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.[95] 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.
The Geometrical Staircase.—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.
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.
THE DOME.
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.[96]
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.
The Arcading.—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.
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.[97] Wren was familiar with 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 outer 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.
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.