. In 1686 the old west end, hitherto left undisturbed in its +ruins, was cleared away, and two years later the choir was ready for +its roof; but shortly after, a fire at the west of the north choir +aisle, in a room allotted to the organ-builder, caused a slight delay. +Not until 1697 was the choir ready for divine service.</p> + +<p>After long years of war, during which the country had suffered from +the heavy burden of taxation, and her commerce had been impaired, the +treaty of Ryswick was at length signed, sealed, and ratified; and +Louis XIV. acknowledged William and Mary as the lawful sovereigns of +these isles. The king returned from the Continent in November, 1697, +and was received with the greatest enthusiasm. Stock almost rose, and +gold almost fell, to par; and every prospect of a returning prosperity +put the public, whatever their politics, in a good humour. A council +at which William presided, resolved that the second day of December +should be kept as a day of Thanksgiving; and the Chapter decided that +the day of Thanksgiving should be the day for the consecration of the +choir. William wished to attend himself; but it was represented that +if he went in procession from Whitehall, the whole population would +turn out, and the parish churches be empty; and he had to rest content +with a service in his palace. At St. Paul's the civic representatives +attended in full state, and Bishop Compton, Dean Sherlock, and the +cathedral staff, occupied the new stalls of Grinling Gibbons. The +temporary organ accompanied the chanting, and a special prayer +incorporated into the Communion office ran: "We offer our devout +praises and thanksgivings to Thee for this Thy mercy, humbly +beseeching Thee to perfect and establish Thy good work. <span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span>Thou, O Lord, +dwellest not in houses made with hands; heaven and the heaven of +heavens cannot contain Thee; but though Thy throne is in heaven, earth +is Thy footstool; vouchsafe, therefore, we beseech Thee, Thy gracious +presence in this Thy house to hear our prayers, and accept our +sacrifices <span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span>of praise and thanksgiving." Bishop Compton, who preached, +took for his text, "I was glad when they said unto me, let us go into +the House of the Lord." His sermon has not come down to us, but no +doubt he reminded the clergy and congregation that the day of +Thanksgiving had been selected because it was the dedication of their +metropolitan temple to the public worship of the religion of the +Prince of Peace; that after a lapse of thirty years, and in spite of +the hardship and distress engendered by plague, fire, and war, London +was raising another building on the spot consecrated by centuries of +prayer and praise; and that as the result of the treaty of peace, +their national religion was assured, while the metropolis might +continue to extend her commerce without fear of disaster and +bankruptcy.<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a></p> + +<div class="img"><a name="imagep071" id="imagep071"></a> +<a href="images/imagep071.jpg"> +<img border="0" src="images/imagep071.jpg" width="55%" alt="A Later Design" /></a><br /> +<p class="cen" style="margin-top: .2em;">A LATER DESIGN.<br /> +<i>From Sir C. Wren's drawings at All Souls' College.</i><br /> +[This is approximately the design finally adopted.]<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>Early in 1699, although the nave was not completed, the north-west +chapel was opened for daily morning service, at six in the summer, and +seven in the winter. Queen Anne attended in state for the victories of +Marlborough on land, and of Ormond and Rook at sea (Nov. 12, 1702). +Two years later came Blenheim; and she went again in her state coach +drawn by eight bays. From the west door to the choir, under the +unfinished vaulting and dome, the way was lined by a detachment of +Foot Guards; and as the long procession advanced, the hautboys played +and the drums beat until the Queen and her husband had reached their +throne in the centre of the choir towards the west, when, after a +pause, service began. Dean Sherlock preached from the text, "Doubtless +there is a God that judgeth the earth"; and the service, which began +at one, lasted some three hours. On four other occasions Anne repeated +these visits—thrice for victories, and once for the union of England +and Scotland.<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a></p> + +<p>Although the commissioners decided that the dome was to be covered +with copper, lead was used instead, and the work steadily progressed +until two years after the last royal visit, when the fabric was +completed. Wren was now seventy-eight <span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span>years of age, and his son +Christopher represented him when, in company with the master-mason, +Edward Strong, and other free and accepted masons, the last stone was +laid on the summit of the lantern, a great crowd looking on from +below. Stephen was able to reflect with satisfaction that the +cathedral had been begun and finished by his grandfather, and +practically during the time of one bishop, for Henchman had died a few +months after the laying of the first stone; and he contrasted this +with St. Peter's at Rome, where, with an unlimited supply of marble +and other costly building materials ready at hand, one hundred and +fifty-three years had been required under nineteen popes from Julius +II. to Innocent X., and under twelve architects from Bramante to +Berninus. Stephen forgot, however, that St. Peter's is more than twice +the size of St. Paul's, and that only the bare fabric of the latter +was ready, and that it still wanted its mosaics and other adornments.</p> + +<p>Under Wren as Surveyor-General we have already mentioned the +master-mason Edward Strong and his son Edward. John Oliver was +Assistant-Surveyor and Purveyor, with a salary of £100; Lawrence +Spencer was Clerk of the Works and Pay-master at a like salary; Thomas +Russell was Clerk of the Cheque at a salary of £50, and called over +the roll of workmen at six in the morning, one in the afternoon, and +six in the evening.<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a> It has to be added that Wren and the royal +commissioners did not agree; and that about the time of the +consecration of the choir, an Act was passed with a clause suspending +"<i>a moiety of the Surveyor's Salary until the said Church should be +finished, thereby the better to encourage him to finish the same with +the utmost Diligence and Expedition</i>." His salary of £200 was thus +reduced temporarily to £100, and the arrears, in accordance with the +terms of this Act, were not made good until the completion. And worse +than this was the charge brought against him that he deliberately +delayed the building so that his pittance of two hundred a year might +be continued. The commissioners knew nothing of building, and, like +many people of to-day, may have thought that the old cathedrals were +finished in a few years. Fortunately, Wren was an enthusiast in his +great work, and the happy possessor of an equable temperament that +nothing could seriously disturb. <span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span>Otherwise this disgraceful treatment +of so old a man might well have been fatal.</p> + +<p>It is better to turn away from this as quickly as may be, and +contemplate with a laudable pride the great achievement of our +ancestors. The Plague, and still more the Fire, must have seriously +impoverished the City; and in 1703 the great storm did immense damage. +Of the five-and-thirty years the cathedral was in building, one half +were years of war; and the public confidence and security were further +disturbed by a revolution, by civil war in Ireland, and by plots and +intrigues without number, following in the wake of a disputed +succession. Yet the City raised, and almost without complaint, a sum +enormous in those days, and which would, even in our own time, be +reckoned as serious.</p> + +<p>I have calculated the expense as follows. My figures lay no claim to +infallibility—I doubt whether a chartered accountant could make a +quite accurate balance-sheet—but they may be taken as fairly +approximate:—</p> + +<div class="centered"> +<table border="0" cellpadding="2" cellspacing="0" width="60%" summary="Expenses"> + <tr> + <td class="tdcsc">Receipts.</td> + <td class="tdr"> </td> + </tr> + <tr> + <td class="tdl" width="70%"> </td> + <td class="tdr" width="30%">£ s. d.</td> + </tr> + <tr> + <td class="tdl">Coal Dues</td> + <td class="tdr">810,181 18 2</td> + </tr> + <tr> + <td class="tdl">Subscriptions and Miscellaneous</td> + <td class="tdr" style="border-bottom: solid 1pt black;">68,341 14 1</td> + </tr> + <tr> + <td class="tdl" style="padding-left: 10%;">Total</td> + <td class="tdr">£878,523 12 3</td> + </tr> + <tr> + <td class="tdcsc">Expenditure.</td> + <td class="tdr"> </td> + </tr> + <tr> + <td class="tdl" width="70%"> </td> + <td class="tdr" width="30%">£ s. d.</td> + </tr> + <tr> + <td class="tdl">Preliminary</td> + <td class="tdr">10,909 7 8</td> + </tr> + <tr> + <td class="tdl">Purchase of Houses</td> + <td class="tdr">14,808 3 10</td> + </tr> + <tr> + <td class="tdl">Cost as in "Parentalia"</td> + <td class="tdr">736,752 2 3</td> + </tr> + <tr> + <td class="tdl">Interest on Loans</td> + <td class="tdr" style="border-bottom: solid 1pt black;">83,744 18 9</td> + </tr> + <tr> + <td class="tdl" style="padding-left: 10%;">Total</td> + <td class="tdr" width="30%">£846,214 12 6</td> + </tr> + <tr> + <td class="tdl"><span class="sc">Balance</span> in 1723</td> + <td class="tdr">£32,308 19 9</td> + </tr> +</table> +</div> + +<p>My balance does not tally with Mr. Longman's. He tells us that the +coal duty, which was on sea-borne coal, was 1s. 6d. per chaldron, +whereof four-fifths went to St. Paul's. The age of Indulgences was +over, and, unlike the cathedrals of the Middle Ages, the cost of +building St. Paul's was chiefly defrayed by a public impost; and this +cost may be estimated in round numbers at about three-quarters of a +million for the actual building, with an additional hundred thousand +for incidental expenses.</p> + +<br /> +<hr style="width: 15%;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> This village, near Salisbury, is called East Knoyle, +Knoyle Magna, and Bishop-Knoyle. The entry of baptism runs: +"Christopher (2nd sic.) sonne of Christopher Wren Doctor in Divinitie +and Rector now." The rector placed this entry, dated only "10th," +before March, 1632/31 in a vacant place. Hence the statement that the +surveyor was born in 1631, but both the rector and Christopher himself +dated the birth October 20, 1632. My thanks are due to the Rev. Canon +Milford, Rector of East Knoyle, for the above, and also to his copy of +Miss Lucy Phillimore's "Life."</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> "Parentalia," p. 227 and elsewhere, gives details of his +extensive knowledge of anatomy in its various branches.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> His inaugural address at Gresham College, in Latin, when +he was twenty-five (1657) fills eight folios in the "Parentalia," and +is given in facsimile of his handwriting.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> The humorous letter of Sprat to Wren says: "I +endeavoured to persuade him [the Vice-Chancellor of Oxford] that the +drawing of Lines in Sir Harry Savill's School was not altogether of so +great a Concernment for the Benefit of Christendom, as the rebuilding +of St. Paul's or the fortifying of Tangier: (for I understood those +were the great Works in which that extraordinary genius of yours was +judg'd necessary to be employed)" ("Parentalia," p. 260).</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> As it seems to have been ignored how carefully Wren +studied cathedrals and other buildings, the following may be of +interest: "These Surveys [of Salisbury with elaborate report for the +Bishop, Seth Ward] and other occasional Inspections of the most noted +cathedral Churches and Chapels in <i>England</i> and foreign Parts" +("Parentalia," p. 306). He never saw, we may assume, his three +favourite buildings at Rome—the Pantheon, the Basilica of Maxentius, +and St. Peter's.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> Ground-plan in "Parentalia," p. 268; and Blomfield's +"Renaissance Architecture in England."</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> Milman, p. 407, with geological diagram. The +archæological remains disinterred have been already mentioned, pp. 3 +and 4.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> Mr. Longman seems to think that the cathedral rests on +the loam. The following shows that the strata are irregular, and that +in some places the loam is very thin. Edward Strong the younger "also +repaired all the blemishes and fractures in the several legs and +arches of the dome, occasioned by the great weight of the said dome +pressing upon the foundation; the earth under the same being of an +unequal temper the loamy part thereof gave more way to the great +weights than that which was of gravel; so that the south-west quarter +of the dome, and the six smaller legs of the other quarters of the +dome, having less superficies, sunk into the thinner part of the loamy +ground, an inch in some places, in others two inches, and in other +places something more; and the other quarters of the dome, being on +the thicker part of the loamy ground and gravel, it did not give so +much way to the great weights as the other did, which occasioned the +fractures and blemishes in the several arches and legs of the dome." +(Clutterbuck, "History of Hertfordshire," vol. i., pp. 167-168; quoted +in Dugdale, note, p. 173) Clutterbuck has a great deal to say about +the Strongs, father and son, and their family.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> "Parentalia," pp. 298, 304, <i>et seq.</i> Wren did not +approve of, though he used, the term "Gothic." "The Goths were rather +destroyers than builders; I think it [the Gothic] should with more +reason be called the <i>Saracen</i> style" (Ibid., p. 297). "The Saracenick +Architecture refined by the Christians" (Ibid., p. 306). <i>Cf.</i> +Freeman, <i>Fortnightly Review</i>, October, 1872.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> Wren estimated that a preacher of average voice might be +heard fifty feet in front, twenty behind, and thirty on either side, +provided he did not drop his voice at the end of the sentence. He +contended that the French preachers were heard further than the +English, because they raised their voices at the end of the sentence, +just where the words often required particular emphasis to express the +meaning. The omission of this was a fault even of capable preachers, +was "insufferable," and ought to be corrected at school. After two +centuries his criticism still holds good ("Parentalia," p. 320). His +remarks upon architecture ought to be reprinted from the "Parentalia," +and made compulsory for every student and candidate.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> "Parentalia," pp. 281-282, shows how questions of +finance entered into Wren's conception of his famous First Design.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> "Parentalia," p. 282.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> Wren's numerous designs and drawings are undated, and +the "Parentalia" is anything but clear. In consequence there has been +a certain amount of confusion as to the identity both of the First +Design and of the approved Warrant Design.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> Some say by the Bishop Humphrey Henchman, who died in +the October following; some by the surveyor, and others by the +master-mason, Strong. There seems to have been no religious service or +great ceremony.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> Macaulay, followed by others, speaks merely of the +"opening"; the prayer I have quoted from Dugdale shows that the +opening was a consecration service. I am unaware that the rest of the +cathedral has ever been consecrated; and if not, it resembles Lincoln +and many another mediæval church (Freeman's "Wells," p. 77).</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> June 27, 1706; December 31, 1706; May 1, 1707 (for the +Union); August 19, 1708.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> Harleian MS. 4941, quoted in Dugdale, p. 140, note. This +was at the beginning.</p></div> + +<br /> +<br /> +<br /> +<br /> +<hr /> +<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span><br /> +<br /> +<br /> +<br /> + +<h2><i>NEW ST. PAUL'S.</i></h2> + +<br /> +<br /> +<br /> +<br /> +<hr /> +<br /> +<br /> +<br /> +<br /> + +<div class="img"><a name="imagep076" id="imagep076"></a><span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span> +<a href="images/imagep076.jpg"> +<img border="0" src="images/imagep076.jpg" width="50%" alt="St. Paul's Cathedral, from the West." /></a><br /> +<p class="cen" style="margin-top: .2em;">ST. PAUL'S CATHEDRAL, FROM THE WEST.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> +<br /> +<br /> +<br /> +<a name="CHAPTER_V" id="CHAPTER_V"></a><hr /> +<span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span><br /> + +<h3>CHAPTER V.<span class="totoc"><a href="#toc">ToC</a></span></h3> + +<h4>NEW ST. PAUL'S.</h4> +<br /> + +<h4>EXTERIOR.</h4> + +<p>"It would be difficult to find two works of Art designed more +essentially on the same principle than Milton's 'Paradise Lost' and +Wren's St. Paul's Cathedral. The Bible narrative transposed into the +forms of a Greek epic, required the genius of a Milton to make it +tolerable; but the splendour of even his powers does not make us less +regret that he had not poured forth the poetry with which his heart +was swelling in some form that would have freed him from the trammels +which the pedantry of his age imposed upon him. What the Iliad and the +Æneid were to Milton, the Pantheon and the Temple of Peace were to +Wren. It was necessary he should try to conceal his Christian Church +in the guise of a Roman Temple. Still the idea of the Christian +cathedral is always present, and reappears in every form, but so, too, +does that of the Heathen temple—two conflicting elements in +contact—neither subduing the other, but making their discord so +apparent as to destroy to a very considerable extent the beauty either +would possess if separate."<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a></p> + +<p><span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span>I give this quotation at length, not because I by any means agree with +one half of the fault-finding, but because it helps to explain the +architecture. St. Paul's is often called "Classical," or "Roman," or +"Italian"; it is not one of these three: it is English Renaissance. It +was, too, a distinctly happy thought of Fergusson to suggest that the +Cathedral takes a like place in English architecture to that which the +immortal "Paradise Lost" does in English literature. The ground-plan +suggests the Gothic; the pilasters and entablature the Greek and +Roman; the round arch is found in both Roman and Romanesque, and that +commanding feature, the Dome, is the common property of many styles +and many ages. The general plan resembles the long or Latin Cross, +with transepts of greater breadth than length; and the uniformity is +broken by an apse at the east, and the two chapels at the west end.</p> + +<p>The best views are, perhaps, the two oblique ones approaching from +Ludgate Hill and from Cannon Street. The upward view from the +churchyard on the south side by the angle of nave and transept gives +the proportions of the lower stages of the dome effectively; and those +who care to make the weary ascent of one of the Crystal Palace towers, +will be rewarded by the aspect of the dome emerging above the pall of +surrounding smoke, and appearing to preside like a watchful and +protecting deity over the destinies of the city at its feet.</p> + +<p>The dimensions are as follows, in feet:—Length, 513, which may thus +be divided: nave and portico, 223; breadth of transept, 122; length of +choir, 168. Length of transepts, 248 feet. Breadth of nave, 123; of +transept and choir a trifle less; of west front with chapels, 179. +Height, to summit of balustrade, 108; to apex of roof, 120; to stone +gallery, 182; to base of sphere, 220; to upper gallery at the summit +of the dome, 281; to the summit of the cross, 363 feet.</p> + +<p>The material is from the quarries of Portland, chosen because of its +durability in regard to both weather and smoke, the facilities for +transport, and the size of the blocks. Had Roche Abbey stone from +South Yorkshire been more easily obtainable, these quarries might have +been used as well. The size of the blocks contributes an important +feature to the architecture, where so much depends upon the breadth of +four feet; and even the procuring of this, as time went on, and the +stonecutters had to work at a greater distance from the sea, became <span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span>a +matter of delay and difficulty, and the masons might have to wait +months for their blocks.</p> + +<p>The combination of the stability with such lightness and gracefulness +as were procurable, can in a measure be estimated by the comparative +area taken up by the walls, pillars, and other points of support. This +area amounts to seventeen per cent., and compares favourably with St. +Peter's at Rome, which is more than half as much again, as well as +with St. Sophia and the Duomo at Florence. On the other hand many of +our Gothic cathedrals require only ten per cent.<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a> Wren would have +said that they lack stability, and that he had calculated accurately +on the minimum of massiveness requisite for security; and besides +this, they have no heavy dome to be poised. Throughout there are two +stages or stories. The lower has the Corinthian Order, which was +always Wren's favourite, as he held that it was at once more graceful +and bore a greater weight of entablature than the earlier Doric and +Ionic. Wren's first design of a Greek Cross followed St. Peter's in +consisting of one main order plus an attic.<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a> While Bramante at St. +Peter's found stones of nine feet in diameter in the quarries of +Tivoli, Wren, after making inquiries all over, could not procure +sufficient stone for his columns and pilasters of a greater diameter +than four feet, and he would not depart, at least to any degree, from +what he held to be the correct Corinthian height of nine diameters. +Had a sufficient quantity of larger blocks been obtainable, we should +have had the Corinthian order plus the attic, instead of the two +regular orders of Corinthian and Composite.<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a> And this, it seems, +was <span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span>his reason for departing in this respect from the First Design; +as also partially from the Approved Design. The pilasters are grouped +in pairs throughout, not only for stability, but also for sufficient +space for the circular-headed windows ornamented with festoons. Above +the entablature rises the second stage or story, or order. Here the +coupled pilasters have that slight difference in base and more +particularly in capital which constitutes the Composite order. The +capitals have the larger scrolls or volutes of the Ionic above the +acanthus leaves of the Corinthian proper. In reality the difference +is, here, but slight; and the best authorities maintain that there is +less difference between the Corinthian and the Composite than between +different examples of the Corinthian itself. The reason for the +dressed niches, with pediments instead of windows, like those in the +lower stage, will come later on. A main architrave and cornice run +round the entire building like an unbroken string course, and above +this, excepting at the different fronts, a balustrade, to which a +history is attached.