¹ Letters of T. B. Macaulay, Pinney, T. (ed.), iii (1976), pp. 276, 278Google Scholar.

² The Architect; xv (1876), 240Google Scholar.

³ The Architect; iv (1870), 31Google Scholar. ‘A reproach to this great nation’ (The Times, 9th June 1970, 9Google Scholar). ‘Disgracefully dirty … oppressive … dull’ (Building News; xv, 1868, 168Google Scholar). Gladstone made much of the taunts of Cardinal Wiseman as to the pagan nature of its decorations (Building News; xix, 1870, 48Google Scholar). ‘We have outlived the age of religious lethargy’ (The Times, 14th July 1870, 8)Google Scholar.

⁴ Building News; xv (1868), 540Google Scholar.

⁵ Building News; xix (1870), 22Google Scholar.

⁶ Liddon, Cannon, The Architect; v (1871), 81Google Scholar. Let us have ‘mosaics, marbles, gilding, paintings, statuary, pavements, stained glass, and colour decoration of the richest order’ (The Architect;; iv, 1870, 15)Google Scholar.

⁷ The Architect; xxi (1879), 89–90, 105–6Google Scholar.

⁸ ‘It is a matter for rejoicing that St.. Paul's yet remains to be completed. Had its internal adornment been undertaken by Wren, we should doubtless have only had more scrolls, more acanthus-leaves, and more pudding-faced cherubs with a structural incapacity for sitting down. No architect of equal genius ever turned out such poverty-stricken and unmeaning detail as he; and it is a matter for exceeding thankfulness that the hints of his intentions which remain are few and vague. He had a gift for making striking compositions out of hackneyed details, but the details were hackneyed, nevertheless’ (Building News; xxiii, 1872, 317)Google Scholar.

⁹ R.I.B.A. Trans. (1871), 52Google Scholar; Building News; xxii (1872), 448Google Scholar.

¹⁰ Milman, H. H., Annals of St. Paul's Cathedral (1868), pp. 471–2Google Scholar.

¹¹ Building News; xxi (1871), 245–6Google Scholar; Wren Soc. xiv (1937), pls. XVIII–XXIGoogle Scholar. For Wren's drawing, see Wren Soc. ii (1925), pl. xxxGoogle Scholar.

¹² On 18th June 1842 Benjamin Webb noted, in his diary: ‘No service at St. Paul's, because it was the anniversary of Waterloo’; and on 30th Jan. 1845: ‘to St. Paul's, vile Protestant feeble sermon against King Charles the Martyr’ (Webb Diary, Bodl. Lib. MSS. Eng. Misc. d. 475. Hereafter referred to as Diary, op. cit.).

¹³ Prentice, G. L., St. Paul's in its Glory … 1831–1911 (1955), pp. 2–3Google Scholar.

¹⁴ Ibid., 29.

¹⁵ Matthews, W. R. (ed.), History of St. Paul's (1957), p. 268Google Scholar.

¹⁶ Building News; xix (1870), 22Google Scholar.

¹⁷ Quoted in The Times, 1st April 1899.

¹⁸ Saturday Rev. v (1858), 661Google Scholar.

¹⁹ D.N.B.; R.I.B.A. Jnl. 3rd ser., x (1903), 213–4. 337Google Scholar.

²⁰ The Architect; iii (1870), 128Google Scholar.

²¹ Longman, W., The Three Cathedrals dedicated to St. Paul (1873), p. 166Google Scholar.

²² Ecclesiologist. xxi, n.s., xviii (1860), 327Google Scholar. For Penrose's drawings of Wren's organ screen, see Wren Soc. xvi (1939), pls. X–XIIIGoogle Scholar.

²³ A ‘huge and frightful apparatus … making the church look like a veritable toy and doll's house’ (Building News; xv, 1868, 707Google Scholar). The organ came from the insolvent Panopticon of Science and Art.

²⁴ Barry would have preferred an organ at the west end (Barry, A., Life and Works of Sir Charles Barry (1870), pp. 320–22Google Scholar; Ecclesiologist; xxi, n.s., xviii, 1860, 177–8)Google Scholar.

²⁵ Like that at St. John Lateran, Rome (Ecclesiologist;. xxii, n.s., xix, (1861), 103–8).

²⁶ Building News; xx (1871), 219, 244Google Scholar. See also, Micklethwaite, J. T., What shall be done with St. Paul's? (1874)Google Scholar, and Notes and Queries, 5th ser., iii (1874), 1–4Google Scholar.

