St Paul's Cathedral

St Paul's Cathedral, formally the Cathedral Church of

St Paul the Apostle, is an Anglican cathedral in London, St Paul's
England, the seat of the Bishop of London. The cathedral Cathedral Church of St Paul the Apostle
serves as the mother church of the Diocese of London. It
is on Ludgate Hill at the highest point of the City of
London. Its dedication in honour of Paul the Apostle
dates back to the original church on this site, founded in
AD 604.[4] The present structure, which was completed
in 1710, is a Grade I listed building that was designed in
the English Baroque style by Sir Christopher Wren. The
cathedral's reconstruction was part of a major rebuilding Aerial view of the St Paul's Cathedral
programme initiated in the aftermath of the Great Fire of
London.[5] The earlier Gothic cathedral (Old St Paul's
Cathedral), largely destroyed in the Great Fire, was a
central focus for medieval and early modern London,
including Paul's walk and St Paul's Churchyard, being the
site of St Paul's Cross.

The cathedral is one of the most famous and recognisable

sights of London. Its dome, surrounded by the spires of
Wren's City churches, has dominated the skyline for over
300 years. At 365 ft (111 m) high, it was the tallest Interactive fullscreen map
building in London from 1710 to 1963. The dome is still 51°30′50″N 0°05′54″W OS grid TQ 320 811
one of the highest in the world. St Paul's is the second-
Location London, EC4
largest church building in area in the United Kingdom,
after Liverpool Cathedral. Country United Kingdom
Denomination Church of England
Services held at St Paul's have included the funerals of
Website stpauls.co.uk (http://ww
Admiral Lord Nelson, the Duke of Wellington, Winston
w.stpauls.co.uk/)
Churchill and Margaret Thatcher; jubilee celebrations for
Queen Victoria; an inauguration service for the History
Metropolitan Hospital Sunday Fund;[6] peace services Status Active
marking the end of the First and Second World Wars; the Consecrated 1697
wedding of Prince Charles and Lady Diana Spencer; the
Architecture
launch of the Festival of Britain; and the thanksgiving
Heritage Grade I Listed
services for the Silver, Golden, Diamond, and Platinum
designation
Jubilees and the 80th and 90th birthdays of Queen
Elizabeth II. St Paul's Cathedral is the central subject of Previous 4
much promotional material, as well as of images of the cathedrals
dome surrounded by the smoke and fire of the Blitz.[7] Architect(s) Sir Christopher Wren
The cathedral is a working church with hourly prayer and Style English Baroque
Years built 1675–1710
daily services. The tourist entry fee at the door is £25 for Groundbreaking 1675
adults (January 2024) but no charges are made to Completed 1710
worshippers attending services, or for private prayer.[8]
Specifications
The nearest London Underground station is St Paul's, Length 518 ft (158 m)
which is 130 yards (120 m) away from St Paul's Nave width 121 ft (37 m)
Cathedral.[9] Width across 246 ft (75 m)
transepts
Height 365 ft (111 m)
History
Dome height 278 ft (85 m)[1]
(outer)

Before the cathedral Dome height 225 ft (69 m)[2]

(inner)
The location of Londinium's original cathedral is
Dome diameter 112 ft (34 m)
unknown, but legend and medieval tradition claims it was
(outer)
St Peter upon Cornhill. St Paul is an unusual attribution
for a cathedral, and suggests there was another one in the Dome diameter 102 ft (31 m)[2]
Roman period. Legends of St Lucius link St Peter upon (inner)
Cornhill as the centre of the Roman Londinium Christian Number of towers 2
community. It stands upon the highest point in the area of Tower height 221 ft (67 m)[2]
old Londinium, and it was given pre-eminence in
Administration
medieval procession on account of the legends. There is,
however, no other reliable evidence and the location of Province Canterbury
the site on the Forum makes it difficult for it to fit the Diocese London (since 604)
legendary stories. In 1995, a large fifth-century building Clergy
on Tower Hill was excavated, and has been claimed as a
Bishop(s) Sarah Mullally
Roman basilica, possibly a cathedral, although this is
Dean Andrew Tremlett
speculative. [10][11]
Precentor Phillip Banks
The Elizabethan antiquarian William Camden argued that
Chancellor Paula Gooder
a temple to the goddess Diana had stood during Roman (lay reader)
times on the site occupied by the medieval St Paul's
Canon Treasurer vacant
Cathedral.[12] Wren reported that he had found no trace
of any such temple during the works to build the new Laity
cathedral after the Great Fire, and Camden's hypothesis is Director of music Andrew Carwood
no longer accepted by modern archaeologists.[13] Organist(s) James Orford[3]

