Sr . Chrr . Wren.
The famous Architect of St. PAUL's, and many other great buildings.
THE HISTORY OF St. PAUL'S.
VOLUME the SECOND.
To which is added,
An Account of the
MONUMENT
of the Fire of London.
Printed for
Tho. Boreman,
Bookseller, near the two giants in
Guildhall, London.
1741. [Price 4
d.
SUBSCRIBERS To the HISTORY
of
St. PAUL's.
VOL. II.
A.
MAster
Tommy Axton.
Miss
Nanny Abdy,
of Golden-square.
Master
Tommy Allen.
Miss
Fanny Allen.
Master
Jemmy Pettit Andrews,
of Bloomsbury-square.
B.
Miss
Penelope Brindley,
6 Sets.
Master
Dicky Boys,
of Colchester, 7 Sets.
Master
Sammny Butler.
Miss
Nancy Beaver.
Miss
Jenny Bowden.
Miss
Molly Bolwerk.
Miss
Sally Bolwerk.
Master
Dicky Bigland
3 Sets
Miss
Leny Brereton,
7 Sets.
Master
Peter Blunt.
Miss
Polly Blunt.
Miss
Debby Blunt.
Miss
Nancy Blunt.
Master
Jacky Boulton.
Master
Harry Boulton.
Miss
Polly Boulton,
Miss
Patty Boulton,
all of Cheapside.
C.
Master
Jacky Callard,
of New-Inn.
Miss
Patty Chandler,
Miss
Betsy Chandler,
Miss
Chandler,
Master
Billy Chandler,
Master
Jacky Chandler,
all of Gloucester.
Master
Jacky Cam.
Master
John Collingwood.
Master
Bobby Cramar.
Miss
Mary Elizab. Coleno.
Master
Dicky Caldwell,
50 Sets.
D.
Miss
Sally Dearling.
Master
Jacky Dearling,
of Chichester.
Master
Jacky Duncombe.
Miss
Clara Duncombe.
Miss
Patty Duncombe.
Daniel Danvers,
Esq
F.
Master
Philip Fonnereau,
2 Sets.
Master
Martin Fonnereau,
2 Sets.
Miss
Biddy Fisher.
Miss
Freeman,
of Daventry.
G.
Miss
Martia Gee,
of Boswell-court.
Miss
Nanny Louisa Goring.
Miss
Frances Goring.
Miss
Betty Gilks.
Master
Neddy Greenly.
Master
Alexander Garrett,
of Spittlefields, 5 Sets.
Master
Jacky Gyles.
Miss
Sally Gyles.
Miss
Betsy Gyles.
Miss
Eliz. Guertz,
4 Sets.
H.
Master
Dicky Howard,
and
Miss
Titty Howard,
of Cookes-court.
Master
Billy Weston Hugessen,
of Provinder in Kent, 3 Sets.
Miss
Biddy Harris.
Master
Tommy Hayward,
of Friday-street.
Miss
Henny Hitchcock,
of Oporto.
Miss
Suky Harren,
George-street, York-buildings.
Master
Jacky Heatherly,
6 Sets.
Master
Bobby Heatherly.
Master
Jemmy Heatherly.
Miss
Betsy Heatherly.
Miss
Nanny Hiccock,
and
Miss
Lydia Hiccock,
of Daventry.
Master
Matty Hay.
Master
Dicky Hutchinson,
Miss
Polly Hutchinson,
both of Norwich.
Master
Jemmy Hall.
Master
Humphry Hall.
Master
Ammy Hall.
Miss
Molly Hall.
Miss
Mille Hall.
Miss
Betsy Hall.
I.
Miss
Nancy Jolly,
of Westham.
L.
Master
Jacky Lee Choulderton.
Miss
Rebecca Lestourgeon,
of Cannon-street.
Miss
Betsy Land,
of Bread-street.
Master
Franky Lodge.
Master
Henry Sebastian Leche.
M.
Miss
Nanny Mortimer.
Master
Jacky Moore.
Miss
Betsy Moffatt.
Miss
Betsy Muscell,
Bethnal-green, 7 Sets.
Master
Tommy Morton.
Miss
Martha Morton.
Master
Davy Moss.
Master
Danny Moss.
Miss
Polly Meighan.
Miss
Deb. Michel.
Miss
Kitty Moore.
