dacionem et repacionem ppl ineuitabiles magnosq, sumptus et expensas quos circa repacionem et refectionem dicte ñre ecctie cath ac campanilis eiusdem refundere cotidie nos oportet. sine pia elemosina largicione fidelium non sufficimus in senti. Vos igitur et vim quemlibet tenore ẞsentium rogamus monemus et in đno exortamur. vobisq, et vìm cuibt in virtute obediencie comittimus et mandamus quatinus diebus dnicis aliisq, solempnibus & festiuis in ecctiis vris pnce in missa solempnia negocium h'ui' ac ẞsentes ñras tras prochianis vris ac subdite vobis plebi diligencius exponatis eos modis quibus politis caritatis intuitu piis exortacionu oraclis inducentes/ qa iidem prochiani vri ad dicte crucis emendacionem et repacionem aliqua de bonis sibi a deo collatis contribuant subsidia caritatis/ Nosq, eos ad hec donis spualibus animare volentes de dei omipotentis miŝicordia beatissimeq Marie virginis matris sue beatoz aploz Petri et Pauli ac Sancti Erkenewaldi confessoris gliosi pronoz ñroz ōimq, sanctoğ mitis et Beibus confidentes/ Omibus et singlis prochnis ñris et aliis quoz diocesani hanc ñram indulgenciam ratam ħuerint et acceptam de peccatis suis vere penitentibus contritis et confessis qui ad dicte crucis repacionem refectionem et emendacionem de bonis suis aliquid contulerint legavint seu quovisınodo assignavint/ Quadraginta dies indulgencie miŝicordi concedimus p ẞsentes. Dat London in palacio ñro quinto die mensis Julii anno đni mittimo cccmo octuagesimo septimo et ñre cous' anno sexto. The seal of this indulgence, of which now but a fragment remains, has been enclosed in a piece of vellum, folded and sewn, on which is written These indulgences have been transcribed from the original documents preserved amongst the archives of S. Paul's Cathedral, by the Librarian, the Rev. W. Sparrow Simpson. APPENDIX D. (Page 497.) Memorandum and Statement by Mr. Penrose, Surveyor to the Fabrick, showing the general scheme for the decoration and completion of the interior, the works which have already been executed, together with the names of particular donors and benefactors to the church. THE object of primary importance with the Dean and Chapter and with those who have co-operated with them during the last ten years in the completion of the interior of S. Paul's Cathedral has been to enlarge its capacity and convenience for divine service. Secondarily to adorn it in a manner worthy of the noble framework of its architecture and of the intentions of Sir Christopher Wren, whose general views in this respect have been recorded, although but little is known in detail of the manner in which he would have carried them out if he had not fallen in his latter days upon evil times and evil tongues. The first object appears to have been satisfactorily attained. The second, although up to this present time greatly impeded by want of funds, has been so far inaugurated as to insure, it may be hoped, its ultimate achievement. The coldness of the aspect of the interior was proverbial; it needed paintings both on the walls and in the windows, marbles and gilding. In all these a commencement has been made. It is scarcely desirable that the interior of S. Paul's should rival S. Peter's at Rome in exuberance of ornament, but no one can doubt that a great deal of colour and rich material is requisite if it is to assert its proper place among the most remarkable buildings in the world. Towards attaining this end it has been kept in view that a little properly done is better than large surfaces of inferior ornament, and, consequently, Münich windows, paintings in imperishable mosaic, and marbles of the choicest kinds have been used in preference to cheaper materials and more expeditious methods. The scheme in general may be divided into three parts, that which has been done; that which it seems most desirable to go on with at once; and that which may ultimately by proper public support be accomplished. A few more words in the first instance on this last-mentioned and more extended view of the subject may be useful to explain the proposal in general. The interior of the cathedral, as it might appear in the imagination of the sanguine, presents itself thus. Coming in at the great west door, we enter the nave, of which the original severity is not altogether subdued. Still it is enlivened to some extent by inlaid marbles in the wall-panels, and by the improved glazing of the windows on the north and south sides, into which some colour has been introduced, yet not so as to interfere with the admission of the full breadth of sunlight. The vaults are adorned with gilding and mosaic, and especially the large cupola over the westernmost bay of the nave has a mosaic painting representing on a gold ground, one of the earlier miracles of our Lord. Right and left the beautiful western chapels, that on the north used for early morning prayer, and the other (formerly the Bishop's Consistory Court) now containing the elaborate and splendid monument to the Duke of Wellington, are richly ornamented with colour in like materials. Only a portion of the dome is as yet seen, but Mr. Watts' pictures of S. Mark and S. Luke executed in mosaic on the spandrels of the great arches invite the eye in that direction. Further eastwards the apse is brilliant with its six painted windows, while in the tribune itself is seen the marble baldachino which Sir