The Project Gutenberg eBook of Views of St. Paul’s Cathedral, London.

The first stone of S. Paul’s Cathedral was laid by Sir Christopher Wren and his Master-mason on June 21, 1675; the last stone of the lantern above the Dome was laid in 1710, by Mr. Christopher Wren (who was born a year before the laying of the first stone), in the presence of Sir Christopher (his father), Mr. Strong (the Master-builder), and other Free and Accepted Masons.

The dimensions of the Cathedral, as given in the Rev. Lewis Gilbertson’s excellent Official Guide, are as follows:—

The exterior length, exclusive of the projection of the steps, 515 feet; the interior, 479 feet; the width across the Transepts, from door to door, 250 feet; width across Nave and Aisles, 102 feet; and between the stone piers, 41 feet; the Western front, 180 feet; the diameter of the octagonal area at the crossing of Nave and Transept, 107 feet; the diameter of the drum beneath the Dome, 112 feet; of the Dome itself, 102 feet. The height of the Central Aisle, 89 feet. The total height from the pavement of the Churchyard to the top of the Cross, 365 feet; the height of the Western Towers, 221 feet. The entire cost seems to have been about a million pounds.

The exquisite Dome has been justly called “the very crown of England’s architectural glory.” As Mr. Fergusson has said, “its dimensions, the beauty of its details, the happy outline of the campaniles, the proportion of these to the façade, and of all the parts one to another, make up the most pleasing design of its class that has yet been executed.” Strype says, “This Cathedral is undoubtedly one of the most magnificent modern buildings in Europe.”

S. PAUL’S FROM THE SOUTH WEST.

This fine view was taken from the top of the buildings of the Post Office Savings Bank in Queen Victoria Street: taken, fortunately, before the erection of the large block of warehouses at the south west of the Churchyard. Since these buildings have been completed the lower part of the Cathedral can no longer be seen from the position just indicated. The exquisite proportions of the Dome are here displayed to the fullest advantage.

S. PAUL’S CATHEDRAL, WEST FRONT, N.W. ANGLE.

Here is seen a part of the Western Façade, with the noble flight of steps, the North Portico, and the North Eastern portion of the Churchyard. The columns with their capitals and the carving over the window in the lower part of the North Tower, are well displayed. In ancient times the Palace of the Bishops of London adjoined this tower.

THE SOUTH TRANSEPT.

The beauty of the South West Campanile is well displayed in the present view. To the east of the small entrance door, which gives access to the geometrical staircase, is the Chapel of the Order of St. Michael and St. George, at one time used as the Consistory Court, in which ecclesiastical cases relating to the diocese were heard. Above the Chapel are seen the three windows of the Library.

The Transept itself with its graceful pillars, its lofty pediment surmounted by colossal figures of the Apostles, is a very pleasing composition. Perhaps this particular campanile is seen to the best advantage as it is approached from Cannon Street on a summer’s evening. The effect of the light of the westering sun is singularly charming.

It should have been mentioned in the previous note, had space permitted, that the Choir was opened for Divine Service on December 2, 1697, on the Thanksgiving Day for the Peace after the Treaty of Ryswick; the Morning Prayer Chapel being opened a little later.

THE WESTERN END OF THE NAVE.

This portion of the Cathedral is of especial dignity. The great height of the entrance arch, the massive doors, the noble space, the fine view north and south of the lateral Chapels, with their carved oak screens, the broad span of the side arches, the height of the vaulting and its careful decoration, combine to make this entrance of the Cathedral very imposing. If the visitor enters by the great western doors, he cannot fail to be impressed by the grand view which presents itself, the fine Nave, the broad Transepts, the lofty Reredos, more than 400 feet distant; and, as he paces eastward, at every step some fresh beauty reveals itself. Most impressive of all it is to see, on the occasion of some great festival, the vast spaces of Choir, Transepts, Dome area, and Nave crowded with worshippers, every seat occupied, and hundreds of people filling such standing room as remains. In one of the Annual Musical Services a short pause is made for silent prayer, and the stillness of the great multitude, after the strains of Bach’s immortal Passion Music, is wonderfully solemn.

THE NORTH-WEST CHAPEL.

At the western end of the North Aisle of the Nave is a spacious Chapel, used every day for the celebration of the Holy Communion at eight o’clock in the morning, for a short service at mid-day (at 1.15), and for an evening service at eight o’clock. The oak panelling is that originally introduced by Sir Christopher Wren; the mosaic at the west end commemorates Archdeacon Hale, who died in 1870; the large window on the north is a memorial to Dean Mansel, Dean of the Cathedral from 1868 to 1871; the beautiful mosaic in the eastern apse is a more recent addition.

