CHAP. I. Paul preach⯑ing at Athens.

Some learned men of Athens ſeeing Paul ſo rea⯑dy to engage in diſpute with every one, undertook [20]him: but not underſtand⯑ing him, ſome cried, he was a prating, babbling fellow; others, that he came to diſcover ſome ſtrange God to them, be⯑cauſe he frequently men⯑tioned Jeſus and the reſur⯑rection.

After this they brought him before the magiſtrates, to be examined what new religion it was he taught: for all that they had hi⯑therto [21]heard was new and ſtrange, and therefore they deſired to have a full ac⯑count 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 devo⯑tions, I found an altar with this inſcription, TO THE UNKNOWN GOD. This GOD therefore, [22]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 [23]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 in⯑deed near every one of us, even as the Soul that ani⯑mates us.

For our life, motion, and ſubſiſtance are wholly thro' him, according to that which one of your own poets hath ſaid.

[24]God therefore being our Creator, we cannot in rea⯑ſon 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, hav⯑ing determined the way by which all the world ſhall be judged; that is, by receiving or refuſing the faith of Chriſt; who [25]being rais'd from the dead, is offered to all men to be⯑lieve 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 repreſenta⯑tion of the fifth piece of painting in the cupola.

CHAP. II. The conjuring books burnt.

SOme of the vagabond Jewiſh exorciſts ſee⯑ing the many extraordina⯑ry 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 [28]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 adjur⯑ing the evil ſpirit in the name of Jeſus, were thus anſwered by the poſſeſſed, [29]'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 up⯑on 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 rumour⯑ed among the Jews and [30]natives of Epheſus, pre⯑vailed 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 ma⯑gick, brought their books out, and burnt them pub⯑lickly, tho' they were of [31]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.

CHAP. III. King Agrippa almoſt per⯑ſuaded to be a Chriſtian.

PAUL having been brought before king Agrippa to anſwer to di⯑vers complaints made a⯑gainſt him by the Jews in general, as a moſt notori⯑ous malefactor; and after Feſtus, a noble orator, had open'd his caſe in an ele⯑gant [34]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 Agrip⯑pa, in that I am permitted to make my defence a⯑gainſt the accuſation laid by the Jews before your Majeſty, whom I know to be a perfect maſter of the [35]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 incredi⯑ble, that God, who is omnipotent, ſhould raiſe [36]the dead. Confeſſes his own former unbelief; the havock that he made amongſt the church; his extraordinary converſion; and many other things, re⯑lating both to himſelf and to the goſpel of Jeſus Chriſt. And at laſt asked king Agrippa this queſ⯑tion; 'Believeſt thou the prophets, O king? I am ſatisfied thou doſt; and knoweſt their predictions to be fulfilled.

[37]This was ſo home a challenge to Agrippa, that in the publick preſence he declared, that Paul had al⯑moſt 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 im⯑priſonment.

[38]This hiſtory is the ſub⯑ject of the ſeventh piece of painting.

CHAP. IV. Paul's voyage, and ſhip⯑wreck on the iſland of Milita, or Malta.

Sailing from thence, they came in fight of the ſland of Cyprus, where they were to lie by a [41]while; but the winds pre⯑ſenting, they paſſed the ſeas of Cilicia and Pam⯑phylia, 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, [42]they arrived at Fair-ha⯑vens, near Laſca; where Paul would have perſuad⯑ed captain Julius to wait for more ſeaſonable wea⯑ther: but he preferring the maſter of the ſhip's judgment, they put to ſea, intending to reach Phoe⯑nice, a harbour of Creto, where there was ſafe rid⯑ing, and there to winter; and they having a light gale of ſouth, they queſ⯑tioned [43]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 [44]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 ligh⯑ten their ſhip. The ſtorm ſtill increaſing, and neither ſun nor ſtars for many days appearing, they gave them⯑ſelves over for loſt.

Which Paul perceiving, he told them that he had [45]ſeen a viſion, which aſſur⯑ed 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 fa⯑thoms, then fifteen, and it ſtill ſhaling, and being [46]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 them⯑ſelves, 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 ſuf⯑fered [47]to quit the ſhip, they ſhould be in danger of be⯑ing 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 ſol⯑diers and paſſengers.

In the ſpace between [48]that and day-break, they all eat and drank, and were refreſhed; having had no leiſure or thought of eat⯑ing for a conſiderable time before. After this refreſh⯑ment 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 [49]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 bro⯑ken pieces got ſafe to land: where when they were all arrived, they knew the [50]place to be the iſland Me⯑lita, or. Malta.

The iſlanders ſeeing them in diſtreſs, treated them with great humani⯑ty; making fires to warm their wet and weary limbs. But whilſt they were dry⯑ing and warming them⯑ſelves, a viper, driven from her hole by the heat of the fire, leaped out and faſten⯑ed upon Paul's hand: which when the natives, [51]ſaw, they concluded him guilty of murder, and that divine vengeance had pur⯑ſued him to that place, to die by the bite of this ve⯑nomous creature: but he ſhook it off into the fire, and felt no harm. On ſeeing this, they preſent⯑ly 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 geo⯑metrical 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 [53]large and beautiful; the wainſcoting, carvings, ſhelves, &c. are of nice workmanſhip; but not⯑withſtanding there is a large collection of books in it the ſhelves appear ve⯑ry thin, and thoſe lock'd up in a profound ſilence; ſome lolling faſt aſleep one way, and ſome another.