</p> + +<p>A new commission had been nominated after the death of Queen Anne<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a> +(which by the way included Sir Isaac Newton), and this commission +insisted upon a balustrade unless the surveyor "do in writing under +his hand set forth that it is contrary to the principles of +architecture, and give his opinion in a fortnight's time." Wren +answered, "<i>Persons of little skill did expect, I believe, something +they had been used to in Gothic structures, and ladies think nothing +well without an edging.</i>" He urged that he had already terminated the +building, and that his design of pairs of pedestals in continuation of +the pilasters would better resist the wind. As in other matters, he +had to give way; and the difference in the effect cannot be <span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span>judged +from mere illustrations.<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a> The four angles, where the transepts +join, are filled up with the huge supporting bastion-like piers of the +dome; and internally are left, so to speak, hollow; that at the +south-west being utilised as a staircase, and the others on the ground +floor as vestries.</p> + +<p>No roof is visible from below. The actual roof of oak and lead was so +flattened as to be invisible in accordance with the ideas of the +architect. "<i>No Roofs almost but Spherick raised to be visible.</i>" +"<i>The Ancients affected Flatness.</i>" "<i>No Roofs can have Dignity enough +to appear above a Cornice, but the Circular.</i>"<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a></p> + +<p>We now come to that peculiarity upon which so much adverse criticism +has been bestowed. The usual observer will wonder why there are niches +instead of windows in the upper stage, as light is so much needed. On +entering the interior he will notice that the height of the aisles +does not correspond with the exterior; and on ascending to the Stone +Gallery will ascertain that this upper stage of the exterior is not +part of the actual wall of the church, which stands back some thirty +feet. It is, in fact, a screen or curtain wall; the lower stage alone +is the wall of the aisles, and the disfiguring square openings with +which the pedestals below the niches are pierced, give light to the +passages and galleries between the aisles and the roof. Externally one +is supposed to see the wall of the cathedral; in reality one sees the +lower story forming the wall, and an upper story in continuation made +to look as though the church were immediately behind, but in reality +quite disengaged from it. The following is an able specimen of the +adverse criticisms that have been directed against this curtain: "It +is a mere empty show with nothing behind it, and when once this is +known it is impossible to forget it, or to have the same feeling +towards the building which a spectator might have, despite its defects +of detail, who believed its external mass to represent its interior +arrangements."<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a> Yet an attentive <span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span>study of the "Parentalia" enables +us to plead a great deal in mitigation. The spectator will notice that +there are no substantial buttresses; and the reason is the simple one +that Wren held them to be disfigurements. "<i>The Romans always +concealed their Butments.</i>"<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a> "<i>Oblique Positions are Discord to the +Eye unless answered in Pairs, as in the Sides of an equicrural +Triangle.... Gothick Buttresses are all ill-favoured, and were avoided +by the Ancients.</i>"<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a> Such were the opinions of Wren; but how was he +to procure stability? The answer is, by the curtain wall. By its dead +weight pressing on the walls of the aisles it renders them stable and +immobile, free from all danger of thrust, while it conceals the +buttresses which render secure the clerestory stage of the building +proper. To paraphrase his own words: "<i>I do not add buttresses, but I +build up the wall so high as by the addition of this extra weight, I +establish it as firmly as if I had added buttresses.</i>"<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> Thus this +wall performs a double function: it is a substitute for buttresses in +respect to the aisle walls, and a screen for the actual buttresses of +the clerestory stage.</p> + +<p>Such is the purpose of the upper story. An ingenious critic who did +not seem to know this vindicates it on the plea that "uninterrupted +altitude of the bulk in the same plane, is absolutely necessary to the +substructure of the mighty dome."<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a> No doubt the size of the dome +requires a proportionate rise in the lower elevations; but the fact +remains that the exterior and interior do not correspond. A greater +authority than this critic has thus defined good architecture: "The +essence of good architecture of any kind is that its constructive +system should be put boldly forward, that its decorative system should +be such as in no way conceals or masks the construction, but makes the +constructive features themselves ornamental."<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a> And at his uncle's +cathedral of Ely, Wren might have borrowed and worked out an idea +which would have silenced all accusation of fraud and deceit. There, +in the central part of the choir on the south side, the roof was +removed and placed lower down centuries ago, the better to light up +certain shrines below. <span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span>This roof was never restored to its original +position; and the upper stage of the wall is pierced with empty +windows through which flying-buttresses can now be seen. The effect, +though altogether unusual, is far from displeasing; and the spectator +who remembers that Wren was perfectly familiar with this building, is +led to wonder why he did not by piercing the niches, imitate Ely at +St. Paul's.</p> + +<p>The Windows, round-headed and without tracery, contrast unfavourably +with the Lancet and Decorated. Wren recognised the value of tracery, +as is evident from his remarks on Salisbury Cathedral, although he +objected to the Perpendicular mullions and transoms.<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a> Yet it is +difficult to see how he could have devised anything more elaborate or +graceful to harmonise. The carving above and below, in the +conventional festoons of the day, is almost universally voted as +respectable and nothing more. Mr. Ruskin is very severe on these +festoons, on the ground that they are tied heavily into a long bunch +thickest in the middle, and pinned up by both ends against a dead +wall, and contends that the architecture has no business with rich +ornament in any place. Yet he admits that the sculpture is as careful +and rich as may be; and let any one study, for instance, the window +immediately east of the south portico, and particularly below, where +the details can be better observed. In spite of a heavy top-coat of +smoke, the combination of cherubs, birds, grapes, and foliage is as +graceful and artistic as possible; and the work beneath the east end +and north transept windows will also well repay careful study. These +details are apt to be neglected, possibly because they seem dwarfed by +the immense proportions of the building.<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a></p> + +<p><span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span>The North and South Chapels, as we hear on probably trustworthy +authority, were added at the instance of James, Duke of York, who +looked forward to the day when the Roman Catholic services would be +substituted for the Anglican. Although Stephen is silent as to his +grandfather's intentions, there is evidence given by Mr. Longman and +Miss Lucy Phillimore to show that Wren tried his best to finish the +building without them. Whether seen from the north-east or south-west +they interfere with the perspective, and the independence of the +lowest stage of the West Towers is completely lost; and curiously +enough in this last respect the South-West or Consistory Chapel does +very much what St. Gregory's did to the Lollards' Tower in Old St. +Paul's.</p> + +<p>We now turn to the different parts and members.</p> + +<p><b>North and South Fronts.</b>—These are similar, each part corresponding +to each, excepting a slight difference in the steps of the porticoes +caused by the ground on the south side sloping towards the Thames; and +this uniformity or symmetry is invariably carried out in the different +parts wherever feasible. Take the three main windows of the choir +aisles on either side, and compare them with the three of the nave +aisles on either side between the transepts and the chapels. The +windows themselves and their pilasters exactly agree, as do their +distances.</p> + +<p>Where the uniformity of the fronts is broken by the projecting +transepts and chapels, it is broken after one manner, so that when you +have seen the north side you have seen the south, excepting for the +above-mentioned difference caused by the slope.</p> + +<p>The North and South Fronts are approached by flights of steps of black +marble. The steps on the north side are twelve in number, and are +reached from the whole semi-circle; on the south side they are +twenty-five in number, and are reached from the ends, the front having +a low wall. Here, the flanking urns on either side afford another +instance of the disregard of Wren's wishes. The difference in the +number of the steps is caused by the slope towards the Thames, and is +interesting as affording an instance of a difference between the two +fronts. The Corinthian pillars, of the full diameter of four feet, +cleverly support the semi-circular entablature above, which is part of +the general entablature continued all round. These porticoes have +<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span>semi-dome shaped roofs, and are flanked on either side by the windows +of the transept aisles. The central windows above the porticoes are +slightly larger than the others, and have niches on either side. Above +these are triangular pediments, and above these again, and in +alignment along the balustrade, are statues of ten of the +Apostles—five to each front. The sculpture on the northern pediment +depicts the royal arms, with angels bearing palm branches for +supporters, and on the southern is a Phœnix with the motto +"Resurgam."</p> + +<div class="img"><a name="imagep085" id="imagep085"></a> +<a href="images/imagep085.jpg"> +<img border="0" src="images/imagep085.jpg" width="75%" alt="North-East View of St. Paul's." /></a><br /> +<p class="cen" style="margin-top: .2em;">NORTH-EAST VIEW OF ST. PAUL'S.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>By universal consent these façades are admirable in the justness of +their proportions, and the harmonious way in which they blend both +with the west front and the entire <span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span>building. Caius Gabriel Cibber +received six pounds for modelling and a hundred pounds for carving the +Phœnix.</p> + +<p><b>The East End.</b>—The Apse was intended for the reception of the altar. +It has three windows in either stage. Underneath the lower central +window is a crown, with cypher of William and Mary, surrounded by the +garter. This device was intended to show in whose reign the choir was +built. It was probably correct when put up; but poor Mary died before +the completion. The apse is of the breadth of the centre, and on +either side are the windows of the aisles, while the central one in +the basement belongs to the Crypt Chapel. There is nothing very +striking or remarkable in this part, the details being similar to the +rest of the church. Very different is the case with our next feature +of interest.</p> + +<p><b>The West Front.</b>—The best view is that from the direct front; but by +looking from the north or south-west the conjunction of the chapels +comes in sight, and the spectator can judge for himself whether or no, +so far as the exterior is concerned, they are any improvement. A few +additional dimensions are necessary. The summits of the towers are 222 +feet high; the statue of St. Paul above the apex of the pediment is +135 feet. I have already given prominence to the cause of the defeat +of Wren's original conception of one main order and an attic, namely, +that he could not get blocks of stone of a sufficient size. The +Approved Design, so far as the colonnade is concerned, seems to have +been borrowed from the portico of Inigo Jones. The dimensions of the +blocks had been discovered, yet there was only one order of columns, +with a second story of three windows, and supported by Inigo Jones' +harp-shaped buttresses; the only buttresses that Wren even wished to +have visible. Now, the old portico was not cleared away until 1686; +and the west front was built after Wren's taste and judgment had been +given time to ripen. In consequence we have a complete revolution, so +far as the Approved Design is concerned, and something infinitely more +noble and dignified; and we may congratulate ourselves that his blocks +of stone were no larger, so that he produced two orders of columns. At +St. Peter's, where marble of 9 feet (8-1/4 only according to more +recent accounts) was used, the pillars have a shaft of 74 feet, not +including capital or base, and the highest statue is 175 feet from the +base, as compared with the <span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span>135 feet of St. Paul's.<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a> Yet Wren, by +resorting to two orders of columns, has so increased his apparent +height, that those who have compared the two, assert that the west +front of St. Paul's <i>appears</i> to be as high as St. Peter's.</p> + +<p>In the lower order the columns are twelve in number, fluted and in +pairs. Claude Perrault had recently adopted this method of coupling in +the eastern façade of the Louvre, as is duly acknowledged in the +"Parentalia." According to Stephen Wren, it "<i>is not according to the +usual Mode of the</i> Ancients <i>in their ordinary Temples, which for the +generality were small; but was followed in their Coloss or greater +Works; for instance, in the Portico of the</i> Temple of Peace, <i>the most +magnificent in old</i> Rome, <i>the Columns were very properly and +necessarily doubled to make wider openings.</i>" Italian buildings are +likewise cited. The columns project slightly in advance of the Front; +and as the central part with the great doorway is recessed some twenty +feet, a depth of shadow is produced in the Pronaos.</p> + +<p>As the great doorway for "Solemnities" requires a wider opening in +front than the two side ones in daily use, the two central pairs are +placed <i>Eustyle</i>—<i>i.e.</i>, with a supposed space between of two and a +half diameters—while the rest are placed <i>Pycnostyle</i>—one and a half +diameters.<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a> In the second story, owing to the towers above, the +outside couples are displaced by pilasters; and the eight remaining +columns support the architrave and cornice, and the great triangular +pediment above of seventy-four feet in breadth and eighteen in height. +On this is represented in bas-relief the Conversion of St. Paul. Saul +of Tarsus still seated on his horse, which is crouching on the ground, +looks up at the rays of light; and the alarmed escort are trying to +control their frightened steeds. In the distance is Damascus. The +sculpture is the work of Francis Bird, and he was paid for it the +handsome sum of £650. The statue on the apex is that of the patronal +saint; the two near him are those of St. Peter and St. James, while +the four more remote are those of the Evangelists, with their emblems +taken from Rev. iv. 7.</p> + +<p><span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span>The Towers, with their Italian details, complete the Façade. They +consist of five stages besides the domes, of which the two lower +correspond with the rest of the front. The third is pierced with +circular openings, which in the southern are filled up with the faces +of the clock. The fourth is transitional between the square and the +octagon; from each angle of the square below spring two pairs of +Corinthian columns, half-concealing, half-revealing the supports of +the small domes. The fifth is an octagon, with two orders of open +arches in each face, and an exterior arcading, urn-shaped pedestals +being freely adopted as in the stage below. The domes, the pine of +which was modelled by Francis Bird, is designed with curves of +contrary flexure for the purpose of adding to the height. Mr. Longman +likens these towers to Alpine aiguilles, and points out how +picturesquely they form outposts to the great mass of the dome.</p> + +<p>Both towers are used as campaniles. The north contains the "five +minutes" bell, and the new peal, numbering twelve. The southern +contains the three bells on which the clock is struck; and the largest +of these, weighing 5 tons 4 cwt., is the passing bell on great +occasions. On June 3, 1882, the citizens heard for the first time +their new Great Paul. This monster, weighing nearly seventeen tons, +came from the foundry of Messrs. Taylor, at Loughborough, and its +progress by road was duly chronicled like that of some great +personage. It was placed in the south tower, and is reckoned amongst +the largest bells in the world. Part of the magnificent railings, cast +without the use of coal, at Lamberhurst on the Kent and Sussex border, +have been removed, and, after suffering shipwreck, now enclose a +monument at Toronto. We can but regret that some second home was not +found in London for such a specimen of an extinct industry: but the +throwing open of the area, so that justice might be done to the view +of the cathedral, is in strict accordance with Wren's views. So is the +present arrangement of the steps. In the landing the red marble is +from Laconia, in Southern Greece, the dark grey from Porto Venere, +near La Spezia, in Italy, and the granite from Shap, in Westmoreland.</p> + +<p>Posterity may be thankful that Wren was allowed a free hand in +departing from the Accepted Design, and in carrying out his more fully +developed conceptions. The well worked <span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span>out designs of the different +parts and details, and the combination of these into one harmonious +whole with the dome for a background, leave nothing to be desired.<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a></p> + +<p>Before leaving, the visitor may stand by Queen Anne's statue and +reflect that near that very spot was erected the scaffold on which +suffered Sir Everard Digby, Robert Wynter, John Grant, and Thomas +Bates, for their share in the Gunpowder Plot. Digby was said to have +been the handsomest man of his day. He died "penitent and sorrowful +for his vile treason," as did all save Grant.</p> + +<p><b>The Dome.</b>—To the end, Wren's wish seems to have been to have made +the external height no greater than was required by the formation of +the internal cupola. "<i>The old Church having had before a very lofty +Spire of Timber and Lead, the World expected that the new Work should +not in this Respect fall short of the old (tho' that was but a Spit +and this a Mountain). He was therefore obliged to comply with the +Humour of the Age, (though not with ancient Example, as neither did +Bramante) and to raise another Structure over the first Cupola.</i>" +Stephen might have said <i>two</i> other structures. Not only did Wren wish +the interior height to be somewhat less, so as to make it more perfect +for the purpose of an auditorium, but he thought any greater exterior +height unnecessary, and would have finished off the exterior elevation +in some other way.</p> + +<p>As matters eventuated, he raised the internal sphere so that the +disproportion with the external might be reduced. The whole dome has +three shells. (<i>a</i>) The majestic exterior visible to the eye, an +outward roof of wood covered with lead and ribbed for the sake of +ornament. (<i>b</i>) The intermediate brick cone which supports the lantern +and its accessories of 700 tons weight. This springs from the level of +the stone gallery, and rises in straight lines which converge at the +circular opening beneath the lantern. This, although seen neither from +the outside or from within, constitutes the most solid and substantial +part. Between this and the outside visible shell is an ingenious +network of beams supporting the latter, and at the base of this +network a strengthening of which the account had better be given in +Stephen's own words: "<i>Altho' <span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span>the Dome wants not Butment, yet for +greater Caution, it is hooped with Iron in this Manner; a Chanel is +cut in the Bandage of Portland-Stone, in which is laid a double Chain +of Iron strongly linked together at every ten Feet, and the whole +<span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span>Chanel filled up with Lead.</i>"<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> (<i>c</i>) The interior dome, also of +brick. The height of this third and smallest shell reaches only to the +level of the curved lines of the fluted patterns of the exterior +shell, a difference of from fifty to sixty feet.</p> + +<div class="img"><a name="imagep090" id="imagep090"></a> +<a href="images/imagep090.jpg"> +<img border="0" src="images/imagep090.jpg" width="52%" alt="Section of the Dome." /></a><br /> +<p class="cen" style="margin-top: .2em;">SECTION OF THE DOME.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>Since the outside cupola does not bear the heavy weight of the lantern +it has been denounced as a sham, but this is an exaggeration. It is +evident, as we look at it, that it is incapable of bearing any such +weight. Much more practical is the objection of Gwilt that the +elaborate framework of beams supporting this outside cover is certain +to decay in course of time. A third objection is that of +deception—the exterior and interior are presumed to be one and the +same. This is not correct. Neither roof nor steeple is assumed to have +such correspondence, and Wren might surely be allowed a like liberty +with his dome. As Mr. Wightwick very properly says, it will be time +enough to find fault when the roofs of churches are the same outside +as within.</p> + +<p>The Romans are credited with first applying the Dome to larger +buildings. It travelled eastward to Constantinople, and was in use in +Italy during mediæval times. The word "Dome" is derived from the +<i>Duomo</i> of Florence, where Brunelleschi covered in the octagon with +his famous cupola in the earlier part of the fifteenth century.<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> +But Wren's particular study was the Pantheon, which we have no +evidence whatever that he saw; and, indeed, he erected his dome +without having ever seen, so far as we know, anything like it.</p> + +<div class="imgl" style="width: 30%;"><a name="imagep092" id="imagep092"></a> +<a href="images/imagep092.jpg"> +<img border="0" src="images/imagep092.jpg" width="80%" alt="The Lantern, from the Clock Tower." /></a><br /> +<p class="attrib" style="margin-top: .2em;"><i>Photo. S.B. Bolas & Co.</i></p> +<p class="cen" style="margin-top: .2em;">THE LANTERN, FROM THE CLOCK TOWER.