²⁷ Building News; xx (1871), 267Google Scholar. Burges was supported by A[llen], C. B., Building News; xxi (1871), 245–6Google Scholar. See also Burges's ‘Memoranda on the ritual arrangements of St. Paul's Cathedral’, 27th June 1873 (R.I.B.A. S.R. 726.6, 42.12, 729).

²⁸ Remarks and Suggestions on the … Completion of St. Paul's (1871)Google Scholar; Building News; xx (1871), 486–7Google Scholar; The Architect; v (1871), 287–8, 320Google Scholar; The Architect; Ecclesiologist; Street, Memoir of G. Ecclesiologist; Street (1888), pp. 234–6Google Scholar. Replying to Fergusson, Street advocated as one alternative the commissioning of Burges to design a baldacchino under the dome. See also Notes and Queries (1871)Google Scholar.

²⁹ In the Pall Mall Gazette, summarized in Building News; xxvii (1874), 62–3Google Scholar.

³⁰ W. C. Fynes Webber, June 1874 (R.I.B.A. S.R. 726.6, 42.12, 729).

³¹ Building News; xxi (1871), 54Google Scholar; The Architect; v (1871), 151, 163Google Scholar.

³² Ecclesiologist. xix, n.s., xvi (1858), 320Google Scholar. Penrose's pulpit is now in the crypt; its predecessor is now in the north triforium aisle.

³³ Building News; xv (1868), 802–3Google Scholar.

³⁴ They were removed in 1974.

³⁵ Building News; xxvi (1874), 629, 686; xxvii (1874), 652Google Scholar. A. T. Bolton believed that the presence of oil paint indicated Wren's intention to cover the interior with painted murals by Pellegrini (Wren Soc. xiv (1937), 168–9Google Scholar, and xv (1938), xxv-xxvi).

³⁶ Victorian Church Art (V. and A. The Architect; catalogue, 1971), H, 86–9.

³⁷ Given by the Drapers’ Co.

³⁸ Given by Thomas Brown of Longman's, publishers; mad e by Strahiiber and Ainmiller; unveiled 14th March 1867; destroyed in World War II (Victorian Church Art, op. cit. in n. 36, H2, illus.).

³⁹ E.g. Building News; xxi (1871), 60Google Scholar, and xxiii (1872), 271. ‘More a macadamised road than a sunbeam’ (Art Jnl. 1872, 76Google Scholar). The Ecclesiologist proposed the following models: Sta Maria del Popolo, Rome, and several churches in Arezzo (glass by Claude and Guillaume de Marseilles); Sta Maria Novella, Florence; Florence Cathedral (thoug h the glass was earlier); Siena Cathedral (glass by Perino del Vaga); Bruges Cathedral; St. Gudule, Brussels; the chapels of Lincoln, Wadham and Queen's College, Oxford; the east window of Peterhouse, Cambridge (Flemish glass); the west windo w at Ely; the apse at Lichfield; King's College Chapel, Cambridge; St. George, Han- over Square; St. Andrew, Holborn; and Lincoln's Inn Chapel (Ecclesiologist. xxii, n.s., xix (1861), 103–8Google Scholar). For an attack on foreign artists, see Building News; xi (1864), 243Google Scholar.

⁴⁰ Ecclesiologist. xxi, n.s., xvii (1860), 177–8Google Scholar; The Architect Graves, , R.A. Exhibitors, vi (1906), p. 102Google Scholar: 1860, no. 670. This proposal by Penrose—showing a baldacchino and ambones—is preserved in the Trophy Room at St. Paul's (no. 123; Victorian Church Art, op. cit. in n. 36, HI). Another, no. 113, shows a rather different baldacchino. See also Saturday Rev. ix (1860), 744Google Scholar.

⁴¹ Building News xxiii (1872), 432Google Scholar.

⁴² Building News xxiii (1872), 107–8, 629–70Google Scholar; Graves, , op. cit., 1866, no. 801Google Scholar; 1873, no. 1155; Penrose's scheme for choir and east end, drawn by Richard Groom, 1872 (R.A. 1875, no. 939).

⁴³ Ecclesiologist. xxii, n.s., xix (1861), 158Google Scholar. Ruskin's view was similar: ‘the mosaics … are a barbarism; a great pity. The y are fine as mosaics, but all mosaics of this square kind [i.e. flat tesserae] are abominable’ (Diaries, Evans, Joan and Whitehouse, J. H. (eds.) (1956), i, 117: 29th Nov. 1840)Google Scholar.

