Above the aisles are long and spacious galleries, and after mounting the staircase to the south-west of the dome, we pass through one of these--that over the south aisle--to the Library over the South-West Chapel. A gallery is supported by brackets carved by Jonathan Maine, and the flooring is of 2,300 pieces of oak, inlaid and without pegs or nails. There is a portrait of Bishop Compton, who may be considered the founder; and later donations and bequests include those of Bishop Sumner of Winchester, Archdeacon Hale, and notably Dr. Sparrow-Simpson. Altogether many thousands of MSS. and books. A beautiful "Avicenna Canon Medicinae," a psalter supposed to have been used in the old Latin services, and another bought by Dr. Simpson at a second-hand book-stall, are of the fourteenth century. A subscription book for the rebuilding contains the following: "_I will give one thousand pounds a yeare whitehall 20 March 1677/8 Charles R._" These subscriptions never found their way into the fund; and forgetful how readily the Merry Monarch's money might have been intercepted _en route_, it has been assumed that he never parted with it. In the same book James also promises "_two hundred pounds a yeare to begin from Midsommer day last past._" The printed books include Tyndale's Pentateuch and his New Testament; and the Sumner and Hale bequests include large numbers of curious tracts and pamphlets. Richard Jennings' model of the centre of the west front is preserved. In the eighteenth century St. Paul's was a favourite place for weddings, and the registers, with many interesting names, are being edited for the Harleian Society. The Trophy Room above the North-West Chapel contains Wren's model, which was restored when Sydney Smith was a Canon. * * * * * We are quite content to follow Fergusson, and let the architectural value of New St. Paul's stand or fall with the literary value of "Paradise Lost." Just as Addison says of the latter: "In poetry as in architecture, not only the whole, but the principal members and every part of them should be great"; "there is an unquestionable magnificence in every part"; "a work which does an honour to the English nation": just as Macaulay corroborates by eulogising it as "that extraordinary production which the general suffrage of critics has placed in the highest class of human compositions"--even so we may end here, and describe this unique and marvellous conception of a man who was not a trained architect, who was never known to have travelled further than Paris and who was incessantly hampered and hindered, as a conception, not indeed architecturally faultless, but for all that and leaving out the much greater St. Peter's, as the finest church of the Renaissance style and epoch, more stable and better adapted for public worship than any earlier cathedral in England. To the Renaissance, the genius of Milton contributed an epic in blank verse, the genius of Wren a second in stone.