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the monarchy, however, the art began to revive; but it was much tinctured with the contemporary French style, which Lord Burlington, on its reappearance many years afterwards, had the merit of reforming, and of bringing back the public taste to the purity which Jones had introduced: but this we shall have to notice hereafter.

465. John Webb was nephew as well as scholar of Inigo Jones, whose only daughter he married. He built a large seat for the Bromley family at Horseheath, in Cambridgeshire; and added a portico to the Vine, in Hampshire, for Challoner Chute, the Speaker to Richard Cromwell's parliament. Ambresbury, in Wiltshire (fig. 210.), was only executed

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by him from the designs of his master, as also the east side of the court of Greenwich Hospital. Captain William Winde, a native of Bergen-op-Zoom, and pupil to Sir Balthazar Gerbier, was, soon after the Restoration, in considerable employ as an architect. He buit Cliefden House, Bucks, which was destroyed by fire in 1795; the Duke of Newcastle's, in Lincoln's Inn Fields; Combe Abbey, Warwickshire, for Lord Craven; and for the saine peer he finished Hempsted Marshall, which had been begun by his master. But the chief and best work of Winde was Buckingham House, in St. James's Park, on whose site now stands a palace, larger, indeed, but unworthy to be its successor. It is known from prints, and not a few of our readers will probably recollect the building itself. It was erected for John Sheffield, Duke of Buckingham; and on its frieze was the inscription "sic SITI LÆTANTUR LARES. The arrears in the payments for this house, according to an anecdote in Walpole, were so distressing, that when it was nearly finished, "Winde had enticed his Grace to mount upon the leads to enjoy the grand prospect. When there, he coolly locked the trap-door, and threw the key to the ground, addressing his astonished patron, I am a ruined man, and unless I have your word of honour that the debts shall be paid, I will instantly throw myself over.' And what is to become of me,' said the duke? You shall come along with me.' The promise was given, and the trap-door opened (upon a sigu made) by a workman in the secret, and who was a party to the plot." We do not vouch for the truth of the tale.

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466. An architect of the name of Marsh is said, by Vertue, to have designed the additional buildings at Bolsover, as also to have done some considerable works at Nottingham Castle; and Salmon, in his account of Essex, mentions a Doctor Morecroft, who died in 1677, as the architect of the manor-house of Fitzwalters. Of the works of the French taste about the middle of the period under discussion, a better notion cannot be obtained than from Montague House, late the British Museum (fig. 211.), the work of a Frenchman here whose example had followers; indeed, Wren himself, in some of his works, has caught the vices of the French school of the day, though he was a follower of the Venetian and Roman schools. The fire which destroyed London in 1666, a few years after the death of Jones, brought into notice the talents of Sir Christopher Wren, whose career was opened under

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the reign of Charles II.

BRITISH MUSEUM.

"The length of his life enriched the reigns of several princes and disgraced the last of them." (At the advanced age of 86 he was removed by George 1. from the office of Surveyor General.) "A variety of knowledge proclaims the universality, a multiplicity of works the abundance, St. Paul's the greatness, of Sir Christopher's genius. The noblest temple, the largest palace, the most stupendous hospital, in such a kingdom as Britain, are all works of the same hand. He restored London and recorded its fall." As the boast of England is the Cathedral Church of St. Paul, it will be necessary to dwell a little on a description of it.

467. The larger portion of this cathedral stands on part of the site of the old one, as shown by the annexed diagram (fig. 212.), which also exhibits their comparative sizes. It is

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copied from a drawing by Sir Christopher in the library of All Souls College at Oxford. The instructions to the surveyor, according to the compiler of the l'arentalia, were—" to contrive a fabric of moderate bulk, but of good proportion; a convenient quire, with a vestibule and porticoes, and a dome conspicuous above the houses:" and in conformity with them, a design was made which, from various causes, does not appear to have given satisfaction; whereon the compiler observes, that "he endeavoured to gratify the taste of the connoisseurs and criticks with something coloss and beautiful, with a design antique and well studied, conformable to the best style of the Greek and Roman architecture." The model made from this design st'll exists. This however was not approved, and "the surveyor then turned his thoughts to a cathedral form, so altered as to reconcile as near as possible the Gothic to a better manner of architecture." A design was approved by the king, who issued his warrant under privy seal 14th May, 1675, for the execution of the works. This design (engraved for the first time in Longman's The Three Cathedrals, 1873) was wholly departed from by Wren, in execution.