The Chapel was at first called the Morning Prayer Chapel, and was opened for use on February 1st, 1699, though the Cathedral itself was still far from completion. Here, for many years, Morning Prayers were said at an early hour: in 1699, at 6 o’clock in summer, and 7 o’clock in winter; at the present time prayers are said at 8 o’clock in the Crypt Chapel.

THE TOMB OF GENERAL GORDON

Has almost become a place of pilgrimage. His heroic character, his tragic end, have deeply touched the hearts of his countrymen, and, indeed, of countless strangers also. The Tomb is a finely conceived work of Sir Edgar Boehm.

On the left is the Wellington Monument; on the right are seen the colours of the 57th and 77th Regiments borne by them in the Crimea.

THE WELLINGTON MONUMENT

Is thus described by the Rev. Lewis Gilbertson in his Authorized Guide to S. Paul’s Cathedral: “This is the most important work of Alfred Stevens; by far the finest monument in S. Paul’s, and by many considered to be the best work of its kind done in England in the last three hundred years. It was originally designed to fill the eastern arch of the Nave on the north side, and was intended to be surmounted by an equestrian statue of the Duke; but the horse was vetoed, and the monument erected in the old Consistory Court. It has now been removed to the middle arch on the north side of the Nave, where possibly it may eventually be finished according to the artist’s design. The bronze groups at the base of the pediment are especially fine. The subjects are: Virtue keeping Vice beneath its feet, and Truth pulling out the tongue of Falsehood.”

The actual tomb of the great Duke is in the Crypt of the Cathedral, a massive sarcophagus wrought from a boulder of porphyry found in Cornwall, resting upon a granite base. The simple grandeur of the monument is admirably in keeping with the character of the man whom it commemorates. The mortal remains of England’s greatest General lie close to those of England’s greatest Admiral.

ACROSS THE DOME TO THE NORTH TRANSEPT.

Immediately facing the spectator is a screen which formerly supported the Organ, bearing a copy of the famous inscription to Wren, which is also found above his tomb. To the right and left are dimly seen the statues of Dr. Johnson and Sir Joshua Reynolds. The broad area of the Dome, seen to the best advantage when crowded with worshippers (as it is three times every Sunday, and on many other occasions also) is very impressive.

INTERIOR OF THE CATHEDRAL FROM THE WEST.

This view exhibits the entire length of the choir, including the lofty Reredos. On the right and left are seen the Choir Stalls, Grinling Gibbons’ famous work, and the two fine Organ cases. The fine Organ, originally the work of Father Smith, is a masterpiece of Mr. Willis, whose consummate skill, aided no doubt by the magnificent building in which the instrument stands, has found no higher expression than in this finished work. The Choir Aisles are entered through iron gates, of great delicacy and beauty, the work of M. Tijou. The marble Pulpit, from the design of Mr. F. C. Penrose, is a memorial to Captain Robert Fitzgerald.

THE MONUMENT TO LORD NELSON.

“The funeral of Nelson was a signal day in the annals of S. Paul’s. The Cathedral opened wide her doors to receive the remains of the great Admiral, followed, it might almost be said, by the whole nation as mourners. The death of Nelson in the hour of victory, of Nelson whose victories at Aboukir and Copenhagen had raised his name above any other in our naval history, had stirred the English heart to its depths, its depths of pride and sorrow. The manifest result of that splendid victory at Trafalgar was the annihilation of the fleets of France and Spain, and, it might seem, the absolute conquest of the ocean, held for many years as a subject province of Great Britain. The procession, first by water, then by land, was of course magnificent, at least as far as prodigal cost could command magnificence. The body was preceded to S. Paul’s by all that was noble and distinguished in the land, more immediately by all the Princes of the blood and the Prince of Wales.”

This account is taken from Dean Milman’s Annals of S. Paul’s. The Dean, then a youth, was present at the funeral, and could remember the solemn effect of the sinking of the coffin to its resting place, and the low wail of the sailors who bore and encircled the remains of their admiral.

The monument, by Flaxman, originally stood at the entrance to the Choir. When the Choir was extended westward in 1870, it was removed to its present much more favourable position in the South Transept.

THE NAVE SEEN FROM THE WESTERN END OF THE CHOIR.

In this view the two portions of the organ are seen. These grand cases formed the eastern and western fronts of the instrument when it stood over the Choir Screen; they exhibit some of Grinling Gibbons’ finest work. The projecting portion on the north side formerly contained the Choir Organ; the corresponding projection on the south is a copy of the original work.