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>A few words will suffice for the main features. The first stage of the +superstructure is the Stylobate, of 25 feet in height and some 140 to +145 feet in diameter. The next, the Peristyle or Colonnade which +lights up the interior. It has thirty-two Composite columns of a +height of 38 feet, including the pedestals. Every fourth +intercolumnation is filled up with an ornamental niche (if the term be +allowable for a recess of the size) to hide the supports behind. This +alternation, while it agreeably affects the play of light and shade, +yet allows a partial glimpse of the supports. Why could not Wren have +<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span>done as much with his curtain wall? Above the peristyle comes the +Stone Gallery with its balustrade—a great attraction for +visitors—just about half-way up to the summit of the cross. Here the +diameter decreases by the breadth of the gallery to 108 feet, and the +Tholobate<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> rises. It has pilasters, with lights between, in the +upper parts. Above is the outer dome proper—the spherical part—with +a further contraction to 102 feet. Wren had the advantage of St. +Peter's to profit by, and abstained from inserting the "luthern" +lights of the larger edifice. The absence of these and the ribbing of +the lead coating was, in his opinion, "less Gothic." The lights, +again, could not easily have been reached for repairs; and if left +unrepaired would have been the means of causing injury to the +supporting timbers underneath. The effect, no doubt, is better, and +the lighting above and below sufficient for the stairs leading to the +lantern.</p> + +<p><span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span><b>The Lantern.</b>—The Golden Gallery is almost exactly a hundred feet +above the Stone Gallery. The Lantern is an elegant and graceful piece +of design and workmanship, and consists of three square stages, each +of them with lights and with recesses (or chamfered, so to speak) at +the angles. The second has Corinthian columns, which must be fifteen +feet in height, and a plain entablature, and some more urn-shaped +pedestals. The third is completed with a miniature dome, and has upper +and lower lights in each face. Standing immediately underneath, or by +Nelson's tomb in the Crypt, these lights produce a striking and almost +unique effect. The present gilt ball and cross, which crown the +edifice, replaced the originals of Francis Bird, being put up by +Cockerell—the then Clerk to the Works—in 1821. The extreme height is +from 363 to 365 feet, and in 1848 the Ordnance Survey placed a "crow's +nest" against the cross for the purpose of observations from the +highest attainable point.</p> + +<p>Miss Lucy Phillimore has published a paper of Wren's in which the +Surveyor remarks that for the architect it is necessary "<i>in a +conspicuous Work to preserve His Undertaking from general censure, and +so for him to accommodate his Designs to the Geist of the Age he lives +in, though it appear to him less rational</i>." As regards the height of +the dome, we are the gainers because he was compelled to do this. It +is not, indeed, the whole of St. Paul's or its only important feature; +for St. Paul's is not a Byzantine church in which the dome is +practically not a part, but the whole. It is the most magnificent +member of a magnificent building, and with its graceful equipoise and +conscious evidence of stability stands alone and in a class by itself +amongst the cathedral superstructures of the land.</p> + +<br /> +<hr style="width: 15%; clear: both;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> Fergusson's "History on the Modern Styles of +Architecture," p. 243. The Pantheon at Rome as restored <span class="fakesc">A.D.</span> +202 was, or rather is, a rotunda with a portico. The rotunda, +according to Fergusson ("Handbook," p. 311), is about 125 feet in +internal diameter, and an external elevation of about 150 feet. The +Basilica of Maxentius, or Temple of Peace, may have been finished in +the reign of Constantine (Maxentius, <span class="fakesc">A.D.</span> 311-312; +Constantine the Great, 325-337). The ruins show an oblong of 265 feet +by 195 feet in internal measurement, including aisles. The whole +length is divided into only three bays ("Handbook," p. 319). Fergusson +should have added St. Peter's at Rome, which exercised such an +influence over Wren. This immense building has, in the exterior, only +one Order and an Attic. All three have the round arch.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> Fergusson, "Modern Architecture," p. 390.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> An <i>Attic</i> is a small story above the cornice, or +principal elevation of a building. [The same would read better by +substituting "story" for "elevation".] An <i>Attic order</i> is an inferior +order of architecture, used over the principal order of a building. It +never has columns, but, sometimes, small pilasters. (Longman, note, p. +164.) Very common in Roman and Italian, but unknown in Greek.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> "At St. Paul's the Surveyor was cautious not to exceed +Columns of four Feet, which had been tried by <i>Inigo Jones</i> in his +Portico; the Quarries of the Isle of <i>Portland</i> would just afford for +that proportion, but not readily for the Artificers were forced +sometimes to stay some Months for one necessary Stone to be raised for +their Purpose, and the farther the Quarry-men pierced into the Rock, +the Quarry produced less Stone than near the Sea. All the most eminent +Masons were of Opinion, that Stones of the largest Scantlings were +there to be found, or nowhere. An Enquiry was made after all the good +Stone that England afforded. Next to <i>Portland</i>, <i>Rock-abbey</i> Stone, +and some others in Yorkshire seemed the best and most durable; but +large Stone for the <i>Paul's</i> Works was not easily to be had even +there. For these Reasons the <i>Surveyor</i> concluded upon +<i>Portland-stone</i>, and also to use two Orders, and by that Means to +keep the just Proportions of his Cornices; otherwise he must have +fallen short of the Height of the Fabrick.... At the <i>Vatican Church</i> +[St. Peter's], Bramante was ambitious to exceed the ancient <i>Greek</i> +and <i>Roman</i> Temples ... and although by Necessity he failed in the due +Proportions of the proper Members of his Cornice, because the <i>Tivoli</i> +stone would not hold out for the Purpose; yet (as far as we can find) +he succeeded in the Diameter of his Columns, viz., nine +Feet."—<i>Parentalia</i>, p. 288.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> The Royal Commissions expired with the sovereign.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> Mr. Longman gives the two together, p. 143.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> Tracts in "Parentalia," pp. 352-353. Stephen Wren (p. +269) explains how his grandfather departed from the conventional +arrangement of architrave, frieze, and cornice in his entablatures, +omitting one or other of these whenever he thought good. Here, above +the pilasters and windows of the lower order he seems to have merged +the three, and in the corresponding part of the upper order to have +omitted anything like a frieze.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> <i>Builder</i>, January 2, 1892.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> "Parentalia," p. 298.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> Ibid., p. 352.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> Ibid., p. 301, with diagram, showing how a wall does the +same as buttresses.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> Mr. Wightwick, quoted in Longman, p. 188.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> E.A. Freeman, <i>Fortnightly Review</i>, October, 1872, p. +380.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> Yet he preferred the Early English windows of Salisbury +to any later.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> "Who among the crowds that gaze upon the building ever +pause to admire the flowerwork of St. Paul's?... It is no part of it. +It is an ugly excrescence. We always conceive the building without it, +and should be happier if our conception were not disturbed by its +presence. It makes the rest of the architecture look poverty-stricken, +instead of sublime; and yet it is never enjoyed itself" ("Seven +Lamps," iv. 13). All I can say is I have enjoyed studying it. Mr. +Edward Bell also sends me the following: "We have a familiar instance +in the flower-work of St. Paul's, which is probably, in the abstract, +as perfect flower sculpture as could be produced at the time; and +which is just as rational an ornament of the building as so many +valuable Van Huysums, framed and glazed, and hung up over each window" +("Stones of Venice," I., xxi. 3). In my humble opinion this criticism +is overdrawn; and, after all, Mr. Ruskin commends the sculpture.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> Dugdale, p. 191; but some authorities give double that +of St. Paul's.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> Fortunately for effect the technical distances are +slightly exceeded. The "Parentalia" says "alternately," but the +central is wider than the remaining four, which are similar.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> The objection that the exterior of the West Front does +not correspond with the interior is not accurate. The west end inside +contains (<i>a</i>) the lower stage, with the great arch and doorway, and +(<i>b</i>) the upper, with the window.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> "Parentalia," p. 292.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> A curious instance of how words change their meaning, +(<i>a</i>) A building—domus; (<i>b</i>) the most important building; (<i>c</i>) the +most important and striking feature of the building. As everybody now +speaks of the "Dome" of St. Paul's, I have adopted the word instead of +"Cupola."</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> "Tholobate" means what its derivation implies, "the base +of a cupola." Why should this part be called the attic? How can an +attic, properly speaking, have a gigantic hemisphere above it?</p></div> + +<br /> +<br /> +<br /> +<br /> +<a name="CHAPTER_VI" id="CHAPTER_VI"></a><hr /> +<span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span><br /> + +<h3>CHAPTER VI.<span class="totoc"><a href="#toc">ToC</a></span></h3> + +<h4>INTERIOR.</h4> +<br /> + +<p>The measurements show a marked diminution from the exterior—viz., 460 +feet in length, a little under a hundred feet in breadth without +reckoning the recesses underneath the windows, and 240 feet across the +transepts.</p> + +<p>In the Surveyor's favourite the Dome was almost everything; the four +short arms being so constructed as to afford picturesque and varied +vistas. Probably the acoustic properties would have been superior, and +for the ordinary purposes of congregational worship there would have +been less unused space. Hence it need take no one by surprise that +some, although they recognise the superiority of the present exterior, +give the preference to the originally designed interior. The short +arms were expanded into choir, transepts, and nave; the elaborate +vestibule has gone, but the west chapels have appeared. Finally, the +curved lines at the angles of the arms, designed to aid the interior +vistas, have given way to the orthodox right angles. It is impossible +to say how far Wren would have altered his opinions had he ever seen +the present building filled from door to door, as it now occasionally +is.<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a></p> + +<p>Disappointed at the rejection of his pet scheme, Wren turned his +attention to the Basilica of Constantine, with its three aisles of +three arches apiece. "<i>This Temple of Peace being an Example of a +Three Aisle Fabric is certainly the best and most authentic pattern of +a cathedral Church, which must have three Aisles according to Custom, +and be vaulted.</i>"<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a> Piers were used in <span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span>this building, the columns +being merely ornamental; but the interior of St. Paul's is in many +respects essentially different from its Roman model. In the Temple of +Peace three arches cover the enormous length of over 250 feet, and +seriously diminish the apparent size; in St. Paul's their span is less +than half of this. Indeed, in this respect Wren adopted a <i>via media</i> +between the Roman and the Anglo-Norman and Pointed. Old St. Paul's, +for instance, contained twice as many arches in the same length as its +successor, and Rochester still more. This use of larger arches renders +the perspective less effective, as any one can see by comparing the +views of Old and New St. Paul's. A second alteration from the Temple +of Peace to be mentioned is the massiveness of the piers. Wren's +regard for stability caused him to make his vast square supports of a +solidity exceeding those of Mainz and Speier. From the Romans the +Surveyor adopted the round arch, with its borrowed Grecian +architecture partly cut away; and this, next to the dome, is the most +striking feature of the interior.</p> + +<p>Before proceeding to the different members, the symmetry and +correspondence of parts and details require to be mentioned. They +strike the eye everywhere. Those who claim that in this respect Exeter +is the most perfect cathedral, not only in England but throughout the +world, must limit their comparison to the older buildings. Here, when +we have described the details of the architecture of the nave, we have +little or nothing that requires to be said of the architecture of the +choir and transepts. The dome, of course, has features peculiar to +itself.</p> + +<br /> + +<h4>THE NAVE.</h4> + +<p>As we pass under the western portico we notice the bas-reliefs of +Francis Bird above the doors, and on either side of the main door. +They are respectable and nothing more. Over the central door St. Paul +is preaching at Berea. The original pavement of Purbeck, Welsh, and +Torbay marble remains throughout the building, excepting where the new +reredos has necessitated certain alterations. The length to the dome +area is a little over 200 feet, the width as above, and the height of +the central vaulting 89 feet.</p> + +<p>The main west doorway has the round arch resting upon coupled +pilasters, the keystone is adorned with the head and <span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span>arms of a winged +figure. On either side are likewise coupled pilasters of the largest +size. The doors of the small rooms or closets on either side reveal +the enormous size of the end piers projecting from the west wall. +Above the entablature of the main arch is a gallery, and the window +has lately been filled in with designs in Munich glass in memory of +Mr. Thomas Brown, of the firm of Longmans and Co. The subjects are +appropriately taken from the life of St. Paul—the Conversion, and the +subsequent visit of Ananias at Damascus. The kneeling figures below +are those of Mr. Brown and his wife.</p> + +<div class="img"><a name="imagep096" id="imagep096"></a> +<a href="images/imagep096.jpg"> +<img border="0" src="images/imagep096.jpg" width="85%" alt="The Choir and Nave, from the East End." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CHOIR AND NAVE, FROM THE EAST END.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The general ground-plan is of five compartments. Four are formed by +the arcading, and the fifth by the great transverse archway connecting +the nave and dome. The western bay or severy has a greater extension +east and west than the three to the east, and corresponds to the +adjacent chapels. It is square in the plan, and the others oblong; an +important difference, as we shall see when we come to the Vaulting.</p> + +<p><span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span>There are throughout in reality three stages in the elevation—The +Main Arcade, Triforium Belt, or "Attic," and Clerestory. The pedantic +objection to the use of this simple and familiar terminology and +system of classification seems to have arisen from the idea that St. +Paul's must be treated as though it were a purely Classical building. +Upon their fronts the piers have great Corinthian pilasters. These are +continued above the capitals, and the great transverse arches of the +vaulting spring from the continuations on a level with the top of the +triforium. These great pilasters form the divisions east and west into +severies.</p> + +<div class="imgr" style="width: 50%;"><a name="imagep097" id="imagep097"></a> +<a href="images/imagep097.jpg"> +<img border="0" src="images/imagep097.jpg" width="95%" alt="The Order of the Interior." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE ORDER OF THE INTERIOR.<br /> +<i>Drawn by Peter Cazalet.</i><span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>The Main Arcade.</b>—The sides of the piers (east and west) have +smaller pilasters, coupled and with narrow panels between, and above +these is a plain entablature from which the broad arches rise. This +method of making the arches spring from an entablature instead of +letting them rest naturally upon the capitals, was an idea borrowed +from the Romans, who in turn borrowed it from the Greeks. With the +Greeks the entablature was useful, as they had no round arch; and the +Romans, just as they borrowed Greek forms and Greek metres for their +native Italian literature, in a like spirit borrowed their +entablature. It is not necessary, and Freeman calls it a mere +<i>stilt</i>.<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a> The earliest instance we know of its disuse is in the +colonnade of the great hall of Diocletian's palace at Spalatro. The +greater space of the west severy is diminished by the introduction of +detached columns, so that the arches may all be of a like span. These +columns, coupled and placed in front of the lesser pilasters, are of +white veined marble, and exceedingly graceful. As the arches more +immediately rest upon them than upon the pilasters, the Roman use of +the entablature as a stilt can be here more clearly seen. I may add +that in the church of St. Apollinare Nuovo, at Ravenna, the pillars +have <span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span>only blocks above their capitals, instead of the old entablature +reaching from column to column; and this church, built about 500 +<span class="fakesc">A.D.</span>, accordingly represents the Transition stage between the +Roman proper and the Romanesque.</p> + +<p>Turning next from underneath the arches, and taking our stand in the +central aisle, we are in a position to notice the details of the main +entablature above the arches. The keystones are ornamented with heads +and other pieces of sculpture. As Wren employed so few arches they +rise to a great height, and of the different members of the +entablature which rests upon the Corinthian capitals of the greater +pilasters, part had to be cut away. The crowns of the arches take a +great piece out of the architrave, and their keystones reach well +within the plain and narrow frieze. Only the cornice of the first +stage remains intact, and this runs round the four limbs of the church +like a string course in any Romanesque or Gothic building.</p> + +<p><b>The Triforium Belt.</b>—This used to be called the "Attic," in +imitation of the Classical nomenclature; but surely this term is +incorrect, since there is a clerestory above, and the vaulting springs +from it as well. On the other hand, "Triforium" pure and simple +implies arcading, and the above term is adopted from Fergusson as less +open to exception.<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a> In continuation of the greater pilasters are +abutment piers, from the summits of which spring the great arches +spanning the nave, the window arches of the clerestory, and the +pendentives which connect these with the vaulting. The blank fronts +between the piers are relieved by panels, but otherwise destitute of +adornment. Openings connect the nave with the galleries behind.</p> + +<p><b>The Clerestory.</b>—This stage again calls for little or no comment. +The windows, hidden from the exterior by the curtain wall, are +slightly rounded. Above and on either side are sections of spheres, +ornamented with festoons. These are the ends of elliptic cylinders in +connection with the vaulting.</p> + +<p><b>The Vaulting.</b>—The great arches overhead divide the vault as the +greater pilasters and their continuations do the walls. Between these +arches are the small saucer-shaped domes, 26 feet in diameter. The +reason for these and their accessories, the pendentives, may best be +understood from <span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span>Wren's own words. He says that his method of vaulting +is the most geometrical, and "<i>is composed of Hemispheres, and their +Sections only; and whereas a Sphere may be cut all Manner of Ways, and +that still into Circles ... I have for just Reasons followed this way +in the Vaulting of the Church of St. Paul's.... It is the lightest +Manner, and requires less Butment than the Cross-vaulting, as well +that it is of an agreeable View.... Vaulting by Parts of Hemispheres I +have therefore followed in the Vaultings of St. Paul's, and with good +reason preferred it above any other way used by Architects.</i>"<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a> The +saucer-shaped domes are sections of spheres, as are both the +pendentives and the sides of the clerestory windows. He set to work +something in this way. After satisfying himself that he had hit on a +better plan than the plain cylindrical or the cross-vaulting of the +Romans, or the other forms of intersecting vaults, he seems to have +taken a hemisphere as a plan to work upon, and fixed his imaginary +centre about the level of the top of the triforium. In the great +square western severy of the nave this was easier, but the other +severies are oblong. Here he stretched his sections out, so as to +include the clerestory windows and their much-needed light. The usual +way of expressing this is to say that the vault is intersected across +by an elliptic cylinder. The wreaths, garlands, and festoons, and the +various conventional patterns with which the edges and surfaces of the +various parts of the vaulting is adorned cannot be estimated from the +pavement. We may add here that the pendentives were purposely +constructed of "<i>sound Brick invested with Stucco of Cockle-shell +lime</i>," and not of Portland stone, for further ornament if +required.<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a> So are the circular sections.</p> + +<p>The nave is connected with the dome by the space between the great +piers or walls of more than 30 feet in length. These piers are also +broader at their ends than those which support the arcading, the +latter covering a square of about 10 feet. The greater massiveness is +owing to their assistance being required in supporting the dome. They +have large pilasters <span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span>at the angles, and their coffered wagon +vaulting, adorned with geometrical patterns, is very striking.</p> + +<p><b>The Nave Aisles.</b>—We will first point out an unnoticed feature in +the great piers at either end. Their inner faces as seen from the +aisles have recesses or niches for the reception of monuments, and +other recesses are generally found in the wall opposite. At the west +of the aisles there are eight of these altogether, just behind the +coupled columns. They are repeated in all the great piers leading to +the dome, but although of sufficient height to permit of the +introduction of life-sized effigies, still remain unoccupied. The +coupled columns are repeated at the entrances to the chapels. At both +ends the perspective is narrowed; at the west by the chapels, at the +east by the breadth of the great piers. The windows stand in recesses +which are segments of circles. Their sides are made to represent piers +with concave surfaces. These latter carry an entablature from which +spring the round window arches. Festoons run below the actual windows, +the concave side piers have panels, and the round arches above +diamond-shaped patterns. There are only three windows on either +side—the chapels taking the place of a fourth—and the depth of their +recesses points out the thickness of the walls. Between each recess +are Composite pilasters in couples, with others opposite against the +piers. These correspond with the lesser pilasters of the arcading, and +from them spring transverse arches, as in the great central aisle. The +vaulting, owing to the severies being nearly square, is regular; in +other respects similar to that already described. The height is much +less than that of the greater aisle, reaching only to the first stage +of the latter.