CHAPTER V.[ToC]
NEW ST. PAUL'S.
EXTERIOR.
"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."[68]
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.
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.
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.
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 a matter of delay and difficulty, and the masons might have to wait months for their blocks.
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.[69] 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.[70] 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.[71] And this, it seems, was 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.
A new commission had been nominated after the death of Queen Anne[72] (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, "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." 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 judged from mere illustrations.[73] 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.