468. Much trouble was experienced in removing the immense ruins of the old church, for the destruction whereof recourse was had to many expedients. On the north side, the foundaLions are placed upon a stratum of hard pot earth about 6 feet in thickness, but not more

than 4 ft. thick on the south side; and upon this stratum, from the experience of the old church having firmly rested, the architect wisely determined to place the new one. The work was commenced on the western side, driving eastward to the extremity of the site; at which, on the northern side, a pit was discovered whence the hard pot earth had been extracted, and the vacuity so made filled up with loose rubbish. The length of this hole in the direction of the foundation was not more than 6 or 7 ft., and from the fear of piles, if driven, becoming rotten, the surveyor determined to excavate through the sand, and to build up from the stratum solid for a depth of 40 ft. The pit sunk here was 18 ft. wide; in this he built up a pier, 10 ft. square, till it rose to within 15 ft. of the present surface. At this level he introduced an arch from the pier to the main foundation, and or this arch the north-eastern quoin of the choir is founded.

469. On the 21st of June, 1675, the first stone was laid; and, within ten years, the wai.s of the choir and its side aisles, and the north and south circular porticoes, were finished; the piers of the dome also were brought up to the same height. The son of the architect laid the last stone in 1710. This was the highest stone on the top of the lantern. Thus the whole edifice was finished in thirty-five years, under the remarkable circumstances of having only one architect, one master mason (Mr. Strong), and the see being occupied the whole time by one bishop, Doctor Henry Compton. The master builder's name was Jennings. 470. The plan of St. Paul's is a Latin cross, and bears a general resemblance to that of St. Peter's. A rectangular parallelogram, 480 ft. from east to west (measuring from the top of the steps of the western portico to the exterior of the eastern wall of the choir), is crossed by another parallelogram, whose extremities form the transepts, 250 ft. in length from north to south. At the eastern end of the first parallelogram is a hemicylindrical recess, containing the altar, and extending 20 ft. further eastward; so that the whole length is 500 ft., exclusive of the flight of steps. At the north and south ends of the transepts are porticoes, segmental on the plan, and projecting 20 ft. The centre of the intersection of the parallelograms is 280 ft. from the western front. The width of each parallelograin is 125 ft. At the western end of the edifice, on the north and south extremities, are towers whose western faces are in the same plane as the general front, but whose northern and southern faces respectively project about 27 ft. from the walls of the aisles of the nave; so that the whole width of the western front is about 180 ft. In the re-entering angles on each side, between the towers and the main building, are two chapels, each 50 ft. long and 20 ft. broad, open to the aisles of the nave at their western end Externally two orders reign round the building. The lower one Corinthian, standing on a basement 10 ft. above the level of the ground, on the western side, where a flight of steps extending the whole breadth of the front, exclusive of the towers, leads to the level of the church. The height of this order, including the entablature, is 50 ft.; and that of the second order, which is composite, is one fifth less, or 40 ft.; making the total height 100 ft. from the ground to the top of the second entablature. The portico of the western front is formed with the two orders above mentioned, the lower story consisting of twelve coupled columns, and the upper one of eight; which last is surmounted by a pediment, whose tympanum is sculptured with the subject of the Conversion of St. Paul, in pretty high relief. Half of the western elevation, and the half transverse section, is given in fig 213. At the northern and southern ends of the transepts the lower order is continued into porticoes of six fluted columns, standing, in plan, on the segment of a circle, and crowned with a semi-dome abutting against the ends of the transepts.

471. The porch of the western front is 50 ft. long and 20 ft. wide: the great doorway, being in the centre of it, leads to a vestibule 50 ft. square, at whose angles are four piers connected at top by semicircular arches, under which are placed detached coupled columns in front of the piers. The body of the church is divided into a nave and two side aisles, decorated with pilasters supporting semicircular arches; and on each side of the porch and vestibule is a passage which leads directly to the corresponding aisles. The choir is similarly disposed, with its central division and side aisles.

472. The entrances from the transepts lead into vestibules 25 ft. deep, and the whole breadth of the transept in length, each communicating with the centre by a central passage and its aisles formed between two massive piers and the walls at the intersections of the transepts with the choir and nave. The eight piers are joined by arches springing from one to the other so as to form an octagon at their springing points, and the angles between the arches, instead of rising vertically, sail over as they rise and form pendentives, which lead, at their top, into a circle on the plan. Above this a wall rises in the form of a truncated cone, which, at the height of 168 ft. from the pavement, terminates in a horizontal cornice, from which the interior dome springs. Its diameter is 100 ft., and it is 60 ft. in height, in the form of a paraboloid. Its thickness is 18 in., and it is constructed of brickwork. From the haunches of this dome, 200 ft. above the pavement of the church, another cone of brickwork commences, 85 ft. high, and 94 ft. diameter at the bottom. This cone is pierced with apertures, as well for the purpose of diminishing its weight as for distributing light between it and the outer dome. At the top it is gathered into a dome, in the