</p> + +<p><b>The West Chapels.</b>—They may best be described as squares of 26 feet, +with apses or tribunes at either end which increase the length to 55 +feet. They suffer sadly from want of light, the one window in each +being altogether insufficient; but Wren had to do what he could. He +panelled them with oak, and made them of the same height as the +aisles, with vaulting of his favourite kind, drawn out to meet the +windows.</p> + +<p>The North Chapel is called the Morning Chapel, from its original use +for morning prayer on weekdays. The mosaic above the altar is in +imitation of a fresco by Raphael. That <span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span>at the west end, by Salviati, +is in memory of William Hale Hale, a voluminous writer and editor of +the "Domesday of St. Paul's," who was a Residentiary, Archdeacon of +London and Master of the Charterhouse. He died in 1870. The +stained-glass window is in memory of the metaphysician, Henry +Longueville Mansell, Dean of the Cathedral, who died suddenly, after a +rule of three years, in 1871. It is by Hardman, and represents the +Risen Christ and St. Thomas.</p> + +<div class="img"><a name="imagep101" id="imagep101"></a> +<a href="images/imagep101.jpg"> +<img border="0" src="images/imagep101.jpg" width="60%" alt="The Geometrical Staircase." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE GEOMETRICAL STAIRCASE.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span>The South Chapel is called the Consistory Chapel, because the +Consistory Court has been held here excepting during the time that it +sheltered the Wellington monument. The reliefs in white marble at the +ends—the east by Calder Marshall, and the west by Woodington—have to +do with this monument. Certainly the most appropriate of the six +subjects is that on the west wall which illustrates the Baptist +admonishing the soldiers. "Do violence to no man ... and be content +with your wages." Wellington earned his name of the Iron Duke for the +firmness and sternness with which he punished pillaging and +outrage.<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a> The stained-glass window by Mr. Kempe has been lately put +in to the memory of James Augustus Hessey, Archdeacon of Middlesex +(1875-93), whose Bampton Lectures, "Sunday," still remain for +theologians the standard treatise upon the Day of Rest. The Font of +veined Carrara marble, another work of Bird, rather resembles the +round basins resting on stands of the ancient Greek baths than any of +our usual models. As St. Paul's is one of those cathedrals with no +parish annexed, only those connected with it have any claim for +baptisms.</p> + +<p><b>The Geometrical Staircase.</b>—This is in the South Tower, and leads +from the Crypt to the Library. It is circular, of a diameter of +twenty-five feet, and so constructed that eighteen steps, each nearly +six feet broad at the outside, lead from the outside entrance to the +interior. The ironwork is worthy of the choir.</p> + +<p>The three remaining limbs differ only on the plan; in the other +features of their architecture they are essentially similar to the +nave. While the Pointed architecture suggests upward lines, and the +Greek entablature horizontal lines, the round arch suggests a neutral +position between the two. The great span of the arches and the general +largeness of the different parts diminish the apparent size. The +uniformity in the details produces that symmetry which is a +peculiarity of the Renaissance.</p> + +<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span><br /> + +<h4>THE DOME.</h4> + +<p>The Dome rises from its foundation in the Crypt of a square of 190 +feet, and of this the solid parts are more than equal to the vacant +spaces, and are of a thickness of 20 feet.<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a></p> + +<p>Coming to the level of the church, these solid parts are represented +by twelve supports. The chief of them are the bastion-like piers at +the angles of the transepts. They are hollow at the pavement level; +and the south-west is used as a staircase, the north-west as the +Lord's Mayor's vestry, the north-east the Minor Canons', and the +south-east the Dean's. It gives some idea of their massiveness to +reflect that these rooms inside them are nearly twenty feet across. +The eight other supports are the huge wall-like piers, thirty-five +feet by ten, at the entrances from the four limbs.</p> + +<p><b>The Arcading.</b>—When Wren planned his dome interior he had the +difficulty caused by the four limbs and their side aisles to overcome. +It was easy enough for the architect of such a church as St. Geneviève +(or the Pantheon) at Paris to construct one, as he had neither this +complicated arcading nor so heavy a superincumbent mass to consider.</p> + +<p>Wren's path, then, was beset with difficulties, and he must have +turned to his uncle's cathedral at Ely for enlightenment. In the +earlier years of the fourteenth century the central tower at Ely +collapsed: and the Sacrist, Alan de Walsingham, who acted as +architect, seeing that the breadth of his nave, choir, and transepts +happened to agree, took for his base this common breadth, and cutting +off the angles, obtained a spacious octagon. The four sides +terminating the main aisles are longer than the four alternate sides +at the angles of the side aisles; but at Ely this presents no +difficulty, owing to the use of the pointed arch. As you stand in the +centre of the octagon under the lantern you see eight spacious arches +of two different widths, all springing from the same level and rising +to the same height of eighty-five feet, the terminal arch of the +Norman nave pointed like its opposite neighbour of the choir. Amongst +Gothic churches the interior of Ely reigns unique and supreme, +certainly in England, if not in Europe.<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a> Wren was familiar with +<span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span>this cathedral, and even designed some restorations for it; and he +adopted the eight arches in preference to any possible scheme of four +great arches of sixty feet: but the use of the round arch, as distinct +from the pointed, deprived him of Sacrist Alan's liberty, who without +incongruity made his intermediate arches of the shorter sides, +springing from the same level, rise to the same height as the others. +Wren was compelled to make use of some expedient to reconcile his two +different spaces between piers of forty feet and twenty-six feet, and +accordingly arched these four smaller intermediate spaces as follows. +A smaller arch, rising from the architrave of the great pier, spans +each shorter side of the octagon, and has a ceiling or quarter dome in +the background, coming down to the terminal arches of the side aisles. +A blank wall space above is relieved by a section of an ornamental +arch of larger span, resting on the centre of the cornice; and above +this a third arch, rising from the level of the triforium cornice, +rests more upon the <i>outer</i> side of the great supporting pier, and +thereby obtains the required equal span of forty feet, and equal +height of eighty-nine feet from the ground. This also has a quarter +dome; and the platform beneath on a level with the clerestory is +railed.</p> + +<p>The reduction of the octagon to the circle is facilitated by giving +the spandrels between the arches the necessary concave surface; and +this stage is finished off with a cantilever cornice, the work (at +least in part) of one Jonathan Maine. The eight great keystones of the +arches by Caius Gabriel Cibber are seven feet by five, and eighteen +inches in relief.</p> + +<p><b>The Whispering Gallery</b> is almost exactly a hundred feet from the +pavement, and curiously enough about the same distance across. We are +still, be it understood, below the level of the apex of the exterior +roof, and the Cross is quite two hundred and sixty feet above us. The +gallery projects so that the lectern steps and the pulpit are +underneath. The attendant whispering across the whole area can be +distinctly heard, an acoustic property seemingly caused by the +nearness of the concave hemisphere above.</p> + +<div class="img"><a name="imagep105" id="imagep105"></a> +<a href="images/imagep105.jpg"> +<img border="0" src="images/imagep105.jpg" width="53%" alt="Interior of the Dome." /></a><br /> +<p class="cen" style="margin-top: .2em;">INTERIOR OF THE DOME.<br /> +<i>From an engraving by G. Coney in Sir H. Ellis' edition of Dugdale's St. Paul's.</i> +<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>The Drum.</b>—The actual bend inwards now begins, but for this part +only in straight lines.<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a> First comes the plain band or +<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span><span class="sc">Podium</span>, panelled and of a height of twenty feet. On this +stand thirty-two composite pilasters, in reality, as well as in +appearance, out of the horizontal. Three out of each four <span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span>intervening +spaces are pierced with square-headed windows; and from them such +light as the dome possesses, streams down through the windows of the +exterior colonnade. The alternate fourth recesses, apparently nothing +more than ornamental niches, conceal the supports which bear the +weight above. In the recent scheme of decoration they have been filled +with statues of Early Fathers—the four eastern, SS. Chrysostom, +Gregory Nazianzen, Basil, and Athanasius; and the four western, SS. +Ambrose, Augustine of Hippo, Jerome, and Gregory. If the light allows, +the Podium, at present bare, is a suitable place for mosaics.</p> + +<p><b>The Cupola.</b>—So, for want of a better name, we will call the topmost +section or inner roof of brick, two bricks thick. Here the straight +lines bearing inwards give way to the sphere; and here, too, the three +separate coverings, which constitute the dome, begin. The circular +opening below the lantern coincides with the lower edge of the fluting +of the exterior shell, and is about two hundred and fifteen feet from +the pavement.<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a></p> + +<p>These upper regions, hidden in an almost perpetual gloom, were +decorated in monochrome by Sir James Thornhill; but his work has +failed to resist the chemical action of the surcharged atmosphere. Yet +a word or two about it may interest. Concentric circles surround the +opening; and the remaining surface is ingeniously divided into eight +compartments by designs of piers and round arches; the piers +coinciding with the eight recesses below. In these compartments are +scenes from the life of the patronal saint: (1) The Conversion, (2) +Elymas, (3) Cripple at Lystra, (4) Jailer at Philippi, (5) Mars Hill, +(6) Burning Books at Ephesus, (7) Before Agrippa, (8) Shipwreck. We +have all of us heard from the days of our boyhood or girlhood the +story of the painter, on a platform at a great height, who stepped +back to get a better view of his work. As he did so, an assistant, +standing by, brush in hand, observed with alarm that the slightest +further backward step would entail his falling headlong and being +dashed to pieces. He deliberately daubed the painting; and the artist, +stepping <span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span>instinctively forward to prevent this, saved his life. The +painter is said to be Thornhill: the scene, the giddy height under the +dome.</p> + +<p>The interior height of two diameters will always be a disputed +question. Stephen Wren<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a> seemed to think that his grandfather hit +the happy medium of a diameter and a half; but this only reaches to +the windows and Early Fathers. He probably gives us the Surveyor's +<i>intention</i>. Afterwards, when Wren was compelled to raise the height +of the exterior, he increased the interior. St. Sophia and the +Invalides are both less than two diameters, and give the idea of +greater area. While it is difficult to see what æsthetic advantage is +gained by a roof and upper regions immersed in perpetual gloom, the +acoustic properties and the light might both have been improved by a +more modest elevation. Yet the advocates of a smaller ratio injure +their case by writing about "a great disproportioned hole in the +'roof.'"</p> + +<p><b>The Pulpit</b> was one of the additions suggested in Dean Milman's time, +when the dome area was used for service. It is a memorial to Captain +Robert Fitzgerald, designed by Mr. Penrose; and the marbles come from +various places. It stands on columns, of which the gray are from +Plymouth, the "dark purplish" from Anglesea, and the red from Cork. In +the panels and elsewhere the green is from Tenos, and the yellow +chiefly from Siena, with a little of the ancient Giallo Antico from +Rome.<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a> Alike in the design, and in the combination of these +different marbles, the pulpit is a fitting and judicious adornment. +<b>The Lectern</b> takes the familiar form of an eagle, and is of bronze. +This fine piece of work was finished in 1720 by Jacob Sutton, at a +cost of £241 15s.</p> + +<p><b>The Mosaics.</b>—Stephen Wren tells us that his grandfather intended +his great building to be adorned with mosaic work, and that one of his +numerous disappointments was his inability, thanks to the ignorant +opposition of the Commission, to carry out this intention. The +categorical statement of the grandson is corroborated by (<i>a</i>) the +text of various Acts of Parliaments, (<i>b</i>) other Renaissance Churches +and notably St. Peter's, (<i>c</i>) the use of material softer than +Portland stone for <span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span>various surfaces.<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a> Bishop Newton, who was Dean +a hundred and twenty years ago, roundly accused the authorities of +filching the decoration funds for William's wars. Queen Anne's wars +would have sounded more probable. It was not until our own day that in +this respect, as in others, the Surveyor's ideas have been carried +out.</p> + +<p>The eight spandrels of soft and suitable stone have designs of the +four Greater Prophets, and the four Evangelists, executed by Dr. +Salviati of Venice. For the designs of St. Matthew and St. John the +authorities were fortunate enough to secure the services of that +wonderful Academician, Mr. G.F. Watts. He thoroughly understood and +overcame the difficulty of the great distance of the spectator on the +pavement below. These designs are in every way worthy of the painter +of the Rider on the White Horse, and its fellows. The other +Evangelists were designed by Mr. Brittan, and the Prophets by Mr. A. +Stevens. The smoke should never be allowed to mar the colouring, and +so injure the good effect, of this part of the scheme of decoration.</p> + +<p>Subsequently the authorities and their committee turned to Mr. (now +Sir William) Richmond, R.A., whose veneration for St. Paul's dates +from childhood. His interest in mosaic work caused him to study +carefully the principles of design which obtained in Italy, Greece, +and Asia Minor, during the best times of the Byzantine Empire.<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a> +Sir William has adopted the old plan of glass tesseræ or cubes, and of +four shapes—the cube, double cube, equilateral triangle, and a longer +form with sharp points. They are of eight to ten tones of colour, and +are put into position on the spot, being joined together by a mastic +cement which resembles that used by Andrea Tafi in restoring the +mosaics in the Baptistery at Florence. This cement in time becomes +quite hard. The cubes with their complex facets are not joined close +together, but separated by one-sixteenth to one-fourth of an inch, the +better to reflect the light, so as to give a rich and soft texture. +They are made at Messrs. <span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span>Powell's workshops. Sir William has done a +great deal more than design. He has, so far as this country is +concerned, caused us to acquire a new art, while he has restored an +old one. The workmen, who are all natives, have been trained by him. +Accustomed only to the smooth, pictorial mosaics of thin plates of +glass put together in the workshop, he had to teach the Messrs. Powell +and their staff both how to make the glass cubes, and how to put each +one separately into its place in the cement on the wall or roof. As +our cathedrals are sermons in stone, so these adornments are intended +to be illustrated sermons in glass. Beginning with the Creation, and +including those, Pagans as well as Israelites, who prepared the way +and led up to the Fulness of the Time, we are here taught the leading +features of that progressive truth which has been revealed.</p> + +<p>The difficulty in dealing with the lofty blank spaces of the dome will +be not to go too high up, and not to come too far down. At the time of +revising these lines (August, 1899) the decoration of this part of the +cathedral has advanced no further than the quarter domes of those +alternate arches which tested so severely the genius of the Surveyor. +In the four, taken as a whole, the general subject illustrated will be +St. Paul's Gospel of the Resurrection from the early verses of 1 +Corinthians, <span class="sc">XV</span>.</p> + +<p><i>North-East</i>, the Crucifixion. Christ stands on the Tree of Life, +branches on either side and the cross behind. The water of life issues +from below the tree, making a silver flood; these silver tones, the +result of many experiments, when flashing, expand and give more light +than gold. The holy women are on either side, and Adam and Eve +kneeling in the two corners. The world is represented as a +harvest-field. The inscription below runs, "The Lord hath laid on Him +the iniquity of us all." <i>South-East</i>, the Resurrection. The Risen +Christ is standing at the entrance of the open sepulchre, and is +supported on either side by an angel in blue and white. He wears a +long mantle of white, shaded to red, probably to prevent the white +rays spreading too much. On either side in the corners are placed the +sleeping soldiers: and above is a canopy of clouds, lifting on the +horizon. A scroll-work, which looks like pomegranates, takes the place +of the silver flood of the companion across the choir arch. +<span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span>Inscription, "Behold! I am alive for evermore." <i>South-West</i> the +Entombment. A winged angel, sitting, holds the reclining Body. On the +right, standing figures of women, and on the left two angels. +Continuing round are two other figures on either side; and these, as I +am instructed, are symbolical of our four nationalities. Trees and +foliage are above the figures. This section is still incomplete, and +the text wanting; but the scroll-work looks like leaves and acorns. +Years hence, when the dome as a whole is finished, we shall be in a +position to judge. So far everything is rich and promises well.<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a></p> + +<div class="img"><a name="imagep110" id="imagep110"></a> +<a href="images/imagep110.jpg"> +<img border="0" src="images/imagep110.jpg" width="75%" alt="The South Choir Aisle" /></a><br /> +<p class="attrib" style="margin-top: .2em;"><i>Photo. S.B. Bolas & Co.</i></p> +<p class="cen" style="margin-top: .2em;">THE SOUTH CHOIR AISLE, SHOWING THE BACK OF THE STALLS AND THE IRON GATES.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span><br /> + +<h4>THE TRANSEPTS.</h4> + +<p>These short limbs consist of only one arch beyond the great dome +piers. There is no arch at the ends like that by the west door. +Instead, the wall space shows four single pilasters with their +entablature supporting the gallery. The gilded copy of the well-known +inscription on Wren's tomb is over the north doorway. The great +windows, the gift of the late Duke of Westminster, and designed by Sir +William Richmond, illustrate early Church history. The North +represents twelve primary bishops who introduced, or restored after +lapse, <span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span>Christianity, after the coming of the English, and include +Augustine, Mellitus, Cedd, Birinus, Theodore of Tarsus (the originator +of the parochial system), and Erkenwald. The South represents twelve +kings who co-operated and supported the prelates, including Ethelbert, +Cynegils, Coinwalch, Sabert, Sigebert, and Sebbe. In the south +transept aisles the Thanksgiving service in 1872 for the recovery of +the Prince of Wales is commemorated by a window, the subject being the +Raising of the Son of the Widow of Nain, and a tablet performs the +like service.</p> + +<div class="img"><a name="imagep111" id="imagep111"></a> +<a href="images/imagep111.jpg"> +<img border="0" src="images/imagep111.jpg" width="65%" alt="Bishop's Throne and Stalls on the South Side." /></a><br /> +<p class="cen" style="margin-top: .2em;">BISHOP'S THRONE AND STALLS ON THE SOUTH SIDE.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> + +<h4>THE CHOIR.</h4> + +<p>The plan consists of the great piers and chancel arch, three arches, +other great piers which support the triumphal or reredos arch and are +pierced for doorways, and finally the apse. The side aisles do not +extend beyond the reredos arch. The main aisle, formerly isolated from +the dome by the organ and organ-screen, is now separated only by a low +railing, and the space underneath the chancel arch has been included. +By uniting choir and dome for the purposes of congregational worship +the intention of the architect has been carried into effect. The +ironwork of the gates, both at the west end of the aisles and in the +doorways of the reredos arch, is part of Tijou's work, restored and +replaced as occasion arose.</p> + +<p><b>The Stalls.</b>—They all now face uniformly on opposite sides. They are +the work of Grinling Gibbons, and originally cost over £1,300. The +best plan is to see them both from the choir and the aisles, as their +general conception and details are alike creditable to the +wood-workers of their day. The canopies have galleries above; and +those in the centre on either side, as also over the throne at the end +of the south side, have turrets. But it is not only their artistic +merits. More than anything else they carry us back to the days of Old +St. Paul's, since they reproduce the seats of the dignitaries for ages +past. Numbering thirty-one on either side, the Latin inscriptions over +fifteen on either side call for notice. These are the headings of the +Psalter divided into thirty parts.</p> + +<p>In the days of Bishop Maurice and Dean Ulstan, according to Newcourt, +a division was first made, so that each prebendary should say the +Psalter through in a month, while the whole <span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span>Psalter should be said +each day. Under Ralph de Baldock, in succession Archdeacon of +Middlesex, Dean, and finally Bishop (1276-1313), the present and more +equal division was made.