⁴⁴ Building News; xix (1870), 360Google Scholar. It was placed beneath the Cotton memorial window in the S.E. aisle. In c. i860 Burges may also have been instrumental in presenting a mosaic head, removed from Torcello and sold in Venice, to th e Dean and Chapter (Ecclesiologist. xxii, n.s., xix (1861), 155–7)Google Scholar.

⁴⁵ The Times, 13th May 1872, 8Google Scholar.

⁴⁶ Building News xix (1870), 109, 127Google Scholar.

⁴⁷ The Architect. viii (1872), 114Google Scholar.

⁴⁸ St. Paul's Cathedral Fund: Speeches … 8th Feb. 1861 (1861)Google Scholar.

⁴⁹ ‘High Churc h contribute d for th e sake of the anticipated glories of mosaic and picture, colour and gold, embroidery and incense. Low Church contributed in the hope that grandeur might spring out of severity and simplicity, or at least tha t cleanliness might come in aid of godliness. Broad Church contributed upon the patriotic principle that come what might there must be some good done. Even Nonconformity could contribute with a clear conscience when the object in view was to beautify one of the great popular temples of England’ (The Architect. xii (1874), 297)Google Scholar.

⁵⁰ The Times, 12th March 1872, 11Google Scholar.

⁵¹ The Times, 15th May 1872, 8Google Scholar.

⁵² See their letter of protest, The Times, 6th June 1872, 7Google Scholar.

⁵³ In particular, Tite and Bentinck worked closely together (The Builder xxxviii (1880), 803Google Scholar). The sale of Sir William Tite's library (Sotheby's, 1874) included Dugdale's St. Paul's (1658), with a MS. insertion: ‘Private and Confidential Proposal for th e Completion of St. Paul's Cathedral’ (lot 980, bought by Quaritch). Bentinc k published a pamphlet on The Completion of St. Paul's in 1874.

⁵⁴ Building News xxii (1872), 448Google Scholar.

⁵⁵ As a Goth, Burges had ‘out-Heroded Herod’; ‘the anomaly was so unique and complete that many wondere d and more laughed’ (Building News xxvii (1874), 603)Google Scholar.

⁵⁶ The Builder. xxix (1871), 299Google Scholar.

⁵⁷ The Builder. xix (1861), 192Google Scholar. A ‘debased mass of absurdities’ (The Builder xx (1862), 426Google Scholar). See also G.M. ccxiv (1863), 282Google Scholar.

⁵⁸ Letter, Septr. 1870.

⁵⁹ Appeal, 13th July 1870.

⁶⁰ The Architect vi (1871), 39Google Scholar.

⁶¹ ‘Iconography of St. Paul's’ (Burges's Abstract of Diaries, 1871: Colin. J. Mordaunt Crook). The invitation arrived, via Hope, on 26th July 1870. Burges asked £250; he was offered £150 (R.I.B.A. MS. ‘St. Paul's Cathedral’, 726.6, 42.12; SP. 729). I owe the identification of this MS. to Dorothy Bosomworth.

⁶² The Architect. vi (1871), 73Google Scholar.

⁶³ Including the Munich School's ‘Conversion of St. Paul’, removed from the west window to the eastern window of the north chancel aisle.

⁶⁴ For Burges's original scheme and sketches, see ‘Reports’ I, no. 7 (R. The Builder; Weller MSS.); transcript, 27th Feb. 1871 (R.I.B.A. S.R. 726.6, 42.12, 729.1).

⁶⁵ Mrs. Jameson, , Sacred and Legendary Art (1866)Google Scholar; Eastlake, Lady, The Life of Our Lord (1864)Google Scholar; Didron, , Manuel d'lcono-graphie Chretienne (Paris, 1845)Google Scholar; Parker, J. H., The Calendar of the Anglican Church (1851)Google Scholar.

⁶⁶ The Architect. vi (1871), 87Google Scholar.

⁶⁷ Chapter Minutes, Sub-Committee for Decoration, 22nd April 1872. ‘Elected architect to St. Paul's Cathedral’ (Abstract, 1872). The Articles of Agreement were dated 8th Aug. 1872 (E. J. Harding album of cuttings, St. Paul's Cathedral Library). On 3rd May 1873 Benjamin Web b noted in his diary: ‘Hope called for m e at 10.30 and we went to St. Paul's Committee at 11. We defeated the Lord Mayor (Gibbons) and confirmed Burges's appointment. Hope and I called on Burges and then lunched at the Athenaeum’ (Diary, op. cit.).