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form of a hyperboloid, pierced near the vertex with an aperture 12 ft. in diameter. top of this cone is 285 ft. from the pavement, and carries a lantern 55 ft. high, terminating in a dome, whereon a ball and cross is raised. The last-named cone is provided with corbels, sufficient in number to receive the hammer beams of the external dome, which is of oak, and its base 220 ft. from the pavement, its summit being level with the top of the cone. In form, it is nearly hemispherical, and generated by radii 57 ft. in length, whose centres are in a horizontal diameter, passing through its base. The cone and the interior dome are restrained in their lateral thrust on the supports by four tiers of strong iron chains, placed in grooves prepared for their reception, and run with lead. The lowest of these is inserted in the masonry round their common base, and the other three at different heights on the exterior of the cone. Externally the intervals of the columns and pilasters are occupied by windows and niches, with horizontal and semicircular heads, and crowned with pediments. In the lower order, excepting modillions under the corona, the entablature is quite plain, and there are also console modillions in the upper order. The edifice, in three directions, is terminated with pediment roofs; and at the extremities, on each of those faces, are acroteria, supporting statues 25 ft. above the roof of the edifice. Over the intersection of the nave and transepts for the external work, and for a height of 25 ft. above the roof of the church, a cylindrical wall rises, whose diameter is 146 ft. Between it and the lower conical wall is a space, but at intervals they are connected by cross walls. This cylinder is quite plain, but perforated by two courses of rectangular apertures. On it stands a peristyle of thirty columns of the Corinthian order, 40 ft. high, including bases and capitals, with a plain entablature crowned by a balustrade. In this peristyle, every fourth intercolumniation is filled up solid, with a niche, and connection is provided between it and the wall of the lower cone. Vertically over the base of that cone, above the peristyle, rises another cylindrical wall, appearing above the balustrade. It is ornamented with pilasters, between which are a tier of rectangular windows above, and one of blanks below. On this wall the external dome is posited. As will be seen by reference to the section, the lantern which we have before noticed receives no support from it. It is mere.y ornamental, differing entirely in that respect from the dome of St. Peter's.

473. The towers in the western front are 220 ft. high, terminating in open lanterns, covered with domes formed by curves of contrary flexure, and not very purely composed, though perhaps in character with the general façade. The total height to the top of the cross from the pavement outside is 404 ft., but usually stated as 365 ft.

474. The interior of the nave and choir are each designed with three arches longitudinally springing from piers, strengthened, as well as decorated, on their inner faces, by an entablature, whose cornice reigns throughout the nave and church. Above this entablature, and breaking with it over each pilaster, is a tall attic from projections on which spring semicircular arches which are formed into arcs doubleaux. Between the last, pendentives are formed, terminated by horizontal cornices. Small cupolas, of less height than their semi-diameter, are formed above these cornices. In the upright plane space on the walls above the main arches of the nave, choir, and transepts, a clerestory is obtained over the Attic order, whose form is generated by the rising of the pendentives. The inner dome is plastered on the under side, and painted by Sir James Thornhill, with subjects relating to the history of St. Paul.

475. For external elegance, we know no church in Europe which exhibits a cupola comparable with that of St. Paul's, though in its connection with the church by an order higher than that below it there is a violation of the laws of the art. The cost of the church was 736,752., exclusive of the stone and iron enclosures round it, which cost 11,202. more; in all 747,954/. About nine-tenths of that sum were raised by a tax on coals imported into London. As compared with St. Peter's, we subjoin a few of the principal di

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476. If we suppose sections to be made through the transepts of the four principal churches of Europe, we have their relative sizes in the following ratio : —

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477. Notwithstanding its imposing effect as a whole, and the exhibition in its construction of a mechanical skill of the very highest order; notwithstanding, also, the abstract beauty of the greater number of its parts, it is our duty to observe that many egregions abuses are displayed in the fabric of St. Paul's, the first and greatest whereof is the great waste of interior effect as compared with the total section employed. If we suppose, as before, sections from north to south to be made through the transepts of the four principal churches, the following table will exhibit the proportion of their clear internal to their external areas:

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Whence it is seen how highly in this respect the Duomo of Florence ranks above the others. The defect of St. Paul's in this respect is mainly induced by the false dome; and though we may admire the ingenuity that provided for carrying a stone lantern on the top of a truncated cone, deceitfully appearing, as it does, to stand on the dome from which it rises, we cannot help regretting that it afforded the opportunity of giving the building a cupola, liable to the early attack of time, and perhaps that, more to be dreaded, of fire.

478. In the skill required for raising a building on a minimum of foundation, Sir Christopher Wren appears to have surpassed, at least, those who preceded him. In similarly or nearly so formed buildings, some criterion of the comparative skill employed in their construction may be drawn from comparing the ratio between the area of the whole plan, and that of the sum of the areas of the horizontal sections of the whole of the piers, walls, and pillars, which serve to support the superincumbent mass. The similarity of the four churches already compared affords, therefore, a criterion of their respective merits in this respect. We hardly need say that one of the first qualifications of an architect is to produce the greatest effect by the smallest means. The subjoined table is placed before the reader as a comparison of the four churches in reference to the point in question.

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