l":&^ 

 
 A DESCRIPTION 
 
 OF 
 
 MR. BUllGES' MODELS 
 
 FOR THE 
 
 ADORNMENT OF ST. PAUL'S 
 
 N(jM" EXHIBITKD AT 
 
 THE ROYAL ACADEMY 
 
 LONDON 
 E. STANFORD, CHARING CROSS 
 
 1874
 
 i.oxnoN : rnrxTED by 
 
 SPOTTIS'a'OODS AXI) 10., XF.W-STKKKT SQUARE 
 AXU PAllMAMEXT STREKT 
 
 <S ^•^ fa 
 
 I 111 I, 
 
 UlUi.
 
 The following description of Mr. Bnrges' Models for the adorn- 
 ment of St. Prnd's is 2^'jblished with the view of facilitating their 
 examination, and of explaining the princi^tles on ivhich they are 
 constructed. 
 
 a2
 
 DESCEIPTION OF THE MODELS. 
 
 GENERAL PRINCIPLES. 
 
 Necessity of The general principle on which Mr. Buries has con- 
 light and ° , . \ , .^ - . n ' - 
 brightness, structed liis mociels IS the necessity or giving greater 
 
 liixht and briohtness and more colour to the Cathedral. 
 The very foundation of all the attempts that have been 
 made to ' adorn ' the building, from the time of Sir 
 Joshua Eeynolds to that of Dean Milman and of the 
 present day, has been the feeling that in its present 
 state it is dull and heavy to an extent that is positively 
 oppressive. The tone of the materials of which the 
 Cathedral is built is not only sombre, but dull in the 
 extreme ; the texture of the stone renders it especially 
 liable to the collection of dirt ; the surface, from its very 
 nature, absorbs instead of reflecting light ; wliile the 
 usual characteristics of an English — and, above all, of a 
 London — atmosphere require conditions the very reverse 
 of all that have been here enumerated. 
 How should The first question, then, requiring settlement was the 
 brightness be ^^^^-^^ -^ ^^^^^ brightness should be given to the build- 
 
 infy. The cleansing process which has lately been ap- 
 plied to it has done much. It has shown how great an 
 eifect may be produced by the mere removal of dirt ; 
 but it has also shown that the nature of the material of 
 which the Church is built can only to a very limited 
 extent produce the desired effect, and it has also shown 
 the necessity of a periodical repetition of the process in
 
 order to produce even this limited eflect. It was there- 
 fore necessary to consider whether the desired result 
 might not be produced by the application of a material 
 that coidd be easily cleaned, whose colour was brighter, 
 and whose surface would reflect instead of absorbing 
 lifiht. The obvious answer was that marble would 9,'^^Jl^-^ ?^^ 
 
 *- . ished marble 
 
 produce all the desn*ed en'ects, and that a surface of 
 marble might be advantageously substituted for a sur- 
 face of stone. Polished marble is usad in most 
 Italian cinque-cento churches with any pretension to 
 richness of decoration ; and so deep, indeed, has always 
 been the feehng that marble is the appropriate sur- 
 face material, that even the imitation of marble, not- 
 withstanding its incapacity for reflecting light, has been 
 deemed allowable, although, as is the case in some 
 portions of St. Peter's at Eome, the disappointment 
 produced by the discovery that what appears to be 
 marble is nothing but an imitation, excites a feeling of 
 indignation. 
 
 Mr. Burges came, therefore, to the conclusion that A veneer of 
 in London, the wealthiest city in- the world, marble cient. 
 should, in internal decoration, be substituted for stone. 
 It was, however, obviously unnecessary to substitute a 
 mass of marble for a mass of stone. Even with means 
 almost unlimited, it would be a wasteful proceeding 
 for an architect, when constructing a building of 
 vast dimensions, to make use of so expensive a mate- 
 rial, in the mass, when one of less cost would be 
 equally stable, and could, without difTiculty, and at a 
 comparatively moderate cost, be furnished with a sur- 
 face that would fulfd all the required conditions. Ho 
 would use stone for stability, and a veneer of marble 
 for artistic effect. 
 
 Other general principles have also guided Mr. Burges Materials.
 
 ill his plans of decoration. He has selected materials 
 not easily perishable, and easily cleaned, such as mosaic, 
 majolica, bronze, and marble. 
 