⁶⁸ Lord Mayor Gibbons, Tite, Bentinck, Fergusson and Murray (The Times, 13th May 1872, 10Google Scholar). See also The Architect. vii (1872), 256Google Scholar; The Builder xxx (1872), 379Google Scholar.

⁶⁹ On 26th Oct. 1872 Benjamin Webb noted: ‘to St. Paul's to see Penrose's design for completing the interior in the Chapter House’; and o n 6th Nov.: ‘to St. Paul's Committee. Defeated Penrose's design by a majority of one ‘(Diary, op. cit.). Penrose exhibited schemes for th e choir in 1873 (no. 1155) and 1875 (no. 939): See Graves, , op. cit., vi (1906), p. 102Google Scholar; Saturday Rev. xl (1875), 51Google Scholar.

⁷⁰ Abstract, 1873. Burges had arranged to meet Lonsdale in Florence. His trip to Italy cost him £100 (R.I.B.A. MS., op. cit.).

⁷¹ 27th Marc h 1874. For Burges: Hope, Long-man, Church; against: Bentinck, Fergus-son, Oldfield, Parry. The making of the nave model cost £10. 18s. 8d., the choir model £30. 18s. 8d. (R.I.B.A., Burges, Small Notebooks, 1874–5). ‘Model of St. Paul's’ (Abstract, 1873); ‘St. Paul's Model going on’ (ibid., 1874). But Burges's final estimate of the cost of the two models, including travel, hire of exhibition rooms, Lons-dale's painted work, etc., was £321 (R.I.B.A. St. Paul's MS., op. cit., 8th March 1875). Burges's model, later adapted by Richmond, and still later by Godfrey Allen, survives in th e north triforium aisle, outside the Trophy Room.

⁷² On 19th May 1874 Webb noted: ‘After long debate we carried Burges's design by 11 to 4’ (Diary, op. cit.).

⁷³ Protest, 4th June 1874.

⁷⁴ 21st July 1874.

⁷⁵ E.g. The Builder xxxii (1874), 633Google Scholar; Building News xxviii (1875)Google Scholar, quoting British Quarterly Rev. (1874).

⁷⁶ General meeting, 3rd Nov. 1874 (B. xxxii (1874), 1001–2). On 27th Nov. 1874 Webb noted: ‘to St. Paul's Completion Committee. Th e whole work abandoned’ (Diary, op. cit.). The Dean wrote Burges a personal letter, expressing his ‘deep disappointment’, and praising Burges's ‘zeal and labour’ (R.I.B.A. St. Paul's MS., op. cit., 5th Nov. 1874).

⁷⁷ Abstract, 6th Nov. 1874.

⁷⁸ 1874, nos. X327 (nave) and 1328 (choir), with figures by H. W. Lonsdale; 1875, nos. 952 (dome, seen from th e Whispering Gallery), 995 (chancel) 1005 (general), drawn and coloured by The Architect; H. Haig (Graves, R.A. Exhibitors, i (1905), 344). ‘Haig did St. Paul's views’ (Abstract, 1875). For adverse criticism, see Building News xxviii (1875), 510, 594Google Scholar, The Builder xxxviii (1875), 381Google Scholar. Two proposals drawn by Haig (995 and 1005) survive in the Trophy Room at St. Paul's: nos. 120 (Victorian Church Art, H 10) and 150.

⁷⁸ R.I.B.A. St. Paul's MS., op. cit., 3rd Feb. 1875. This sum represented 2½ per cent on the hypothetical cost of executing the two model schemes. Penrose received £200 more, as Burges put it, ‘for doing nothing’ (ibid., 4thFeb. 1875). After further negotiation, Burges received an extra £321 for making the model, and an ex gratia payment of £250, making £1,746 in all (ibid., 17th March 1875).

⁷⁹ Abstract, 1875, 1877.

⁸⁰ Executive Committee minutes, 10th June, 1871; Article of Agreement, 8th Aug. 1872.

⁸¹ Parentalia, 292, n.a. The Architect; T. Bolton believed that this footnote, ‘on very doubtful authority’, transposed to the dome Wren's intention to decorate the cupola of the baldacchino with mosaic (Wren Soc. xv (1938), xxv–xxviGoogle Scholar; ibid., xvii (1940), 81, pls. xvii-xix). Wren seems to have preferred Pellegrini (ibid., xvi (1939), 153).