<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a> The Archdeaconries of Essex and +Colchester are now in the Diocese of St. Alban's, and the Archdeaconry +of St. Alban's, consisting of a few parishes in Herts and Bucks, +created after the dissolution of the abbey, though for a time in the +diocese, never had a stall. The stalls and seats have been added to +from the designs of Mr. Penrose. For the sake of convenience I have +numbered the thirty-one stalls on either side: the other numbers, in +brackets, to the right, represent the traditional positions in Old St. +Paul's. Each dignitary's stall has the name inscribed. Neither from +the position of the stalls, nor from the order of the allotment of the +Psalter is it possible to discover any priority. Perhaps both were +arranged according to the then seniority of the canons.</p> + +<div class="centered"> +<table border="0" cellpadding="2" cellspacing="0" width="80%" summary="positions of stalls"> + <tr> + <td class="tdcsc" colspan="2" style="padding-bottom: .5em;">North Side.</td> + </tr> + <tr> + <td class="tdl" width="50%">30 and 31. [Not assigned.]</td> + <td class="tdl" width="50%"> </td> + </tr> + <tr> + <td class="tdl">27-29. Minor Canons.</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl">26. Archdeacon of Middlesex</td> + <td class="tdl">(19)</td> + </tr> + <tr> + <td class="tdl">25. Chiswick</td> + <td class="tdl">(18) <i>Nonne Deo subjecta.</i></td> + </tr> + <tr> + <td class="tdl">24. Caddington Major</td> + <td class="tdl">(17) <i>Omnes gentes plaudite.</i></td> + </tr> + <tr> + <td class="tdl">23. Newington</td> + <td class="tdl">(16) <i>Confitemini Domino quoniam bonus.</i></td> + </tr> + <tr> + <td class="tdl">22. Neasden</td> + <td class="tdl">(15) <i>Domine ne in furore.</i></td> + </tr> + <tr> + <td class="tdl">21. Brondesbury</td> + <td class="tdl">(14) <i>Beatus vir, qui timet Dominum.</i></td> + </tr> + <tr> + <td class="tdl">20. (Not assigned.)</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl">19. Lord Mayor, with Mace-Bearer below.</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl">18. (Not assigned.)</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl">17. Consumpta per Mare</td> + <td class="tdl">(13) <i>Confitemini Domino [107-111].</i></td> + </tr> + <tr> + <td class="tdl">16. Willesden</td> + <td class="tdl">(12) <i>Noli aemulari.</i></td> + </tr> + <tr> + <td class="tdl">15. Islington</td> + <td class="tdl">(11) <i>In convertendo Dominus.</i></td> + </tr> + <tr> + <td class="tdl">14. Ealdland</td> + <td class="tdl">(10) <i>Deus stetit in synagoga.</i></td> + </tr> + <tr> + <td class="tdl">13. Hoxton</td> + <td class="tdl"> (9) <i>Defer in salutare anima.</i></td> + </tr> + <tr> + <td class="tdl">12. Wedland</td> + <td class="tdl"> (8) <i>Exandi, Domine, justitiam.</i></td> + </tr> + <tr> + <td class="tdl">11. Reculverland</td> + <td class="tdl"> (7) <i>Beati quorum remissio.</i></td> + </tr> + <tr> + <td class="tdl">10. St. Pancras</td> + <td class="tdl"> (6) <i>Voce mea.</i></td> + </tr> + <tr> + <td class="tdl"> 9. Caddington Minor</td> + <td class="tdl"> (5) <i>Miserere mei Deus.</i></td> + </tr> + <tr> + <td class="tdl"> 8. Tottenhall (Tottenham)</td> + <td class="tdl"> (4) <i>Beatus vir qui non abiit.</i></td> + </tr> + <tr> + <td class="tdl"> 7. (Not assigned.)</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl"> 6 and 5. Minor Canons.</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl"><span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span> 4. Chancellor.</td> + <td class="tdl"> (3)</td> + </tr> + <tr> + <td class="tdl"> 3. Precentor.</td> + <td class="tdl"> (2)</td> + </tr> + <tr> + <td class="tdl"> 2. Residentiary.</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl"> 1. Archdeacon of London.</td> + <td class="tdl"> (1)</td> + </tr> + <tr> + <td class="tdcsc" style="padding-top: 1em; padding-bottom: .5em;" colspan="2">South Side.</td> + </tr> + <tr> + <td class="tdc" colspan="2" style="padding-bottom: .5em;">The Bishop's Throne or official <i>Cathedra</i>.</td> + </tr> + <tr> + <td class="tdl">30 and 31. (Not assigned.)</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl">27-29. Minor Canons.</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl">26. Archdeacon of Colchester, now a Minor Canon</td> + <td class="tdl">(19)</td> + </tr> + <tr> + <td class="tdl">25. Ealdstreet</td> + <td class="tdl">(18) <i>Dominus regnavit, exultet terra.</i></td> + </tr> + <tr> + <td class="tdl">24. Rugmere</td> + <td class="tdl">(17) <i>Ad Dominum cum tribularer.</i></td> + </tr> + <tr> + <td class="tdl">23. Brownswood</td> + <td class="tdl">(16) <i>Deus judicium tuum.</i></td> + </tr> + <tr> + <td class="tdl">22. Wenlocksbarn</td> + <td class="tdl">(15) <i>Quemadmodum desiderat.</i></td> + </tr> + <tr> + <td class="tdl">21. Sneating</td> + <td class="tdl">(14) <i>Dominus Deus meus, respice.</i></td> + </tr> + <tr> + <td class="tdl">20. (Not assigned.)</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl">19. The Bishop.</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl">18. (Not assigned.)</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl">17. Oxgate</td> + <td class="tdl">(13) <i>Domine exandi [102-106].</i></td> + </tr> + <tr> + <td class="tdl">16. Mapesbury</td> + <td class="tdl">(12) <i>Memento Domine David.</i></td> + </tr> + <tr> + <td class="tdl">15. Twyford</td> + <td class="tdl">(11) <i>Deus misercatur mei.</i></td> + </tr> + <tr> + <td class="tdl">14. Cantlers (Kentish Town)</td> + <td class="tdl">(10) <i>Dominus illuminatio mea.</i></td> + </tr> + <tr> + <td class="tdl">13. Mora</td> + <td class="tdl"> (9) <i>Confitebor tibi in toto corde.</i></td> + </tr> + <tr> + <td class="tdl">12. Portpool</td> + <td class="tdl"> (8) <i>Quid gloriaris in malitia.</i></td> + </tr> + <tr> + <td class="tdl">11. Harleston in Willesden</td> + <td class="tdl"> (7) <i>Fundamenta ejus, &c.</i></td> + </tr> + <tr> + <td class="tdl">10. Holborn</td> + <td class="tdl"> (6) <i>Salvum me fac Domine, &c.</i></td> + </tr> + <tr> + <td class="tdl"> 9. Chamberlainewood</td> + <td class="tdl"> (5) <i>Bonum est confiteri, &c.</i></td> + </tr> + <tr> + <td class="tdl"> 8. Finsbury or Halliwell</td> + <td class="tdl"> (4) <i>Benedictus Dominus Deu, &c.</i></td> + </tr> + <tr> + <td class="tdl"> 7. (Not assigned.)</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl"> 5 and 6. Minor Canons.</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl"> 4. Treasurer</td> + <td class="tdl"> (3)</td> + </tr> + <tr> + <td class="tdl"> 3. Residentiary</td> + <td class="tdl"> </td> + </tr> + <tr> + <td class="tdl"> 2. Archdeacon of Essex, now a Residentiary</td> + <td class="tdl"> (2)</td> + </tr> + <tr> + <td class="tdl"> 1. The Dean</td> + <td class="tdl"> (1)</td> + </tr> +</table> +</div> + +<p>Dr. Sparrow-Simpson assigned the psalms to Consumpta and Oxgate as I +have put them in brackets.<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a></p> + +<p><b>The Organ.</b>—In Old St. Paul's the organ was considered to have but +two peers, Canterbury and York; and the present instrument is worthy +of its predecessor. Grinling Gibbons executed the older part of the +case, with its foliage, figures, and imitations of the architecture. +Bernard Schmidt, a German, was the builder; and in 1802 "a most +<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span>industrious Swede and his partner" took it to pieces, cleaned it, and +improved the tone of many of the notes. When the choir was opened out, +at the suggestion of Dr. Sparrow-Simpson the instrument was enlarged +by Mr. Willis, divided between the two sides, and placed above the +stalls at the west end, the old carved work being chiefly on the north +side. Whether Jeremiah Clark (1695-1707) lived long enough to preside +is uncertain; but if not, Richard Brind (1707-1718) was the first to +play the present instrument. Neither Sir John Stainer nor Sir George +Martin need any mention. The organist is seated on the north side, and +communicates by electricity.</p> + +<p><b>The Reredos.</b>—Advantage has been taken of the space between the +great eastern piers to bring forward the altar and crown it with a +lofty reredos. Would Wren have approved of the breaking of the vista +by shutting out the windows of the apse? As he himself designed an +unexecuted Baldachino "of rich marble columns writhed" somewhat after +the style of his favourite St. Peter's,<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a> and as this was not so +high, and was to stand against the east wall, the answer to this +question is doubtful. The impression left is that for the present +altar-piece he would have designed his east front somewhat +differently. Be this as it may, upon this magnificent specimen of +modern art it is waste of time to lavish praise, and the names of the +designers, Messrs. Bodley and Garner, will always be associated with +it. The symbolism is expressed in the frieze above the Crucifixion, +"Sic Deus dilexit mundum" ("God so loved the world"). The lower part +is pierced with doors on either side: and "Via Electionis" ("A chosen +vessel") over the north door refers to St. Paul, and "Pasce oves meos" +("Feed my sheep") over the other to St. Peter; and here the crossed +swords are the arms of the diocese. The section above has the +Entombment in the centre, and the Nativity and Resurrection on either +side. A Crucifixion occupies the central position. The framework is of +Roman design, with pilasters and a round arch; and remembering Wren's +conception, it is interesting that the columns of Brescia marble, +supporting the entablature above, are twisted. This is flanked with a +colonnade; the figure on the north being the Angel Gabriel, and to the +south the Virgin. Above the pediment is a canopy <span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span>with the Virgin and +Child, and St. Peter and St. Paul to the north and south; and above +all, and nearly seventy feet from the ground, the Risen Christ +completes this most reverent design.</p> + +<p>The altar cross is adorned with precious stones and lapis lazuli; and +the massive copper candlesticks are imitations of those, four in +number, sold during the Protectorate, and now, with the arms of +England, in Ghent Cathedral.</p> + +<p><b>The Apse.</b>—Although the side aisles require no particular mention, +unless it be of certain relics from Jerusalem in the south aisle, the +iron gates leading to the reredos are well worthy of attention. When +the choir was opened out, the ironwork was brought here; but there was +not sufficient. Recourse was had in vain to modern coal-smelted metal: +it split, and proved useless for the finer work. Searching the +records, it was discovered that Tijou used only charcoal-smelted iron; +and a supply was procured from Norway. Comment is needless. The +vaulting comes down to the upper tier of windows. The windows in the +lower tier, by Mr. C.E. Kempe, in harmony with the mosaics, have for +their general subject the Last Judgment.</p> + +<p>Isolated by the great Reredos behind from the rest of the church, the +apse now forms a separate chapel, and is called the Jesus Chapel. Why +borrow the name from the east end of the crypt below? The Liddon +Chapel would be a suitable name. Here, against the south wall is his +monument; and the altar-piece, in its marble framework, forms part of +his memorial. It is a copy of a painting by Giovanni Battista da +Conegliano, otherwise Cima. The original, now in the National Gallery, +was painted for the Fraternity of the Battuti at Portogruaro. The +subject is the incredulity of St. Thomas.</p> + +<div class="img"><a name="imagep117" id="imagep117"></a> +<a href="images/imagep117.jpg"> +<img border="0" src="images/imagep117.jpg" width="65%" alt="The Choir, Altar and Reredos." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE CHOIR, ALTAR AND REREDOS.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><b>The Mosaics.</b>—Excepting, perhaps, certain minor alterations which +time and experience may suggest, the decoration and adornment of the +Choir may now be reckoned as finished. The scheme was begun from the +east, and continued westward; but there is no good reason for altering +our plan, and we will continue to work from the west eastward. Of the +five divisions of the main aisle, the chancel arch may be dismissed; +the subject being a continuation of the western bay. There remain, +then, the three bays, the reredos arch, and the apse; and we will take +these in their order. The <span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span>spandrels of the arcading treat of the Fall +and Redemption; the triforium belt has the same subject as the +"inverted saucers" of the vaulting; the clerestory windows on the +north, Creation awaiting, or anticipating, or in any sense preparing +the way for the Kingdom of Christ,—on the south, those who prepared +places of worship; the pendentives, Angels, and inscriptions from the +Psalms and Isaiah; the vaulting, the Story of Creation, continued in +the triforium belt. Thus it will be seen that the arrangement of the +interior, with its three stages, is fully recognised. Underneath the +clerestory windows <span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span>the inscriptions are from the Advent antiphons to +the <i>Magnificat</i>; and these selections have most carefully omitted +anything savouring of the invocation of saints. Below the angels with +their outstretched arms in the pendentives the western sides of the +great transverse arches have inscriptions from the <i>Benedicite</i>, and +on their eastern from Romans i. 20. All of these texts or inscriptions +are in Latin. The glass in the clerestory windows has been put in to +give the best effect to the mosaics. A tabular statement will best +present a general idea of Sir William Richmond's system taken as a +whole.</p> + +<br /> + +<div class="centered"> +<table border="0" cellpadding="2" cellspacing="0" width="80%" summary="Table of Contents"> + <tr> + <td class="tdc" colspan="3" style="padding-bottom: .5em;"><span class="sc">Western Bay</span> (with Chancel Arch).</td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Roof</i></td> + <td class="tdlp" colspan="2">Creation of Beasts, with the inscription, "Producat + terra animam viventem" (Gen. i. 24). The four heraldic shields on the borders have the arms of the + four London Companies who are donors to the decorations. N.: Merchant Taylors. S.: Mercers. + E.: Fishmongers. W.: Goldsmiths. Date, 1895.</td> + </tr> + <tr> + <td class="tdl1"><i>Pendentives</i>:</td> + <td class="tdlp" colspan="2">Angels, with inscriptions above from Psalm civ.</td> + </tr> + <tr> + <td class="tdl" width="20%" style="padding-top: 1em;"> </td> + <td class="tdc" width="40%" style="padding-top: 1em;">N.</td> + <td class="tdc" width="40%" style="padding-top: 1em;">S.</td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Clerestory</i></td> + <td class="tdlp">W.: Job.<br /> + E.: Abraham at his tent door at Mamre.<br /> + The Three Heavenly Visitors and Sarah.</td> + <td class="tdlp">W.: Jacob's Ladder.<br /> + E.: Moses receiving the Tables of the Law and the "Pattern of the Tabernacle" (Exodus xxv. 9).</td> + </tr> + <tr> + <td class="tdl1" colspan="3" style="line-height: .5em;"> </td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Inscription beneath window</i></td> + <td class="tdlp">"O Adonai, qui Moysi apparuisti, veni ad redimendum nos."</td> + <td class="tdlp">"O Adonai, et dux, et dominus Israel, veni ad redimendum nos."</td> + </tr> + <tr> + <td class="tdl1" colspan="3" style="line-height: .5em;"> </td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Triforium continued in chancel arch</i></td> + <td class="tdlp">Adam, with arm round lion: a lioness licking his feet.</td> + <td class="tdlp">Eve, with tigers, birds +of paradise, and other animals. +</td> + </tr> + <tr> + <td class="tdl1" colspan="3" style="line-height: .5em;"> </td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Spandrels</i></td> + <td class="tdlp">Creation of Firmament. Two Angels in red, as the ministers of Creation. In + centre, bright sun with inscription, "Fiat lux, et facta est lux."</td> + <td class="tdlp">Expulsion from Paradise. Adam and Eve walking sorrowfully in the + direction of the Dome, which represents the outer world. Paradise has a rampart.</td> + </tr> + <tr> + <td class="tdcsc" colspan="3" style="padding-top: 1em; padding-bottom: .5em;">Centre Bay</td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Roof</i></td> + <td class="tdlp" colspan="2">Creation of Fish. Sea monsters spouting out water, fish swimming, + and blue water. Inscription, "Creavit Deus cete grandia" (Gen. i. 21).<br /> + This is the gift of the Fishmongers' Company.</td> + </tr> + <tr> + <td class="tdl1"><i>Pendentives</i>:</td> + <td class="tdlp" colspan="2">Angels, with inscriptions from Psalm cxlviii.</td> + </tr> + <tr> + <td class="tdl" width="20%" style="padding-top: 1em;"><span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span> </td> + <td class="tdc" width="40%" style="padding-top: 1em;">N.</td> + <td class="tdc" width="40%" style="padding-top: 1em;">S.</td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Clerestory</i></td> + <td class="tdlp">W.: Cyrus (who figures in Isaiah xliv. as a predestined Temple-builder) + points over his shoulder to returning Jewish captives.<br /> + E.: Alexander (who indirectly prepared for the First Advent by spreading + the Greek language and opening out the Far East) leaning on his sword, with + Greeks bearing olives.</td> + <td class="tdlp">W.:<br /><br /><br /><br /> + E.: Bezaleel and Aholiab, artificers of the Tabernacle (Exodus xxxvi. I).</td> + </tr> + <tr> + <td class="tdl1" colspan="3" style="line-height: .5em;"> </td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Inscription beneath</i></td> + <td class="tdlp">"O Rex gentium desideratus earum, veni, salva hominem."</td> + <td class="tdlp">"O Emmanuel, Rex et Legifer, veni ad salvandum nos."</td> + </tr> + <tr> + <td class="tdl1" colspan="3" style="line-height: .5em;"> </td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Triforium</i></td> + <td class="tdlp">Sea Leviathans and Fish.</td> + <td class="tdlp">Sea Leviathans and Fish.</td> + </tr> + <tr> + <td class="tdl1" colspan="3" style="line-height: .5em;"> </td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Spandrels</i></td> + <td class="tdlp">The Annunciation. W.: Gabriel. E.: The Virgin at the door of her house. + Nazareth in background. The Holy Dove between.</td> + <td class="tdlp">The Temptation. Adam, with warning angel above. The nude figure of Eve, with + Satan, as a fallen angel, pointing to the forbidden fruit.</td> + </tr> + <tr> + <td class="tdcsc" colspan="3" style="padding-top: 1em; padding-bottom: .5em;">East Bay</td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Roof</i></td> + <td class="tdlp" colspan="2">Creation of Birds. First of these circular sections of + spheres to be taken in hand. Details more minute than the two others. Yet the effect, + even at so great a height, is not wholly lost, as a play of colour and a certain sense + of mystery, are afforded. It is better to overdo than to underdo detail. Many of the birds + are outlined with silver. The leaves have veins of silver, and the edges are touched with + gold. As with the two others, a successful attempt is made to increase the real elevation, + which is only three feet at the apex. Inscription: "Et volatile sub firmamento" (Gen. i. 20). + Date, 1892.</td> + </tr> + <tr> + <td class="tdl1"><i>Pendentives</i>:</td> + <td class="tdlp" colspan="2">Angels, with inscriptions above from Isaiah ix.</td> + </tr> + <tr> + <td class="tdl" width="20%" style="padding-top: 1em;"> </td> + <td class="tdc" width="40%" style="padding-top: 1em;">N.</td> + <td class="tdc" width="40%" style="padding-top: 1em;">S.</td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Clerestory</i></td> + <td class="tdlp">W., Persian, and E., Delphic Sibyl. A somewhat far-fetched design borrowed + from mediæval art. Angels from above delivering their message. Architectural background, + Persian and Doric respectively.</td> + <td class="tdlp">W.: Solomon as a young man. E.: David as an old man with an air of + melancholy, thinking of the Temple of which he may only get ready the materials and + plans. Meditating about his preparations under a tree; court of palace in the background.</td> + </tr> + <tr> + <td class="tdl1" colspan="3" style="line-height: .5em;"><span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span> </td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Inscription underneath</i></td> + <td class="tdlp">"O Sapientia, veniad docendum nos. O, Oriens Splendor, veni et illumina nos."</td> + <td class="tdlp">"O Radix Jesse, veni ad liberandum nos. O Clavis David, veni et educe vinctum."</td> + </tr> + <tr> + <td class="tdl1" colspan="3" style="line-height: .5em;"> </td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Triforium</i></td> + <td class="tdlp">Peacocks of the bird creation.</td> + <td class="tdlp">Peacocks.</td> + </tr> + <tr> + <td class="tdl1" colspan="3" style="line-height: .5em;"> </td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"></td> + <td class="tdlp"></td> + <td class="tdlp"></td> + </tr> + <tr> + <td class="tdl" width="20%" style="padding-top: 1em;"> </td> + <td class="tdc" width="40%" style="padding-top: 1em;">N.</td> + <td class="tdc" width="40%" style="padding-top: 1em;">S.</td> + </tr> + <tr> + <td class="tdl1" style="border-right: dashed 1pt black;"><i>Spandrels</i></td> + <td class="tdlp">Two mail-clad Angels of the Crucifixion, one with the spear and the other + with the nails. Blue background in centre, "Gloria in excelsis." First put into position. + Work done on slabs in studio, and slabs fixed with bronze nails in lead sockets.</td> + <td class="tdlp">Two Angels of the Passion, one with the pillar at which Christ + was scourged; the other with the cup of suffering. Much later than the opposite, and + the cubes put into position one by one.</td> + </tr> +</table> +</div> + +<br /> + +<p>The great transverse arches are inscribed on their western sides from +the <i>Benedicite</i>: "Omnes volucres cœli." "Omnia quæ moventur in +aquis." "Omnes bestiæ et pecora." "Benedicite, omnia opera Domini, +Domino." Looking from the east, the other faces have the Latin of +Romans i. 20: "Invisibilia ejus a creatura mundi." "Per ea quæ facta, +sunt intellecta." "Conspiciuntur." "Sempiterna ejus virtus et +divinitas."</p> + +<p><b>The Reredos Arch.</b>—In the triforium stage over the entrances has +Melchizedek on the north and Noah on the south. The High Priest, in a +long robe, blesses Abraham, in armour and with sword at side. Eight +figures of servants are behind; and so minute is the treatment that +the loaves of bread in the basket are depicted. The original design of +this is at South Kensington. Noah, with a rainbow offering as he came +out of the Ark, faces; and both are suggested by the neighbouring +altar. Above, the subject is the Sea giving up its Dead, and the words +"Alleluia," "Sanctus."</p> + +<p>The work in the <b>Apse</b> is difficult to describe. Above all, in the +crown of the vault, is a sun with golden rays. The chief figure is +Christ seated in judgment. The expression is of mingled firmness and +pity; and the crown has thorns bursting into flower. The upper robe, +fastened round the breast by a jewelled buckle, has red lining; and +the long robe beneath is white. To the right are two angels with the +Book of Life; and behind, two more holding crowns and inviting to +come. On the left, two more hold the scroll of the rejected, and the +angel of wrath, supported by weeping figures, <span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span>holds out both hands to +repudiate. The pilasters by the windows have representations of Hope, +Fortitude, Charity, Truth, Chastity, and Justice.</p> + +<p>But we have already exceeded our limit in describing this effort to +carry out Wren's conception on a large and well-organised scale. +Nothing approaching to it has ever been attempted in this country +before; it is "a new art acquired, a new craft learnt." Had not the +artist been constantly on the spot to see that his own thoughts were +reproduced, the work must have suffered. Sir William Richmond may +safely leave posterity to thank him. We notice with satisfaction that +before his labours on the choir were quite finished, the Royal Academy +co-opted him a full Academician, and the Crown bestowed a Knight +Commandership of the Bath.