 These are used : 
 Artistic- por- First, Where the individual work of an artist 
 
 ^^''"'^- occurs, as in figure-work, arabesques, patterns, 
 
 &c. 
 Secondly, Where particular tones of colour are 
 employed, as in backgrounds to sculptm^ed 
 figures, ornaments, inscriptions, &c., and — 
 Thirdly, Where the decoration would be submitted 
 to wear and tear, as in the pavement and lower 
 portions of the fabric generally. 
 
 No c,..st to These, the artistic portions of the work, as well as 
 
 those subjected to wear, would thus be practically im- 
 perishable, could be easily cleaned when required, and 
 would occasion no further expense after the first cost. 
 
 Mnciianical Thosc portious uot requiring individual judgment 
 
 for their renewal, such as gildings to ca])itals, mould- 
 ings, large surfaces of white, and white mouldings, 
 would be gilt, and painted in the usual manner. 
 
 iJeuewiii. This, the mechanical portion of the decoration, could 
 
 be renewed when required, without danger to the 
 general efiect. 
 
 DETAILS OF MODELS. 
 
 THE MARBLE VENEER. 
 
 P,nts..riiHve. The first model is that of a half-bay of the nave and 
 mMl'ai.i.'"'"' 'I ^^=»y *J^" ^^^^ ''^^^^'- '^^^^ second is a bay of the choir, 
 
 a b;iy of the north choir aisle, the luite-apse with aisle, 
 
 and the a])se. 
 ^^■"l^"- The wliole is represented to a scale of half an inch 
 
 to ihe foot,
 
 The substitution of a surftice of marble for a surface of Maible 
 stone, in certain internal parts of the building, being, tlien, 
 the foundation of Mr. Burges' principle of decoration, 
 the mode of application is as follows: — The principal Main pieis 
 
 '■ _'- ^ ^ and aisle 
 
 piers and the aisle walls are to be thus treated. From walla. 
 the ground to the necking of the caps of the small 
 pilasters, it is proposed to case the piers of the nave 
 and choir arcades and the walls of the aisles with white 
 Sicilian marble. 
 
 The veneer Avould be applied in thin slabs, so as not 
 to interfere with the stability of the structure, and it is 
 believed that the thickness proposed by Mr. Burges 
 would not involve any risk. In order to avoid the 
 disagreeable effect of a joint near the edge, betraying 
 the want of thickness in the material, the corner})ieces 
 of marble would be made [_ shaped, in horizontal 
 section. 
 
 THE WALLS. 
 
 The ])redominance of white is thus made the great cha- Predomin- 
 
 • • p 1 1 1 11 1 1 1 anceof white. 
 
 racteristic ot what may perhaps be called the lower story 
 
 of the nave of tlie Cathedral. The great pilasters in Treatment of 
 
 the nave are therefore treated in the same manner, but ters in nave!" 
 
 the flutes are partially filled in with coloured marble, 
 
 the lower third black, and the two upper thirds red, 
 
 as in various Genoese churches. 
 
 The })ilasters in the choir are entirely of ricli red lu choir, 
 marble, the lower part of the flutes being filled in with 
 black. The capitals in both cases are gilt, portions 
 being burnished, in order to obviate the heaviness that 
 might arise from so large a mass of one-coloured gold. 
 
 The little angels in tJie frieze, holding garlands of Frieze. 
 fruit and flowers, arc in red and green bronze, and
 
 8 
 
 Panels. 
 
 form a link to connect the colour of the pilasters with 
 that of the attic and ribs above. 
 
 The panels in the piers and Avails are decorated 
 with opus sectile^ in geometrical figures, or with marble 
 tarsia- work on a black ground, according to their 
 position. The panels in the deep jambs of the aisle 
 windows are filled in with such tarsia-work, having 
 in the centre white marble bas-reliefs on gold 
 ground, representing subjects in continuation of those 
 Memorials & depicted in the windows between them. On these 
 
 donations. , • ^ c, c • • ,• i •, • 
 
 panels space is leit tor inscriptions ; and it is pro- 
 bable that these will be made use of for donations in 
 memory of departed friends or distinguished persons, 
 it being the object of the architect to encourage indi- 
 vidual donations of portions of the decoration, as 
 contributions to the completion of the whole on a 
 single system. The panel under the east window of 
 the choir aisle is intended to offer another opportunity 
 for similar treatment. It is filled with a gilt bronze 
 bas-relief, with blue enamel background, and is 
 intended for a memorial of a missionary bishop. 
 The nine panels under the apse windows are similarly 
 of bronze, and represent severally our Lord as King 
 (Matthew xxv. 40), and the Acts of Mercy. 
 
