The eight spandrels of soft and suitable stone have designs of the four Greater Prophets, and the four Evangelists, executed by Dr.

Salviati of Venice. For the designs of St. Matthew and St. John the authorities were fortunate enough to secure the services of that wonderful Academician, Mr. G.F. Watts. He thoroughly understood and overcame the difficulty of the great distance of the spectator on the pavement below. These designs are in every way worthy of the painter of the Rider on the White Horse, and its fellows. The other Evangelists were designed by Mr. Brittan, and the Prophets by Mr. A.

Stevens. The smoke should never be allowed to mar the colouring, and so injure the good effect, of this part of the scheme of decoration.

Subsequently the authorities and their committee turned to Mr. (now Sir William) Richmond, R.A., whose veneration for St. Paul's dates from childhood. His interest in mosaic work caused him to study carefully the principles of design which obtained in Italy, Greece, and Asia Minor, during the best times of the Byzantine Empire.[104]

Sir William has adopted the old plan of gla.s.s tesserae or cubes, and of four shapes--the cube, double cube, equilateral triangle, and a longer form with sharp points. They are of eight to ten tones of colour, and are put into position on the spot, being joined together by a mastic cement which resembles that used by Andrea Tafi in restoring the mosaics in the Baptistery at Florence. This cement in time becomes quite hard. The cubes with their complex facets are not joined close together, but separated by one-sixteenth to one-fourth of an inch, the better to reflect the light, so as to give a rich and soft texture.

They are made at Messrs. Powell's workshops. Sir William has done a great deal more than design. He has, so far as this country is concerned, caused us to acquire a new art, while he has restored an old one. The workmen, who are all natives, have been trained by him.

Accustomed only to the smooth, pictorial mosaics of thin plates of gla.s.s put together in the workshop, he had to teach the Messrs. Powell and their staff both how to make the gla.s.s cubes, and how to put each one separately into its place in the cement on the wall or roof. As our cathedrals are sermons in stone, so these adornments are intended to be ill.u.s.trated sermons in gla.s.s. Beginning with the Creation, and including those, Pagans as well as Israelites, who prepared the way and led up to the Fulness of the Time, we are here taught the leading features of that progressive truth which has been revealed.

The difficulty in dealing with the lofty blank s.p.a.ces of the dome will be not to go too high up, and not to come too far down. At the time of revising these lines (August, 1899) the decoration of this part of the cathedral has advanced no further than the quarter domes of those alternate arches which tested so severely the genius of the Surveyor.

In the four, taken as a whole, the general subject ill.u.s.trated will be St. Paul's Gospel of the Resurrection from the early verses of 1 Corinthians, XV.

_North-East_, the Crucifixion. Christ stands on the Tree of Life, branches on either side and the cross behind. The water of life issues from below the tree, making a silver flood; these silver tones, the result of many experiments, when flashing, expand and give more light than gold. The holy women are on either side, and Adam and Eve kneeling in the two corners. The world is represented as a harvest-field. The inscription below runs, "The Lord hath laid on Him the iniquity of us all." _South-East_, the Resurrection. The Risen Christ is standing at the entrance of the open sepulchre, and is supported on either side by an angel in blue and white. He wears a long mantle of white, shaded to red, probably to prevent the white rays spreading too much. On either side in the corners are placed the sleeping soldiers: and above is a canopy of clouds, lifting on the horizon. A scroll-work, which looks like pomegranates, takes the place of the silver flood of the companion across the choir arch.

Inscription, "Behold! I am alive for evermore." _South-West_ the Entombment. A winged angel, sitting, holds the reclining Body. On the right, standing figures of women, and on the left two angels.

Continuing round are two other figures on either side; and these, as I am instructed, are symbolical of our four nationalities. Trees and foliage are above the figures. This section is still incomplete, and the text wanting; but the scroll-work looks like leaves and acorns.

Years hence, when the dome as a whole is finished, we shall be in a position to judge. So far everything is rich and promises well.[105]

[Ill.u.s.tration: _Photo. S.B. Bolas & Co._ THE SOUTH CHOIR AISLE, SHOWING THE BACK OF THE STALLS AND THE IRON GATES.]

THE TRANSEPTS.

These short limbs consist of only one arch beyond the great dome piers. There is no arch at the ends like that by the west door.

