Sir Christopher Wren: His Family and His Times: With Original Letters and a Discourse on Architecture Hitherto Unpublished. 1585-1723.Phillimore, Lucy
History
Sir Christopher Wren: His Family and His Times: With Original Letters and a Discourse on Architecture Hitherto Unpublished. 1585-1723.
Phillimore, Lucy
Great Britain -- History -- Stuarts, 1603-1714 -- Biography; Wren family; Wren, Christopher, Sir, 1632-1723
To perfect S. Paul's some things had still to be done, and, rather than
these should suffer, Wren was willing still to undergo the slights and
annoyances of the other S. Paul's Commissioners, amongst whose names one
wishes that of Sir Isaac Newton did _not_ appear, without clear evidence
that he stood by his early patron and friend. One hopes it may have been
so, certainly he was not a frequent attendant at the meetings.
[_DECORATION OF S. PAUL'S._]
Within the Cathedral there was some important work to do. Gibbons'
carving had to be completed, and the beautiful iron-work gates on either
side of the choir had yet to be set up. For this work Wren employed a M.
Tijou, at that time a famous worker in iron, though no account of him is
to be obtained at the present day. Possibly he was one of the French
refugees. Wren saw both the carving and the gates successfully finished.
But for the east end of the Cathedral he had a magnificent design which
is unfulfilled to this day. He intended to inlay the columns of the apse
with rich marble, to use a considerable amount of colour and gilding,
and to place over the Altar a hemispherical canopy supported on four
writhed pillars of the richest Greek marbles, with proper decorations of
architecture and sculpture: he had prepared his model and the needful
drawings, Bishop Compton had even received some specimens of marble from
a Levant merchant in Holland, but unluckily the colours and the class of
marble were not what Wren desired, and the plan waited for a better
opportunity, which, in Wren's lifetime, never came. Thus, of all this
grand design, the only trace is the painting of the apsidal pillars, in
imitation of lapis lazuli, which was meant as a temporary experiment,
and the model of the canopy in the possession of the Dean and Chapter.
Hardly anything could be done which would more enhance the interior
beauty of S. Paul's than the erection of this canopy.
Besides the adornment of the east end of the Cathedral there was also
that of the dome to be accomplished. The decoration of S. Paul's is so
vexed a question that one almost fears to touch upon it, but the
statement in the 'Parentalia' is explicit.
Public-domain text, read in full here on John Shaqi.
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