 It will thus be seen that there is no colour, excepting 
 in the marble and the bronzes, below the cornice over 
 the main arcade. Colour is used sparingly in the 
 attic, above which it increases in richness, which cul- 
 minates in the dome, although even there it is not 
 intended that it shall attain the richness and depth of 
 the decoration of the choir. Following the English 
 custom, the choir is made very rich. Colour is here 
 used below the main cornice, but with broad spaces of 
 white, and the white decreases and is replaced by gold 
 
 Extent to 
 •which colour 
 is used.
 
 and colour as the height rises, there being a minimum 
 in the dome. 
 
 ARCADES, ETC. ABOVE MARBLE-WOEK. 
 
 Proceeding upwards, we now come to those parts of Arcades 
 tlie building which are above the intended marble-work. ^^^^^^ ^' 
 The nave arcade is painted white, but toned to avoid 
 crudeness, with the mouldings and some portions of 
 the cornice gilt ; but where gilt ornaments occur on a 
 gold ground, the latter is glazed with a reddish colour, 
 and would then look like red gold. 
 
 The spandrels are enriched with a pattern which is Spandrels. 
 produced partially by sinking the present surface of 
 stone, and partially by the addition of mouldings. 
 As the decoration in this portion of the building is 
 restricted to the use of white and gold, a flat surface, 
 without texture, would have been poor in effect. 
 The colour is concentrated into the centre of the span- 
 drels by the introduction of shell-like niches of bright 
 green marble, containing heads. 
 
 The soffits, or undersides of the arches, are at present Soffits. 
 ornamented with sunk coffers and panels, containing 
 raised stone sin-faces. It is proposed that these shall 
 be carved, as such was evidently the intention of Sir 
 Christopher Wren. The decoration is white and gold, 
 ^^dth some dark blue in the ground of the coffers, so as 
 to accentuate their depth. In the choir arcade the Choir arcade, 
 spandrels are left flat, and decorated with mosaic, 
 because, besides the wdiite and gold, colour also is 
 here used. In other respects the treatment is very 
 similar to that of the corresponding portions of the 
 nave arcade.
 
 10 
 
 THE ATTIC STORY. 
 
 Generally. 
 
 Its import- 
 ance. 
 
 Forms a 
 chain round 
 the building. 
 
 Reasons for 
 frieze treat- 
 ment. 
 
 Continuous 
 frieze sup- 
 pressed in 
 entablature. 
 
 Contrary case 
 in apse. 
 
 Treatment of 
 attic storv. 
 
 Tlie next portion of the building requiring consider- 
 ation is the attic story. This is a very important and 
 striking feature of the building, forming, as it does, the 
 only continuous plane surface which runs along the whole 
 length of the edifice, with the exception of the inter- 
 ruption of shallow piers at long intervals. It is divided 
 into a series of large panels, forming a chain of framed 
 spaces, connecting the feet of the great ribs that carry 
 the domed vaulting surfaces. 
 
 Several considerations point to a treatment like that 
 of a frieze, composed of human figures, as the fitting 
 decoration for these panels. These are — their promi- 
 nent position ; their being large spaces framed with 
 deep mouldings, and therefore evidently intended by the 
 architect to receive decoration of importance ; and the 
 absence, in their usual position, of those continuous 
 horizontal plane surfaces (architrave and frieze) 
 which are so important a characteristic of the Italian 
 manner of building. They were suppressed by Sir 
 Christopher Wren in order to gain height for the 
 nave arcade, but he took care to supply the required 
 horizontality of effect at a higher level, by giving im- 
 portance to the attic. In the apse, however, where 
 the architrave and frieze are in their proper position, 
 the clerestory window is allowed to cut through the 
 horizontal lines of the attic story. 
 
 The attic story, above the main cornice, is painted 
 white, with some gilding on the cornice ; and the 
 mouldings round the panels are also gilt. The panels 
 are filled with subjects, composed of figures on a 
 smaller scale than that of the Prophets and Apostles in 
 the windows above, forming, as it were, a ' predella ' to
 
 11 
 
 tliem, after the manner of the Itahan altar-pieces of 
 the best Eenaissance period. The series of subjects 
 below illustrate scenes from the life of the holy per- 
 sonage represented in the large space above. 
 
 The material to be used is majolica, with the joints Material, 
 following the outlines of the drawing, in order to avoid 
 tlie disagreeable effect produced by square tiles. The Nave, 
 figures are white, lightly shaded with green, on a subject?, 
 blue background, these retiring colours being selected 
 to form a transition between the white, gold, and 
 marble below, and the greater richness of colour in 
 the windows and vaulting above. 
 