Pre-Norman cathedral
There is evidence for Christianity in London during the Roman period, but no firm evidence for the location
of churches or a cathedral. Bishop Restitutus is said to have represented London at the Council of Arles in
314 AD.[14] A list of the 16 "archbishops" of London was recorded by Jocelyn of Furness in the 12th
century, claiming London's Christian community was founded in the second century under the legendary
King Lucius and his missionary saints Fagan, Deruvian, Elvanus and Medwin. None of that is considered
credible by modern historians but, although the surviving text is problematic, either Bishop Restitutus or
Adelphius at the 314 Council of Arles seems to have come from Londinium.[a]
Bede records that in AD 604 Augustine of Canterbury consecrated Mellitus as the first bishop to the Anglo-
Saxon kingdom of the East Saxons and their king, Sæberht. Sæberht's uncle and overlord, Æthelberht, king
of Kent, built a church dedicated to St Paul in London, as the seat of the new bishop.[15] It is assumed,
although not proved, that this first Anglo-Saxon cathedral stood on the same site as the later medieval and
the present cathedrals.

On the death of Sæberht in about 616, his pagan sons expelled Mellitus from London, and the East Saxons
reverted to paganism. The fate of the first cathedral building is unknown. Christianity was restored among
the East Saxons in the late seventh century and it is presumed that either the Anglo-Saxon cathedral was
restored or a new building erected as the seat of bishops such as Cedd, Wine and Erkenwald, the last of
whom was buried in the cathedral in 693.

Earconwald was consecrated bishop of London in 675, and is said to have bestowed great cost on the fabric,
and in later times he almost occupied the place of traditionary, founder: the veneration paid to him is second
only to that which was rendered to St. Paul.[16] Erkenwald would become a subject of the important High
Medieval poem St Erkenwald.

King Æthelred the Unready was buried in the cathedral on his death in 1016; the tomb is now lost. The
cathedral was burnt, with much of the city, in a fire in 1087, as recorded in the Anglo-Saxon Chronicle.[17]

Old St Paul's
The fourth St Paul's, generally referred to as Old St Paul's, was
begun by the Normans after the 1087 fire. A further fire in 1135
disrupted the work, and the new cathedral was not consecrated until
1240. During the period of construction, the style of architecture had
changed from Romanesque to Gothic and this was reflected in the
pointed arches and larger windows of the upper parts and East End
of the building. The Gothic ribbed vault was constructed, like that of Reconstructed image of Old St
York Minster, of wood rather than stone, which affected the ultimate Paul's before 1561, with intact spire
fate of the building.

An enlargement programme commenced in 1256. This "New Work" was consecrated in 1300 but not
complete until 1314. During the later Medieval period St Paul's was exceeded in length only by the Abbey
Church of Cluny and in the height of its spire only by Lincoln Cathedral and St. Mary's Church, Stralsund.
Excavations by Francis Penrose in 1878 showed that it was 585 feet (178 m) long and 100 feet (30 m) wide
(290 feet (88 m) across the transepts and crossing). The spire was about 489 feet (149 m) in height.[18] By
the 16th century the building was deteriorating.

The English Reformation under Henry VIII and Edward VI (accelerated by the Chantries Acts) led to the
destruction of elements of the interior ornamentation and the chapels, shrines, and chantries.

The Reformation would come to include the removal of the cathedral's collection of relics, which by the
sixteenth century was understood to include:[19][20]