N.
Master
Dicky Newton,
Aldermanbury.
O.
Master
Billy Oliver.
Miss
Patty Oliver.
P.
Miss
Betsy
and Miss
Dolly Phyllips,
of the Bulwark at Brecon, South-wales.
Master
Sammy Plafor,
of Elbow-lane.
Miss
Lovy Bonny Price
and her neighbours, 3 Sets.
Miss
Bett Pigott,
of Burford
Miss
Bett Pryor,
of Shipton.
R.
Master
Jacky Row.
Miss
Betty Richardson.
Miss
Nanny Richardson.
Miss
Molly Richardson.
Miss
Molly Ratcliff,
of Bow-lane.
Master
George William Ridgway,
7 Sets.
Master
Hedworth, Reed.
S.
Master
Harry Sperling.
Miss
Peggy Scot.
Miss
Polly Stracy,
of Elbow-lane.
Master
Anthony Sawyer,
of Golden-square.
Master
Tommy Singleton.
Miss
Elizabeth Maria Senex,
3 Sets.
For the remaining Subscribers, turn to the end of the Book.
THE HISTORY OF
St. PAUL'S.
VOL. II.
CHAP. I.
Paul preaching at Athens.
PAUL at ATHENS.
Some learned men of Athens seeing Paul so ready to engage in dispute with every one, undertook him: but not understanding him, some cried, he was a prating, babbling fellow; others, that he came to discover some strange God to them, because he frequently mentioned Jesus and the resurrection.
After this they brought him before the magistrates, to be examined what new religion it was he taught: for all that they had hitherto heard was new and strange, and therefore they desired to have a full account of all. Paul being at full liberty to speak, said, — 'I perceive, O Athenians, that ye have a great number of idols; for as I passed by and saw your superstitious devotions, I found an altar with this inscription, TO THE UNKNOWN GOD. This GOD therefore, whom you acknowledge not to know, yet profess to worship, is he whom I preach, the invisible God of heaven and earth, who cannot be contained in temples of man's making; nor can any image made by man be a proper object of his worship; he being so far from wanting our help, that it is he that gives to all their life and all that they have: And from one man he hath made a whole world of men, appointing times and places in great order. And the end of all this is, that they should seek after their Creator and worship him, who is indeed near every one of us, even as the Soul that animates us.
For our life, motion, and subsistance are wholly thro' him, according to that which one of your own poets hath said.
God therefore being our Creator, we cannot in reason suppose him to be the work of our hands, such as a piece of gold, silver, or a stone graved. This time of ignorance hath lasted long; but now God calls you are to repentance, having determined the way by which all the world shall be judged; that is, by receiving or refusing the faith of Christ; who being rais'd from the dead, is offered to all men to believe in.'
When they heard him mention the resurrection, the Epicureans especially, who denied a future state, fell a laughing at him; others said, we will hear thee about this another time: and so Paul left them.
This is the representation of the fifth piece of painting in the cupola.
CONJURING Books burnt.
CHAP. II.
The conjuring books burnt.
SOme of the vagabond Jewish exorcists seeing the many extraordinary miracles which were wrought by the hand of Paul, insomuch that he did not only cure them who came to him, but by his touching linen clothes, and sending them to such as were sick, or possessed with devils, they were immediately healed: The exorcists, I say, seeing this, they also attempted to cast out devils by using the name of JESUS; among whom were the seven sons of one Scaeva a Jew, one of the chief of the families of the priests, who adjuring the evil spirit in the name of Jesus, were thus answered by the possessed, '
Jesus I know, and Paul I know;
but you come not with any authority from Jesus, who hath given it to Paul.'
And the man who was possessed fell furiously upon them, and was too hard for them; tearing off their clothes, and wounding them, so that they were glad to sly from him.
This being soon rumoured among the Jews and natives of Ephesus, prevailed so with them, that they were convinced, and converted to the faith.
And they that were so happy came to Paul and his company, confessing their former course of life, to know what they should do: And many that had studied and practised magick, brought their books out, and burnt them publickly, tho' they were of a very high price. Of so great authority was the word of God, as it was preached by Paul among the Ephesians and those of Asia.
This latter part, of the burning of the books, is the subject of the sixth piece of painting.
King AGRIPPA.
CHAP. III.