 The shallow piers, taking the transverse arches, are Colour iu 
 carved with arabesques gilt on a white ground. There 
 can be but little doubt that Sir Christopher Wren in- 
 tended eventually to carve the stone left projecting 
 from the panels. 
 
 The attic story of the choir would be treated Choir, 
 similarly to that of the nave, except that greater rich- 
 ness would be obtained by gilding portions of the plain Colour of 
 faces between the panels, and substituting varied colour 
 in the figures for the white and green of the nave. 
 
 The arch piers would here be enriched by having Piers, 
 red, instead of white, backgrounds to the gilded 
 arabesques. 
 
 THE CLERESTORY. 
 
 The spandrels or wall surfaces on either side of the Clerestory. 
 clerestory windows not being forms specially designed. Spandrels. 
 but rather a result of the mode of construction — that is 
 to say, of the vertical line of the window with its 
 ornamental finish, of tlie liorizontal line of the attic, 
 and of the elliptical line of the pendentive of the vault —
 
 12 
 
 Treatment, 
 
 it has been deemed desirable not to emphasise these, 
 as it were, accidental forms by borders or by panelling, 
 but rather to treat the whole clerestory as a single 
 wall-surface cut into and encroached upon. The greater 
 portion is therefore treated as conventional masonry, 
 the horizontal lines of which are valuable by giving 
 apparently greater breadth to and binding together the 
 whole composition. Gilt embellishments and inscrip- 
 tions, with a little colour, are therefore introduced. 
 As, in the actual work, the volutes at the base of the 
 Composition, window-dressings carry down and support the vertical 
 lines, so the seated figures on either side of the window 
 echo the colour, and act as supporters to the standing 
 figures in the glass. 
 
 The greater portion of the spandrels is intended to 
 be white, the position being one that woidd receive 
 but little light, and would be rendered darker by con- 
 trast with the brightness of the windows. The figures, 
 however, are intended to be fully coloured, in order to 
 make them stand out as clearly as possible. 
 
 The choir clerestoiy is treated in exactly the same 
 way as that of the nave, as the addition of colour 
 would only render it darker, and perhaps even con- 
 fused. 
 
 The whole of the clerestory, being composed of 
 large flat surfaces, would be executed entirely in 
 mosaic. 
 
 Colour. 
 
 Choir clere 
 story. 
 
 Material. 
 
 THE VAULTS. 
 
 Nave. 
 
 (ieneral 
 principle 
 
 With reference to the vaults, all hues of construc- 
 tion, such as the transverse and longitudinal arches, 
 enclosing lines of panels, are emphasised by the 
 use of white and gold. The filling-in of the panels
 
 13 
 
 aud pendentives is executed in colour enriched with 
 
 gold. The pendentives are in mosaic. A border of rendentlve?. 
 
 white and gold, with a little green, encloses a full-sized 
 
 figure of an angel, mostly white, with wings of gold 
 
 and colour, on a blue ground with gold stars. 
 
 The flat domes, covering each a bay of the nave Domes. 
 or choir, present in the actual building perfectly plain 
 surfaces. These, being far more extensive than any 
 -others in the Cathedral, require therefore to be sub- 
 divided, in order to bring the decorations into scale 
 with the rest of the work. It is consequently proposed Applied 
 to enrich the surface by the addition of mouldings '^ 
 
 executed in plaster, a very favourite mode of treatment 
 in the best part of the cinque cento period. The 
 domes would be cut up by these into a series of panels 
 or coffers, as in the lacunar vaults of the Eomans and Coffers, 
 their Eenaissance imitators. A similar treatment was 
 adopted by Wren in tlie barrel-vault of the ante-apse, 
 and the soffits. over the aisle and apse windows. The 
 mouldings and coffers would, however, be far lighter Vaults not 
 and shallower than Wren's, so as not to weight unduly 
 the vaulting surfaces. 
 
 The colouring would be as laid down in the general Colour. 
 principles ; the panels being filled with heads of cherubs 
 and arabesques in brilliant colours. 
 
 The choir domes would be treated in a similar Choir domes, 
 manner to those of the nave, but the forms of the 
 surface decoration would be varied, and there would Colour. 
 be more gold and colour, and less white. 
 
 The pendentives Avould have angels on gold, instead Tendentives. 
 of blue, ground ; and their border would be of red and 
 gold, instead of a broad one of white and gold. 
 