⁸² Wren lost control of the decoration of St. Paul's in 1712, and was dismissed in 1718. The dome was painted betwee n 1715 and 1719. Thanks to the influence of Lord Halifax, Thornhill was preferred to Sebastiano Ricci; he had previously defeated Pellegrini. Some surviving sketches by Thornhill—presumably those now in the Trophy Room—were bought by Burges in Brompton Rd. for 10/6d., and presented to th e Dean and Chapter (R.I.B.A. St. Paul's MS., op. cit.). Eight of Thornhill's preliminary sketches survive (V. and A., D. 1086/93–1886), as does Pellegrini's model (V. and A., P. 24 - 1953, Room 58).

⁸³ The Architect. and Building News cxlv (1936)Google Scholar; Wren Soc. xiii (1936), xvi–xviiGoogle Scholar, pls. XXVII, XXXI-II. Wren's model is now in th e Trophy Room.

⁸⁴ Wren Soc. xiv (1937), pls. XVI–XVIIGoogle Scholar; Longman, W., op. cit., p. 149Google Scholar. View by William Emmett.

⁸⁵ Wren Soc. xiv (1937), pl. XLVGoogle Scholar. Engraved by Rookerfrom a drawing by John Gwynn, R.A. (an architect friend of Wren's grandson, Stephen Wren, who published Parentalia), with figures by Samuel Wale, R.A.

⁸⁶ Newton, , Works, i (1782), 106Google Scholar. Beresford-Hope too k up the same theme: ‘All they were doing was the completion of the Cathedral. Wren went to his grave, sore at heart, ninety years old, because the prejudice and narrow-mindedness of the day would not allow him to finish his work. It was the mere skeleton—the naked body that was left. The clothing he was not allowed to put on. It was no fanciful undertaking of the Committee … they simply took up Wren's unwritten will, and sought to put it into execution (Cheers)’ (Report of … meeting in aid of … the completion of St. Paul's, Mansion House, nt h March 1872).

⁸⁷ Parentalia, 262.

⁸⁸ The Architect. xii (1874), 59Google Scholar. Similarly, G. Ecclesiologist; Street: ‘If [Wren's] mosaics were to be at all like all others of the same period, we may perhaps be grateful that he never carried his idea into execution’ (open letter to George Richmond, R.A., 29th Feb. 1871).

⁸⁹ The Architect. x (1873), 121Google Scholar. ‘Wren's taste bears the same relationship to pure and refined architecture as the paintings of Rubens do to the quaint simplicity of Van Eyck—as the witty but licentious dramas of the Restoration do to the works of Shakespeare and Ben Johnson’ (Fraser's Mag. n.s., viii (1873), 284–97)Google Scholar.

⁹⁰ ‘Wren, in an unfortunate age, drew his inspiration through the muddy intercepting strata of Roman and Renaissance work.’ Contemporary architects were ‘adrift in a rudderless boat’. Bernini was ‘but a blind leader of the blind, a flound-erer in a hopeless slough of despond’ (Seddon, J. P., The Architect. vii (1872), 247–8, 319)Google Scholar.

⁹¹ The Architect. xii (1874), 57–9Google Scholar.

⁹² Burges to Church, 23rd Nov. 1874; The Architect xii (1874), 309Google Scholar.

⁹³ Letter by Ecclesiologist; C. Robins, Building News xxv (1873), 353Google Scholar.

⁹⁴ Pullan, , R.I.B.A. Trans, xxxii (1881–1882), 194Google Scholar.

⁹⁵ R.I.B.A., S.N.B., xv (1873). Burges also visited Sta Maria d'Aracoeli in 1873.

⁹⁶ The Architect xi (1874), 292Google Scholar.

⁹⁷ For a detailed description of Burges's design by William Longman, first published as a pamphlet in 1874, see The Architect. xxii (1879), 271–2Google Scholar. For Burges's explanatory proposals, see R.I.B.A., 726.6, 42.12, 729. For Burges's preliminary sketches, see a composite volume entitled Decoration of St. Paul's, formerly in the Surveyor's Office in the Chapter House, St. Paul's, and now in the Library. For assistance in identifying this document, I am grateful to Dorothy Bosomworth.

⁹⁸ R.I.B.A. Papers (1870–71), 157–74. For Penrose defending later proposals—Leighton and Poynter developing Stevens—see ibid. (1878–9), 93–104.

⁹⁹ Other models suggested included the windows at Auch in southern France (Sutton, F. H., Painted Glass for St. Paul's Cathedral, 1871Google Scholar). For a window designed by F. W. Moody, sponsored by the Society of Arts, in memory of Prince Albert, see Building News 16th Nov. 1877Google Scholar.

¹⁰⁰ Wren Soc. iii (1926), pl. XXXVIIGoogle Scholar.