King Agrippa almost persuaded to be a Christian.
PAUL having been brought before king Agrippa to answer to divers complaints made against him by the Jews in general, as a most notorious malefactor; and after Festus, a noble orator, had open'd his case in an elegant speech before the court; Agrippa told Paul he had liberty to speak: who desiring silence of the audience, began with this apology for himself:
'I cannot but think my self happy, O king Agrippa, in that I am permitted to make my defence against the accusation laid by the Jews before your Majesty, whom I know to be a perfect master of the Jewish laws and customs: for which reason I beg your patience.
He then acquaints the king with the manner of his life from his youth; of his being bred a Pharisee, of his being accused for asserting the resurrection of the dead; appeals to him why it should be thought a thing incredible, that God, who is omnipotent, should raise the dead. Confesses his own former unbelief; the havock that he made amongst the church; his extraordinary conversion; and many other things, relating both to himself and to the gospel of Jesus Christ. And at last asked king Agrippa this question; '
Believest thou the prophets, O king?
I am satisfied thou dost; and knowest their predictions to be fulfilled.
This was so home a challenge to Agrippa, that in the publick presence he declared, that Paul had almost persuaded him to be a Christian.
Upon this the assembly broke up: And when Agrippa and Feslus had consulted together about Paul's case, they freely owned that the accusation laid against him was not punishable by death or imprisonment.
This history is the subject of the seventh piece of painting.
CHAP. IV.
Paul's voyage, and shipwreck on the island of Milita, or Malta.
St. Paul's Shipwreck.
Sailing from thence, they came in fight of the sland of Cyprus, where they were to lie by a while; but the winds presenting, they passed the seas of Cilicia and Pamphylia, and came to Mira, a maritime city of Lycia. Here Julius finding a large ship bound for Italy, took his prisoners on board her, and with much ado made Salome, a city of Crete: from whence, after they had been long beating at sea with contrary winds, and very stormy weather, they arrived at Fair-havens, near Lasca; where Paul would have persuaded captain Julius to wait for more seasonable weather: but he preferring the master of the ship's judgment, they put to sea, intending to reach Phoenice, a harbour of Creto, where there was safe riding, and there to winter; and they having a light gale of south, they questioned not in the least of gaining their point.
But they soon found themselves mistaken; for the wind suddenly tacking about, blew so very hard at north east; that they were forced to hand all their sails, and let her drive before the wind. And coming under a little island called Clauda, they had like to have lost their boat; but with much ado recovering it, they hoisted it into the ship.
The next day, the storm continuing, they were forced to cut away their masts, and throw all their tackle overboard, and lighten their ship. The storm still increasing, and neither sun nor stars for many days appearing, they gave themselves over for lost.
Which Paul perceiving, he told them that he had seen a vision, which assured him that not a soul of them should be lost, tho' the ship should.
The ship thus driving for fourteen days at the mercy of the winds and waves, about midnight the sailors fansied they were near land; and throwing the lead, they sounded, and found it twenty fathoms, then fifteen, and it still shaling, and being night, they apprehended they might strike upon some shelves in the dark, so they let go four anchors astern, and waited for day.
And now the seamen resolving to shift for themselves, had hoisted the boat overboard, under pretence of mooring the ship ahead as they had done astern: but Paul perceiving their design, told captain Julius, that if the sailors were suffered to quit the ship, they should be in danger of being all lost. Upon this the soldiers, to prevent their design, cut the ropes, and let the boat go adrift.
Now Paul persuades them on board to take some refreshment. The number of all that were in the ship was two hundred seventy six, including soldiers and passengers.
In the space between that and day-break, they all eat and drank, and were refreshed; having had no leisure or thought of eating for a considerable time before. After this refreshment they sell chearfully to work, unloading the ship not only of goods but of the provisions, and throwing them into the sea.
When it was day, they discovered a creak and a haven, into which they endeavoured to put; and when they had weighed the anchors, they made to the shore, and run the ship aground, where she soon bulg'd. The captain then ordered the prisoners that could swim to throw themselves into the sea first; and the rest on broken pieces got safe to land: where when they were all arrived, they knew the place to be the island Melita, or. Malta.