<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a></p> + +<br /> + +<h4>THE MONUMENTS.</h4> + +<p>For the sake of simplicity these are taken together. Not till some +eighty years after the completion of the building was any monument +placed in it: another instance of how the intentions of the architect +were ignored. In 1795, John Bacon, R.A. (1740-1799), finished the +Howard and Johnson statues, and that of Sir William Jones four years +later. The Reynolds statue, by John Flaxman, R.A. (1755-1826), was +added about the same time; and these four memorials occupy what Milman +calls the four posts of honour in front of the great supports. Then +came the wars not only with France, but in all parts of the world; and +while some of these heroes by land and sea to whom monuments were +erected are immortal, others are now so forgotten that even the date +of their birth is difficult to obtain. Yet their general claim is that +they were killed in the service of their country; and no one need +grudge them this honour. I cannot but think that a certain amount of +indiscriminate amateur criticism has been expended on the earlier +works. Johnson is represented partially draped in a toga; and there is +a sequence <span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span>of nude or semi-nude Victories and Fames with or without +wings. The taste of to-day has changed, and but few people approve of +the typical design of the reign of George III. Yet it is necessary to +state that besides four by Flaxman, six bear the imprints of the +genius of Sir Francis Chantrey, R.A. (1782-1831), not to mention five +by E.H. Bailey, R.A. (1788-1847), and six by Rossi. Not only were +Flaxman and Chantrey artists and not mere masons, but examples of both +Bacon and Bailey are among the very few sculptures in the National +Gallery. The asterisk affixed to the number indicates that the remains +slumber in the Crypt.</p> + +<br /> +<p class="cen sc">North Aisle of Nave.</p> + +<p>1. Officers and men of the Cavalry and 57th and 77th Foot (now 1st and +2nd battalions of the Middlesex Regiment) who died or were killed in +the Crimea, with old colours of Middlesex Regiment carried in the +Crimea. (Marochetti.)</p> + +<p><b>*</b>2. <b>Wellington</b> (1769-1852). Sarcophagus of white marble with +ornaments in bronze. The recumbent effigy in bronze rests upon this. +The canopy supported by Corinthian columns of white marble, which are +carved with foliated diaper pattern. The bronze groups represent +Valour, with Cowardice at her feet, and Truth plucking out the tongue +of Falsehood. The canopy arch supports a great pediment intended for +an equestrian statue, and the faces have the Duke's arms and the +Garter. The chief battles are inscribed at the base. (Alfred Stevens.)</p> + +<p>3. <b>Gordon</b> (Major-Gen. Chas. Geo., C.B., 1833-1885). Admirers of this +Christian hero constantly bring fresh flowers, which the attendants +remove when withered. Gordon's head was exhibited by the Mahdi, and +his trunk thrown into the Nile at Khartoum. A recumbent figure on a +sarcophagus, the features beautifully chiselled. One of two by that +great sculptor, Sir Joshua Edgar Boehm, R.A. (1834-1890).</p> + +<p>4. Mural tablet to the officers and men of the Royal Fusiliers (7th +Foot) who perished in Afghan Campaign, 1879-1880.</p> + +<p>5. <b>Stewart</b> (Major-Gen. Sir Herbert, K.C.B., 1844-1885). Killed in +the abortive attempt to relieve Gordon. A mural tablet behind Gordon's +monument. (Boehm.)</p> + +<p>6. <b>Torrens</b> (Major-Gen. Sir A. Wellesley). Died in the Crimea. +(Marochetti.)</p> + +<div class="img"><a name="imagep123" id="imagep123"></a><span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span> +<a href="images/imagep123.jpg"> +<img border="0" src="images/imagep123.jpg" width="52%" alt="The Wellington Monument." /></a><br /> +<p class="cen" style="margin-top: .2em;">THE WELLINGTON MONUMENT.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p><span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span>7. Mural tablets in brass on either side of the Melbourne monument to +the crew of H.M.S. <i>Captain</i>. Constructed in the early days of +ironclads, this vessel foundered in 1870 through a mistaken +calculation about the metacentre, with the designer, Captain Cooper +Coles, and a son of the First Lord on board.</p> + +<p>8. <b>Melbourne</b> (William Lamb, Viscount, 1779-1848), with his brother +Frederick, a diplomatist (d. 1853). Prime Minister at the accession of +Queen Victoria. Black marble representation of "the gate of death," +with angels of white marble. The complete darkness with nothing beyond +is more appropriate to the Premier's religious views as stated in the +<i>Greville Memoirs</i>, than to the inscription from the Collect for +Easter Eve. (Marochetti.)</p> + +<br /> + +<p class="cen sc">South Aisle of Nave.</p> + +<p>9. Officers of Coldstream Guards killed at Inkerman, with old colours +of regiment above. Vesey Dawson, Granville Elliott, Lionel Mackinnon, +Murray Cowell, Henry M. Bouverie, Frederick Ramsden, Edward Disbrowe, +C. Hubert Greville, with inscription, "Brothers in arms, in glory and +in death, they were buried in one grave." (Marochetti.)</p> + +<p>10. <b>Burgiss</b> (Captain Richard Rundle, R.N., 1755-1797). Killed at +Camperdown in command of the <i>Ardent</i>. Almost undraped, and out of +proportion about the shoulders and bust, as is also the figure of +Victory giving him the sword. Group in lower part of sarcophagus +difficult to interpret. (J. Banks, R.A.)</p> + +<p>11. <b>Middleton</b> (T.F., d. 1822). First Bishop of Calcutta. (Lough.)</p> + +<p>12. <b>Lyons</b> (Captain, R.N., d. 1855). (Noble.)</p> + +<p>13. <b>Westcott</b> (Captain Geo. Blagdon, R.N., 1743-1798). Killed in +command of the <i>Majestic</i> at the Nile. Expression of the face too +young. The bas-relief has the Sphynx, the Nile, and the <i>Orient</i> blown +up. (Banks.)</p> + +<p>14. <b>Loch</b> (Captain, R.N., d. 1853). (Marochetti.)</p> + +<br /> + +<p class="cen sc">North Transept.</p> + +<p>15. <b>Faulknor</b> (Captain Robert, R.N., 1763-1795). He was called the +"Undaunted" by Jervis; killed off Dominica in <span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span>command of the +<i>Blanche</i>, and while lashing his bowsprit to the <i>Pique</i>, a French +frigate of superior size. Falling into the arms of Neptune, with +Victory about to crown him. (C. Rossi, R.A.)</p> + +<p>16. <b>Mackenzie</b> (Major-Gen. J.R.), <b>Langwerth</b> (Brig.-Gen. E.). Both +killed at Talavera, July 28, 1809. Above Faulknor's. Two sons of +England bear trophies. The figure of Victory not remarkable for good +proportions. (C. Manning.)</p> + +<p><b>*</b>17. <b>Reynolds</b> (Sir Joshua, P.R.A., 1723-1792). Draped in the robes +of a Doctor of Laws; in right hand the Discourses to the Royal +Academy; beneath the left hand is a medallion of his master, Michael +Angelo. A pity that Bacon and others did not follow a like natural +style of design. The special preachers are advised to preach at him, +so that their voices may travel across the dome. (Flaxman.)</p> + +<p><b>*</b>18. <b>Cockerell</b> (Chas. Robert, d. 1863). An accomplished successor of +Wren as surveyor. (F.P. Cockerell.)</p> + +<p>19. <b>Hoghton</b> (Major-Gen. Dan., d. 1811). Killed at Albuera. A tabular +monument; the embroidery on the uniform, the line of bayonets, and the +colours excellent. (Chantrey.)</p> + +<p>20. <b>Elphinstone</b> (Hon. Mountstuart, d. 1859). Lieut. Gov. of Bombay, +and thrice refused the Governor-Generalship. (Noble.)</p> + +<p>21. <b>Myers</b> (Lieut.-Col. Sir Wm., 1784-1811). Killed at Albuera. A +bust supported by Hercules for Valour and Minerva for Wisdom. +Inscription, extract from a letter from Wellington. (J. Kendrick.)</p> + +<p>22. <b>Malcolm</b> (Admiral Sir Pulteney, d. 1838.) (Bailey.)</p> + +<p>23. <b>St. Vincent</b> (Admiral of the Fleet John Jervis, Earl of, +1735-1832). Defeated the Spanish Fleet off Cape St. Vincent, Feb. 14, +1797. A colossal statue, with Victory and the Muse of History. +(Bailey.)</p> + +<p>24. <b>Rodney</b> (Admiral Geo. Brydges, Baron, K.B., 1718-1790). Defeated +French Fleet off Martinique under De Grasse, April 12, 1782. +Accidentally disregarding the code of Fighting Instructions, he +adopted the manœuvre of "breaking the line" instead of the old +"line a-head," and later admirals followed. Marble, in uniform and the +Bath. Fame, a winged female figure with only the lower limbs <span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span>draped, +instructs the Muse of History. Parliament voted £6,000 for this +monument, which is very good. (Rossi.)</p> + +<p><b>*</b>25. <b>Picton</b> (Sir Thomas, d. 1815). After a chequered career, in +which he figured at the Old Bailey, killed at Waterloo, "gloriously +leading his division," said Wellington, "to a charge of bayonets." (S. +Gahagan.)</p> + +<p>26. <b>Napier</b> (Gen. Sir William F.P., 1785-1860). Soldier and man of +letters. Son of Lady Sarah Lennox, whom George III. wished to marry, +and brother to Charles James (No. 29). Commanded 43rd in Peninsula, +and wrote the History of the War, still a standard authority, and +other works. (Bailey.)</p> + +<p>27. <b>Hay</b> (Major-Gen. Andrew, d. 1814). Killed at Bayonne. Falling +into the arms of Valour; soldier mourning and a file of troops in the +background, all in correct uniform. (H. Hopper.)</p> + +<p>28. <b>Gore</b> and <b>Skerrett</b>. Two Major-Generals killed at +Bergen-op-Zoom, March 10, 1814. Chantrey is betrayed into a +pseudo-classical style, most elegant of its kind and beautifully +executed, by the designer Tallemache. Fame, without wings and undraped +to the waist, consoles Britannia, at whose feet reposes the British +Lion. (Designed by Tallemache, executed by Chantrey.)</p> + +<p>29. <b>Napier</b> (Gen. Sir Chas. James, 1782-1853). Brother to William +(No. 26) and conqueror of Scinde. (G. Adams.)</p> + +<p>30. <b>Ponsonby</b> (Major-Gen. Hon. Sir William, d. 1815). Killed in +command of the Union Brigade of Cavalry (Royals, Scots Greys, +Inniskillings) at Waterloo. There is good reason for Theed +representing him undraped, as his body was stripped by some of those +camp followers mentioned by Victor Hugo in <i>Les Misérables</i>. The horse +falling, as represented, was the cause of his death. "I have to add +the expression of my grief," wrote Wellington, "for the fate of an +officer who had already rendered very brilliant and important +services, and was an ornament to his profession." (Designed by William +Theed, R.A., and, after his death, executed by Bailey.)</p> + +<p>31. <b>Riou</b> and <b>Mosse</b> (Captain Edward Riou, 1762-1801, and Captain +James Robert Mosse, 1746-1801). The "gallant good Riou," of Campbell's +song, fell in command of the <i>Amazon</i>, and Mosse of the <i>Monarch</i>, at +Copenhagen. Victory and Fame hold medallions. (Rossi.)</p> + +<p><span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span>32. <b>Napier</b> (Admiral Sir Chas., 1786-1860). Second in command at +bombardment of Acre, and commanded English part of the allied fleet in +the Baltic, 1854. A tablet. (G. Adams.)</p> + +<p>33. <b>Le Marchant</b> (Major-Gen. John Gaspard, d. 1812). Killed at +Salamanca. To the left is Spain placing the trophies in the tomb; to +the right Britannia instructing a cadet. (Designed by C.H. Smith and +executed by Rossi.)</p> + +<p>34. <b>Hallam</b> (Henry, 1777-1859). Historian, and father of the "Arthur" +of "In Memoriam." (Theed.)</p> + +<p>35. <b>Johnson</b> (Samuel, 1709-1784). More fault has been found with this +design than with any other. Instead of partially draping the colossal +statue of the great man of letters in a toga, Bacon might have adopted +the more correct taste of Flaxman with Reynolds (No. 17) and +represented him in his Oxford D.C.L. robes. This criticism does not +apply to the execution. (Bacon.)</p> + +<p>36. <b>Bowes</b> (Major-Gen., d. 1812). Indiscriminate fault-finders may +well study this piece of work with fifteen figures. Bowes, storming a +wall at Salamanca, falls back into the arms of his men. (Chantrey.)</p> + +<p>37. <b>Duncan</b> (Admiral Adam Viscount Duncan, 1731-1804). Defeated the +Dutch Fleet off Camperdown October 11, 1797. A simple statue, with a +seaman and wife and child on the pedestal. (R. Westmacott.)</p> + +<p>38. <b>Dundas</b> (Major-Gen. Thomas, 1750-1794). The inscription sets +forth that Parliament voted this monument with especial reference to +services in the West Indies. Britannia, attended by Sensibility and +the Genius of Britain, crowns the bust with a laurel wreath. (John +Bacon, jun.)</p> + +<p>39. <b>Crauford</b> and <b>Mackinnon</b>. Above No. 38. Two Major Generals who +fell at Ciudad Rodrigo, 1812. The partially draped figure with musket +and target is that of a Highland soldier, mourning; the other is the +stereotyped Victory placing a wreath. (J. Bacon, jun.)</p> + +<br /> + +<p class="cen sc">South Transept.</p> + +<p><b>*</b>40. <b>Nelson</b> (Vice-Admiral Horatio Viscount Nelson, K.B., and Duke of +Bronte in the Neapolitan peerage, &c., <span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span>1758-1805). Completed about +1818, and placed just east of where the dean's stall now is (then +outside the choir rails); placed in present position 1870. The actual +statue in uniform and with left hand resting on anchor and cable is 7 +feet 8 inches in height, and the whole monument about 18 feet. Flaxman +thus described his design:—"Britannia is directing the young seamen's +attention to their great example, Lord Nelson. On the die of the +pedestal which supports the hero's statue are figures in +basso-relievo, representing the Frozen Ocean, the German Ocean, the +Nile, and the Mediterranean. On the cornice and in the frieze of +laurel wreaths are the words, Copenhagen, Nile, Trafalgar. The British +Lion sits on the plinth, guarding the pedestal." The life-like +expression of the face was probably taken from the portrait by +Leonardo Guzzardi, in the possession of the family. The cloak conceals +the empty sleeve, and the right eye is wanting. (Flaxman.)</p> + +<div class="imgl" style="width: 50%;"><a name="imagep128" id="imagep128"></a> +<a href="images/imagep128.jpg"> +<img border="0" src="images/imagep128.jpg" width="85%" alt="Nelson's Monument." /></a><br /> +<p class="cen" style="margin-top: .2em;">NELSON'S MONUMENT.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>41. <b>Hardinge</b> (Captain Geo. N., R.N., 1779-1808). Above Nelson. +Killed in command of the <i>San Fiorenzo</i> when it captured the much +larger <i>Piémontaise</i> after a three days running fight, March 3, 1808, +off Ceylon. The somewhat indifferently modelled male figure represents +an East Indian Chief with the British colours. (C. Manning.)</p> + +<p>42. <b>Brock</b> (Major-Gen. Sir Isaac, d. 1812). Killed at Queenstown, +Upper Canada. (Westmacott.)</p> + +<p>43. <b>Babington</b> (William, d. 1833). One of the few medical men. +(Behnes.)</p> + +<p><span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span>44. <b>Hoste</b> (Captain Sir William, R.N., d. 1831). Statue with simple +epitaph. (Campbell.)</p> + +<p>45. <b>Jones</b> (Sir William). A great Orientalist. One of the original +Four, and of similar design to the Johnson across the dome. The open +book on the smaller pedestal has a picture of Noah's Ark. On the +larger pedestal, Study and Genius unveil Oriental knowledge. (Bacon.)</p> + +<p>46. <b>Lyons</b> (Vice-Admiral Edmund Lord Lyons, 1790-1858). Commanded the +Fleet before Sevastapool; also Minister at Athens. (Noble.)</p> + +<p>47. <b>Abercromby</b> (Sir Ralph, 1736-1801). Defeated the French under +Menou at Alexandria, mortally wounded, and died on board ship. He is +falling from his horse, and a Highland soldier supports him. Large +sphinxes on plinth. (Westmacott.)</p> + +<p>48. <b>Moore</b> (Sir John, 1761-1809). Killed at Corunna, and Soult +erected a humble monument over his grave. A Spanish soldier (why not +in uniform?) and Victory are laying him in his grave. A child—the +Genius of Spain—holds a trophy, the arms of Spain behind. Gracefully +modelled and well executed. (J. Bacon, jun.)</p> + +<p>48A. Tablet commemorating Queen's visit, 1872, for Prince of Wales' +recovery.</p> + +<p>49. <b>Cooper</b> (Sir Astley Paston, 1768-1841). A skilful operator before +the days of chloroform. (Bailey.)</p> + +<p>50. <b>Gillespie</b> (Major-General Robert Rollo, d. 1814). Mortally +wounded in attempting to storm the fort of Nalapanee, in Nepaul.</p> + +<p>51. <b>Pakenham</b> and <b>Gibbs</b>. The former commanded and the latter was a +General under him of the force defeated by Jackson at N. Orleans, +1815. Treaty of peace had been already signed at Ghent. In full +uniform. (Westmacott.)</p> + +<p><b>*</b>52. <b>Turner</b>, Joseph M.W., R.A. (1775-1851). The greatest of English +landscape painters, if not of every school. (Macdowell.)</p> + +<p><b>*</b>53. <b>Collingwood</b> (Vice-Admiral Cuthbert, Lord, 1750-1810). In +command at Trafalgar after Nelson's death. Died in command of the +Mediterranean Fleet, and the corpse is represented arriving home: +supporters Fame and the Thames; alto-relievo on the ship's side +illustrates the progress of navigation. A fine group. (Westmacott.)</p> + +<p><span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span>54. <b>Howe</b> (Admiral of the Fleet, Richard, Earl Howe, K.G., +1726-1799). Defeated the French off Ushant, June 1, 1794. Colossal +figure in the correct uniform with garter, collar, and ribbon (over +right shoulder, should have been left). Boat cloak over left shoulder, +and telescope in right hand. The female figure with the pen is +History. (Flaxman.)</p> + +<p>55. <b>Jones</b> (Major-Gen. Sir John, Bart., K.C.B., R.E., 1797-1843). +(Behnes.)</p> + +<p>56. <b>Ross</b> (Major-Gen. Robert, d. 1814). Over entrance to crypt. +Defeated a superior force at Washington, and under orders from home +destroyed the public buildings; defeated and killed at Baltimore. +Undraped male figure is Valour. (J. Kendrick.)</p> + +<p>57. <b>Howard</b> (John, 1726-1790). Although a Quaker, the first admitted. +Died at Kherson from the plague he was investigating. In toga, and the +face expressing benevolence. "Plan for improvement of prisons" and +"hospitals" on papers in left hand; "regulations" on another at his +feet. Trampling on chains and fetters, and the bas-relief on the +pedestal represents him relieving prisoners. Inscription by his +neighbour—Samuel Whitehead, of Bedford. Liddon's last sermon from the +adjacent pulpit, April 27, 1890, on the occasion of the Centenary, +referred to him. (Bacon.)</p> + +<p>58. <b>Cadogan</b> (Colonel Henry, d. 1813). Historical design. Mortally +wounded at Vittoria, he orders his men to place him where he can see +his regiment engaged in a successful bayonet charge. (Chantrey.)</p> + +<p>59. <b>Lawrence</b> (Major-Gen. Sir Henry Montgomery, K.C.B., 1806-1857). +One of two famous brothers. Predicted the Mutiny fourteen years before +it broke out, and died in the defence of Lucknow. (Lough.)</p> + +<p>60. <b>Heathfield</b> (Gen. Geo. Eliott, Baron, d. 1790). Defender of +Gibraltar, 1779-1783, against the united fleets and armies of France +and Spain.</p> + +<p>61. <b>Cornwallis</b> (Gen. Chas., Marquis, K.G., 1739-1805). American +visitors, associating him only with the surrender of Yorktown, may +wonder at this monument. It is fully merited, not so much for the +defeat of Tippoo Sahib and conquest of Mysore, as for continuing the +policy of Clive and sternly preventing the natives of India from being +ground down by the greed and cruelty of English residents. Twice +Viceroy of <span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span>India, and died there in harness. Napoleon met him during +the negotiations at Amiens, and styled him "<i>un bien brave homme</i>." A +pyramidal group. In Garter mantle with insignia (ribbon again over +wrong shoulder). The male figure represents the river Bagareth (<i>sic</i>) +and holds an emblem of the Ganges. The female figure standing by is +our Eastern Empire. Perhaps the best of this sculptor. (Rossi.)</p> + +<br /> + +<p class="cen sc">Choir South Aisle.</p> + +<div class="imgr" style="width: 50%;"><a name="imagep131" id="imagep131"></a> +<a href="images/imagep131.jpg"> +<img border="0" src="images/imagep131.jpg" width="70%" alt="Monuments of Dr. John Donne and Bishop Blomfield." /></a><br /> +<p class="attrib" style="margin-top: .2em;"><i>Photo S.B. Bolas & Co.</i></p> +<p class="cen" style="margin-top: .2em;">MONUMENTS OF DR. JOHN DONNE AND BISHOP BLOMFIELD.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>Four are recumbent figures of bishops and dignitaries, and call for no +comment beyond the success in giving a life-like expression to the +features.</p> + +<p><b>*</b>62. <b>Milman</b> (Henry Hart, 1791-1868). Dean for nineteen years. +Pastor, poet, historian, and divine. (Williamson.)</p> + +<p><b>*</b>63. <b>Donne</b> (John, 1572-1631). A versatile and somewhat eccentric +dean, 1621-1631. The only monument at all intact that escaped the +Fire. Upright in shroud, and on classical urn. In old church in like +position, but on opposite side. Sat for his portrait in his shroud.</p> + +<p>64. <b>Blomfield</b> (Chas. Jas., 1786-1857). Bishop, 1828-1856. (Geo. +Richmond.)</p> + +<p>65. <b>Jackson</b> (John, 1810-1885). Bishop, 1868-1885. (Thos. Woolner.)</p> + +<p>66. <b>Heber</b> (Reginald, 1783-1826). Second Bishop of <span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span>Calcutta; died at +Trichinopoly. Thackeray's "Good divine, charming poet, beloved parish +priest." Milman's "Early friend, by the foot of whose statue I pass so +often, not without emotion, to our services.... None was ever marked +so strongly for a missionary bishop in the fabled and romantic East." +A kneeling figure, and the best in this aisle. Formerly under the east +window, but now facing the sanctuary. (Chantrey.)</p> + +<p><b>*</b>67. <b>Liddon</b> (Henry Parry, 1829-1890). South side of the Apse. We +fitly close this catalogue with this famous preacher, with the +possible exception of Henry Melvill the greatest connected with the +cathedral in modern time. Residentiary for twenty years, and +Chancellor. (Bodley and Garner.)</p> + +<hr style='width: 45%; clear: both;' /> + +<p>Amongst the great sculptors, John Gibson is not represented by any +work. Amongst the great men, Wren, his epitaph notwithstanding, might +well have a monument with a list of his buildings on the pedestal. +Marlborough should have one opposite to Wellington; and Colet, surely, +might be again remembered, and with him Dean Church.</p> + +<br /> + +<h4>THE CRYPT.</h4> + +<p>The entrance to the staircase is in the ambulatory on the north side +of the south transept. This basement story, for the whole length and +breadth of the building, of which more than one half is taken up by +piers and pillars, dimly lighted in aisles and transepts from above, +though it strikes the spectator most impressively, has an aspect weird +and sombre to a degree. We feel we are in the company of the dead. The +pavement of the dome area is supported by eight larger and four +smaller piers, forming externally a square and internally an octagon; +and within the octagon eight columns describe a circle of sufficient +diameter for Nelson's tomb. The central aisles throughout are likewise +supported by double rows of square pillars. At the west end of the +choir the piers underneath the chancel arch are exceptionally massive, +and east of them the introduction of two extra rows of pillars +together with an irregularity in the vaulting indicates, not only +where choir screen and organ were placed, but also that Wren never +wanted them there to isolate the chancel.</p> + +<div class="img"><a name="imagep133" id="imagep133"></a><span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span> +<a href="images/imagep133.jpg"> +<img border="0" src="images/imagep133.jpg" width="85%" alt="Nelson's Tomb." /></a><br /> +<p class="cen" style="margin-top: .2em;">NELSON'S TOMB.