¹⁰¹ R.I.B.A., 726.6, 42.12, 729. It was in December 1873 that Penrose, previously placid, turned against Burges's scheme—‘cutting up an d objecting to everything’ (R.I.B.A. St. Paul's MS., op. cit).

¹⁰² Art Jnl (1873), 253, 293Google Scholar.

¹⁰³ Athenaeum (1881), i, 599Google Scholar.

¹⁰⁴ ‘Clearly Mr. Burges has strong Medieva l tendencies, but he is far from an exclusively one-sided man… Though pronounced in his architectural bias and tastes, he is legitimately impressionable and teachable’ (Building News xxii (1872), 401Google Scholar). 105 Burges's scheme ‘would make our great Protestant temple… more like a magnificent music-salon or gin palace than a cathedral’ (Building News xxvii (1874), 1–2)Google Scholar.

¹⁰⁶ E.g. a thunderous leader on popular taste (The Times, 29th June 1874, 11Google Scholar); or a leader against Burges's ‘Jesuit’ style which threatened to plunge art ‘into … barbarism’ (The Times, 15th June 1874, II)

¹⁰⁷ Building News xxvii (1874), 1780Google Scholar.

¹⁰⁸ Church Builder (1872), 235–7Google Scholar. At present, St. Paul's is ‘… a magnificent, unfinished skeleton. The crude light streaming through its commonplace windows, falling on the dense London atmosphere, forms strong cross lights, which break up the interior, so as to destroy its aesthetic unity. Unde r this cold, dull light the dust-coloured walls and furniture look bare and cold. The judgement with a sort of reluctance admit s that the dimensions of the building are imposing, and its proportions grand, and its architectural features fine; but th e instinctive taste declares that the effect is dull and bare and uninterestin g and unlovely’ (ibid. (1874), 86–8). See also, ibid. (1874), 143–6; (1875), 86–8; (1878), 209–11.

¹⁰⁹ The Builder xxxii (1874), 407–8Google Scholar.

¹¹⁰ The Architect vii (1872), 266Google Scholar; Building News xxii (1872), 469Google Scholar: a defence of Burges by The Architect; P. Goodman.

¹¹¹ Burges's proposals ‘would mak e St. Paul's a churchman's bauble, a display of the mean follies that half-educated clerics and a clique of semi-sanctimonious draughtsmen presume to call religious art’. Angels, martyrs, etc., were ‘but an “artistic” form of profane swearing—a mere expletive substitut e for fancy and invention’ (Quarterly Rev. cxxxiii (1872), 342–86)Google Scholar.

¹¹² Blutman, Sandra, R.I.B.A. Jnl. 3rd ser. lxxiv (1967), 542–4Google Scholar.

¹¹³ Building News xxvi (1874), 630Google Scholar.

¹¹⁴ Wren's St. Paul's was ‘marvellously pure, considering the period in which he lived: for he reverted to the school of Vignola and Palladio of the beginning of the sixteenth century, instead of adopting the perversions of the French and Italian schools of his ow n period, represente d by Blondel and Bernini; men of genius, but instances of artificial aberration in the former, and of extravagant puerility in the latter’.

¹¹⁵ The Times, 15th June 1874, 10Google Scholar. Donaldson preferred Hittorf's St. Vincent de Paul, Paris.

¹¹⁶ Building News xxvii (1874), 536Google Scholar; The Times, 18th June 1874, 11Google Scholar, and 28th Oct. 1874, 10. 117 The Architect xii (1874), 297Google Scholar. Burges called Fergus-son's article in the Contemporary Rev. ‘personal and scurrilous’ (R.I.B.A. MS. op. cit., 1st Oct. 1874).

¹¹⁸ An attempt ‘to wash the Paganism out of this too classic temple’, and introduce instead ‘gloom … mysticism, and crude art’. See Contemporary Rev. xxiv (1874), 750–71Google Scholar; summarized, The Architect xii (1874), 175–6Google Scholar and Building News xxvii (1874), 413–4Google Scholar.

¹¹⁹ Fergusson, J., Proposal for the Completion of St. Paul's Cathedral (1874)Google Scholar.

¹²⁰ Building News xxvii (1874), 546Google Scholar; The Builder xxxii (1874), 940–41Google Scholar. Scott had been called in to arbitrate between Burges and Penrose in 1870–1 (R.I.B.A. MS. op. cit.).

¹²¹ The Architect. vii (1872), 247–8, 266Google Scholar.

¹²² The Architect xii (1874), 36Google Scholar.

¹²³ The Architect vi (1871), 40Google Scholar.

