the principles of architecture.' In spite of, and in opposition to the architect, the balustrade was raised, and we must suppose, therefore, that his opinion in this, as in some other cases, had but little weight with the Commissioners. In the entablature of the upper order, a peculiarity may be observed which should, perhaps, be mentioned. The dentils of the cornice are there elongated so as to occupy the whole depth of the frieze, by which means the effect of the height from the eye is overcome, and an air of boldness is given to the upper part of the building. The surface of the church is Portland stone, and, with the exception of the pilasters, is rusticated, or grooved at the joints; which serves materially to relieve, or throw out the latter. At the end of both the north and south transept is a beautiful semi-circular portico, which is approached by a flight of steps; and the building above it is terminated upwards by a pediment, in the tympanum of one of which (that on the south side) appears a phoenix, sculptured by Cibber, the father of the noted actor, with the motto Resurgam;' and said to have relation to the anecdote before quoted.2 At the west end of the cathedral, above a noble flight of steps, is presented a double portico of coupled columns, twelve in number in the lower, and eight in the upper, terminated by a pediment, in the tympanum of which is sculptured the conversion of St. Paul.3 Above this, and at the base of two campanile towers, or turrets, which rise at the extremities of this front, over 1 From some family papers, quoted by Elmes, ut sup. 2 Page 22. For the model of the phoenix he received, it is stated, £6. and for the sculpture, £100. 3 The work of Francis Bird, who received for the execution of it £650. The tympanum is sixty-four feet long and seventeen feet high. Malcolm ut supra. the lateral projections before mentioned, are placed colossal figures of the apostles; that on the apex of the pediment representing St. Paul, and those immediately on the right and left St. Peter and St. James. These turrets, one serving as a belfry, and the other containing a clock, are light and graceful in their design and, although they somewhat want repose or continuity of lines, materially increase the effect of the building, when viewed as a whole. They are each adorned by a range of Corinthian columns, and covered with a bell-shaped dome, having at the apex a pine-apple. The projection of the porticoes from the face of the building is not more than one diameter and three quarters, but in order to produce a depth of shadow, which otherwise had been wanting, and thus to disengage and throw out the columns, a recess is formed behind the three central inter-columniations; or in other words, the central portion of the front wall of the cathedral is set back about twenty-five feet from the inner face of the columns. The door-case, beneath the lower portico, is of white marble, and in the panel above it is sculptured a group representing St. Paul preaching to the Bereans. The east end of the cathedral is terminated by an apsis, or semi-circular projection, as shewn in our engraving, within which stands the altar. The upper order of the exterior is here surmounted by an attic, in place of the balustrade by which, as we have said, it is elsewhere crowned. At the junction formed by the nave and choir with the transept, in the exterior angles of which are square projections-introduced to give additional support to the superstructure, and used in the interior as vestries, and for the staircase leading to the dome,-rises a cylindrical wall, slightly inclining inwards towards the top, from which springs a truly magnificent dome with a lantern on its summit, surmounted by a gilded ball and cross. To some portions of the building, objections, of which we shall hereafter speak, have been raised by various writers, and certainly not without reason; but to this splendid feature, its crowning glory, we know of none which may be sustained. In design perhaps it has no equal: for if compared with that of St. Peter's, (and none other is there with which it may be compared,) its elegant outline, unbroken simplicity and dignity, claim for it pre-eminence ; while, so far as regards construction, it may be pronounced one of the greatest triumphs ever achieved by mathematical and architectural skill. The drum of the dome is surrounded by a continued peristyle of thirty-two columns of the Corinthian order, rising from a plain basement; which peristyle projects some distance from the face of the wall, and serves beautifully to mask the buttresses (introduced to strengthen the dome) that come out at intervals as far as the inner face of the columns. Between the buttresses occur a series of windows, by which the interior of the dome is lighted, and the buttresses themselves being pierced with openings, an uninterrupted passage-way is preserved beneath the peristyle. On the face of the buttresses occur circular-headed niches with square panels and sculptured festoons of flowers above. The entablature of the columns supports a gallery around the basement of the dome and is adorned with a balustrade, serving as a protection thereto. The face of the basement presents a series of pilasters, standing immediately over the columns of the peristyle, with windows between them; and over their entablature, from a plinth of two steps, the external sweep of the dome begins. This is covered with copper. At its summit is a second balcony, known as the golden gallery, where the lantern commences. The view from this point on a clear day, is unique, diversified, and magnificent; the countless mass of houses clustered below, the Thames winding its sinuous course, (crossed by numerous bridges and covered with ships) and the richly cultivated country, which extends as far as the eye can reach, and serves to recall the whole history of the city's growth, together form a picture of uncommon and surprising interest. 1 1 Situated, as St. Paul's is, in the midst of the city, and therefore surrounded by buildings in every direction, it is almost impossible to obtain a near station, whence it can be viewed to advantage; although as seen from the end of Cheapside it presents an imposing mass. When, however, contemplated from Blackfriars Bridge, or when, from a rising ground, London is seen in all its might and mistiness, • Crown'd with that sacred pile, so vast, so high, Aspiring mountain, or descending cloud,'-DENHAM. The Colosseum, in the Regent's Park, contains a painted view of the environs of the cathedral, as shown from the top of the cross. It is most skilfully executed by E. T. Parris, Esq. from elaborate sketches made by Mr. Horner in 1820, from an observatory erected on the top of the Cathedral, where this adventurous artist almost daily, and at all hours, during many months, prosecuted his task with the most astonishing perseverance and courage. The sketches, (each, of course, of detached portions,) amounted in number to nearly three hundred, and the relation of any particular part to the general view, was indicated by a comprehensive key-sketch constructed by the artist for the purpose. Mr. Britton has written a description of the picture. the effect is most beautifully grand and cannot fail to excite the most lively feelings of admiration and delight. Of the various objections which have been made by different writers, with regard to the exterior of the Cathedral, the principal appear to be, first, to the use of the two orders, (i. e. to its division into two stories) instead of one, and secondly, to the numerous breaks and projections of the elevations, and a consequent want of breadth and repose throughout the building. In the design originally fixed upon for St. Paul's, the favourite of Wren, and of which, as we have before said, a model still remains, the architect proposed to use but one order surmounted by an attic. When seeking information, however, before commencing the present design, relative to various materials which would be required, he found that the quarries of the Island of Portland, whence, it was supposed, stones of the largest scantling could be obtained, would not afford blocks sufficiently large for columns exceeding four feet in diameter; and therefore, although it appears that he would have preferred acting according to his original intention, he resolved to use two orders instead of one, "and by that means to keep the just proportions of his cornices; otherwise he must have fallen short of the fabric which now exerts itself over all the country, as well as city." This reason given by the architect has not satisfied all,-some writers contending that it would have been better to have had the columns of the portico in the Western front, in many pieces and even with vertical joints, than to have placed one portico over another. This, however, would not have obviated the 1 Answers to Objections. “Parentalia,” Section VI. |