The islanders seeing them in distress, treated them with great humanity; making fires to warm their wet and weary limbs. But whilst they were drying and warming themselves, a viper, driven from her hole by the heat of the fire, leaped out and fastened upon Paul's hand: which when the natives, saw, they concluded him guilty of murder, and that divine vengeance had pursued him to that place, to die by the bite of this venomous creature: but he shook it off into the fire, and felt no harm. On seeing this, they presently alter'd their opinion, and concluded him a God.
The latter part of this history, is the subject of the eighth and last piece of painting.
CHAP. V.
Of the Library, the Model of St. Peter's at Rome, the great Bell, and geometrical Staircase.
HAving quitted the whispering gallery, you are next invited to see the above curiosities; for which favour
each persen pays Two-pence.
The Library room is large and beautiful; the wainscoting, carvings, shelves, &
c.
are of nice workmanship; but notwithstanding there is a large collection of books in it the shelves appear very thin, and those lock'd up in a profound silence; some lolling fast asleep one way, and some another.
These books were designed for the use of the clergy belonging to the cathedral: but what from the height of its situation, which is half way up the cupola; and the dulness of its company, consisting mosily of a parcel of antiquated, must, crabbed old authors; makes it very seldom visited by them. Their chief use now is to be made a publick shew of (like so many monsters) to strangers, country people, and little masters and misses; who, whenever they come to see this fine Library, must always take care to go into the room on tiptoe, for fear of disturbing any of these drousy old gentlemen.
The floor of this room is very curious, being imlaid, without peg or nail, with so much art and ingenuity, that it really looks very beautiful.
There is also a fine picture in it, of the right reverend Henry Compton, late lord bishop of London.
The Model of St. Peter's at Rome.
This was taken by Sir Christopher Wren from the church of St. Peter at Rome, whilst he resided there; and from this, with some alterations, our cathedral of St. Paul was built: he having took care to correct in the latter, what he saw a blemish in the former. This model stands in a large room, where those who are curious may examine it. 'Tis a fine piece, though now fallen somewhat to decay.
As to the great Bell and Clock, I have. spoke of them before in the first Volume, pag. 77. to which I must refer my young readers; and shall only add, that the way to them is both dark and somewhat difficult to ascend, and therefore not advisable for my young readers to venture up, without a proper guide. Besides, should the clock happen to strike whilst they are in the bell lost, the sound is so surprisingly loud and shocking to those who are unaccustomed to it, that they would imagine it would rend the very tower all to pieces.
There is one thing more which is observable, that this clock is wound up once a day, which generally takes up an hour's time: and as 'tis then set, it is looked upon to be very exact.
Lastly, You are shewn the grand Geometrical Staircase; which is a curious and wonderful piece of workmanship, and so artfully contrived, that the support of the whole principally depends on the foot-stone only. This, and the stone staircase at Hampton. court, are the only two of the kind that are to be met with in any of our publick buildings.
To give a more particular account of its beauties, would require the judgment of one who is conversant in the science, to which I must ingenuously acknowledge my self a stranger.
Next we shall proceed to the inside of the church.
BOOK II.
CHAP. I.
Of the inside of St. Paul's.
THE pillars of the church that support the roof, are two ranges, with their entablature and beautiful arches, whereby the body of the church and choir are divided into three isles. The roof of each is adorn'd with arches, and spacious peripheries of enrichments; as shields, leaves, chaplets,
&c.
admirably carved in stone.
At the west end of the church there are three doors which lead to the above isles; from each of which you have a beautiful prospect the whole length of the church, without any interception from the pillars,
&c.
Just within the door of the north isle, on the left hand, is the morning prayer chapel, where divine service is performed every day in the week, excepting Sundays: from Lady-day to Michaelmas, at six in the morning; and from Michaelmas to Lay-day, at seven. In the north tower is the bell for calling people to prayers.
The front of this chapel has a very beautiful skreen of curious wainscot, and adorn'd with twelve columns; their entablatures, arched pediments, and the royal arms, enriched with cherubims, and each pediment between four vases, all curiously carved; and the skreen is senced with ironwork.
Next to the morning prayer chapel is the Lord Mayor's vestry; to which he generally repairs with his attendants, before he takes his seat in the choir: and then divine service immediately begins.
The MARBLE FONT.
Farther on the right hand is the door which leads up to the cupola.
CHAP. III.
Of the fine organ-case,
&c.