Christopher Wren would himself have constructed if circumstances had been more favourable. Advancing to the dome the eight large spandrel pictures come into view the four Evangelists, designed by Mr. Watts, and the four major Prophets, by Mr. Stevens. Above the gilded rails of the whispering gallery an inscription on a mosaic gold ground taken from the words of S. Paul, surrounds the base of the dome. In the peristyle, statues have been placed in the empty niches, and in the dome itself is a great picture suggestive of the heavenly Jerusalem which has taken the place of Sir James Thornhill's grisaille subjects. In the four semi-domes at the intersections of the aisles are representations of scenes taken from the Gospels, aud in the south transept stands the great organ now completed, with a case and gallery richly carved and gilt; standing, moreover, on a range of monolith columns of fine marble. At the extremity of the north transept is an internal porch, displaying the inscription commemorative of Sir Christopher Wren. Lector, si monumentum requiris, circumspice,' which was taken down from the old organ screen and has so long been waiting for restoration. A painted subject from the life of S. Paul fills the great window of the north transept, and the aisle windows at both ends are also painted. Thus the light at the end of each vista is subdued, whilst it is allowed to come in unobstructedly on the sides. Doubtless closer scrutiny will discover other details, and as it cannot be supposed but that many of the objects have been presented by private donors, there will be their armorial bearings and memorial inscriptions to lend an additional interest to the survey. Arriving at the choir, we find a rich but low open screen has replaced the somewhat rude rails near the marble pulpit, and here although we are sensible of a somewhat greater amount of elaboration and colour bestowed upon the walls and clerestory windows than in the nave or transcpts, yet the chief interest is centred in the apse. The six noble subjects in the painted windows embodying those six events of paramount moment to Christian faith, which are collected in the verses of our Litany By thine Agony and bloody Sweat, by thy Cross and Passion, by thy precious Death and Burial, by thy glorious Resurrection, and Ascension, and by the Coming of the Holy Ghost,' are now near enough to be minutely examined. The details of the baldachino also are distinguishable, and we perceive behind it and around the tribune a design in marble intarsiatura representing the Last Supper. If we should pass into the aisles of the choir, we may expect to see richly painted windows at the ends, monuments and other decoration of the panels and vaults, though all subordinate to the greater concentration in the centre. : What has been done since the year 1858, when the first works undertaken with this view were commenced, forms, indeed, a great contrast to that which has been thus imagined; still, however, on comparison with the previous state of the church, it seems to be encouraging. It consists chiefly as follows: 1. In the removal of the screen dividing the choir from the nave, during which operation the organ of the choir, which had occupied the centre of the screen, was removed to the place originally intended for it by Sir Christopher Wren, and has been greatly increased in compass and power, and at the same time the area available for the ordinary daily service has been much enlarged. 2. The preparation of the dome for the numerous congregations which attend the special evening and other festival services. 3. Combined with these is the effectual warming of the church. 4. The placing a new and powerful organ in the south transept for use in the services under the dome. This noble instrument, however, is incomplete in several particulars and ' especially in its want of an organ case. 5. The gilding of the railings of the whispering and western gallery internally, and the regilding of the golden gallery and ball and cross, externally. 6. The partial gilding of the vault of the choir and of the arches adjoining the dome. 7. Two mosaic paintings on the spandrels of the dome, being two out of eight pictures intended to represent the four Evangelists and the four major Prophets. 8. The large west window filled with historical subjects. This is intended as the precursor of several others in the same style, of which four are in preparation; uniformity of design and execution being considered absolutely indispensable in the decoration of S. Paul's. 9. Several other windows of a subordinate kind, namely, two at the ends of the aisles westwards, six in the dome, and one in the south aisle of the choir, forming part of the memorial to the late Bishop Blomfield. 10. A marble memorial pulpit. The above-mentioned comprise the principal works which have been executed. The cost of the whole has been about 11,500l., spent on matters connected with the services, and about 8,500l. on the decorations. In progress may be mentioned the four windows already referred to, and the permanent substructure of the great organ in the south transept, for several years supported on a rough timber scaffolding, but for which a portico of six columns with monolith shafts of richly-coloured marbles and of unusual dimensions has been provided. Special donors of some of the objects mentioned : |