the body of St Erkenwald

both arms of St Mellitus
a knife thought to belong to Jesus
hair of Mary Magdalene
 blood of St Paul
milk of the Virgin Mary
the head of St John
the skull of Thomas Becket
the head and jaw of King Ethelbert
part of the wood of the cross,
a stone of the Holy Sepulchre,
a stone from the spot of the Ascension, and
some bones of the eleven thousand virgins of Cologne.
In October 1538, an image of St Erkenwald, probably from the
shrine, was delivered to the master of the king's jewels. Other images
may have survived, at least for a time. More systematic iconoclasm
happened in the reign of Edward VI: the Grey Friar's Chronicle
reports that the rood and other images were destroyed in November
1547. Shrine of St Erkenwald, relics
removed 1550, lost as a monument
In late 1549, at the height of the iconoclasm of the reformation, Sir in the Great Fire of London
Rowland Hill altered the route of his Lord Mayor's day procession
and said a de profundis at the tomb of Erkenwald.[21] Later in Hill's
mayoralty of (1550)[22] the high altar of St Paul's was removed[23]
overnight[24] to be destroyed,[25] an occurrence that provoked a fight
in which a man was killed.[26] Hill had ordered, unusually for the
time, that St Barnabas's Day would not be kept as a public holiday
ahead of these events.

Three years later, by October 1553, "Alle the alteres and chappelles
in alle Powlles churche" were taken down.[22] In August 1553, the
dean and chapter were cited to appear before Queen Mary's
commissioners.[16] Old St Paul's in 1656 by
Wenceslaus Hollar, showing the
Some of the buildings in the St Paul's churchyard were sold as shops rebuilt west facade
and rental properties, especially to printers and booksellers. In 1561
the spire was destroyed by a lightning strike, an event that Roman
Catholic writers claimed was a sign of God's judgment on England's Protestant rulers. Bishop James
Pilkington preached a sermon in response, claiming that the lightning strike was a judgement for the
irreverent use of the cathedral building.[27] Immediate steps were taken to repair the damage, with the
citizens of London and the clergy offering money to support the rebuilding.[28] However, the cost of
repairing the building properly was too great for a country and city recovering from a trade depression.
Instead, the roof was repaired and a timber "roo"’ put on the steeple.

In the 1630s a west front was added to the building by England's first classical architect, Inigo Jones. There
was much defacing and mistreatment of the building by Parliamentarian forces during the Civil War, and the
old documents and charters were dispersed and destroyed.[29] During the Commonwealth, those churchyard
buildings that were razed supplied ready-dressed building material for construction projects, such as the
Lord Protector's city palace, Somerset House. Crowds were drawn to the north-east corner of the
churchyard, St Paul's Cross, where open-air preaching took place.
In the Great Fire of London of 1666, Old St Paul's was gutted.[30] While it might have been possible to
reconstruct it, a decision was taken to build a new cathedral in a modern style. This course of action had
been proposed even before the fire.

Present St Paul's
The task of designing a replacement structure was officially assigned
to Sir Christopher Wren on 30 July 1669.[31] He had previously been
put in charge of the rebuilding of churches to replace those lost in the
Great Fire. More than 50 city churches are attributable to Wren.
Concurrent with designing St Paul's, Wren was engaged in the
production of his five Tracts on Architecture.[32]

Wren had begun advising on the repair of the Old St Paul's in 1661,
five years before the fire in 1666.[33] The proposed work included
renovations to interior and exterior to complement the classical St Paul's Cathedral c. 1754, by
facade designed by Inigo Jones in 1630.[34] Wren planned to replace Canaletto
the dilapidated tower with a dome, using the existing structure as a
scaffold. He produced a drawing of the proposed dome which shows
his idea that it should span nave and aisles at the crossing.[35] After
the Fire, it was at first thought possible to retain a substantial part of
the old cathedral, but ultimately the entire structure was demolished
in the early 1670s.

In July 1668 Dean William Sancroft wrote to Wren that he was

charged by the Archbishop of Canterbury, in agreement with the
Bishops of London and Oxford, to design a new cathedral that was
"Handsome and noble to all the ends of it and to the reputation of the St Paul's Cathedral in 1896
City and the nation". [36] The design process took several years, but a
design was finally settled and attached to a royal warrant, with the
proviso that Wren was permitted to make any further changes that he deemed necessary. The result was the
present St Paul's Cathedral, still the second largest church in Britain, with a dome proclaimed as the finest in
the world.[37] The building was financed by a tax on coal, and was completed within its architect's lifetime
with many of the major contractors engaged for the duration.

