Opposite the north porch of the Cathedral is the Chapter-House and from this side St. Paul’s Bridge, the plan for which was adopted in 1909, will start. It will cost no less than £1,600,000, and will cross the Thames between Blackfriars and Southwark.
Facing Ludgate Hill stands a statue of Queen Anne, a modern replica of the original statue by Bird. At the foot of the 22 marble steps leading up to the doorway is a marble slab commemorating the Diamond Jubilee Thanksgiving (June 22, 1897). From time immemorial national thanksgiving services have been offered at St. Paul’s. The first in this building was a special thanksgiving for the Peace of Ryswick. Queen Anne returned thanks for Marlborough’s victories in the Low Countries and the destruction of the Spanish fleet at Vigo and for the victory of Blenheim (1702 and 1704). Here thanks were also offered for the recovery of the Prince of Wales (Edward VII.) from a serious illness in 1872 and by Queen Victoria for the sixtieth anniversary of her reign (1897); by King Edward and Queen Alexandra for the restoration of peace in South Africa (June 8, 1902); by King Edward on October 18, 1902, for his recovery from the illness that delayed the Coronation; and by King George and Queen Mary.
“The West Front has a magnificent portico, divided, like the rest of the building, into two stories. The lower consists of twelve coupled and fluted columns; that, above, has only eight, which bear an entablature and pediment of which the tympanum is sculptured in bas-relief, representing the conversion of St. Paul. On the apex of the pediment is a figure of the Saint himself, and at its extremities, on the right and left of St. Paul, are figures of St. Peter and St. James. The transepts are terminated upwards by pediments, over coupled pilasters at the quoins, and two single pilasters in the intermediate space. On each side of the western portico a square pedestal rises over the upper order, and on each pedestal a steeple, or campanile tower, supported upon triangular groups of Corinthian columns finishing in small domes formed by curves of contrary flexure very like bells. Lower down in front of these campaniles, the Four Evangelists are represented with their emblems. In the face of the southern campanile a clock is inserted. A flight of steps extending the whole length of the portico forms the basement. In the southwest tower is the Great Bell of St. Paul’s, cast in 1709 by Richard Phelps and Langley Bradley. It is ten feet in diameter, ten inches thick in metal and weighs 11,474 pounds.”—(M.)
First we will take a general view of the exterior:
“The form of St. Paul’s is that of the long or Latin cross. Its extreme length, including the porch, is 500 feet; the greatest breadth, that is to say across the transept but within the doors of the porticoes, 250 feet; the width of the nave, 118 feet. There are, however, at the foot or western end of the cross, projections northward and southward, which make the breadth 190 feet. One of these, namely, on the north side, is used as a morning chapel, and the other, on the south side, contains the Wellington Monument, but was formerly used as the Consistory Court. At the internal angle of the cross are small square bastion-like adjuncts, whose real use is to strengthen the piers of the dome; but they are inwardly serviceable as vestries and a staircase. The height of the Cathedral on the south side to the top of the cross is 365 feet.
“The exterior consists throughout of two orders, the lower being Corinthian, the upper composite. It is built externally in two stories, in both of which, except at the north and south porticoes and at the west front, the whole of the entablatures rest on coupled pilasters, between which in the lower order a range of circular-headed windows is introduced. But in the order above, the corresponding spaces are occupied by dressed niches, standing on pedestals pierced with openings to light the passages in the roof over the side aisles. The upper order is nothing but a screen to hide the flying-buttresses carried across from the outer walls to resist the thrust of the great vaulting.”—(M.)
The Dome, the great feature of the church, is very beautiful when seen from a distance, as from one of the bridges, rising with its graceful curves far above the roofs and other spires.
“The dome, which is by far the most magnificent and elegant feature in the building, rises from the body of the church in great majesty. It is 145 feet in outward and 108 feet in inward diameter. Twenty feet above the roof of the church is a circular range of twenty-two columns, every fourth intercolumniation being filled with masonry, so disposed as to form an ornamental niche or recess, by which arrangement the projecting buttresses of the cupola are concealed. These, which form a peristyle of the Composite Order, with an unbroken entablature, enclose the interior order. They support a handsome gallery adorned with a balustrade. Above these columns is a range of pilasters, with windows between them, forming an attic order, and on these the great dome stands. The general idea of the cupola, as appears from the Parentalia, was taken from the Pantheon at Rome. On the summit of the dome, which is covered with lead, is a gilt circular balcony, and from its centre rises the lantern, adorned with Corinthian columns. The whole is terminated by a gilt ball and cross.
“But with the matchless exterior ceases the superiority, and likewise, to a great degree, the responsibility of Wren. His designs for the interior were not only carried out, but he was in every way thwarted, controlled, baffled in his old age to the eternal disgrace of all concerned; the victim of the pitiful jealousy of some, the ignorance of others, the ingratitude of all.”—(M.)
It is singular to note that when Wren laid the corner-stone on June 11, 1675, there was no solemn ceremonial. The King, the Court, the Archbishop of Canterbury and the Lord Mayor of London were all notably absent, but when he laid the last stone in the lantern of the cupola in 1710