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The parish of St. Faith in 1878 consented to the removal of the high +railings which marked off their part, and tiles now record the south +and west boundaries. This reminds us that the crypt has been a burial +place for ages past. Many completely unknown lie around us, and sleep +in the company of more than one great maker of history; but we are +concerned only with the few, and with certain monuments of others +buried elsewhere. At the west is placed Wellington's funeral car, made +of captured guns, and with his chief victories inscribed in gold, and +the candelabra used for the lying in state. Near, and further east, +are buried Cruikshank, Lord Mayor Nottage (who died during his +mayoralty in 1886), Bartle Frere and his wife (Lady Frere died 1899, +and is the last interred at the time of writing this), and Lord Napier +of Magdala. In the very centre the corpse of <span class="sc">Nelson</span>, enclosed +in wood from a mast of the <i>Orient</i>, reposes within the circle of +columns in a plain tomb, and underneath a magnificent black and <span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span>white +sarcophagus of the sixteenth century. Let us pause to reflect that +this fine work of art, on which Benedetto da Rovanza and his masons +spent much labour, was intended by Wolsey for his own monument, but +was confiscated with the rest of his goods. To this day no one knows +the exact spot where the Abbot of Leicester and his monks buried the +great Tudor statesman; and nearly three centuries later the marble +covered the coffin of the great admiral. On the top a viscount's +coronet takes the place of the disgraced and broken-hearted cardinal's +hat. Nelson's nephew, Lord Merton of Trafalgar, lies in a vault +underneath, and at the sides are Collingwood and the Earl of Northesk, +two companions in arms. A grating here, underneath the centre of the +dome, allows the light from the lantern to be dimly seen. Further east +and near the south side were placed in April, 1883, the remains of the +ill-fated Professor Palmer and his two companions, Captain Gill and +Lieutenant Charrington, who were killed by Arabs while on a Government +mission in the Desert of Sinai. Underneath the chancel arch is the +sepulchre of Wellington, of Cornish porphyry, plain and unadorned. As +with the monument, so here, no attempt is made to enumerate those +titles, commands, orders and posts and offices of honour, proclaimed +by Garter King at Arms, after Dean Milman had committed his body to +the ground. The simple inscription, "Arthur, Duke of Wellington," upon +the severely simple tomb, depicts, not incorrectly, the life and +character of the Iron Duke. A neighbouring tomb is that of Picton. +Some little distance to the east, and in the end recess of the south +choir aisle is the grave of <span class="sc">Wren</span>. The plain black marble +slab, which tells who lies below, is only raised some sixteen inches; +and on the wall of the recess is the original of the famous +inscription, "<i>Lector, si monumentum requiris, circumspice.</i>" Other +members of the family are close at hand in what we may call Wren's +corner. His daughter Jane, his daughter-in-law Maria with her parents +Philip and Constantia Masard, and tablets commemorate Dame Jane his +wife, a daughter of Sir Thomas Coghill, and her great granddaughter +who, living to the age of ninety-three, well-nigh connects his time +with ours. One of the deans—Newton, Bishop of Bristol, whose monument +was not allowed above, slumbers near the great architect; as in +<b>Painters' Corner</b> do <span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span>Reynolds, West, Lawrence, Leighton (whose fine +gravestone contrasts so oddly with Wren's), and Millais, all +Presidents of the Royal Academy, with James Barry, Opie, Dance, +Fuseli, Turner, Landseer, and Boehm. Near here are Mylne and +Cockerell, successors of Wren: Milman lies directly under the altar, +and Liddon underneath his monument.</p> + +<div class="img"><a name="imagep135" id="imagep135"></a> +<a href="images/imagep135.jpg"> +<img border="0" src="images/imagep135.jpg" width="85%" alt="Church of St. Faith in the Crypt." /></a><br /> +<p class="attrib" style="margin-top: .2em;"><i>Photo. S.B. Bolas & Co.</i></p> +<p class="cen" style="margin-top: .2em;">CHURCH OF ST. FAITH IN THE CRYPT.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>The monuments include two removed from the choir to make room for the +organ. John Cooke, killed in command of the <i>Bellerophon</i> +(Westmacott), and George Duff, killed in command of the <i>Mars</i> +(Bacon), both at Trafalgar. Tablets, busts, or brasses, are in honour +of Lord Mayo, the Canadian statesman Macdonald, the Australian +statesman Dally, the Press correspondents who fell in the Soudan, the +soldiers who fell in the Transvaal, Goss, the organist and composer, +and Bishop Piers Claughton, a residentiary. At the east end, where +service is held on a weekday morning at eight, are a <span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span>few fragments of +the old monuments—Nicholas Bacon (in armour and legs missing), +Christopher Hatton, John Wolley, and others. Some slight carvings of +the old buildings are also left.</p> + +<br /> + +<h4>THE GALLERIES AND LIBRARY.</h4> + +<div class="img"><a name="imagep136" id="imagep136"></a> +<a href="images/imagep136.jpg"> +<img border="0" src="images/imagep136.jpg" width="80%" alt="The Library." /></a><br /> +<p class="attrib" style="margin-top: .2em;"><i>Photo. S.B. Bolas & Co.</i></p> +<p class="cen" style="margin-top: .2em;">THE LIBRARY.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<p>Above the aisles are long and spacious galleries, and after mounting +the staircase to the south-west of the dome, we pass through one of +these—that over the south aisle—to the Library over the South-West +Chapel. A gallery is supported by brackets carved by Jonathan Maine, +and the flooring is of 2,300 pieces of oak, inlaid and without pegs or +nails. There is a portrait of Bishop Compton, who may be considered +the founder; and later donations and bequests include those of Bishop +Sumner of Winchester, Archdeacon Hale, and notably Dr. +Sparrow-Simpson. Altogether many thousands of MSS. <span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span>and books. A +beautiful "Avicenna Canon Medicinæ," a psalter supposed to have been +used in the old Latin services, and another bought by Dr. Simpson at a +second-hand book-stall, are of the fourteenth century. A subscription +book for the rebuilding contains the following: "<i>I will give one +thousand pounds a yeare whitehall 20 March 1677/8 Charles R.</i>" These +subscriptions never found their way into the fund; and forgetful how +readily the Merry Monarch's money might have been intercepted <i>en +route</i>, it has been assumed that he never parted with it. In the same +book James also promises "<i>two hundred pounds a yeare to begin from +Midsommer day last past.</i>" The printed books include Tyndale's +Pentateuch and his New Testament; and the Sumner and Hale bequests +include large numbers of curious tracts and pamphlets. Richard +Jennings' model of the centre of the west front is preserved. In the +eighteenth century St. Paul's was a favourite place for weddings, and +the registers, with many interesting names, are being edited for the +Harleian Society. The Trophy Room above the North-West Chapel contains +Wren's model, which was restored when Sydney Smith was a Canon.</p> + +<hr style='width: 45%;' /> + +<p>We are quite content to follow Fergusson, and let the architectural +value of New St. Paul's stand or fall with the literary value of +"Paradise Lost." Just as Addison says of the latter: "In poetry as in +architecture, not only the whole, but the principal members and every +part of them should be great"; "there is an unquestionable +magnificence in every part"; "a work which does an honour to the +English nation": just as Macaulay corroborates by eulogising it as +"that extraordinary production which the general suffrage of critics +has placed in the highest class of human compositions"—even so we may +end here, and describe this unique and marvellous conception of a man +who was not a trained architect, who was never known to have travelled +further than Paris and who was incessantly hampered and hindered, as a +conception, not indeed architecturally faultless, but for all that and +leaving out the much greater St. Peter's, as the finest church of the +Renaissance style and epoch, more stable and better adapted for public +worship than any earlier cathedral in England. To the Renaissance, the +genius of Milton contributed an epic in blank verse, the genius of +Wren a second in stone.</p> + +<br /> +<hr style="width: 15%;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> Ground-plan of Interior of First Design in Fergusson's +"Modern Architecture," p. 260; and in Longman, p. 110, where the +scale, though not given, is 1-1/2 inches to the 100 feet.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> "Parentalia," p. 290. The Temple of Peace is now known +as the Basilica of Constantine or Maxentius.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> <i>Fortnightly Review</i>, October, 1872.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> "Handbook," p. 495.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> Tract II. in "Parentalia," p. 357. His mathematical +demonstrations with their diagrams, wherein he works out the centre of +gravity, are too technical for insertion. The Tract is incomplete.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> "Parentalia," p. 291.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> The two others on the west wall represent Melchisedek +blessing Abraham, and David as a man of war praising God. On the +eastern wall the central piece illustrates the texts, "Righteousness +and peace have kissed each other"; "Young men and maidens, old men and +children, praise the name of the Lord." At the sides the words of Job, +"Unto me men gave ear, and waited, and kept silence at my counsel"; +and of the Centurion, "I also am a man set under authority, having +under myself soldiers."</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> Gwilt's "Edifices of London," vol. i., p. 33, quoted by +Longman, p. 178.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> Nevertheless it is not correct to say that the massive +pillars of the octagon leave the vista along the side aisles +unimpaired. I have satisfied myself that there is an interruption +similar to St. Paul's.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> See the half-section, half elevation, in Fergusson, p. +271, or section p. 90 above.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> So far as I can calculate. St. Peter's, according to +Fergusson, is 333 feet high internally, and the diameter 130 feet, +giving a ratio of five to two: St. Paul's gives a ratio of two to one. +Stephen Wren gives the ratios differently in the "Parentalia."</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a> "Parentalia," p. 291.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a> "St. Paul's and Old City Life," p. 279.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a> I think it needless to repeat the evidence I gave <i>in +extenso</i> in the <i>Times</i>, May 22, 1899. But see the "Parentalia," p. +292, note (<i>a</i>), and Mr. William Longman's remarks.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a> I presume that this gave rise to the idea that this +particular kind of mosaic is only suited for churches of the Byzantine +style of architecture, like St. Sophia. Yet these old mosaics are +found in churches which are not of this style, although situated at +one time in the Eastern Empire.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a> My sister, Mrs. Curry, saw these mosaics on August 30, +1899, and helped me to bring the account up to date.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> I am indebted to Ralph's successor, Archdeacon +Thornton, for this information. These "Psalmi Ascripti" are found in +the <i>Consuetudines</i> of Ralph de Baldock. I am ignorant of Newcourt's +sources of information.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a> <i>Registrum Statutorum</i>, Appendix i.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a> Longman, p. 112.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a> Further information may be found in <i>The Journal of the +Society of Arts</i>, June 21, 1895 (Sir W. Richmond); <i>Magazine of Art</i>, +Nov., 1897 (Alfred Lys Baldry); <i>Sunday Magazine</i>, Jan. and Feb., 1898 +(Canon Newbolt, who mentions "A Small Lecture on Mosaic," by Sir W. +Richmond, given at the "Arts and Crafts").</p></div> + +<br /> +<br /> +<br /> +<br /> +<a name="CHAPTER_VII" id="CHAPTER_VII"></a><hr /> +<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span><br /> + +<h3>CHAPTER VII<span class="totoc"><a href="#toc">ToC</a></span></h3> + +<h4>CONCLUSION (1710-1897)</h4> +<br /> + +<p>Wren's great friend and supporter on the Commission, John Evelyn, was +long since dead; and in 1718, thanks to an intrigue, the Surveyor was +dismissed in favour of an incompetent successor, chiefly famous for +figuring in the Dunciad. Fortunately, says his grandson, "He was +happily endued with such an Evenness of Temper, a steady Tranquillity +of Mind, and Christian Fortitude, that no injurious Incidents or +Inquietudes of human life, could ever ruffle or discompose." He +continued for a time superintending at the Abbey, but soon took a +house from the Crown at Hampton, where he could look upon another of +his innumerable designs, and from time to time came up to see his +cathedral, and, as the story goes, was wont to sit under the dome. +Thanks to the regularity and temperance of his habits, for he profited +by his medical studies, and his happy disposition, he lived five years +longer, occupying his leisure with a variety of mathematical and +scientific studies, and above all "in the Consolation of the Holy +Scriptures: cheerful in Solitude, and as well pleased to die in the +Shade as in the Light." A visit to London brought on a cold he failed +to shake off. He was accustomed to take a nap after dinner; and on +February 25, 1723, his servant, thinking he had slept long enough, +entered the room. The good old man had passed quietly to his +well-earned rest. His wife had long pre-deceased him. Steele declared +that Wren was absolutely incapable of trumpeting his own fame, "which +has as fatal an effect upon men's reputations as poverty; for as it +was said—'the poor man saved the city, and the poor man's labour was +forgot'; so here we find the modest man built the city, and <span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span>the +modest man's skill was unknown."<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a> But Wren did not build only for +the Commission who dismissed him, but for posterity; and posterity +more impartial will yet pronounce that he belongs to the great men of +two centuries ago, and accord him a place beside Marlborough and +Addison and Newton.</p> + +<p>About this time Parliament vested the fabric in three trustees—the +Primate, the Bishop, and the Lord Mayor. With them rests the +appointment of the surveyor, the examination and audit of his +accounts, and in general the charge and maintenance of the +cathedral.<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a> This trust is unique, and has its origin in the large +sums provided from taxation, whereas the other cathedrals were raised +by voluntary offerings. The eighteenth century does not call for more +than a passing notice. Wren's intentions continued to be delayed or +frustrated in at least four important respects. The high railings shut +out any complete view of the exterior: the dome area, isolated from +the choir by the organ, was not used for the very purpose it was +designed: the interior lacked mosaics: no monuments to the great dead +filled the recesses ready for them. Reynolds headed a body of artists +anxious to execute a scheme of adornment not in accordance with the +architect's views, and was defeated by Bishop Terrick on grounds other +than æsthetic. George III. gave thanks in 1789 for his recovery, and +again eight years later for naval victories. On this latter occasion +Nelson attended as one of the representatives of the Fleet; and as his +one remaining eye rested on the Howard monument, did he think that the +time was near at hand when he would be brought there, and when another +monument would be erected to himself? For at last the cathedral was +being put to its intended use; and the first memorial was accorded to +a self-sacrificing philanthropist, who was not even a member of the +Anglican communion. Another eight years, and amidst all that was high +and distinguished, under the very centre of the dome, Dean +Pretyman-Tomline, Bishop of Lincoln, committed to the ground the +maimed body of the greatest of our sea captains. "As a youth," says +Dean Milman, "I was present, and remember the solemn effect of the +sinking of the coffin. I heard, or fancied that I heard, the low wail +of the sailors who bore and encircled the remains of their +<span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span>admiral."<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a> During the short peace before the return from Elba +Wellington carried the sword of state before the Regent at the +Thanksgiving service (July 9, 1814), and Dean Milman was called upon +to officiate at the funeral of Wellington (November 18, 1852), which +the Prince Consort attended, when the length of the procession may be +estimated from Henry Greville's statement that it took one and +three-quarter hours to pass Devonshire House.</p> + +<p>The earlier Parliaments returned by the first Reform Bill brought +about sweeping and ill-considered changes, both diocesan and +capitular. Essex and the small archdeaconry of St. Alban's were +separated from the diocese, and instead of being formed into a new +one, were annexed to Rochester.<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a> The capitular changes were +chiefly the work of one sweeping Act which applied to the Chapters as +a body (3 and 4 Vict. c. 113). The obligation of residence was removed +from the prebends; four new resident canonries were created, and the +revenues of the prebends alienated. By this scheme the greater part of +the authority was entrusted to the dean and the residentiaries, and +the thirty prebends became almost honorary, excepting that the old +fees had still to be paid on installation. Thirty benefices—sinecures +most of them in the modern sense and of large and increasing +value—had become an anomaly and out of date; but were residents, +officially non-resident for three-fourths of the year, the happiest +method of reform? What Sydney Smith, one of the last of the old +resident prebendaries, thought of these changes may be read in his +life. A more competent authority on matters capitular than Sydney +Smith, and like him in other respects an admirer of the first +Victorian ministry, roundly declared, "The three months system is a +mockery and worse";<a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a> and as a matter of fact the residentiaries +prefer to discharge their duties by a more regular attendance. The +patronage of three of these coveted stalls was reserved to the Crown; +the fourth was left to the Bishop; but although the Archdeaconry of +London was annexed to this fourth, one-third of the revenue was +deducted for the remaining <span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span>Archdeaconry of Middlesex. Since then the +income of this fourth stall has been raised to the level of the +others, and the prebendal stall of Cantlers re-endowed, the occupant +being the diocesan inspector in religious knowledge. The one +satisfactory feature in these changes is that the alienated revenues, +estimated at £150,000, have been put to a good and practical use. By +yet another change the mediæval college of the petty canons has been +dissolved, and the minor canons reduced from twelve to six.</p> + +<p>The best vindication of the new order of things is to look at results. +It was left to Dean Milman and his Chapter, originally at the +suggestion of Bishop Tait, to endeavour to carry out Wren's designs +and Wren's ideas. The high exterior railings are gone: the organ +removed to its proper position and the organ screen taken away, so +that dome and choir are connected for congregational purposes: the +system of decoration by mosaics well advanced. The absolute necessity +of using the dome was emphasised, not only by the Sunday evening +services, but by the appointment of <span class="sc">Henry Parry Liddon</span> to a +resident's stall. Competent judges have asserted that Henry Melvill, +though not the greater thinker, was the greater preacher of the two; +but Melvill was almost past his best on his appointment in 1856, and +he is rather associated with the choir than the dome. Be this as it +may, Wren would have been gratified indeed to have seen the favourite +offspring of his genius filled from arch to arch, and to have listened +to the clear and melodious high-pitched voice of the great preacher, +always articulate, and with an articulation after Wren's own heart +that did not drop the last words of the sentences. Wren would have +been further gratified to have seen his dome used, in addition to +weekday services, three times each Sunday, as he would have been to +have worked under those successive Deans—Milman, Mansel, Church, +Gregory—who, in conjunction with their Chapters, have loyally +endeavoured to put the cathedral to the use he wished from the day he +first began to design his short Greek cross; and finally, he would +have been gratified at Gounod's statement that the services are +rendered to the finest music in the world, and to have seen the free +facilities offered to the public for studying his architecture, and +would have contrasted the orderly behaviour of the visitors from every +quarter of the globe with the old-time swashbucklers and rowdies of +<span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span>Paul's Walk; and any objection to the lengthening westward would have +been removed, had he lived to have seen his great cathedral filled +from door to door with a congregation of from ten to twelve thousand +at the special musical services.</p> + +<p>This all too short summary must close by recording that the Queen +attended the Thanksgiving service in February, 1872 for the recovery +of the Prince of Wales; and on Queen Victoria's Day, Tuesday, June 22, +1897, again proceeded in state from Buckingham Palace to St. Paul's, +where a Thanksgiving service was held at the West Front on occasion of +the Diamond Jubilee, her Majesty returning by way of London and +Westminster Bridges.</p> + +<br /> +<hr style="width: 15%;" /> +<br /> + +<h4>FOOTNOTES:</h4> + +<div class="footnote"><p class="noin"><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> <i>Tatler</i>, No. 52.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110"><span class="label">[110]</span></a> Milman, p. 449.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111"><span class="label">[111]</span></a> The account in Dugdale (p. 455) from the <i>London +Gazette</i> of January 18, 1806, fills more than eight folio pages of +small print.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a> A small part of the Surrey side was also in the +diocese.</p></div> + +<div class="footnote"><p class="noin"><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113"><span class="label">[113]</span></a> Freeman's "Wells," p. 95.</p></div> + +<br /> +<br /> +<br /> +<br /> +<a name="APPENDIX_A" id="APPENDIX_A"></a><hr /> +<span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span><br /> + +<h3>APPENDIX A.<span class="totoc"><a href="#toc">ToC</a></span></h3> + +<h4>BISHOPS AND DEANS.</h4> +<br /> + +<p class="cen"><b>*</b> <i>Archbishop of Canterbury.</i> § <i>Archbishop of York.