The "topping out" of the cathedral (when the final stone was placed on the lantern) took place on 26
October 1708, performed by Wren's son Christopher Jr and the son of one of the masons.[38] The cathedral
was declared officially complete by Parliament on 25 December 1711 (Christmas Day).[39] In fact,
construction continued for several years after that, with the statues on the roof added in the 1720s. In 1716
the total costs amounted to £1,095,556[40] (£207 million in 2023).[41]

Consecration
On 2 December 1697, 31 years and 3 months after the Great Fire destroyed Old St Paul's, the new cathedral
was consecrated for use. The Right Reverend Henry Compton, Bishop of London, preached the sermon. It
was based on the text of Psalm 122, "I was glad when they said unto me: Let us go into the house of the
Lord." The first regular service was held on the following Sunday.
Opinions of Wren's cathedral differed, with some loving it: "Without, within, below, above, the eye / Is
filled with unrestrained delight",[42] while others hated it: "There was an air of Popery about the gilded
capitals, the heavy arches ... They were unfamiliar, un-English ...".[43]

Since 1900

Suffragette terror attacks

St. Paul's was the target of two suffragette bombing attacks in 1913
and 1914 respectively. This was as part of the suffragette bombing
and arson campaign between 1912 and 1914, in which suffragettes
from the Women's Social and Political Union, as part of their
campaign for women's suffrage, carried out a series of politically
motivated bombings and arson nationwide.[44] Churches were
explicitly targeted by the suffragettes as they believed the Church of
England was complicit in reinforcing opposition to women's
suffrage.[45] Between 1913 and 1914, 32 churches across Britain
were attacked.[46]

The first attack on St. Paul's occurred on 8 May 1913, at the start of a
sermon.[47] A bomb was heard ticking and discovered as people were
entering the cathedral.[47] It was made out of potassium nitrate.[47]
Had it exploded, the bomb likely would have destroyed the historic A suffragette bomb (right) used in an
bishop's throne and other parts of the cathedral.[47] The remains of attempted bombing of St. Paul's in
the device, which was made partly out of a mustard tin, are now on 1913 (City of London Police
display at the City of London Police Museum.[47] Museum)

A second bombing of the cathedral by the suffragettes was attempted

on 13 June 1914, however the bomb was again discovered before it could explode.[44] This attempted
bombing occurred two days after a bomb had exploded at Westminster Abbey, which damaged the
Coronation Chair and caused a mass panic for the exits.[47] Several other churches were bombed at this
time, such as St Martin-in-the-Fields church in Trafalgar Square and the Metropolitan Tabernacle.[44]

War damage
The cathedral survived the Blitz although struck by bombs on 10
October 1940 and 17 April 1941. The first strike destroyed the high
altar, while the second strike on the north transept left a hole in the
floor above the crypt.[48][49] The latter bomb is believed to have
detonated in the upper interior above the north transept and the force
was sufficient to shift the entire dome laterally by a small
amount.[50][51]

On 12 September 1940 a time-delayed bomb that had struck the

cathedral was successfully defused and removed by a bomb disposal The iconic St Paul's Survives taken
on 29 December 1940 of St Paul's
detachment of Royal Engineers under the command of Temporary
during the Blitz
Lieutenant Robert Davies. Had this bomb detonated, it would have
totally destroyed the cathedral; it left a 100-foot (30 m) crater when
later remotely detonated in a secure location.[52] As a result of this action, Davies and Sapper George
Cameron Wylie were each awarded the George Cross.[53] Davies' George Cross and other medals are on
display at the Imperial War Museum, London.

One of the best known images of London during the war was a photograph of St Paul's taken on 29
December 1940 during the "Second Great Fire of London" by photographer Herbert Mason,[b] from the roof
of a building in Tudor Street showing the cathedral shrouded in smoke. Lisa Jardine of Queen Mary,
University of London, has written:[48]

Wreathed in billowing smoke, amidst the chaos and destruction of war, the pale dome stands
proud and glorious—indomitable. At the height of that air-raid, Sir Winston Churchill telephoned
the Guildhall to insist that all fire-fighting resources be directed at St Paul's. The cathedral must
be saved, he said, damage to the fabric would sap the morale of the country.

