form of a hyperboloid, pierced near the vertex with an aperture 12 ft. in diameter. The 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 tone. 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. 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.

On it

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, overed 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 ths 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 longit dinally springing from piers, strengthened, as well as decorated, on their inner faces, by entablature, whose cornice reigns throughout the nave and church. Above this entab ture, and breaking with it over each pilaster, is a tall attic from projections on whi spring semicircular arches which are formed into arcs doubleaux. Between the last, pr dentives are formed, terminated by horizontal cornices. Small cupolas, of less height tl. their semi-diameter, are formed abore these cornices. In the upright plane space on t walls above the main arches of the nave, choir, and transepts, a clerestory is obtained ov the Attic order, whose form is generated by the rising of the pendentives. The in dome is plastered on the under side, and painted by Sir James Thornhill, with subje relating to the history of St. Paul.

475. For external elegance, we know no church in Europe which exhibits a cupc comparable with that of St. Paul's, though in its connection with the church by an ord higher than that below it there is a violation of the laws of the art. The cost of the chur was 736,752l., exclusive of the stone and iron enclosures round it, which cost 11,20: more; in all 747,954. About nine-tenths of that sum were raised by a tax on coals in ported into London. As compared with St. Peter's, we subjoin a few of the principal c

mensions of the two churches.

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

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

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 thoug we may admire the ingenuity that provided for carrying a stone lantern on the top of 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 Chris topher 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 thei 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 i 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.

The merit, therefore, shown in the construction of the above edifices will be nearly as 15, 17, 20, 26, or inversely proportional to the numbers in the last column.

479. We must here mention one of the most unpardonable defects, or rather abuses. which this church exhibits, and which must be learnt from reference to fig. 214. Therein is

given a transverse section of the nave and its side aisles. From this it will be seen that the enormous expense of the second or upper order all round the church was incurred for no other purpose than that of concealing the flying buttresses that are used to counteract the thrusts of the vaults of the nave, choir, and transepts, - an abuse that admits of no apology. It is an architectural fraud. We do not think it necessary to descend into minor defects and abuses, such as vaulting the church from an Attic order, the multiplicity of breaks, and want of repose; the general disappearance of tie and connection, the piercing, as practised, the piers of the cupola, and mitering the archivolts of its great arches, and the like, because we think all these are more than counterbalanced by the beauties of the edifice. We cannot, however, leave the subject without observing that not the least of its merits is its freedom from any material settlement tending to bring on premature dilapidation. Its chief failures are over the easternmost arch of the nave, and in the north transept, for the remedy whereof (the latter) the architect left written instructions. There are also some unimportant failures in the haunches of most of the flying buttresses, which are scarcely worth notice.

480. The wretchedly naked appearance of the interior of this cathedral is a disgrace neither to the architect nor to the country, but to the clergy, Terrick, bishop of London, and Potter, archbishop of Canterbury, who refused to sanction its decoration with pictures, gratuitously proffered by artists of the highest reputation; and this after the cupola itself had been decorated. The colour of the sculpture is of no use in heightening the effect of the interior.

481. The Parentalia contains a description of the manner in which the walls of the old

cathedral were destroyed, and those of the present one raised; which should be read all those engaged in the practice of architecture.

482. Wren, having lived to see the completion of St. Paul's, was, as before stated, placed from the office of surveyor of Crown buildings to make room for an incompet pretender, named Benson. Pope, in the Dunciad, has left a record of the job, in the line While Wren with sorrow to the grave descends,

Gay dies unpensioned with a hundred friends.

Wren died at the age of 91 years, and was buried under the fabric, "with four words,” s Walpole, "that comprehended his merit and his fame."

"SI QUÆRAS MONUMENTUM CIRCUMSPICE."

483. It will be impossible consistently with our space, to describe the works of Sir Chr topher Wren. One upon which his fame is as justly founded as upon St. Paul's itself, St. Stephen's Church in Wallbrook, in which, on a plot of ground 801 ft. by 594 ft., has contrived a structure whose elegance is not surpassed by any one we know to ha been raised under similar restrictions. The church in question is divided longitudinal into five aisles by four ranks of Corinthian columns standing on pedestals; the places four columns near the centre being unoccupied; the surrounding central columns form t angles of an octagon, 45 ft. diameter, on which arches are turned, and above which, t means of pendentives, the circular base of a dome is formed, which is in the shape of a se ment of a sphere, with a lantern thereon. The ceiling of the middle aisle from east west is vaulted in groins. The rest of the ceiling is horizontal. The interior of St. James' Westminster, is another beautiful example of the master, though recently underrated t an ignorant critic.