Looking westward the Great Entrance Doors are seen, and above them a large window of Munich glass, a memorial to Mr. Thomas Brown, a member of the great publishing firm of Messrs. Longman. The main subjects of the window are the conversion of S. Paul on the Damascus Road, and the restoration of sight to the Apostle by Ananias; right and left of the lower subject are kneeling figures of the donor and his wife.

Two of the Mosaics in the pendentives of the Dome are faintly indicated. The eight pendentives exhibit the four greater Prophets, Isaiah, Ezekiel, Jeremiah, Daniel; and the four Evangelists. The work was executed by Dr. Salviati of Venice. Above the Whispering Gallery, beyond the range of the picture, are carved stone figures of the four great Doctors of the Western and of the Eastern Church; for the Western Church, SS. Augustine, Jerome, Gregory the Great, Ambrose; for the Eastern, SS. Chrysostom, Basil, Gregory Nazianzen, Athanasius.

THE CHOIR, LOOKING EAST.

The most prominent object in this view is the stately Reredos, the work of Messrs. Bodley & Garner. The following description of it was read by Mr. Garner before the S. Paul’s Ecclesiological Society.

“The design consists of a basement, against which the altar stands, with small doorways to give access to the apse behind. Over these doors which are of pierced brass, are angels supporting the crossed swords and keys, the arms of the diocese, and emblems of S. Paul and S. Peter, and they are flanked by sculptured festoons of fruit and flowers separated by marble panels. Above this is a range of sculptured panels, with coloured marble backgrounds supporting an open colonnade of semi-circular plan. A large group of sculpture, a sort of carved picture in bold relief, occupies the centre, flanked on each side by twisted columns of rich Brescia marble, wreathed with foliage in gilded bronze. These support an entablature and rich pediment. The frieze is of Rosso Antico, bearing the inscription Sic Deus dilexit mundum, ‘So God loved the World,’ in bronze letters. The whole is crowned with a central niche and surrounding statues, at a height of between sixty and seventy feet from the ground.

“The general idea of the sculptured subjects is to express the Incarnation and Life of our Lord, beginning with the two figures at the extremities of the colonnade, which are those of the Angel Gabriel and S. Mary, and represent the Annunciation. The panel on the north side is the Nativity, the large subject in the centre the Crucifixion, with the Entombment beneath it; and the group on the south side the Resurrection. The panels of the pedestals are filled with Angels bearing instruments of the Passion. The niche above the pediment is occupied by the figure of S. Mary with the Divine Child in her arms; the statues of S. Paul and S. Peter on either hand. The figure on the summit of the niche is an ideal one of the Risen Saviour.

“The entire Altar Screen is executed in white Parian marble, with bands and panels of Rosso Antico, Verdi di Prato, and Brescia marble. The enrichments are generally gilt, the steps in front of the Altar are of white marble, and the pavement of Rosso Antico, Brescia, and Verdi di Prato.” See Rev. L. Gilbertson’s Guide.

THE BISHOP’S THRONE.

Is placed on the south side of the Choir at the extreme east, and is occupied by the Bishop of London on great occasions. On ordinary days he sits in the central stall on the same side of the Choir. The Throne, like the stalls, is the work of Grinling Gibbons. Thirty of the stalls are set apart for the Prebendaries of the Cathedral, and on each is the name of the Prebend from which the income of each occupant was anciently derived, together with the opening words of the Psalm commencing the portion of the Psalter which each Prebendary was bound to recite daily; the Psalms being divided into thirty parts, and the whole Psalter being thus said every day.

To the left, or east, of the Throne, is seen the extremely beautiful Grille or Screen of wrought iron enriched by gilded bronze. The greater part of the ironwork once formed the gates at the western entrance of the Choir.

In the foreground appears a grand bronze Candelabrum, an exact copy of that in the Cathedral of S. Bavon, Ghent. There are four of these Candelabra at Ghent, which are said to have been removed from S. Paul’s Cathedral. Copies of two of these now adorn the Sanctuary; one only is seen in the illustration.

THE NORTH AISLE OF THE CHOIR, LOOKING WEST.

Over the back of the Choir Stalls, which are seen on the left of the picture, rise a few of the pedal pipes of the Organ, the largest of which is thirty-two feet in length. Through the openwork of Tijou’s beautiful iron gates, the view extends across the Dome to the extreme west of the Cathedral. At the end of the North Aisle of the Nave a glimpse is obtained of a window (presented by Mr. H. F. Vernon in 1861) containing a full length figure of S. Paul.

THE CRYPT CHAPEL.