 The treatment of the aisle domes would be the same, Aisle domes, 
 respectively, as that of tlie nave and choir.
 
 14 
 
 Ante-npse. The vaiilt of the ante-apse consists at present of a 
 
 broad arcli or barrel-vault deeply coffered. It is pro- 
 posed to decorate this in red, blue, and gold, and with 
 thin white lines round the panels, so as to produce a 
 rich effect. 
 
 Apse 
 geuerully. 
 
 Piinciple of 
 decoraliuu. 
 
 Base of apso. 
 
 Arcade. 
 Addition of 
 arcbivolt 
 mouldiiis's. 
 
 Spandrels. 
 
 Frieze. 
 
 THE APSE. 
 
 The apse, if it be regarded as the culminating point 
 of the Cathedral, should be decorated in the richest 
 manner. White is therefore used more sparingly, 
 while colour and gold are employed in large masses. 
 But the principle of decoration is the same. The lead- 
 ing lines of construction are still emphasised by the use 
 of white ; the ornamental portions of these construc- 
 tional hues, however, such as the arabesques on the 
 ribs of the semi-dome, the panels in the rib-piers, and 
 the frieze of the principal entablature, are in blue and 
 gold. 
 
 The lower portion of the apse is similar to that of 
 the rest of the building, but rendered richer by the 
 insertion of gilt bas-reliefs under the lower windows, as 
 in the panels of the aisle walls. 
 
 In the arcade there is at present no archivolt mould- 
 ing marking the arch. Its absence is not much felt in 
 its present colourless condition, but it becomes indis- 
 pensable when attention is drawn to individual features 
 by decoration. It has therefore been supplied, and, 
 being a constructional form, decorated with white and 
 gold. The spandrel between the arch and the architrave 
 is all gilt. Tlie garlands of fridts and ribbons are 
 glazed in transparent colours on gold, the shields bear- 
 ing the instruments of Our Lord's Passion on a black 
 ground. 
 
 It is [)rupose(l to insert in the frieze a gold inscrip-
 
 15 
 
 tion, oil a blue ground, cousisting of the following 
 
 words, selected from a passage in the Communion 
 
 service : — ' Holy, holy, holy. Lord God of Hosts ; inscription. 
 
 heaven and earth are full of Thy glory.' The portion 
 
 of the Litm^gy from which it is taken renders it most 
 
 fitting for its position round the Holy Table, wdiile, why chosen. 
 
 at the same time, it interprets in words the scheme 
 
 of the decoration of the apse-dome and of the vault 
 
 of the last bay of the choirs — which two would always 
 
 be seen together at a single glance — viz. the Seraphim, 
 
 Cherubim, and Angels in adoration of the Saviour. Dome. 
 
 The figure of Our Lord in the act of blessing, which 
 
 occupies the centre compartment of the apse-dome, ^arpre figure 
 
 p. .. . T •!! T- of Christ. 
 
 IS ot gigantic size, m accordance with the tradition Material. 
 of Early Christian Art. It would, consequently, be 
 plainly visible throughout the entii-e length of the 
 Cathedral. The whole of these figures would be 
 executed in mosaic, on "'old oi-ound. 
 
 PAVEMEXT. 
 
 As regards the pavement, it is constructed of marble, ravement. 
 the design simple and broad — opus sectile,in large pieces, 
 only being used. There is a white path on either side Nave, 
 of the nave, the centre consisting of a coloured pattern 
 of black, yellow, red, and white — the whole suggest- 
 ing the idea of a broad carpet running tlie entire length 
 of the Cathedral, and leading up to the altar. 
 
 The main tone of the aisle pavements is also white, Aisles, 
 subdivided and panelled to emphasise the plan, and 
 echo the arcliitectiire of the vault above. 
 
 The general treatment of the choir pavement is the Choir, 
 same as that of the nave, but richer in character. Opus 
 sect'de is eni[)l(:)yed in smaller pieces, with heads and
 
 16 
 
 arabesques introduced sparingly. The latter is executed 
 in incised marble, filled in with black cement. 
 
 Ante-apse. The pavement of the ante-apse is of opus sectile, very- 
 
 rich, of the character of that in the Church of the Ma- 
 donna dei Miracoli, at Venice — a beautiful specimen of 
 late quattro- cento work. In the centres of panels are 
 figures in opus vermiculatam, to form a transition to 
 
 Apse. The pavement of the apse. This is all opus 
 
 vermicidatum, representing four streams flowing from 
 the altar, with harts drinking, fiowers, and so forth, 
 the wdiole being emblematic of Paradise, as. so fre- 
 quently seen in Early Christian Art at Eavenna, Eome, 
 and elsewhere. 
 
