“The exterior of this fabric, no less than that of its Italian rival, is remarkable (as seen from its immediate vicinity) for deceptive smallness. Few spectators from the surrounding roads would believe the dimensions of any part, if stated to them. This defect (which some by singular sophistry have tried to prove a beauty) arises here chiefly from the want of a scale, owing to the fence preventing our seeing any human figures near the foot of the building, or even judging of the distance that separates us from it.” This fence, however, has been removed. To quote a shrewd architect:--“It takes little to humble a cathedral, and this little, Wren’s successor contrived to add, in his mock balustrade over the second cornice; a thing protested against by Wren without seeing it--how much more had he seen its barbarous design!--and, what is worse, a thing studiously contrived to give a false scale; and it is therefore taken by every eye as a perfectly safe measure of scale. We know that a balustrade is meant to lean upon, and therefore, wherever we see one, we conclude it to be 3 or 4 feet high. A _mock_ balustrade, _nine_ feet high, never enters our calculations, so that when we see such an absurdity, on a building 90 feet high, if we have other scales we are simply puzzled, but if, as in this case, we have _none_, the building is at once reduced to 30 or 40 feet.” This theory, however, will scarcely hold; for a statue placed at a great height must, to appear of ordinary size, be made of colossal proportions. Within will be noted the massive piers and arches which support the dome, and which are of enormous strength below as well as above ground. Many will be puzzled by the little gallery and second arch which disfigure the four corner arches. It is believed that some signs of settlement were noted or feared during the work, and that Wren took this mode of strengthening the supports. The latest addition to the glories of the Cathedral is the new reredos, set up in the year 1888, at a cost of over £30,000. This is an enormous structure, apparently suggested by the sumptuous altar in the Oratory; it rises to a vast height, and is a rich composition of rare marbles, gildings, and statues. Notwithstanding, the effect on the Cathedral is most unhappy, and instead of being an ornament it is really a disfigurement, as any one can see for himself. It seems like a great solid screen; it does not harmonize with the style of the Cathedral, and seems to cut off a portion of the choir. The side columns have quite a “skimpy” air, and appear to do no duty, having nothing to support, suggesting the lines on those in front of old Carlton House: “Care colonne, che fate là? Non siamo in questa verità.”