The plan of St. Paul's, we repeat, is a cross. Over the circular space, where the nave, choir, and transepts join, rises the dome, supported by eight great piers, forming as many semicircular arches, disposed in an octagonal form. The view enjoyed by a spectator standing directly below the dome is truly magnificent. The imposing circle of lofty arches, which seems to enclose the charmed gazer, or to open only that his eye may range along the vistas of the nave or choir, and enhance his sense of what he sees by a consciousness of how much still remains to be seen, becomes still more imposing as he looks upward, and sees how grand a duty has been allotted to themthat of bearing the glorious concave which more peculiarly makes" St. Paul's" an honoured name through the civilised world. Another fine view of the structure is obtained from the western doors. From thence you look along the nave, across the circular space below the dome, and, when the doors of the choir are open, through that also, an arched perspective in all of 500 feet, the nave alone measuring 340 feet. In still closer imitation of our gothic cathedrals than Wren desired, the nave has its side aisles, a measure forced upon him, and, it is supposed, through the influence of the Duke of York, then secretly planning the restoration of the Roman Catholic religion, when the "long-drawn aisles" would have been again in requisition. The architect is said to have shed tears when yielding to a measure which he conceived so objectionable. Although we cannot quite agree with the author of the 'Guide,' that the "shields, festoons, chaplets, cherubims, and other devices," give St. Paul's "a richness and grace which are wanting in all buildings of gothic construction," yet there is no doubt Sir Christopher was sedulously attentive to the important subject of decorations; and, whilst he has in consequence left us some valuable works of this nature, we also know how much more he would have done had he been more liberally supplied with funds. We cannot, however, adduce the "shields, festoons," &c., as any

remarkable example of refined elegance in the art, or as any striking proof of Wren's taste; nor need we dwell upon the handsome marble pavement, "paved alternately with dark and light-coloured marbles, the dark slabs forming a complete mariner's compass, exhibiting the thirty-two points with the half and quarter points complete ;" nor on the "beautiful screen of wrought-iron, the workmanship of Monsieur Tijou ;" for, passing through the gates of that screen, we behold in the carved wood-work of the choir something of a much higher character. On those flowers and fruit, and on those more ambitious works, the Caryatidal figures, which adorn the stalls, the different thrones or chief seats, and the organ gallery, we recognise the unmistakeable impress of the hand of genius: these can be but by one man-Gibbons. For his work in the choir of St Paul's he received the sum of £1333 7s. 5d. To all this richness of decoration, and general grandeur of the building decorated, the high altar, which should be the most sumptuous part of the whole, offers a melancholy contrast. It is to be hoped that some liberal and munificent-minded dignitary of the Cathedral may hereafter remember what Wren's intentions were, and endeavour to have them carried into effect. "The painting and gilding of the architecture at the east end of the church over the communion-table was intended only to serve the present occasion, till such time as materials could have been procured for a magnificent design of an altar, consisting of four pillars wreathed, of the richest Greek marbles, supporting a canopy hemispherical, with proper decorations of architecture and sculpture; for which the respective drawings and a model were prepared. Information, and particular descriptions of certain blocks of marble, were once sent to the Right Reverend Dr. Compton, Bishop of London, from a Levantine merchant in Holland, and communicated to the surveyor, but, unluckily, the colours and scantlings did not answer his purpose: so it rested in expectance of a fitter opportunity; else probably this curious and stately design had been finished at the same time with the main fabric.” (Parentalia.) Choral service is performed here twice a day (at a quarter to ten in the morning and a quarter past three in the afternoon), and few things can be more deliciously soothing to the "o'erwrought spirit" than to step out of the ceaseless turmoil, the petty cares and strifes of the world's daily business, into the holy quiet of this place. It may be here mentioned that on the north side of the nave, near the western extremity, there is a morning-prayer chapel, where divine service is performed every morning (Sundays excepted) at seven in summer and eight in winter. This chapel, with the Consistory Court on the opposite side of the nave, forms a kind of lesser transept, of the same breadth as, and connected with, the western front, so that from the exterior it hardly looks like a transept. The organ of the choir is justly reputed one of the finest instruments in the country. It was erected by Schmydt about the close of the seventeenth century, who received £2000 for it.