Post-war
On 29 July 1981, the wedding of Prince Charles and Lady Diana Spencer was held at the cathedral. The
couple selected St Paul's over Westminster Abbey, the traditional site of royal weddings, because the
cathedral offered more seating.[54]

Extensive copper, lead and slate renovation work was carried out on the Dome in 1996 by John B.
Chambers. A 15-year restoration project—one of the largest ever undertaken in the UK—was completed on
15 June 2011.[55]

Occupy London
In October 2011 an anti-capitalism Occupy London encampment was
established in front of the cathedral, after failing to gain access to the
London Stock Exchange at Paternoster Square nearby. The
cathedral's finances were affected by the ensuing closure. It was
claimed that the cathedral was losing revenue of £20,000 per day.[56]
Canon Chancellor Giles Fraser resigned, asserting his view that
"evicting the anti-capitalist activists would constitute violence in the
name of the Church".[57] The Dean of St Paul's, the Right Revd
Graeme Knowles, then resigned too.[58] The encampment was
evicted at the end of February 2012, by court order and without
violence, as a result of legal action by the City of London
Corporation.[59]

2019 terrorist plot

On 10 October 2019, Safiyya Amira Shaikh, a Muslim convert, was
arrested following an MI5 and Metropolitan Police investigation. In Julian Assange speaks at the
September 2019, she had taken photos of the cathedral's interior. Occupy London outside the
While trying to radicalise others using the Telegram messaging cathedral in the City of London on
15 October 2011.
software, she planned to attack the cathedral and other targets such as a hotel and a train station using
explosives. Shaikh pleaded guilty and was sentenced to life imprisonment.[60]

National events
The size and location of St Paul's has made it an ideal setting for
Christian services marking great national events. The opportunity for
long processions culminating in the dramatic approach up Ludgate
Hill, the open area and steps at the west front, the great nave and the
space under the dome are all well suited for ceremonial occasions. St
Paul's can seat many more people than any other church in London,
and in past centuries, the erection of temporary wooden galleries
inside allowed for congregations exceeding 10,000. In 1935, the
dean, Walter Matthews, wrote:[61]

No description in words can convey an adequate idea of

the majestic beauty of a solemn national religious
ceremony in St Paul's. It is hard to believe that there is any
other building in the world that is so well adapted to be the
setting of such symbolical acts of communal worship.
The state funeral of the Duke of
Wellington in 1852
National events attended by the royal family, government ministers
and officers of state include national services of thanksgiving, state
funerals and a royal wedding. Some of the most notable examples are:

Thanksgiving service for the Acts of Union 1707, 1 May 1707

State funeral of Horatio Nelson, 9 January 1806
State funeral of the Duke of Wellington, 18 November 1852
Diamond Jubilee of Queen Victoria, 22 June 1897
Thanksgiving service for the Treaty of Versailles, 6 July 1919
Silver Jubilee of George V, 6 May 1935
Thanksgiving services for VE Day and VJ Day, 13 May and 19 August 1945
State funeral of Winston Churchill, 30 January 1965
Silver Jubilee of Elizabeth II, 7 June 1977
Wedding of Prince Charles and Lady Diana Spencer, 29 July 1981
Golden Jubilee of Elizabeth II, 4 June 2002
Diamond Jubilee of Elizabeth II, 5 June 2012
Ceremonial funeral of Margaret Thatcher, 17 April 2013
Thanksgiving service for the Queen's 90th Birthday, 10 June 2016
Platinum Jubilee National Service of Thanksgiving, 3 June 2022

Ministry and functions

St Paul's Cathedral is a busy church with four or five services every day, including Matins, Eucharist and
Evening Prayer or Choral Evensong.[62] In addition, the cathedral has many special services associated with
the City of London, its corporation, guilds and institutions. The cathedral, as the largest church in London,
also has a role in many state functions such as the service celebrating
the Diamond Jubilee of Queen Elizabeth II. The cathedral is
generally open daily to tourists and has a regular programme of
organ recitals and other performances.[63] The Bishop of London is
Sarah Mullally, whose appointment was announced in December
2017 and whose enthronement took place in May 2018.

Dean and chapter

The cathedral chapter is currently composed of seven individuals:
the dean, three residentiary canons (one of whom is, exceptionally,
lay), one "additional member of chapter and canon non-residentiary"
(ordained), and two lay canons. Each has a different responsibility in
the running of the cathedral.[64] As of October 2022:[65]

Dean: Andrew Tremlett (since 25 September 2022)[66]

Precentor: vacant [67] St Paul's during a special service in
Treasurer: vacant 2008
Chancellor: Paula Gooder (since 9 May 2019; [67] lay
reader since 23 February 2019) [68]

Steward: Neil Evans (since June 2022)[69]