In this Chapel Matins are said at eight o’clock in the morning on all week days throughout the year. In the foreground is the burial place of Dean Milman, marked by a slab with a cross wrought upon its surface. To the west of this, not shown, however, in the view, is the grave of Dr. Liddon. In the Aisles to the right and left are seen a few fragments of monuments from the old Cathedral, scanty relics, spared by the great fire of 1666 and by the ruthless hand of the destroyer.

THE CRYPT: NELSON’S TOMB.

The present view represents one of the most picturesque scenes in the Crypt. Here, surrounded by an arcade, in the very heart of the Cathedral, immediately beneath the centre of the Dome, stands the tomb of England’s greatest naval hero.

The Sarcophagus itself has a strange history. It is usually said to have been designed by Torregiano as a portion of the memorial of Wolsey. “It lay for centuries neglected in Wolsey’s Chapel at Windsor. Just at the time of Nelson’s death, George III. was preparing to make that chapel a cemetery for his family. It was suggested as fit to encase the coffin of Nelson. It is a fine work marred in its bold simplicity by a tawdry coronet, but the master Italian hand is at once recognised by the instructed eye.” So Dean Milman writes.

Recent researches have shown that the Sarcophagus, which is of white and black marble, is the work of Benedetto da Rovezzano, by whom it was commenced in 1524 as part of a stately monument intended by Cardinal Wolsey as a magnificent memorial of himself. It appears that Henry VIII. took possession of the materials prepared for Wolsey’s monument, and that Benedetto was commissioned to transform it into a memorial for the king. The sculptor spent upon it eleven years of labour, but the costly work was never completed. The body of Nelson rests, not in the Sarcophagus, but beneath it.

THE CRYPT: WITH THE TOMB OF SIR CHRISTOPHER WREN.

Near the eastern end of the South Aisle of the Crypt, under a very simple tomb, lie the mortal remains of the great Architect of the Cathedral. On a black marble slab, part of which is seen in the picture, are the following words:—Here lieth Sir Christopher Wren, Kt., the builder of this Cathedral Church of S. Paul, &c., who dyed in the year of our Lord MDCCXXIII, and of his age XCI. A singularly modest epitaph for so great a man, and that, too, at a period when fulsome phrases abounded. A little westward of the tomb, on a tablet affixed to the wall, are the memorable words, admirable in their brevity and point:—Lector, si monumentum requiris, circumspice. The tomb itself, including the black marble slab, is only sixteen-and-a-half inches in height. Closely adjoining the tomb, on its northern side, are buried two eminent presidents of the Royal Academy, Sir Frederick Leighton and Sir John Millais; at the extreme distance are seen, on the left side the bust of Sir John Alexander Macdonald, late Premier of the Dominion of Canada; and on the right side, that of Sir Henry Smith Park, Minister Plenipotentiary in Japan and China. Nearer to the spectator, on the right, is the memorial to Archdeacon Claughton, Bishop of Colombo, whilst on the left, is dimly seen a monumental brass, commemorating the Special Correspondents who fell in the Campaign in the Soudan; opposite to which, on the right, is the bust of the painter, James Barry.

THE LIBRARY.

This noble room, situated at the west end of the Cathedral, immediately above the Chapel of the Order of S. Michael and S. George, contains an interesting and important collection of books; comprising a number of early English Bibles, a few ritual books, a large and valuable series of Sermons preached at Paul’s Cross or in the Cathedral; a few plays acted by the “Children of Paul’s,” some royal and other important autographs, and over ten thousand printed books, besides as many separate pamphlets.

In the view is seen a model of part of the Western Front of the Cathedral, once in the possession of Richard Jennings, the Master-builder of S. Paul’s. In the case on which it stands is the superb large paper copy of Walton’s Polyglot Bible (large paper copies are of great rarity); an exceedingly fine copy of the Prayer Book of 1662, and of the Bible of 1640, both of which belonged to Bishop Compton, the founder of the Library, whose portrait hangs upon its eastern wall. Just to the right of this case, is a cast of an important Danish Monumental Stone, found in 1852, in S. Paul’s Churchyard: it bears a Runic inscription.

In the glass case in the middle of the room are exposed to view a considerable number of interesting objects: copies of episcopal seals, a facsimile of the tonsure plate once used at S. Paul’s, a chain with which a book was fastened to the Library shelves; some medals connected with the history of the Cathedral; and some curious books. The finely carved brackets which support the gallery, long ascribed to Grinling Gibbons, have been ascertained to be the work of Jonathan Maine, carver, in 1708.

Price 6d. each, post free 7d., from the Publisher,
FREEMAN DOVASTON, EALING, LONDON, W.

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