Interesting as St. Paul's is in its general and more essential features to all persons, of whatever amount of taste or knowledge, yet it must be owned that a few of its adjuncts enjoy at least their fair share of attention and admiration. Nay, we fear the numbers are somewhat considerable who think a great deal less of the dome than of the ball at the top, into which they themselves have actually ascended—who are much more anxious to appreciate the wonders of the clock-work than of the architecturewhose amazement is more readily called into action by the size of the great bell than by the statement of the dimensions of St. Paul's-who would be infinitely better pleased by being able to distinguish the friendly whisper across the famous gallery, than to listen in awful silence to the voice of their own heart, which such a scene is calculated to call forth, and with the happiest effects. And if we do not participate

in such views, there is no doubt all these, with the other curiosities of St. Paul's, are deserving of notice. Before we ascend to the upper portion of the building, where these curiosities are to be found, we may mention two assemblies which annually draw a considerable share of the popular attention to the Cathedral. These are the musical meeting for the benefit of the Sons of the Clergy in May, and the meeting of the great body of the charity children of the metropolis (connected with the established church) in June. The origin of the former is thus described. In 1655 the Rev. G. Hall preached a sermon for the relief of the sons of such of the clergy as had been reduced to indigence for their Nonconformist principles. The appeal was so successful, that a similar one was made annually, and during the reign of Charles II. a charter was granted to the promoters of the charity, which then took the form that it still holds, of a charitable establishment for the relief of the widows and orphans of poor clergymen. The house is situated at St. John's Wood. The performances consist of a miscellaneous selection of sacred music from our great writers, Handel, Boyce, and others. The collections average nearly £1000. The other meeting is one of still greater attraction. The circle beneath the dome is formed into an amphitheatre of seats for the five or six thousand children present, the members of the choir are placed against the organ, the area in the centre is filled with persons of rank, fashion, and intellectual distinction, whilst the nave accommodates that portion of the public which can obtain tickets of admission. One feature of the day is certainly very touching and beautiful—the sound of so many youthful and infant voices when they join in the choruses and other portions of the service. It may be useful to add, that to these meetings, as well as to the previous rehearsals which take place on each occasion, any one can obtain admittance to the body of the church by making a contribution to the charity, which is expected to be not less than half-a-crown.

Let us now ascend. A door in the south aisle, close to the circle, opens to a staircase winding upwards, and which presently conducts us to the long galleries over the aisles of the Cathedral, with their massive timber rafters overhead and along the right side. In the southern gallery we find the Library, founded by Bishop Compton, whose portrait adorns the walls. Here are preserved some manuscripts belonging to Old St. Paul's, and on the table facing us as we enter is an open book of ancient music, with square notes, and written on four lines only. The decorations of the room are very beautiful: the gallery is supported by exquisitely-carved oaken brackets of great size, and the floor consists of small pieces of variously-coloured oak, disposed in geometric patterns. At the end of this gallery is the geometrical staircase, built by Wren, for the convenience of access to the Library. In the northern gallery is the model of the first design for St. Paul's, which, however, is so badly situated, that to judge of the character of the proposed building is almost impossible. Here hang some of the tattered flags which formerly desecrated the dome. Returning to the southern gallery, a very narrow circular staircase in the southern campanile tower leads up to the bell and clock works. A strange mistake has been made with regard to the bell. It is continually said to be the same, only recast, as that which, from the reign of Edward I., hung in the bell-tower in front of Westminster Hall, and which was at first known as Edward of Westminster, and then as the Great Tom. It is true that this bell was given by William III. to St. Paul's, and recast by one Wightman, but proved so faulty, that "Sir Christopher employed Mr. Phelps (an honest and able bell-founder, as appeared by several specimens and testimonials) to make a bell proper for the clock, all of new metal; and the agreement was so ordered, that this new bell should be delivered and approved