Additional member of chapter and canon non-residentiary: Sheila Watson (since January
2017).[70]
Lay Canon: Pamela (Pim) Jane Baxter[71] (since March 2014). Deputy Director at the National
Portrait Gallery, with experience in opera, theatre and the visual arts.
Lay Canon: Sheila Nicoll (since October 2018). She is Head of Public Policy at Schroder
Investment Management.[72]
Lay Canon: Clement Hutton-Mills (since March 2021). He is also a Managing Director at
Goldman Sachs.
Lay Canon: Gillian Bowen (since June 2022). She is Chief Executive Officer of YMCA London
City and North and is a magistrate.[69]

Minor canons and priest vicar

Director of Music
The Director of Music is Andrew Carwood.[73] Carwood was appointed to succeed Malcolm Archer as
Director of Music, taking up the post in September 2007.[74] He is the first non-organist to hold the post
since the 12th century.

Organs
An organ was commissioned from Bernard Smith in 1694.[75][76]

In 1862 the organ from the Panopticon of Science and Art (the Panopticon Organ) was installed in a gallery
over the south transept door.[77]
The Grand Organ was completed in 1872, and the Panopticon Organ
moved to the Victoria Rooms in Clifton in 1873.

The Grand Organ is the fifth-largest in Great Britain,[c][78] in terms

of number of pipes (7,256),[79] with 5 manuals, 136 ranks of pipes
and 137 stops, principally enclosed in an impressive case designed in
Wren's workshop and decorated by Grinling Gibbons.[80]

Details of the organ can be found online at the National Pipe Organ
Register.

Choir
St Paul's Cathedral has a full professional choir, which sings
regularly at services. The earliest records of the choir date from
1127. The choir historically consisted of up to 30 boy choristers,
eight probationers and vicars choral of 12 professional male singers. The south choir organ

In February 2017 the cathedral announced the appointment of the

first female vicar choral, Carris Jones (a mezzo-soprano), to take up the role in September 2017.[81][82][83]

During 2022, St Paul’s Cathedral announced that it would admit girls to its choir, breaking a tradition
stretching back 900 years.[84] On 30 June 2024, when two girls formally joined the Cathedral Choir as full
choristers, having undertaken specialist training in preparation, the Sunday Choral Evensong service
officially marked this historic event.[85][86]

During school terms the choir sings Evensong six times per week, the service on Mondays being sung by a
visiting choir (or occasionally said) and that on Thursdays being sung by the vicars choral alone. On
Sundays the choir also sings at Mattins and the 11:30 am Eucharist.[73]

Many distinguished musicians have been organists, choir masters and choristers at St Paul's Cathedral,
including the composers John Redford, Thomas Morley, John Blow, Jeremiah Clarke, Maurice Greene and
John Stainer, while well-known performers have included Alfred Deller, John Shirley-Quirk and Anthony
Way as well as the conductors Charles Groves and Paul Hillier and the poet Walter de la Mare.

Wren's cathedral

Development of the design

In designing St Paul's, Christopher Wren had to meet many
challenges. He had to create a fitting cathedral to replace Sir Christopher Wren
Old St Paul's, as a place of worship and as a landmark Said, "I am going to dine with some men.
within the City of London. He had to satisfy the If anyone calls,
requirements of the church and the tastes of a royal patron, Say I'm designing Saint Paul's."
as well as respecting the essentially medieval tradition of
English church building which developed to accommodate A clerihew by Edmund Clerihew Bentley
the liturgy. Wren was familiar with contemporary Renaissance and Baroque trends in Italian architecture
and had visited France, where he studied the work of François Mansart.

Wren's design developed through five general stages. The first survives only as a single drawing and part of
a model. The scheme (usually called the First Model Design) appears to have consisted of a circular domed
vestibule (possibly based on the Pantheon in Rome) and a rectangular church of basilica form. The plan may
have been influenced by the Temple Church. It was rejected because it was not thought "stately enough".[87]
Wren's second design was a Greek cross,[88] which was thought by the clerics not to fulfil the requirements
of Anglican liturgy.[89]

Wren's third design is embodied in the "Great Model" of 1673. The model, made of oak and plaster, cost
over £500 (approximately £32,000 today) and is over 13 feet (4 m) tall and 21 feet (6 m) long.[90] This
design retained the form of the Greek-Cross design but extended it with a nave. His critics, members of a
committee commissioned to rebuild the church, and clergy decried the design as too dissimilar to other
English churches to suggest any continuity within the Church of England. Another problem was that the
entire design would have to be completed all at once because of the eight central piers that supported the
dome, instead of being completed in stages and opened for use before construction finished, as was
customary. The Great Model was Wren's favourite design; he thought it a reflection of Renaissance
beauty.[91] After the Great Model, Wren resolved not to make further models and not to expose his drawings
publicly, which he found did nothing but "lose time, and subject [his] business many times, to incompetent
judges".[89] The Great Model survives and is housed within the cathedral itself.