THE organ-case is magnificent, finely ornamented, and enrich'd with the carved figures of several cupids, and eight fames with their trumpets standing on the top of the case, four looking eastward and four westward; each appearing near six feet high.
It is also enriched with cherubims, fruit, leaves,
&c.
represented in a very lively manner. The organ pipes are very spacious, gilt with gold, and preserved from dust with fine sashes: all which are raised on cight beautiful flured columns of the Corinthian order, of polished marble, white vein'd with blue.
CHAP. III.
of the altar-piece,
&c.
THE altar-piece is adorned with four noble fluted pilasters, finely painted, and veined with gold, in imitation of lapis lazuli, with their entableture; where the enrichments, and also the capitals of the pilasters are double gilt with gold; the intercolumns columns are twenty one pannels of figured crimson velvet: above all is a glory finely done.
The openings north and south into the choir are ascending up three steps of black marble, by two iron folding doors, liek those under the organ gallery, and facing the choir; exquisitely wrought into divers figures, spiral branches, and other flourishes: and there are two others of these fine iron doors, the one opening into the south isle, the other into the north: they were all done by that celebrated artist in his way, Monsieur Tijan.
CHAP. IV.
Of the choir, the officers of the church, their seats,
&c.
THis cathedral hath a Bishop, a Dean, a Precentor, Chancellor, Treasurer, and five Archdeacons; to wit, London, Middlesex, Essex, colchester, and St. Albans. It hath thirty Prebendaries, twelve Canons, and six Vicars choral.
The north and south sides of the choir have each thity stalls, besides the Bishop's throne and seat on the south side, and the Lord Mayor's on the north: all which compose one vast body of curious carved work of the finest wainscot, done by that excellent artist the late Mr. Gribeline Gibbon; as was likewise all the other carved work, both of the ehoir and church.
On the south side of the entrance into the choir is the dean's vestry; and near that the singing boys vestry; and on the noth side the residentiarys and singing mens vestry, where they all robe and unrobe.
There are four Vergers belonging to this church; so called from
virga,
a rod, which each bears in his hand. The dean's has the cross daggers at top; the others have no ensign at all.
The floor of the choir and church is pav'd with marble; but within the rail of the altar with fine porphyry, polish'd, and laid in sveral geometrical figures: the arabathrum whereon the communion table is placed, is sive steps higher than that of the choirs isles.
We shall next descend into the vaults under St. Paul's.
CHAP. V.
Of the vaults, tombs, and St. Faith's church under St. Paul's.
THE passage down to these vaults, is by a door in the body of the church.
These vaults are indeed very spacious, but at the same time dark and gloomy, and strike a kind of horror in those who descend, in order to survey the numerous and massy pillars and arches which support this prodigious pile of buildings; of which they may be able to form some idea, from the glimmering light that is introduced into it from the small windows that open into the church-yard.
ST. FAITH'S CHURCH.
Under the choir there was formerly the parish church of St. Faith, commonly called,
St. Faith's under St. Paul's;
of which there is now no remains. There is indeed a spot of ground railed in, and set apart for the burial of the dead of that parish, which is still subsisting, and united to that of St. Austin's.So that the notion which is entertain'd by several persons, and by others confidently asserted, that there is a parish church now beneath the choir; and that there are prayers and preaching still performed therein on some particular days, is vulgar error, and altogether groundless.
There are under the choir, in this dark repository, the monuments of several eminent persons; but as it would be too tedious to give a description of them all, and no ways entertaining to the young reader, we shall pass them over in silence, and take notice only of that of the Architect of this grand building, who lies interr'd in a little corner close to the foundation wall, on the south-east side, next Watling-street. There is a plain stone fix'd against the wall at his head, with the following inscription in capitals:
SUBTUS CONDITOR HUIUS ECCLESIAE ET VRBIS CONDITOR CRISTOPHORUS WREN QUI VINIT ANNOS ULTRA N
NAGINTA NON S
SED BONO PUBLICO LECTOR SI MONUMENTUM REQUIRIS CIRCUMSPICE OBIIT XXV FEB. ANNO MDCCXXIII ET. XCI.
The purpot of which is this:
Here lies the body of Christopher Wren, the Architect of this cathedral church, &c. who lived above ninety years, and studied the good of the publick, and not his own private interest and advantage. Reader, If thou art curious to know where his monument is, cast thy eyes all around thee. He died 25 Feb.
