“The exquisite carvings of Grinling Gibbons in the stall-work of the choir were not merely in themselves admirable, but in perfect harmony with the character of the architecture. They rivalled, if they did not surpass, all Mediæval works of their class in grace, variety, richness; they kept up an inimitable unison of the lines of the building and the decoration. In the words of Walpole ‘there is no instance of a man before Gibbons who gave to wood the loose and airy lightness of flowers and chained together the various productions of the elements with a fine disorder natural to each species.’”—(M.)
The Organ is one of the finest in the world. It was reconstructed by Willis in 1897, and still contains parts of the original organ built by the German, Schmidt, in 1697. It consists of 4,822 pipes and 102 stops and is divided into two parts, placed on either side of the choir. These are connected by pneumatic tubes beneath the floor. The keyboard is on the north side.
The older part of the case with its foliage, figures and architectural devices was also designed by Grinling Gibbons.
The Altar stands between the great eastern piers and is surmounted by a tall reredos of white marble.
“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 ‘Vas 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 are the crossed swords, 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 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.
“The altar cross is adorned with precious stones and lapis lazuli; and the massive copper candlesticks are imitations of the original four said to have been sold during the Protectorate.”—(A. D.)
The apse behind the altar cut off by the reredos is now called the Jesus Chapel. Over the altar here is a copy of Cima de Conegliano’s Doubting Thomas (in the National Gallery).
The apse and the vaulting and the walls of the choir and ambulatory have in recent years been decorated by Sir William Richmond with richly-coloured mosaics. The chief panels of the apse represent our Lord enthroned, with recording angels on either side. In the choir the three “saucer domes,” or cupolas, represent three Days of Creation: Beasts, Fishes and birds. The four pendentives of each bay are decorated with herald Angels, with extended arms. Mosaics of the Crucifixion, Entombment, Resurrection and Ascension, also by Sir William Richmond, adorn the “quarter domes.”
The eight paintings by Thornhill, of scenes from the life of St. Paul, can be viewed properly only from the Whispering Gallery. In the niches above this Gallery are statues of the Fathers of the Church. The spandrels between the great arches are decorated by eight large mosaics representing apostles and prophets: St. Matthew and St. John are by G. F. Watts; St. Mark and St. Luke, by A. Brittan; and the four prophets are the work of Alfred Stevens.
The Transepts are of one arch only. The windows are modern and represent bishops and kings of early days. In the south transept aisle there is a window commemorating the recovery of the Prince of Wales (Edward VII.) in 1872; and a bronze tablet by Princess Louise in memory of “4,300 sons of Britain beyond the seas” who were killed in the South African war of 1899-1901.