Part 78

The more prevalent and probable opinion, on the subject, seems to be this: that they were erected by the Phœnicians or Carthaginians, who are known to have had settlements in Ireland before the Christian era; or that they were built by the remote Irish, who bore the name of _Scoti_, and who were of Asiatic origin. The object of these buildings, on this supposition, was the preservation of the _sacred fire_, kindled in honor of Bel, or Baal, a heathen divinity of the east, and who is known to have been worshiped in Ireland. Indeed, to the present day, some of the religious rites of the Irish are evidently but the perpetuation of the ceremonies of their ancestors, turned from their pagan origin and blended with Catholic observances. This view of the origin and object of the round towers is strongly confirmed by the fact that in their vicinity are still to be found the well known relics of ancient paganism, such as the _sun-stone_, the _cromlech_, the _fire-house_, the _spring of sacred water_, necessary in mystic rites, &c. To this it may be added, that in Persia and India, where fire-worship originated, and has had its most extensive and enduring seat, there are towers of various forms and sizes, ascribed, in their origin, to this species of idolatry. It is probable, therefore, that the early settlers of Ireland brought from Asia, their original country, ideas of religion, which became modified in the course of ages, but which, still remaining essentially the same, displayed themselves in the structures which we have described. The fact that Christian churches, or their remains, are found near these towers in Ireland, does not controvert the opinion we express, as, in the first place, they are evidently more modern than the towers themselves, and are of a different style of architecture; and, moreover, we know that the early Christians often chose, as the seat of their churches, the very sites on which paganism had reared its structures, and not unfrequently adapted the structures themselves to the purposes of Christian worship; a fact which rather confirms than opposes the common theory as to these towers.

ST. PAUL’S CATHEDRAL.

The chief ecclesiastical ornament of London is the cathedral church of St. Paul, which stands in the center of the metropolis, on an eminence rising from the valley of the Fleet. The body of the church is in the form of a cross. Over the space where the lines of that figure intersect each other, rises a stately dome, from the top of which springs a lantern adorned with Corinthian columns, and surrounded at its base by a balcony; on the lantern rests a gilded ball, and on that a cross (gilt also) crowning the ornaments of the edifice. The length of the church, including the portico, is five hundred and ten feet; the breadth, two hundred and eighty-two; the hight to the top of the cross, four hundred and four; the exterior diameter of the dome, one hundred and forty-five; and the entire circumference of the building, twenty-two hundred and ninety-two feet. A dwarf stone wall, supporting a balustrade of cast iron, surrounds the church, and separates a large area, which is properly the church-yard, from a spacious carriage and foot-way on the south side, and a foot pavement on the north.

The dimensions of this cathedral are great; but the grandeur of the design, and the beauty and elegance of its proportions, more justly rank it among the noblest edifices of the modern world. It is adorned with three porticos; one at the principal entrance, facing the west, and running parallel with the opening of Ludgate street and the other two facing the north and south, at the extremities of the cross aisle, and corresponding in their architecture. The western portico combines as much grace and magnificence as any specimen of the kind in the world. It consists of twelve lofty Corinthian columns below, and eight composite above, supporting a grand pediment; the whole resting on an elevated base, the ascent to which is by a flight of twenty-two square steps of black marble, running the entire length of the portico. The portico at the northern entrance consists of a dome, supported by six Corinthian columns, with an ascent of twelve circular steps, of black marble. The southern portico is similar, except that the ascent consists of twenty-five steps, the ground on that side being lower.

The great dome is ornamented with thirty-two columns below, and a range of pilasters above. At the eastern extremity of the church is a circular projection, forming a recess within for the communion table. The walls are wrought in rustic, and strengthened and ornamented by two rows of coupled pilasters, one above the other, the lower being Corinthian, and the other composite. The northern and southern sides have an air of uncommon elegance. The corners of the western front are crowned with turrets of an airy and light form. To relieve the heavy style of the interior, statues and monuments have been erected to the memory of great men. The statues are plain full-length figures, standing on marble pedestals, with appropriate inscriptions, in honor of such men as Dr. Samuel Johnson, Howard the philanthropist, Sir William Jones, &c., &c. Several of the monuments would disgrace the most barbarous age, and ought to be removed. The tomb of the great Nelson is beneath the pavement immediately under the dome.