¹²⁴ Fraser's Mag. (Aug. 1874); reprinted in The Architect xii (1874), 58Google Scholar. For a less enthusiastic critique by G. H. G[uillaume], see Building News xxvi (1874), 625Google Scholar. He considered Burges's colour-scheme too dark. So did Basil Champneys in the Pall Mall Gazette (ibid., 630). Godwin later claimed that Burges admitted the validity of some of his subsidiary criticisms (The Builder. The Architect xv (1881), 214)Google Scholar.

¹²⁵ Saturday Rev. (1872), pt. i, 335–6Google Scholar.

¹²⁶ Ibid. (1874), pt. i, 586–7. Donaldson's ‘dithyrambic’ complaints were dismissed as ‘Tupperian ‘non-sequiturs. His pre -ferred examples—St. Peter's Rome and St. Vincent de Paul, Paris—were ‘Popish mass-houses both’. As for the Daily Telegraph and the Guardian, they failed to approve Burges's scheme largely because they failed to take the trouble to understand it (ibid., 776–7).

¹²⁷ Pullan, R. P., The Designs of William Burges (1885), no. 2Google Scholar.

¹²⁸ R.I.B.A. St. Paul's MS., op. cit.

¹²⁹ The Times, 13th May 1872, 8Google Scholar.

¹³⁰ Burges to Church, 23rd Nov. 1874: The Architect. xii (1874), 309Google Scholar.

¹³¹ Ecclesiologist xix, n.s., xvi (1858), 262–3Google Scholar.

¹³² The Architect. xii (1874), 176Google Scholar.

¹³³ Hutton, W. H. (ed.), Autobiography of Robert Gregory (1912), pp. 207–8Google Scholar.

¹³⁴ One exception was ‘J.C.J.’, in Ecclesiologist xxv, n.s., xxii (1864), 12–15Google Scholar.

¹³⁵ The Times, 27th May 1872, 7Google Scholar.

¹³⁶ The Builder xxxii (1874), 584. 634Google Scholar.

¹³⁷ Report on Burges's nave model (R.I.B.A., 726.6, 42.12, 729). Another critic, ‘C.B.’, supplied Wren with an alibi: ‘there was no sufficient art education … to enable him to form a just and definite conception’ (The Builder. xxxi (1873), 81–2)Google Scholar.

¹³⁸ Punch, lxvi (1874), 269Google Scholar.

¹³⁹ Building News xxvi (1874), 690Google Scholar, and xxvii (1875), 2.

¹⁴⁰ Building News xxvi (1874), 710Google Scholar; The Architect viii (1872), 351–2Google Scholar.

¹⁴¹ The Times, 15th Dec. 1874Google Scholar; The Builder xxxii (1874), 631Google Scholar.

¹⁴² R.I.B.A. St. Paul's MS., op. cit. (3rd July 1874).

¹⁴³ The Architect v (1871), 287–8Google Scholar.

¹⁴⁴ The Builder xxxii (1874), 543Google Scholar.

¹⁴⁵ Later he wrote to hi s wife: ‘While I worked this morning I thought of your Sunday expedition to St. Paul's, and wondered if the church crushed and depressed you, as it does me, an d if you could pray in it, and to whom, and if you had any hope that a prayer could get past the cornice, and if in your heart you said “0 Lord, how great is they pomp, how crushing thy judgements; mercifully forgive thy servant if she seeks consolation elsewhere than in thy architectural presence, and confesses with thy servant David that one day in th y house is better than a thousand'” (G.B.-J., Memorials of Edward Burne-Jones, II, pp. 219–20).

¹⁴⁶ The Architect xii (1874), 297Google Scholar.

¹⁴⁷ E.g. the mosaics at St a Maria Maggiore, Rome; or those in Galla Placidia's chapel at Ravenna. ‘Ther e is a Classical-Christian style, Greek in origin, Roman by adoption; and the more Classical it is, the more Primitive Christian it is; and it may be employed in St. Paul's with the help of modern study, science and art-power. … Very much has been learnt about the subjects and character of Classical Christian decoration since the time of Brunelleschi or Bramante; and to ignore all that knowledge in restoring St. Paul's would be a public act of indifference to Christianity … [Besides] the Anglo-Puritan suspicion of church art has been already to some extent disarmed by Mr. Butterfield's mosaics [at Keble]’ (Church Quarterly Rev. ii (1876), 447–64Google Scholar; The Architect. xvi (1876), 49)Google Scholar.

¹⁴⁸ Trans. St. Paul's Ecclesiological Soc. i (1879–1880)Google Scholar.