Instead, the wall s.p.a.ce shows four single pilasters with their entablature supporting the gallery. The gilded copy of the well-known inscription on Wren's tomb is over the north doorway. The great windows, the gift of the late Duke of Westminster, and designed by Sir William Richmond, ill.u.s.trate early Church history. The North represents twelve primary bishops who introduced, or restored after lapse, Christianity, after the coming of the English, and include Augustine, Mellitus, Cedd, Birinus, Theodore of Tarsus (the originator of the parochial system), and Erkenwald. The South represents twelve kings who co-operated and supported the prelates, including Ethelbert, Cynegils, Coinwalch, Sabert, Sigebert, and Sebbe. In the south transept aisles the Thanksgiving service in 1872 for the recovery of the Prince of Wales is commemorated by a window, the subject being the Raising of the Son of the Widow of Nain, and a tablet performs the like service.

[Ill.u.s.tration: BISHOP'S THRONE AND STALLS ON THE SOUTH SIDE.]

THE CHOIR.

The plan consists of the great piers and chancel arch, three arches, other great piers which support the triumphal or reredos arch and are pierced for doorways, and finally the apse. The side aisles do not extend beyond the reredos arch. The main aisle, formerly isolated from the dome by the organ and organ-screen, is now separated only by a low railing, and the s.p.a.ce underneath the chancel arch has been included.

By uniting choir and dome for the purposes of congregational worship the intention of the architect has been carried into effect. The ironwork of the gates, both at the west end of the aisles and in the doorways of the reredos arch, is part of Tijou's work, restored and replaced as occasion arose.

=The Stalls.=--They all now face uniformly on opposite sides. They are the work of Grinling Gibbons, and originally cost over 1,300. The best plan is to see them both from the choir and the aisles, as their general conception and details are alike creditable to the wood-workers of their day. The canopies have galleries above; and those in the centre on either side, as also over the throne at the end of the south side, have turrets. But it is not only their artistic merits. More than anything else they carry us back to the days of Old St. Paul's, since they reproduce the seats of the dignitaries for ages past. Numbering thirty-one on either side, the Latin inscriptions over fifteen on either side call for notice. These are the headings of the Psalter divided into thirty parts.

In the days of Bishop Maurice and Dean Ulstan, according to Newcourt, a division was first made, so that each prebendary should say the Psalter through in a month, while the whole Psalter should be said each day. Under Ralph de Baldock, in succession Archdeacon of Middles.e.x, Dean, and finally Bishop (1276-1313), the present and more equal division was made.[106] The Archdeaconries of Ess.e.x and Colchester are now in the Diocese of St. Alban's, and the Archdeaconry of St. Alban's, consisting of a few parishes in Herts and Bucks, created after the dissolution of the abbey, though for a time in the diocese, never had a stall. The stalls and seats have been added to from the designs of Mr. Penrose. For the sake of convenience I have numbered the thirty-one stalls on either side: the other numbers, in brackets, to the right, represent the traditional positions in Old St.

Paul's. Each dignitary's stall has the name inscribed. Neither from the position of the stalls, nor from the order of the allotment of the Psalter is it possible to discover any priority. Perhaps both were arranged according to the then seniority of the canons.

NORTH SIDE.

30 and 31. [Not a.s.signed.]

27-29. Minor Canons.

26. Archdeacon of Middles.e.x (19) 25. Chiswick (18) _Nonne Deo subjecta._ 24. Caddington Major (17) _Omnes gentes plaudite._ 23. Newington (16) _Confitemini Domino quoniam bonus._ 22. Neasden (15) _Domine ne in furore._ 21. Brondesbury (14) _Beatus vir, qui timet Dominum._ 20. (Not a.s.signed.) 19. Lord Mayor, with Mace-Bearer below.

18. (Not a.s.signed.) 17. Consumpta per Mare (13) _Confitemini Domino [107-111]._ 16. Willesden (12) _Noli aemulari._ 15. Islington (11) _In convertendo Dominus._ 14. Ealdland (10) _Deus stet.i.t in synagoga._ 13. Hoxton (9) _Defer in salutare anima._ 12. Wedland (8) _Exandi, Domine, just.i.tiam._ 11. Reculverland (7) _Beati quorum remissio._ 10. St. Pancras (6) _Voce mea._ 9. Caddington Minor (5) _Miserere mei Deus._ 8. Tottenhall (Tottenham) (4) _Beatus vir qui non abiit._ 7. (Not a.s.signed.) 6 and 5. Minor Canons.