The two turrets on the right and left of the west front are each two hundred and eight feet in hight. In the one on the southern side is the great clock, the bell of which, weighing eleven thousand, four hundred and seventy-four pounds, and being ten feet in diameter, may be heard in the most distant part of London, when the wind blows toward that quarter. The entire pavement, up to the altar, is of marble, chiefly consisting of square slabs, alternately black and white, and is very justly admired. The floor round the communion table is of the same kind of marble, mingled with porphyry. The communion table has no other beauty; for, though it is ornamented with four fluted pilasters, which are very noble in their form, they are merely painted and veined with gold, in imitation of _lapis lazuli_. Eight Corinthian columns of blue and white marble, of exquisite beauty, support the organ gallery. The stalls in the choir are beautifully carved, and the other ornaments are of equal workmanship.

This cathedral was built at the national expense, and cost over thirty-five hundred thousand dollars. The iron balustrade on the wall surrounding the space that is properly the church-yard, including its seven iron gates, weighs two hundred tuns, and cost over fifty thousand dollars. This immense edifice was reared in thirty-five years, the first stone being laid on the twenty-first of June, 1675, and the building completed in 1710, exclusive of some of the decorations, which were not finished till 1723. The highest stone of the lantern was laid on by Mr. Christopher Wren, son of the architect, in 1710. It was built by one architect, Sir Christopher Wren; by one mason, Mr. Strong; and while one prelate, Dr. Henry Compton, filled the see of London.

The dimensions of St. Paul’s, from east to west, within the walls, are five hundred and ten feet; from north to south, within the doors of the porticos, two hundred and eighty-two; the breadth of the west entrance, one hundred; its circuit, twenty-two hundred and ninety-two; its hight within, from the center of the floor to the cross, three hundred and forty feet. The circumference of the dome is four hundred and thirty feet; the diameter of the ball, six; from the ball to the top of the cross, thirty; and the diameter of the columns of the porticos, four feet. The hight to the top of the west pediment, under the figure of St. Paul, is one hundred and twenty feet; and that of the tower of the west front, two hundred and eighty-seven. From the bottom of the whispering-gallery are two hundred and eighty steps; including those to the golden gallery, five hundred and thirty-four, and to the ball, in all, six hundred and sixteen steps. The weight of the ball is fifty-six hundred pounds. The weight of the cross is thirty-three hundred and sixty. The extent of the ground whereon this cathedral stands, is two acres and sixteen perches. The length of the hour figures, two feet and two and a half inches; the circumference of the dial is fifty-seven feet.

The _whispering-gallery_ is a very great curiosity. It is one hundred and forty yards in circumference. A stone seat runs round the gallery along the foot of the wall. On the side directly opposite the door by which the visitor enters, several yards of the seat are covered with matting, on which the visitor being seated, the man who shows the gallery, whispers, with the mouth close to the wall, near the door, at the distance of one hundred and forty feet from the visitor, who hears his words in a loud voice, seemingly at his ear. The mere shutting of the door produces a sound to those on the opposite seat like violent claps of thunder. The effect is not so perfect if the visitor sits down half-way between the door and the matted seat, and still less so if he stands near the man who speaks, but on the other side of the door.

The marble pavement of the church is extremely beautiful, seen from this gallery. The paintings on the inner side of the dome, by Sir James Thornhill, are viewed with most advantage here. The ascent to the ball is attended with some difficulty, and is encountered by few, yet both the ball and passage to it well deserve the labor. The diameter of the interior of the ball is nearly six feet, and twelve persons may sit within it.

The prospect from every part of the ascent to the top of St. Paul’s, wherever an opening presents itself, is extremely curious. The effect is most complete from the gallery surrounding the foot of the lantern. The metropolis, from that spot, has a mimic appearance, like the objects in a _fantoccino_. The streets, the pavements, the carriages, and foot-passengers, have the appearance of fairy ground and fairy objects. The spectator, contemplating the bustle of the diminutive throng below, is moved a little out of the sphere of his usual sympathy with them; and, as if they were emmets, asks himself involuntarily, “About what are those little, inconsequential animals engaged?”

The form of the metropolis, and the adjacent country, is most perfectly seen from the gallery at the foot of the lantern, on a bright summer day. The ascent to this gallery is by five hundred and thirty-four steps, of which two hundred and sixty, nearest the bottom, are extremely easy; those above difficult, and in some parts dark and unpleasant. In the ascent to this gallery may be seen the brick cone that supports the lantern, with its ball and cross; the outer dome being turned on the outside of the cone, and the inner dome turned on the inside. The entire contrivance to produce the effect within the church and on the outside, intended by the architect, is extremely fine, even marvelous. From the pavement of the church, the interior appears one uninterrupted dome to the upper extremity; but it consists, in fact, of two parts, the lower and principal dome having a large circular aperture at its top, through which is seen a small dome, which appears to be part of the great and lower dome, although entirely separated from it, being turned also within the cone, though considerably above it.