¹⁴⁹ Prestige, G. L., St. Paul's in its Glory … 1831–1911 (1955), pp. 207–8Google Scholar.

¹⁵⁰ The Architect xvi (1876), 364–5Google Scholar; Oldfield, E., St. Peter's and St. Paul's (1878)Google Scholar.

¹⁵¹ R.I.B.A. St. Paul's MS., op. cit. (24th April 1877).

¹⁵² Buiding News xxxv (1878), 50–51, 72–3Google Scholar; The Architect. xx (1878), 37–8, 49–50Google Scholar.

¹⁵³ The Builder. xlvii (1884), 11–13, illGoogle Scholar.

¹⁵⁴ The Architect. xx (1878), 207Google Scholar; Building News xxxv (1878), 412Google Scholar.

¹⁵⁵ The Builder xlvii (1884), 313–4Google Scholar.

¹⁵⁶ The Builder xliii (1882), 740–42Google Scholar. Edward Armitage suggested a limited scheme: merely a frieze round the drum, as in Flandrin's dome at St. Vincent de Paul, Paris.

¹⁵⁷ Building News xxxvii (1879), 55–6, 167Google Scholar; The Times, 31st May 1879, 8Google Scholar. The scheme was exhibited at the Egyptian Hall. See Pullan, , Studies in Architectural Style (1883), p. 13Google Scholar. Wilson (1809–82) published studies of Michaelangelo, frescoes and stained glass. He was a friend of Charles Winston. Benjamin Webb attended Pen- rose's paper at the R.I.B.A. on 10th Feb. 1879 and saw Pullan's scheme at the Egyptian Hall on 5th May 1879 (Diary, op. cit.).

¹⁵⁸ The Architect xxii (1879), 32–5Google Scholar.

¹⁵⁹ Saturday Rev. lvii (1884), 814Google Scholar.

¹⁶⁰ The Builder. xlviii (1885), 164, illGoogle Scholar.

¹⁶¹ The Architect xxii (1879), 271–2, illsGoogle Scholar.

¹⁶² Matthews, W. R. (ed.), History of St. Paul's Cathedral (1957), pp. 280–81Google Scholar. See also Garner, T., ‘The new altar screen in St. Paul's Cathedral’, St. Paul's Ecclesiological Soc. ii (1880–1889), 167–8Google Scholar. Summerson calls it ‘an elaborate but muddle-headed design’ (Richards, J. M. and Summerson, J., The Bombed Buildings of Britain (1942), p. 12)Google Scholar.

¹⁶³ Dean and Chapter Minutes, 8th Nov. 1888.

¹⁶⁴ Prestige, , op. cit., 211–2Google Scholar.

¹⁶⁵ Church, M. C., Life and Letters of Dean Church (1895), p. 235Google Scholar.

¹⁶⁶ Somers Clarke album, V. and A., 72.D. 15th: The Times, 24th Feb. 1899, MS. endorsement.

¹⁶⁷ ‘A.R.J.’, Builders’ Jnl, 31st May 1899.

¹⁶⁸ Somers Clarke album, op. cit., 4.

¹⁶⁹ Matthews, , op. cit., p. 281Google Scholar.

¹⁷⁰ Matthew and John: Watts; Four Prophets: Stephens; Mark and Luke: Stevens and Britten.

¹⁷¹ For details see Clarke, Somers, The Recent Decoration of St. Paul's (1894)Google Scholar; Baldry, A. L., ‘The new decoration of St. Paul's’, Mag. of Art, xxii (1897), 12–18Google Scholar; Richmond, W. B., ‘The decoration of St. Paul's’, Jnl. R.S.A. xliii (1894–1885), 715–24Google Scholar.

¹⁷² The Times, 4th March 1899Google Scholar. See also Howe, Samuel, ‘The spoiling of St. Paul's’, Fortnightly Rev. (April 1899), 634–46Google Scholar. In the House of Lords, Kimberley and Salisbury silenced the ‘hysterical diatribe of the omnipotent Earl’: Dean Gregory was uncontrollable in law; and anyway there was no such absolute as ‘Taste’ (The Times, 22nd April 1899)Google Scholar.

¹⁷³ Spectator, lxxxii (1899), 414, 486, 681–2Google Scholar.

¹⁷⁴ The Times, 6th May 1899.

¹⁷⁵ The Times, 22nd May 1899.

¹⁷⁶ Illustrated London News, cvi (1895), 100Google Scholar.

¹⁷⁷ The Times, 1st April 1899.