4. Chancellor. (3) 3. Precentor. (2) 2. Residentiary.

1. Archdeacon of London. (1)

SOUTH SIDE.

The Bishop's Throne or official _Cathedra_.

30 and 31. (Not a.s.signed.) 27-29. Minor Canons.

26. Archdeacon of Colchester, now a Minor Canon (19) 25. Ealdstreet (18) _Dominus regnavit, exultet terra._ 24. Rugmere (17) _Ad Dominum c.u.m tribularer._ 23. Brownswood (16) _Deus judicium tuum._ 22. Wenlocksbarn (15) _Quemadmodum desiderat._ 21. Sneating (14) _Dominus Deus meus, respice._ 20. (Not a.s.signed.) 19. The Bishop.

18. (Not a.s.signed.) 17. Oxgate (13) _Domine exandi [102-106]._ 16. Mapesbury (12) _Memento Domine David._ 15. Twyford (11) _Deus misercatur mei._ 14. Cantlers (Kentish Town) (10) _Dominus illuminatio mea._ 13. Mora (9) _Confitebor tibi in toto corde._ 12. Portpool (8) _Quid gloriaris in malitia._ 11. Harleston in Willesden (7) _Fundamenta ejus, &c._ 10. Holborn (6) _Salvum me fac Domine, &c._ 9. Chamberlainewood (5) _Bonum est confiteri, &c._ 8. Finsbury or Halliwell (4) _Benedictus Dominus Deu, &c._ 7. (Not a.s.signed.) 5 and 6. Minor Canons.

4. Treasurer (3) 3. Residentiary 2. Archdeacon of Ess.e.x, now a Residentiary (2) 1. The Dean (1)

Dr. Sparrow-Simpson a.s.signed the psalms to Consumpta and Oxgate as I have put them in brackets.[107]

=The Organ.=--In Old St. Paul's the organ was considered to have but two peers, Canterbury and York; and the present instrument is worthy of its predecessor. Grinling Gibbons executed the older part of the case, with its foliage, figures, and imitations of the architecture.

Bernard Schmidt, a German, was the builder; and in 1802 "a most industrious Swede and his partner" took it to pieces, cleaned it, and improved the tone of many of the notes. When the choir was opened out, at the suggestion of Dr. Sparrow-Simpson the instrument was enlarged by Mr. Willis, divided between the two sides, and placed above the stalls at the west end, the old carved work being chiefly on the north side. Whether Jeremiah Clark (1695-1707) lived long enough to preside is uncertain; but if not, Richard Brind (1707-1718) was the first to play the present instrument. Neither Sir John Stainer nor Sir George Martin need any mention. The organist is seated on the north side, and communicates by electricity.

=The Reredos.=--Advantage has been taken of the s.p.a.ce between the great eastern piers to bring forward the altar and crown it with a lofty reredos. Would Wren have approved of the breaking of the vista by shutting out the windows of the apse? As he himself designed an unexecuted Baldachino "of rich marble columns writhed" somewhat after the style of his favourite St. Peter's,[108] and as this was not so high, and was to stand against the east wall, the answer to this question is doubtful. The impression left is that for the present altar-piece he would have designed his east front somewhat differently. Be this as it may, upon this magnificent specimen of modern art it is waste of time to lavish praise, and the names of the designers, Messrs. Bodley and Garner, will always be a.s.sociated with it. The symbolism is expressed in the frieze above the Crucifixion, "Sic Deus dilexit mundum" ("G.o.d so loved the world"). The lower part is pierced with doors on either side: and "Via 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 the crossed swords are 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 ma.s.sive copper candlesticks are imitations of those, four in number, sold during the Protectorate, and now, with the arms of England, in Ghent Cathedral.