</i></p> + +<br /> + +<h4>BISHOPS BEFORE THE CONQUEST.</h4> + +<div class="centered"> +<table border="0" cellpadding="1" cellspacing="0" width="80%" summary="Bishops Before The Conquest"> + <tr> + <td class="tdl"> * * * *</td> + <td class="tdl">772. Sighaeh</td> + <td class="tdl">898. Wulfsize</td> + </tr> + <tr> + <td class="tdl">314. Restitutus</td> + <td class="tdl">774. Eadbert</td> + <td class="tdl">926. Theodred</td> + </tr> + <tr> + <td class="tdl"> * * * *</td> + <td class="tdl">789. Eadgar</td> + <td class="tdl">953. Byrrthelm</td> + </tr> + <tr> + <td class="tdl">604. Mellitus<b>*</b></td> + <td class="tdl">791. Coenwalh</td> + <td class="tdl">959. Dunstan<b>*</b>d</td> + </tr> + <tr> + <td class="tdl"> * * * *</td> + <td class="tdl">794. Eadbald</td> + <td class="tdl">961. Aelstan</td> + </tr> + <tr> + <td class="tdl">654. Cedd</td> + <td class="tdl">794. Heathobert</td> + <td class="tdl">996. Wulfstan</td> + </tr> + <tr> + <td class="tdl">666. Wine</td> + <td class="tdl">802. Osmund</td> + <td class="tdl">1004. Aelihun</td> + </tr> + <tr> + <td class="tdl">675. Erkenwald or Ercourvald</td> + <td class="tdl">811. Aethilnoth</td> + <td class="tdl">1014. Aelfwig</td> + </tr> + <tr> + <td class="tdl">693. Waldhere</td> + <td class="tdl">824. Coelberht</td> + <td class="tdl">1035. Aelfward</td> + </tr> + <tr> + <td class="tdl">706. Ingwald</td> + <td class="tdl">860. Deorwulf</td> + <td class="tdl">1044. Robert</td> + </tr> + <tr> + <td class="tdl">745. Eggwulf</td> + <td class="tdl">860. Swithwulf</td> + <td class="tdl">1051. William the Norman</td> + </tr> + <tr> + <td class="tdl"> </td> + <td class="tdl">898. Heahstan</td> + <td class="tdl"> </td> + </tr> +</table> +</div> + +<br /> + +<h4>BISHOPS AND DEANS AFTER THE CONQUEST.</h4> + +<div class="centered"> +<table border="0" cellpadding="1" cellspacing="0" width="70%" summary="Bishops and Deans after the Conquest."> + <tr> + <td class="tdr tdall"> </td> + <td class="tdcsc tdall">Bishops.</td> + <td class="tdcsc tdall">Deans.</td> + </tr> + <tr> + <td class="tdrl tdt" width="10%">1075</td> + <td class="tdllr tdt" width="45%">Hugh de Orivalle</td> + <td class="tdll tdt" width="45%"> </td> + </tr> + <tr> + <td class="tdrl">1085</td> + <td class="tdllr">Maurice</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">? </td> + <td class="tdllr"> </td> + <td class="tdll">Ulstan</td> + </tr> + <tr> + <td class="tdrl">1108</td> + <td class="tdllr">Richard de Belmeis Primus</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1111</td> + <td class="tdllr"> </td> + <td class="tdll">William</td> + </tr> + <tr> + <td class="tdrl">1128</td> + <td class="tdllr">Gilbert the Universal</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1138</td> + <td class="tdllr"> </td> + <td class="tdll">Ralph de Langford</td> + </tr> + <tr> + <td class="tdrl">1141</td> + <td class="tdllr">Robert de Sigillo</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1152</td> + <td class="tdllr">Richard de Belmeis Secundus</td> + <td class="tdll">Hugo de Marny</td> + </tr> + <tr> + <td class="tdrl">1163</td> + <td class="tdllr">Gilbert Foliot</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1181</td> + <td class="tdllr"> </td> + <td class="tdll">Ralph de Diceto</td> + </tr> + <tr> + <td class="tdrl">1189</td> + <td class="tdllr">Richard de Ely or Fitzneal</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1198</td> + <td class="tdllr">William de S. Maria</td> + <td class="tdll"> <span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span></td> + </tr> + <tr> + <td class="tdrl">1210</td> + <td class="tdllr"> </td> + <td class="tdll">Alardus de Burnham</td> + </tr> + <tr> + <td class="tdrl">1216</td> + <td class="tdllr"> </td> + <td class="tdll">Gervase de Hobrogg</td> + </tr> + <tr> + <td class="tdrl">1218</td> + <td class="tdllr"> </td> + <td class="tdll">Robert de Watford</td> + </tr> + <tr> + <td class="tdrl">1221</td> + <td class="tdllr">Eustace de Fauconberge</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1228</td> + <td class="tdllr"> </td> + <td class="tdll">Martin de Pateshull</td> + </tr> + <tr> + <td class="tdrl">1229</td> + <td class="tdllr">Roger Niger</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1231</td> + <td class="tdllr"> </td> + <td class="tdll">Galfry de Lucy</td> + </tr> + <tr> + <td class="tdrl">1241</td> + <td class="tdllr"> </td> + <td class="tdll">William de S. Maria</td> + </tr> + <tr> + <td class="tdrl">1242</td> + <td class="tdllr">Fulk Basset</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1244</td> + <td class="tdllr"> </td> + <td class="tdll">Henry de Cornhill</td> + </tr> + <tr> + <td class="tdrl">1254</td> + <td class="tdllr"> </td> + <td class="tdll">William de Salerne</td> + </tr> + <tr> + <td class="tdrl">1256</td> + <td class="tdllr"> </td> + <td class="tdll">Richard de Barton</td> + </tr> + <tr> + <td class="tdrl">? </td> + <td class="tdllr"> </td> + <td class="tdll">Peter de Newport</td> + </tr> + <tr> + <td class="tdrl">? </td> + <td class="tdllr"> </td> + <td class="tdll">Richard Talbot</td> + </tr> + <tr> + <td class="tdrl">1259</td> + <td class="tdllr">Henry de Wingham</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1263</td> + <td class="tdllr">Henry de Sandwich</td> + <td class="tdll">Galfry de Feringes</td> + </tr> + <tr> + <td class="tdrl">1268</td> + <td class="tdllr"> </td> + <td class="tdll">John de Chishul</td> + </tr> + <tr> + <td class="tdrl">1274</td> + <td class="tdllr">John de Chishul</td> + <td class="tdll">Hervey de Borham</td> + </tr> + <tr> + <td class="tdrl">1276</td> + <td class="tdllr"> </td> + <td class="tdll">Thomas de Inglethorp</td> + </tr> + <tr> + <td class="tdrl">1280</td> + <td class="tdllr">Richard de Gravesend</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1283</td> + <td class="tdllr"> </td> + <td class="tdll">Roger de la Leye</td> + </tr> + <tr> + <td class="tdrl">1285</td> + <td class="tdllr"> </td> + <td class="tdll">William de Montford</td> + </tr> + <tr> + <td class="tdrl">1294</td> + <td class="tdllr"> </td> + <td class="tdll">Ralph de Baldock</td> + </tr> + <tr> + <td class="tdrl">1306</td> + <td class="tdllr">Ralph de Baldock</td> + <td class="tdll">Raymond de la Goth</td> + </tr> + <tr> + <td class="tdrl">1307</td> + <td class="tdllr"> </td> + <td class="tdll">Arnold de Cantilupe</td> + </tr> + <tr> + <td class="tdrl">1313</td> + <td class="tdllr">Gilbert de Segrave</td> + <td class="tdll">John de Sandale</td> + </tr> + <tr> + <td class="tdrl">1314</td> + <td class="tdllr"> </td> + <td class="tdll">Richard de Newport</td> + </tr> + <tr> + <td class="tdrl">1317</td> + <td class="tdllr">Richard de Newport</td> + <td class="tdll">Vitalis Gasco</td> + </tr> + <tr> + <td class="tdrl">1319</td> + <td class="tdllr">Stephen de Gravesend</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1323</td> + <td class="tdllr"> </td> + <td class="tdll">John de Everden</td> + </tr> + <tr> + <td class="tdrl">1336</td> + <td class="tdllr"> </td> + <td class="tdll">Gilbert de Bruera</td> + </tr> + <tr> + <td class="tdrl">1338</td> + <td class="tdllr">Richard de Bentworth</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1340</td> + <td class="tdllr">Ralph de Stratford</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1353</td> + <td class="tdllr"> </td> + <td class="tdll">Richard de Kilmyngton</td> + </tr> + <tr> + <td class="tdrl">1354</td> + <td class="tdllr">Michael de Northburg</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1362</td> + <td class="tdllr">Simon de Sudbury<b>*</b></td> + <td class="tdll">Walter de Alderbury</td> + </tr> + <tr> + <td class="tdrl">1363</td> + <td class="tdllr"> </td> + <td class="tdll">Thomas Trilleck</td> + </tr> + <tr> + <td class="tdrl">1364</td> + <td class="tdllr"> </td> + <td class="tdll">John de Appleby</td> + </tr> + <tr> + <td class="tdrl">1375</td> + <td class="tdllr">William Courtenay<b>*</b></td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1381</td> + <td class="tdllr">Robert Braybrooke</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1389</td> + <td class="tdllr"> </td> + <td class="tdll">Thomas de Evere</td> + </tr> + <tr> + <td class="tdrl">1400</td> + <td class="tdllr"> </td> + <td class="tdll">Thomas Stow</td> + </tr> + <tr> + <td class="tdrl">1405</td> + <td class="tdllr">Roger Walden</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1406</td> + <td class="tdllr">Nicholas Bubbewich</td> + <td class="tdll">Thomas Moor</td> + </tr> + <tr> + <td class="tdrl">1407</td> + <td class="tdllr">Richard Clifford</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1421</td> + <td class="tdllr"> </td> + <td class="tdll">Reginald Kentwoode<span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span></td> + </tr> + <tr> + <td class="tdrl">1422</td> + <td class="tdllr">John Kempe<b>*</b>§</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1426</td> + <td class="tdllr">William Grey</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1431</td> + <td class="tdllr">Robert Fitz-Hugh</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1436</td> + <td class="tdllr">Robert Gilbert</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1441</td> + <td class="tdllr"> </td> + <td class="tdll">Thomas Lisieux</td> + </tr> + <tr> + <td class="tdrl">1450</td> + <td class="tdllr">Thomas Kempe</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1456</td> + <td class="tdllr"> </td> + <td class="tdll">Laurence Booth§</td> + </tr> + <tr> + <td class="tdrl">1457</td> + <td class="tdllr"> </td> + <td class="tdll">William Say</td> + </tr> + <tr> + <td class="tdrl">1468</td> + <td class="tdllr"> </td> + <td class="tdll">Roger Radclyff</td> + </tr> + <tr> + <td class="tdrl">1471</td> + <td class="tdllr"> </td> + <td class="tdll">Thomas Wynterbourne</td> + </tr> + <tr> + <td class="tdrl">1479</td> + <td class="tdllr"> </td> + <td class="tdll">William Worseley</td> + </tr> + <tr> + <td class="tdrl">1489</td> + <td class="tdllr">Richard Hill</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1496</td> + <td class="tdllr">Thomas Savage§</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1499</td> + <td class="tdllr"> </td> + <td class="tdll">Robert Sherbon</td> + </tr> + <tr> + <td class="tdrl">1501</td> + <td class="tdllr">William Wareham<b>*</b></td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1504</td> + <td class="tdllr">William Barnes</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1505</td> + <td class="tdllr"> </td> + <td class="tdll">John Colet</td> + </tr> + <tr> + <td class="tdrl">1506</td> + <td class="tdllr">Richard Fitz-James</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1505-32</td> + <td class="tdllr"> </td> + <td class="tdll">Richard Pace</td> + </tr> + <tr> + <td class="tdrl">1522</td> + <td class="tdllr">Cuthbert Tunstall</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1530</td> + <td class="tdllr">John Stokesley</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1536</td> + <td class="tdllr"> </td> + <td class="tdll">Richard Sampson</td> + </tr> + <tr> + <td class="tdrl">1539</td> + <td class="tdllr">Edmund Bonner</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1540</td> + <td class="tdllr"> </td> + <td class="tdll">John Incent</td> + </tr> + <tr> + <td class="tdrl">1545</td> + <td class="tdllr"> </td> + <td class="tdll">William May</td> + </tr> + <tr> + <td class="tdrl">1550</td> + <td class="tdllr">Nicholas Ridley</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1553</td> + <td class="tdllr">Edmund Bonner</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1554</td> + <td class="tdllr"> </td> + <td class="tdll">John Howman de Feckenham</td> + </tr> + <tr> + <td class="tdrl">1556</td> + <td class="tdllr"> </td> + <td class="tdll">Henry Cole</td> + </tr> + <tr> + <td class="tdrl">1559</td> + <td class="tdllr">Edmund Grindal<b>*</b>§</td> + <td class="tdll">William May</td> + </tr> + <tr> + <td class="tdrl">1560</td> + <td class="tdllr"> </td> + <td class="tdll">Alexander Nowell</td> + </tr> + <tr> + <td class="tdrl">1570</td> + <td class="tdllr">Edwin Sandys§</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1577</td> + <td class="tdllr">John Aylmer</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1595</td> + <td class="tdllr">Richard Fletcher</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1597</td> + <td class="tdllr">Richard Bancroft<b>*</b></td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1602</td> + <td class="tdllr"> </td> + <td class="tdll">John Overall</td> + </tr> + <tr> + <td class="tdrl">1604</td> + <td class="tdllr">Richard Vaughan</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1607</td> + <td class="tdllr">Thomas Ravis</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1610</td> + <td class="tdllr">George Abbot<b>*</b></td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1611</td> + <td class="tdllr">John King</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1614</td> + <td class="tdllr"> </td> + <td class="tdll">Valentine Carey</td> + </tr> + <tr> + <td class="tdrl">1621</td> + <td class="tdllr">George Monteigne§</td> + <td class="tdll">John Donne</td> + </tr> + <tr> + <td class="tdrl">1628</td> + <td class="tdllr">William Laud<b>*</b></td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1631-41</td> + <td class="tdllr"> </td> + <td class="tdll">Thomas Winniff</td> + </tr> + <tr> + <td class="tdrl">1633</td> + <td class="tdllr">William Juxon<b>*</b></td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1660</td> + <td class="tdllr">Gilbert Sheldon<b>*</b></td> + <td class="tdll">Matthew Nicolas<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span></td> + </tr> + <tr> + <td class="tdrl">1661</td> + <td class="tdllr"> </td> + <td class="tdll">John Barwick</td> + </tr> + <tr> + <td class="tdrl">1663</td> + <td class="tdllr">Humfrey Henchman</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1664</td> + <td class="tdllr"> </td> + <td class="tdll">William Sancroft<b>*</b></td> + </tr> + <tr> + <td class="tdrl">1675</td> + <td class="tdllr">Henry Compton</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1677</td> + <td class="tdllr"> </td> + <td class="tdll">Edward Stillingfleet</td> + </tr> + <tr> + <td class="tdrl">1689</td> + <td class="tdllr"> </td> + <td class="tdll">John Tillotson<b>*</b></td> + </tr> + <tr> + <td class="tdrl">1691</td> + <td class="tdllr"> </td> + <td class="tdll">William Sherlock</td> + </tr> + <tr> + <td class="tdrl">1707</td> + <td class="tdllr"> </td> + <td class="tdll">Henry Godolphin</td> + </tr> + <tr> + <td class="tdrl">1714</td> + <td class="tdllr">John Robinson</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1723</td> + <td class="tdllr">Edmund Gibson</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1726</td> + <td class="tdllr"> </td> + <td class="tdll">Francis Hare</td> + </tr> + <tr> + <td class="tdrl">1740</td> + <td class="tdllr"> </td> + <td class="tdll">Joseph Butler</td> + </tr> + <tr> + <td class="tdrl">1748</td> + <td class="tdllr">Thomas Sherlock</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1750</td> + <td class="tdllr"> </td> + <td class="tdll">Thomas Secker<b>*</b></td> + </tr> + <tr> + <td class="tdrl">1758</td> + <td class="tdllr"> </td> + <td class="tdll">John Hume</td> + </tr> + <tr> + <td class="tdrl">1761</td> + <td class="tdllr">Thomas Hayter</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1762</td> + <td class="tdllr">Richard Osbaldeston</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1764</td> + <td class="tdllr">Richard Terrick</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1766</td> + <td class="tdllr"> </td> + <td class="tdll">Frederick Cornwallis<b>*</b></td> + </tr> + <tr> + <td class="tdrl">1768</td> + <td class="tdllr"> </td> + <td class="tdll">Thomas Newton</td> + </tr> + <tr> + <td class="tdrl">1777</td> + <td class="tdllr">Robert Lowth</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1782</td> + <td class="tdllr"> </td> + <td class="tdll">Thomas Thurlow</td> + </tr> + <tr> + <td class="tdrl">1787</td> + <td class="tdllr">Beilby Porteous</td> + <td class="tdll">George Pretyman-Tomline</td> + </tr> + <tr> + <td class="tdrl">1809</td> + <td class="tdllr">John Randolph</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1813</td> + <td class="tdllr">William Howley<b>*</b></td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1820</td> + <td class="tdllr"> </td> + <td class="tdll">William Van Mildert</td> + </tr> + <tr> + <td class="tdrl">1826</td> + <td class="tdllr"> </td> + <td class="tdll">Charles Richard Sumner</td> + </tr> + <tr> + <td class="tdrl">1827</td> + <td class="tdllr"> </td> + <td class="tdll">Edward Coplestone</td> + </tr> + <tr> + <td class="tdrl">1828</td> + <td class="tdllr">Chas. Jas. Blomfield</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1849</td> + <td class="tdllr"> </td> + <td class="tdll">Henry Hart Milman</td> + </tr> + <tr> + <td class="tdrl">1856</td> + <td class="tdllr">Archibald Campbell Tait<b>*</b></td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1868</td> + <td class="tdllr"> </td> + <td class="tdll">Henry Longueville Mansel</td> + </tr> + <tr> + <td class="tdrl">1869</td> + <td class="tdllr">John Jackson</td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1871</td> + <td class="tdllr"> </td> + <td class="tdll">Richard William Church</td> + </tr> + <tr> + <td class="tdrl">1885</td> + <td class="tdllr">Frederick Temple<b>*</b></td> + <td class="tdll"> </td> + </tr> + <tr> + <td class="tdrl">1891</td> + <td class="tdllr"> </td> + <td class="tdll"><span class="sc">Robert Gregory</span></td> + </tr> + <tr> + <td class="tdrl" style="padding-bottom: .5em; border-bottom: solid 1pt black;">1896</td> + <td class="tdllr" style="padding-bottom: .5em; border-bottom: solid 1pt black;"><span class="sc">Mandell Creighton</span></td> + <td class="tdll" style="padding-bottom: .5em; border-bottom: solid 1pt black;"> </td> + </tr> +</table> +</div> + +<br /> + +<p>As regards the earlier periods, some of the dates are only +approximate, and certain names are inserted and others omitted with +hesitation.</p> + +<br /> +<br /> +<br /> +<br /> +<a name="APPENDIX_B" id="APPENDIX_B"></a><hr /> +<span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span><br /> + +<h3>APPENDIX B.<span class="totoc"><a href="#toc">ToC</a></span></h3> + +<h4>COMPARATIVE SIZE OF ST. PAUL'S.</h4> + +<br /> + +<p class="cen">AREA IN SQUARE FEET OF SOME OF THE LARGEST CHURCHES.</p> + +<div class="centered"> +<table border="0" cellpadding="1" cellspacing="0" width="70%" summary="Area in Square Feet"> + <tr> + <td class="tdl" width="35%"> </td> + <td class="tdr" width="15%">Square Feet</td> + <td class="tdl" width="35%"> </td> + <td class="tdr" width="15%">Square Feet</td> + </tr> + <tr> + <td class="tdl">S. Peter's, Rome</td> + <td class="tdrp1">227,000</td> + <td class="tdlp">St. Isaac's</td> + <td class="tdrp1">68,845</td> + </tr> + <tr> + <td class="tdl">Milan</td> + <td class="tdrp1">108,277</td> + <td class="tdlp">Chartres</td> + <td class="tdrp1">68,261</td> + </tr> + <tr> + <td class="tdl">Seville</td> + <td class="tdrnp">100,000(?)</td> + <td class="tdlp">Rheims</td> + <td class="tdrp1">67,475</td> + </tr> + <tr> + <td class="tdl">Florence</td> + <td class="tdrp1">84,802</td> + <td class="tdlp">Lincoln</td> + <td class="tdrp1">66,900</td> + </tr> + <tr> + <td class="tdl"><i>St. Paul's</i></td> + <td class="tdrp1">84,311</td> + <td class="tdlp">Winchester</td> + <td class="tdrp1">64,200</td> + </tr> + <tr> + <td class="tdl">Cologne</td> + <td class="tdrp1">81,464</td> + <td class="tdlp">Paris, Notre Dame</td> + <td class="tdrp1">64,108</td> + </tr> + <tr> + <td class="tdl">York</td> + <td class="tdrp1">72,860</td> + <td class="tdlp">Westminster</td> + <td class="tdrp1">61,729</td> + </tr> + <tr> + <td class="tdl">Amiens</td> + <td class="tdrp1">71,208</td> + <td class="tdlp">Canterbury</td> + <td class="tdrp1">56,280</td> + </tr> + <tr> + <td class="tdl">Antwerp</td> + <td class="tdrnp">70,000(?)</td> + <td class="tdlp"> </td> + <td class="tdrp1"> </td> + </tr> +</table> +</div> + +<br /> + +<p>The Basilica of Constantine was 68,000 square feet.</p> + +<p>St. Paul's is not so long as Winchester, Ely, York, and Canterbury.</p> + +<p>Old St. Paul's was a trifle less in area than its successor, but +counting St. Gregory's and the Chapter House, my estimate from +Dugdale's plan is that it exceeded it. In length it exceeded every +church the dimensions of which I have been able to ascertain, with the +solitary exception of the 680 feet of St. Peter's.</p> + +<span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span><br /> + +<h4>DIMENSIONS.</h4> + +<p class="cen">EXTERIOR.</p> + +<div class="centered"> +<table border="0" cellpadding="1" cellspacing="0" width="60%" summary="Dimensions of Old St. Paul's"> + <tr> + <td class="tdlsc" width="85%">Length</td> + <td class="tdr" width="15%"> </td> + </tr> + <tr> + <td class="tdl" style="padding-left: 5%;">Nave with Portico</td> + <td class="tdr">223 feet.</td> + </tr> + <tr> + <td class="tdl" style="padding-left: 5%;">Dome area</td> + <td class="tdr">122 feet.</td> + </tr> + <tr> + <td class="tdl" style="padding-left: 5%;">Choir</td> + <td class="tdr" style="border-bottom: solid 1pt black;">168 feet.</td> + </tr> + <tr> + <td class="tdl" style="padding-left: 10%; padding-bottom: .5em;">Total length</td> + <td class="tdr" style="padding-bottom: .5em;">513 feet.</td> + </tr> + <tr> + <td class="tdl">Length of Transepts</td> + <td class="tdr">248 feet.</td> + </tr> + <tr> + <td class="tdl">Breadth of Nave</td> + <td class="tdr">123 feet.</td> + </tr> + <tr> + <td class="tdl">Breadth of West Front with Chapels</td> + <td class="tdr">179 feet.</td> + </tr> + <tr> + <td class="tdlsc" width="80%">Height:</td> + <td class="tdr"> </td> + </tr> + <tr> + <td class="tdl" style="padding-left: 5%;">Summit of balustrade</td> + <td class="tdr">108 feet.</td> + </tr> + <tr> + <td class="tdl" style="padding-left: 5%;">Statue of St. Paul, west front</td> + <td class="tdr">135 feet.</td> + </tr> + <tr> + <td class="tdl" style="padding-left: 5%;">Base of hemisphere</td> + <td class="tdr">220 feet.</td> + </tr> + <tr> + <td class="tdl" style="padding-left: 5%;">Golden Gallery</td> + <td class="tdr">281 feet.</td> + </tr> + <tr> + <td class="tdl" style="padding-left: 5%;">Cross (top)</td> + <td class="tdr">363 feet.</td> + </tr> + <tr> + <td class="tdl" style="padding-left: 5%;">Western Towers</td> + <td class="tdr" colspan="2">222 feet.</td> + </tr> +</table> +</div> + +<br /> + +<p class="cen">INTERIOR.</p> + +<p class="noin" style="margin-right: 15%; margin-left: 15%;">Length, 460 feet, of which the Nave is a little over 200.<br /> +Breadth (excluding recesses underneath the windows), about 100 feet.<br /> +Length of Transepts, 240 feet.<br /> +Height of Central Vaulting, 89 feet.<br /> +Height of Whispering Gallery about 100 feet, and same diameter.<br /> +Opening at apex of Dome, about 215 feet.<br /> +Area, 59,700 square feet.</p> + +<br /> +<br /> +<br /> +<br /> +<hr /> +<br /> +<br /> +<br /> +<br /> + +<h4>CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.<br /> +TOOKS COURT, CHANCERY LANE, LONDON.</h4> + +<br /> +<br /> +<br /> +<br /> +<hr /> +<br /> +<br /> +<a name="end" id="end"></a><br /> +<br /> + +<div class="img"><a name="imagep150" id="imagep150"></a> +<a href="images/imagep150.jpg"> +<img border="0" src="images/imagep150tn.jpg" width="95%" alt="Ground Plan of St. Paul's Cathedral" /></a><br /> +<p class="cen" style="margin-top: .2em;">GROUND PLAN of ST. PAUL'S CATHEDRAL showing the position of the Monuments.<span class="totoi"><a href="#toi">ToList</a></span></p> +</div> + +<br /> +<br /> +<br /> +<hr /> +<br /> + +<div class="tr"> +<p class="cen"><a name="TN" id="TN"></a>Typographical error corrected in text:</p> +<br /> +Page 86: colonade replaced with colonnade<br /> +</div> + +<p> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL CHURCH OF ST. PAUL***</p> +<p>******* This file should be named 25266-h.txt or 25266-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/2/5/2/6/25266">http://www.gutenberg.org/2/5/2/6/25266</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. 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