Theſe books were de⯑ſigned for the uſe of the clergy belonging to the [54]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 anti⯑quated, 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 peo⯑ple, and little maſters and [55]miſſes; who, whenever they come to ſee this fine Library, muſt always take care to go into the room on tiptoe, for fear of diſ⯑turbing any of theſe drou⯑ſy old gentlemen.

The floor of this room is very curious, being im⯑laid, without peg or nail, with ſo much art and in⯑genuity, that it really looks very beautiful.

There is alſo a fine pic⯑ture [56]in it, of the right re⯑verend 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 cathe⯑dral of St. Paul was built: [57]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 [58]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 ven⯑ture up, without a proper guide. Beſides, ſhould the clock happen to ſtrike whilſt they are in the bell loſt, the ſound is ſo ſur⯑priſingly loud and ſhock⯑ing to thoſe who are un⯑accuſtomed [59]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 gene⯑rally takes up an hour's time: and as 'tis then ſet, it is looked upon to be ve⯑ry exact.

Laſtly, You are ſhewn the grand Geometrical [60]Staircaſe; which is a cu⯑rious and wonderful piece of workmanſhip, and ſo artfully contrived, that the ſupport of the whole prin⯑cipally 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 parti⯑cular account of its beau⯑ties, [61]would require the judgment of one who is converſant in the ſcience, to which I muſt ingenu⯑ouſly acknowledge my ſelf a ſtranger.

Next we ſhall proceed to the inſide of the church.

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 [63]three iſles. The roof of each is adorn'd with arch⯑es, and ſpacious periphe⯑ries 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 beauti⯑ful proſpect the whole length of the church, [64]without any interception from the pillars, &c.

Juſt within the door of the north iſle, on the left hand, is the morning pray⯑er 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.

[65]The front of this cha⯑pel has a very beautiful skreen of curious wainſcot, and adorn'd with twelve columns; their entabla⯑tures, arched pediments, and the royal arms, en⯑riched with cherubims, and each pediment be⯑tween four vaſes, all cu⯑riouſly carved; and the skreen is ſenced with iron⯑work.

Next to the morning [66]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.

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 mag⯑nificent, finely orna⯑mented, and enrich'd with the carved figures of ſeve⯑ral cupids, and eight fames with their trumpets ſtand⯑ing on the top of the caſe, four looking eaſtward and four weſtward; each ap⯑pearing near ſix feet high.

[71]It is alſo enriched with cherubims, fruit, leaves, &c. repreſented in a very lively manner. The or⯑gan pipes are very ſpaci⯑ous, gilt with gold, and preſerved from duſt with fine ſaſhes: all which are raiſed on cight beautiful flured columns of the Co⯑rinthian order, of poliſhed marble, white vein'd with blue.

CHAP. III. of the altar-piece, &c.

THE altar-piece is a⯑dorned with four no⯑ble fluted pilaſters, finely painted, and veined with gold, in imitation of lapis lazuli, with their entable⯑ture; where the enrich⯑ments, and alſo the capitals of the pilaſters are double gilt with gold; the inter⯑columns [73]columns are twenty one pannels of figured crimſon velvet: above all is a glo⯑ry 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; ex⯑quiſitely wrought into di⯑vers figures, ſpiral branch⯑es, and other flouriſhes: [74]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 Arch⯑deacons; to wit, London, Middleſex, Eſſex, col⯑cheſter, and St. Albans. It hath thirty Prebenda⯑ries, [76]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 ex⯑cellent artiſt the late Mr. Gribeline Gibbon; as was [77]likewiſe all the other car⯑ved 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 veſ⯑try; and on the noth ſide the reſidentiarys and ſing⯑ing mens veſtry, where they all robe and unrobe.

There are four Vergers belonging to this church; ſo called from virga, a rod, [78]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 [79]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.

[80]Theſe vaults are indeed very ſpacious, but at the ſame time dark and gloo⯑my, and ſtrike a kind of horror in thoſe who de⯑ſcend, 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 glim⯑mering light that is intro⯑duced into it from the [81]ſmall windows that open into the church-yard.

Under the choir there was formerly the pariſh church of St. Faith, com⯑monly 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 [84]to that of St. Auſtin's.So that the notion which is entertain'd by ſeveral per⯑ſons, and by others confi⯑dently aſſerted, that there is a pariſh church now be⯑neath 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 repoſi⯑tory, [85]the monuments of ſeveral eminent perſons; but as it would be too te⯑dious 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 Wat⯑ling-ſtreet. [86]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 [87]LECTOR SI MONUMEN⯑TUM 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 a⯑bove ninety years, and ſtu⯑died the good of the pub⯑lick, and not his own pri⯑vate [88]intereſt and advantage. Reader, If thou art curious to know where his monu⯑ment 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: ‘[89]HERE LIETH CHRIS⯑TOPHER 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.’