[Illustration: FIRST CHURCH IN ENGLAND.]

THE FIRST CHURCH IN ENGLAND.

Before passing to speak of Westminster Abbey, which next to St. Paul’s is the great ecclesiastical edifice of London, it may be interesting to go back to the earliest church-building in Britain, and notice the kind of edifices in which our remote ancestors assembled for divine worship. One of these buildings is represented in the cut below; as to which only a few words of explanation will be needed. About the close of the sixth century, it is said, the pope sent Austin, with some forty missionaries, to convert Britain to popery. Many of the ancient Britons, however, shut themselves up in the fastnesses of Wales, and refused to be either persuaded or driven to embrace the new faith which he proclaimed. Still Austin went on with his work, and the more efficiently to fulfill it, erected rude edifices, in which to gather the people, to teach them, and train them to the forms of worship. The first building erected under his auspices, was at Glastonbury, in the county of Somerset. The view given of it above is from Somme’s “Britannia Antiqua Illustrata;” and the following particulars about the building itself are taken mainly from the “Chronicles of William of Malmesbury.” Its length was sixty feet, and its breadth twenty-six. Its walls were made of twigs winded and twisted together, “after the ancient custom that kings’ palaces were used to be built.” “Nay, castles themselves in those daies were formed of the same materials, and weaved together.” Its roof was of straw, “or, after the nature of the soil in that place, of hay or rushes.” The top of the door reached to the roof; it had three windows on the south side, and one on the east, over the altar, or communion-table. Such was the rude and humble building in which Austin first preached to those that he was able to gather to hear the gospel from his lips.

WESTMINSTER ABBEY.

This interesting edifice derives its name of _Westminster Abbey_ from its situation in the western part of the metropolis, and its original destination as the church of a monastery. The present church was built by Henry III. and his successors, with the exception of the two towers at the western entrance, which are the work of Sir Christopher Wren. The length of the church is three hundred and sixty feet; the breadth of the nave seventy-two feet; and the cross aisle one hundred and ninety-five feet. The roof of the nave and of the cross aisle is supported by two rows of arches, one above the other, each of the pillars of which is a union of one ponderous round pillar, and four of similar form, but extremely slender. These aisles being extremely lofty, and one of the small pillars continued, throughout, from the base to the roof, produce an effect uncommonly grand and impressive. The choir is one of the most beautiful in Europe. It is divided from the western part of the great aisle by a pair of noble iron gates, and is terminated at the east by an elegant altar of white marble. The altar is inclosed with a very fine balustrade, and in the center of its floor is a large square of curious mosaic work, of porphyry, and other stones of various colors. In this choir, near the altar, is performed the ceremony of crowning the kings and queens of England.

At the southern extremity of the cross aisle are erected monuments to the memory of several of the most eminent poets. This interesting spot is called the poet’s corner; and never could place be named with more propriety; for here are to be found the names of Chaucer, Spenser, Shakspeare, Ben Jonson, Milton, Dryden, Butler, Thomson, Gay, Goldsmith, Addison, Johnson, &c. Here also, as if this spot was dedicated to all genius of the highest rank, are the tombs of Handel, Chambers, and Garrick.

The curiosities of Westminster Abbey consist chiefly of its highly interesting chapels, at the eastern end of the church, with their tombs. Immediately behind the altar stands a chapel dedicated to Edward the Confessor, upon an elevated floor, to which there is a flight of steps on the northern side. The shrine of the Confessor, which stands in the center, was erected by Henry III., and was curiously ornamented with mosaic work of colored stones, which have been picked away in every part within reach. Within the shrine is a chest, containing the ashes of the Confessor. The frieze representing his history from his birth to his death, put up in the time of Henry III., is highly curious, and deserves the study and attention of every lover of antiquity. The tomb of Henry III. is in this chapel: it has been extremely splendid, but is now mutilated. The table on which lies the king’s effigy in brass, is supported by four twisted pillars, enameled with gilt. This tomb, which is a fine specimen of its kind, is almost entire on the side next the area. It likewise contains the tombs of Edward I. and his queen, Eleanor; of Edward III. and Queen Philippa; of Richard II. and his queen; of Margaret, daughter of King Edward IV.; of King Henry V.; and of Elizabeth, daughter of King Henry VII.