 THE GLASS. 
 
 Stained glass The window^s are the only remaining point re- 
 quiring consideration. It is considered essential to the 
 plan of adornment adopted by Mr. Burges, to sub- 
 stitute new glass for that now existing in the 
 present windows. Were any student of the model 
 to remove its windows for an instant, and then, 
 after impressing the effect on his mind, either replace 
 them, or substitute, temporarily, any other, and espe- 
 cially darker or deeper coloured, glass, he w^ould at once 
 see that the present treatment of the windows is abso- 
 
 Objectiona to lutcly ucccssary to the wdiole design. The windows 
 umciga. . ^^^^ .^^ ^-j^^ Cathedral are of Munich construction, and 
 obstruct rather than transmit light ; they are out of. 
 harmony with the proposed system of ' adornment,' 
 and they do not come up to the standard of excel- 
 lence attained by many English artists and manufac- 
 turers. They are didl and opaque in colour, and 
 overladen w^ith shading in black and brown, so as to 
 ]ir<)ducc the effect of transparent oil paintings, or trans-
 
 17 
 
 [)arent blinds, ruUier tlum of windows filled with brilliant 
 wliite and coloured glass. 
 
 It being necessary to introduce as great a flood of ^^nsWerfd"'* 
 light as possible into a huge building — which, from the desirable, 
 comparatively small size of its windows, and these, 
 too, not splayed, and the habitual gloom of a London 
 atmosphere, is apt to appear dark and sad-looking — the 
 refracting and jewel-hke qualities of glass should be 
 utihsed to the utmost. In the designs shown in the 
 model, white glass therefore is extensively used, with 
 occasional bits of colour, sufficient to define the subject 
 and echo the masses of colour in the wall and other 
 decorations. 
 
 The subjects selected for the apse windows are the Subjects. 
 
 At)sg 
 
 invocations of the Litany in the Book of Common 
 Prayer — 
 
 1. The Agony. 
 
 2. The Crucifixion. 
 
 3. The Burial. 
 
 4. The Eesurrection. 
 
 5. The Ascension. 
 
 6. The Coming of the Holy Ghost. 
 The last three being in the clerestory. 
 
 The subjects of the nave windows are taken from Nave, 
 the Old Testament, viz. : Li the aisle, Isaac blessing 
 Jacob ; in the clerestory, the Prophet Obadiah. 
 
 In the choir, the subjects are from the New Testament. Choir. 
 In the clerestory, the Apostles St. Peter and St. Andrew 
 on the north side, and St. James Major and St. John 
 on the south. In the aisle, Our Lord's entry into 
 Jerusalem ; and at the east end of the aisle, the Conver- 
 sion of St. Paul.
 
 18 
 
 Conclusion. Ill examining tlie model, it must not be forgotten 
 tliat it is seen under very different conditions from those 
 of tlie Catliedral itself. It is exposed to a blaze of 
 liglit, instead of being darkened by the surrounding 
 l^arts of the building. 
 
 The estimated cost is as follows : — 
 
 A half bay of the nave, and a bay of the nave- 
 aisle, is estimated to cost about £11,000, 
 
 A whole bay of the choir, and its north tdsle, 
 about £14,000. 
 
 The apse, including the two great pilasters and 
 the ante-apse or sacrarium, with its north aisle, 
 about £23,000. 
 
 Thus all the portions represented in the two 
 models are estimated to cost about £48,000. 
 
 A rough estimate has been made of the total cost 
 of adorning the whole Cathedral, amounting to 
 about £400,000.
 
 19 
 
 Edfract from a Letter from the Dean of 
 St. Paid'n to the Architect in 1GG8. 
 
 ' And then for the procuring contributions to defray 
 this, we are so sanguine as not to doubt of it if we 
 could but once resolve what we would do and what 
 that would cost. So that the only part of your letter 
 we demur to is, the method you propoimd of declar- 
 ing, first, what money we would bestow, and then 
 designing something just of that expense. For, quite 
 otherwise, the icay their Lordships resolve upon is to 
 frame a design handsome and noble, and suitable to 
 cdl the ends of it, and to the reputation of the City, and 
 the Nation, and to take it for granted that money will 
 be had to accomplish it.'