484. One of the peculiarities remarkable about Wren's period is the investment of th form of the Gothic spire with a clothing of Italian architecture, by which the moder steeple was produced If any example could reconcile us to such a practice, it migl be found in that of Bow Church, another of Wren's works, which rises to the heigh of 197 ft. from the ground, the sides of the square from which it rises being 32 ft. 6 it There are in the leading proportions of this tower and spire, some extraordinary example in relative heights as compared with widths sesquialterally, which would almost lead on to suppose that, in this respect, our architect was somewhat superstitious.

485. In St. Dunstan in the East, Wren attempted Gothic, and it is the least offensive of his productions in that style. It is an elegant composition, but wants the claim to originality. St. Nicholas, Newcastle, and the High Church, Edinburgh, are its prototypes. 486. The Monument of London is original, notwithstanding columns of this sort hac been previously erected. Its total expense was 8856l., and it was commenced in 1671. completed in 1677. The height is 202 ft. ; hence it is loftier than any of the historical columns of the ancients. The pedestal is about 21 ft. square, standing on a plinth 6 ft. wider. The lower diameter of the column on the upper part of the base is 15 ft., and the shaft incloses a staircase of black marble, consisting of $45 steps. It was fluted after the work was carried up. The quantity of Portland stone whereof it is composed is 18,196 cubic feet. The Antonine column at Rome is 1631, and that of Trajan 132 ft. high. That erected by Arcadius at Constantinople, when perfect, was of the same height as that last mentioned. The structure of which we are speaking loses much by its situation, which has neither been improved nor deteriorated by the streets consequent on the rebuilding of London Bridge: and though it cannot compete with the Trajan column in point of intrinsic beauty, it is, nevertheless, an exquisite and weil-proportioned work, and seems much better calculated with propriety to record the object of its erection, than the other is to be the monument of a hero. In these days, it is singular to see that no other mode than the erection of a column could be found to record the glorious actions of a Nelson. Such was the poverty of taste that marked the decision of the committee to whom that object was inost improperly entrusted.

487. Among the works of Wren not to be passed without notice is the Library of Trinity College, Cambridge. It is one of his finest productions, and one with which he himself was well satisfied. It consists of two orders; a Doric arcade below, open to a basement supported by columns, which has a flat ceiling, exceedingly convenient as an ambulatory, and itself simple and well proportioned. The principal story is decorated with threequarter columns of the Ionic order, well proportioned. From their volutes, festoons are pendent, and the key-stones of the windows are carved into cherubs' heads, &c. This is the elevation towards Nevill's Court; that towards the garden has three Doric doors below. but above is without columns or pilasters in the upper stories. Without ornament, it

is not the less graceful and imposing. The interior, as a single room, is designed with great grandeur and propriety.

488. We cannct further in detail continue an account of the works of this extraordinary architect, but shall now proceed to submit a list of his principal works, together with a catalogue of those of his principal churches whose estimates exceeded the cost of

50002

489. We must here close our account of Wren. Those of our readers who desire further information on the life and works of this truly great man will do well to consult the Parentalia, or Memoirs of the Family of the Wrens, compiled by his son, and published by his grandson Stephen Wren. Fol. Lond. 1750.

490. Among the architects of Wren's time, there was a triad of amateurs who would The first of these was Henry have done honour to any nation as professors of the art. Aldrich, D.D., Dean of Christ Church, Oxford, who died in 1710. He was attached to the Venetian school, as we may see in the three sides of Peckwater quadrangle, and the garden front of Corpus Christi College, a façade which for correct taste is not surpassed by any edifice in Oxford. The second of these amateurs was Dr. Clarke, one of the Lords of the Admiralty in the reign of Queen Anne. This distinguished amateur sat for Oxford in fifteen sessions. The Library of Worcester College, to which he bequeathed his valuable architectural collection of books and MSS., was from his design. He built the library at Christ Church. The third was Sir James Burrough, Master of Caius College, Cambridge; by whom, in 1703, the chapel of Clare Hall in that University was beautifully designed and executed.

491. We now approach the works of a man who, whatever some have thought of them, has a stronger claim on our notice as an inventor than any of his predecessors. It must be anticipated that we allude to Sir John Vanbrugh. Upon no other artist has Walpole delivered criticisms more unworthy of himself, nor is there any one of whose genius he had less capacity to appreciate the powers. The singular mind of Vanbrugh was distracted by control: his buildings are the result of a combination of forms and anticipation of effects, originating solely from himself; effects which none before had seen