1723.
aged
91.
This inscription is much admired for the justness and simplicity of the thought.
Over his body is a plain stone, with the following inscription:
HERE LIETH CHRISTOPHER WREN KNIGHT THE BUILDER OF THIS CATHEDRAL CHURCH OF ST. PAUL &c. WHO DIED IN THE YEAR OF OUR LORD MDCCXXIII AND OF HIS AGE XCI.
The End of the History of St. Paul's
The MONUMENT.
AN ACCOUNT Of the MONUMENT
Of the Fire of London.
CHAP. I.
Its situation, description, and building.
ON the east side of Fish-street-hill, near to the foot of London-bridge, stands the Monument, in a square open to the street.
It was set up by order of parliament, in perpetual memory of the dreadful fire that hapned the second day of
September,
1666. within one hundred and thirty feet of the house where the fire first broke out; and upon the spot where the church of St. Margernet's New-fish-street stood.
This Monument stands upon an ascent from the street of three or four steps, upon a large vault of stone, arched.
The column is of the Dorick order, built all of excellent Portland stone. 'Tis erected upon a pedestal, or square of about twenty seven feet high: The body, or shaft of it is fluted; and is in height, from the pedestal to the balcony, a hundred and thirty three feet; and from the balcony to the top of the flame, is thirty eight feet: And the height of the whole Monument from the ground, besides the vault and foundation, to the top of the flame, is two hundred and two feet; the circumference of the shaft forty seven feet and a half; its diameter from without the wall, fifteen feet; withinside, nine feet diameter; the thickness of the stone wall of the shaft is three feet.
It hath three hundred and forty five steps, or stairs, from the ground up to the balcony; and niches in the wall with seats to rest in, as people go up: and from the balcony upwards is a ladder of iron steps to go into the urn; out of which the flame, all gilt with godl, issueth; and to the stairs, having an open newel, there is a rail of iron to rest the hand upon all the way up.
This Monument is not unlike those two antient white marble pillars at Rome, erected in honour of the emperors Trajan and Antoninus, which were built above fifteen hundred years since; and are still standing entire.
The whole of this Monument taken together is a curious piece of workmanship: The charge of erecting it is said to amount to thirteen thousand seven hundred pounds and upwards.
This building loftily shews itself above the houses, and gives a gallant prospect for many miles round, to those that are in the balcony; so that many people have the curiosity to go up, and look about them from thence. The person appointed to keep it is allowed a salary for his attendance, besides the money people give him: The price demanded is
Twopence each person.
It was begun in the may oralty of Sir Richard Ford, 1671. and finish'd in that of Sir Joseph Sheldon, 1676.
Top of the Monument.
Bottom of the Monument.
CHAP. II.
Of the careted figures in he west front.
THE side towards the street hath a representation of the destruction of the city by the fire, and the rebuilding of it again, by several curiously engraven figures made in full proportion.
First is the figure of a woman representing London, sitting on ruins, in a most disconsolate posture, her head hanging down, and her hair all loose about her, the sword lying by her, and her left hand carelesly laid upon it. A second figure is Time with his wings and bald head, coming behind her, and gently lifting her up. Another female figure on the side of her, laying her hand upon her, and with a scepter winged in her other hand, directing her to look upwards; for it points up to two beautiful goddesses sitting in the clouds; one leaning on a cornucopia, denoting Plenty: the other having a palm-branch in her hand, signifying Victory or Triumph. Underneath this figure of London in the midst of the ruins is a dragon with his paw upon the shield of a red cross, the arms of London: Over her head are represented houses burning, and flames breaking out thro' the windows; behind her citizens looking on, and some of them lifting up their hands.
Opposite to these figures is a pavement of stone, rais'd with three or four steps; on which appears king Charles the second in a Roman habit, with a truncheon in his right hand, and a laurel about his head; coming towards the woman in the despairing posture aforesaid; and giving orders to two or three others to descend the steps towards her. The firit hath wings on her head, and a crown of naked boys dancing; and in her hand something resembling an harp. Then another figure of one going down the steps, following her, representing Architect; shewing a scheme, or model for rebuilding the city, held in the right hand; and the lest holding a square and compasses. Behind these two stands another figure holding up an hat, denoting Liberty. Next behind the king is the duke of York, holding a garland ready to crown the rising city, and a sword lifted up in the other hand to desend her. Behind this a third figure, with and earl's coronet on his head. A fourth, behind all, holding a lion with a bridle in his mouth. Over these figures is represented an house in building, and a labourer going up a ladder with an hodd upon his back. Lastly, underneath the stone pavement whereon the king stands, is a good figure of envy, peeping forth, gnawing an heart.