The grand monument of Henry V. is inclosed by an iron gate. The great arch over the tomb is full of ribs and panels, and the headless figure of Henry still remains: the head was of solid silver, and was stolen during the civil wars. There was a chantry directly over the tomb, which had an altarpiece of fine carved work. The armor of Henry once hung round this chantry; his helmet yet remains on the bar, and the very saddle which he rode at the battle of Agincourt, stripped of everything which composed it, except the wood and iron, hangs on the right.

Contiguous to the eastern extremity of the church, and opening into it, stands the famous chapel of Henry VII. dedicated to the Virgin Mary, one of the finest and most highly finished pieces of Gothic architecture in the world. On its site formerly stood a chapel, dedicated to the Virgin Mary, and also a tavern, distinguished by the sign of the White Rose. Henry, resolving to erect a superb mausoleum for himself and his family, pulled down the old chapel and tavern; and on the eleventh of February, 1503, the first stone of the present edifice was laid by Abbot Islip, at the command of the king. It cost seventy thousand dollars, a prodigious sum for that period, (equal to fourteen hundred thousand dollars of our money;) and still more so, considering the parsimonious temper of the king. The labor merely of working the materials will, at a glance, be seen to be immense, and almost incredible; and the genius employed both in this structure and Henry’s tomb, must be mentioned with admiration.

The exterior of this chapel is remarkable for the richness and variety of its form, occasioned chiefly by fourteen towers, in an elegant proportion to the body of the edifice, and projecting in different angles from the outermost wall. It has of late years been repaired and renewed with exquisite taste, and at great cost. The inside is approached by the area behind the chapels of Edward the Confessor and Henry V. The floor is elevated above that of the area, and the ascent is by a flight of marble steps. The entrance is ornamented with a beautiful Gothic portico of stone, within which are three large gates of gilt brass, of most curious open workmanship, every panel being adorned with a rose and a portcullis alternately.

The chapel consists of the nave and two small aisles. The center is ninety-nine feet in length, sixty-six in breadth, and fifty-four in hight, and terminates at the east in a curve, having five deep recesses of the same form. The entrance to these recesses being by open arches, they add greatly to the relief and beauty of the building. It is probable that they were originally so many smaller chapels, destined to various uses. The side aisles are in a just proportion to the center, with which they communicate by four arches, turned on Gothic pillars. Each of them is relieved by four recesses, a window running the whole hight of each recess, and being most minute and curious in its divisions. The upper part of the nave has its four windows on each side, and ten at the eastern extremity, five above and five below. The entire roof of the chapel, including the side aisles, and the curve at the end, is of wrought stone, in the Gothic style, and of most exquisite beauty.

An altar tomb, erected by Henry, at the cost of fifty thousand dollars, to receive his last remains, stands in the center of the chapel. It is of basaltic stone, ornamented with gilt brass, and is surrounded with a magnificent railing of the same. This monument is by Pietro Torregiano, a Florentine sculptor, and possesses uncommon merit. Six devices in bass-relief, and four statues, all of gilt brass, adorn the tomb. It is impossible to conceive Gothic beauty of a higher degree than the whole of the interior of Henry the Seventh’s chapel; and it is with regret that the antiquary sees the stalls of the knights reared against the pillars and arches of the nave, forming screens that separate the smaller aisles from the body of the chapel, and diminish the airiness, and interrupt the harmony of the plan. Since its restoration in 1820, this chapel has formed one of the most beautiful adjuncts of the abbey, affording one of the most beautiful specimens of its peculiar style.

The prospect from the top of one of the western towers, the ascent to which consists of two hundred and eighty-three steps, is infinitely more beautiful, though less extensive, than that from St. Paul’s. The many fine situations and open sites at the west end of the town, and its environs, occasion the difference. The banqueting-house at Whitehall, St. James’s park, with the parade and Horse-guards, Carlton house, the gardens of the queen’s palace, the Green park, the western end of Piccadilly, and Hyde park, with its river, lie at once under the eye, and compose a most grand and delightful scene. The bridges of Westminster, Waterloo, and Blackfriars, with the broad expanse of water between them, the Adelphi and Somerset house on its banks, St. Paul’s stupendous pile, and the light Gothic steeple of St. Dunstan’s in the East, are alike embraced with one glance, and happily contrast with the former prospect. From this tower, the exterior form of St. Paul’s, when the sun falls upon it, is distinctly seen: and here its exquisite beauty will be more fully comprehended than in any part of the city, for a sufficient area to take in the entire outline is not there to be found.

CATHEDRAL OF NOTRE DAME.