=The Apse.=--Although the side aisles require no particular mention, unless it be of certain relics from Jerusalem in the south aisle, the iron gates leading to the reredos are well worthy of attention. When the choir was opened out, the ironwork was brought here; but there was not sufficient. Recourse was had in vain to modern coal-smelted metal: it split, and proved useless for the finer work. Searching the records, it was discovered that Tijou used only charcoal-smelted iron; and a supply was procured from Norway. Comment is needless. The vaulting comes down to the upper tier of windows. The windows in the lower tier, by Mr. C.E. Kempe, in harmony with the mosaics, have for their general subject the Last Judgment.

Isolated by the great Reredos behind from the rest of the church, the apse now forms a separate chapel, and is called the Jesus Chapel. Why borrow the name from the east end of the crypt below? The Liddon Chapel would be a suitable name. Here, against the south wall is his monument; and the altar-piece, in its marble framework, forms part of his memorial. It is a copy of a painting by Giovanni Battista da Conegliano, otherwise Cima. The original, now in the National Gallery, was painted for the Fraternity of the Battuti at Portogruaro. The subject is the incredulity of St. Thomas.

[Ill.u.s.tration: THE CHOIR, ALTAR AND REREDOS.]

=The Mosaics.=--Excepting, perhaps, certain minor alterations which time and experience may suggest, the decoration and adornment of the Choir may now be reckoned as finished. The scheme was begun from the east, and continued westward; but there is no good reason for altering our plan, and we will continue to work from the west eastward. Of the five divisions of the main aisle, the chancel arch may be dismissed; the subject being a continuation of the western bay. There remain, then, the three bays, the reredos arch, and the apse; and we will take these in their order. The spandrels of the arcading treat of the Fall and Redemption; the triforium belt has the same subject as the "inverted saucers" of the vaulting; the clerestory windows on the north, Creation awaiting, or antic.i.p.ating, or in any sense preparing the way for the Kingdom of Christ,--on the south, those who prepared places of worship; the pendentives, Angels, and inscriptions from the Psalms and Isaiah; the vaulting, the Story of Creation, continued in the triforium belt. Thus it will be seen that the arrangement of the interior, with its three stages, is fully recognised. Underneath the clerestory windows the inscriptions are from the Advent antiphons to the _Magnificat_; and these selections have most carefully omitted anything savouring of the invocation of saints. Below the angels with their outstretched arms in the pendentives the western sides of the great transverse arches have inscriptions from the _Benedicite_, and on their eastern from Romans i. 20. All of these texts or inscriptions are in Latin. The gla.s.s in the clerestory windows has been put in to give the best effect to the mosaics. A tabular statement will best present a general idea of Sir William Richmond's system taken as a whole.

WESTERN BAY (with Chancel Arch).

{ Creation of Beasts, with the inscription, "Producat { terra animam viventem" (Gen. i. 24). The four _Roof_ { heraldic shields on the borders have the arms of the { four London Companies who are donors to the decorations.

{ N.: Merchant Taylors. S.: Mercers. E.: Fishmongers.

{ W.: Goldsmiths. Date, 1895.

_Pendentives_: Angels, with inscriptions above from Psalm civ.

N. S.

{ W.: Job. W.: Jacob's Ladder.

{ E.: Abraham at his tent E.: Moses receiving the _Clerestory_ { door at Mamre. Tables of the Law and the { The Three Heavenly "Pattern of the { Visitors and Sarah. Tabernacle" (Exodus { xxv. 9).

_Inscription { "O Adonai, qui Moysi "O Adonai, et dux, et beneath { apparuisti, veni ad dominus Israel, veni ad window_ { redimendum nos." redimendum nos."

_Triforium { Adam, with arm round Eve, with tigers, birds continued in { lion: a lioness licking of paradise, and other chancel arch_ { his feet. animals.

{ Creation of Firmament. Expulsion from Paradise.

{ Two Angels in red, as the Adam and Eve walking { ministers of Creation. In sorrowfully in the _Spandrels_ { centre, bright sun with direction of the Dome, { inscription, "Fiat lux, which represents the { et facta est lux." outer world. Paradise { has a rampart.

CENTRE BAY

{ Creation of Fish. Sea monsters spouting out water, _Roof_ { fish swimming, and blue water. Inscription, "Creavit { Deus cete grandia" (Gen. i. 21).

{ This is the gift of the Fishmongers' Company.

_Pendentives_: Angels, with inscriptions from Psalm cxlviii.