An Explanation of some of the
hard Words
made use of in the two Volumes of the
History of St. Paul's.
A.
ADjuring,
to charge in the name of God to declare a matter.
Adrift,
loose, to drive with the tide.
Animates,
to stir up, enliven, or give life to.
Arch,
is a hollow building, in the form of a rainbow.
Architecture,
the art of building.
Architrave,
that part of a column, or order of columns that is above, lying next the capital.
Ascent,
a rising, going, or getting up.
Astern,
the hinder part of a ship.
B.
Bulg'd,
a ship is said to be so, when struck against any thing and broke, so as to let in much water.
C.
Capital,
the uppermost part, or head of a column.
Cathedral,
a church wherein is a bishop's see, or seat.
Cherubims,
Angels of the second order; there are in all nine orders.
Choir,
that part of a church where the singers perform their parts.
Circular,
round, like a ball.
Circumference,
the compass round about any body.
Column,
a round pillar, to bear up or adorn a building.
Compartment,
a particular square, or devise, in the ornamental part of a building.
Conception,
ideas, thoughts,
Consecrated,
sed apart for religious uses.
Corinthian
order of architecture, so called because first used at Corinth.
Cornice,
the flourishing work at the upper part of pillar.
Cupola,
and arched tower of a church, or building, in form of a bowl turned bottom upwards.
D.
Dedicated,
devoted, or set apart for some religious purpose.
Diameter,
the width of any round body.
Dome,
and arched roof, tower, or cupola of a church,
&c.
Dorick
order of architecture, the second of the five orders, said to he invented by the
Dorians,
a people of Greece.
E.
East,
that quarter of the earth where the sun rises
Effigy,
image, shape, or form of a person.
Embellishment,
ornament, finery.
Encircled,
girt round about
Encompassed,
compassed, or girt round about.
Enrichments,
beautiful ornaments.
Entablature,
the architrave, freeze, and cornice of a column, together.
Exorcists,
pretenders to miracles, conjurers.
F.
Festoons,
ornaments of carved work, in wreathes or garlands of flowers.
Flower de luce,
or
Fleurs de lys;
the flower of light, supposed to be the lilly. The lys, on account of its three branches, is the emblem of wisdom, faith and courage.
Fluted,
the channels, hollows, or gutters, cut in a column, to render them still more beautiful
Font,
wherein water is put to baptize, or christen.
Freeze,
that part of a pilaster between the architrave and cornice.
G.
Geometrical,
done according to the rules of the science of geometry.
Glory,
it has several meanings; over the altar, 'tis a representation of the beatifick vision, or joys of heaven.
Group,
a crowd or cluster of figures in any painting, or carved work.
I.
Interception,
stop'd by any thing between the eye and the object view'd.
Invisible,
not to be seen
M.
Maritime,
a sea port.
Messiah,
that is Anointed, a title of our Saviour.
Mooring,
the fastening of a ship with anchors,
&c.
N.
Newel,
that part of a staircase that supports the steps.
Niches,
hollows made in a wall.
O.
Omnipotent,
all, powerful, strong, or mighty.
P.
Pidestal,
the square bottom or foot of a column.
Pediment,
an ornament in the fronts of large buildings, chiefly over gates.
Peripheries,
the outlines of geometrick figures, as of a circle,
&c.
Phoenix,
an Arabina bird, of which it is said, there is never but one in being at a time.
Pilasters,
square pillars.
Porphyry,
a brownish red marble, exceeding hard, found in Egypt.
Portico,
a porch, or covered place before the door of some great building.
R
Relievo,
any raised work, that swells or stands out above the surface.
Rustick,
a method of building in imitation of nature rather than art.
V.
Vases,
ornamental pots, on the tops of cornices, pedestals,
&c.
The END.
SUBSCRIBERS omitted.
Master
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THE Author begs leave to inform his young readers, that the
History of Westminster Abbey
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Curiosities in the
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