Wren's fourth design is known as the Warrant design because it received a Royal warrant for the rebuilding.
In this design Wren sought to reconcile Gothic, the predominant style of English churches, to a "better
manner of architecture". It has the longitudinal Latin Cross plan of a medieval cathedral. It is of 11⁄2 storeys
and has classical porticos at the west and transept ends, influenced by Inigo Jones's addition to Old St
Paul's.[89] It is roofed at the crossing by a wide shallow dome supporting a drum with a second cupola, from
which rises a spire of seven diminishing stages. Vaughan Hart has suggested that influence in the design of
the spire may have been drawn from the oriental pagoda. Not used at St Paul's, the concept was applied in
the spire of St Bride's, Fleet Street.[32] This plan was rotated slightly on its site so that it aligned, not with
true east, but with sunrise on Easter of the year construction began. This small change in configuration was
informed by Wren's knowledge of astronomy.[34]

The Greek Cross design The Warrant design St Paul's, as it was built

Final design
The final design as built differs substantially from the official Warrant design.[92] Wren received permission
from the king to make "ornamental changes" to the submitted design, and Wren took great advantage of
this. Many of these changes were made over the course of the thirty years as the church was constructed,
and the most significant was to the dome: "He raised another structure over the first cupola, a cone of brick,
so as to support a stone lantern of an elegant figure ... And he covered and hid out of sight the brick cone
with another cupola of timber and lead; and between this and the cone are easy stairs that ascend to the
lantern" (Christopher Wren, son of Sir Christopher Wren). The final design was strongly rooted in St. Peter's
Basilica in Rome. The saucer domes over the nave were inspired by François Mansart's Church of the Val-
de-Grâce, which Wren had seen during a trip to Paris in 1665.[91]

The date of the laying of the first stone of the cathedral is disputed. One contemporary account says it was
21 June 1675, another 25 June and a third on 28 June. There is, however, general agreement that it was laid
in June 1675. Edward Strong later claimed it was laid by his elder brother, Thomas Strong, one of the two
master stonemasons appointed by Wren at the beginning of the work.[93]

Structural engineering
Wren's challenge was to construct a large
cathedral on the relatively weak clay soil of
London. St Paul's is unusual among cathedrals in
that there is a crypt, the largest in Europe, under
the entire building rather than just under the
eastern end.[94] The crypt serves a structural
purpose. Although it is extensive, half the space
of the crypt is taken up by massive piers which
spread the weight of the much slimmer piers of
the church above. While the towers and domes of
most cathedrals are supported on four piers, Wren
designed the dome of St Paul's to be supported on
eight, achieving a broader distribution of weight
at the level of the foundations.[95] The
Cross-section showing the William Dickinson's plan
foundations settled as the building progressed,
brick cone between the inner for the floor paving and Wren made structural changes in response.[96]
and outer domes (1709–1710)
One of the design problems that confronted Wren
was to create a landmark dome, tall enough to
visually replace the lost tower of St Paul's, while at the same time appearing visually satisfying when
viewed from inside the building. Wren planned a double-shelled dome, as at St Peter's Basilica.[97] His
solution to the visual problem was to separate the heights of the inner and outer dome to a much greater
extent than had been done by Michelangelo at St Peter's, drafting both as catenary curves, rather than as
hemispheres. Between the inner and outer domes, Wren inserted a brick cone which supports both the
timbers of the outer, lead-covered dome and the weight of the ornate stone lantern that rises above it. Both
the cone and the inner dome are 18 inches thick and are supported by wrought iron chains at intervals in the
brick cone and around the cornice of the peristyle of the inner dome to prevent spreading and
cracking.[95][98]

The Warrant Design showed external buttresses on the ground floor level. These were not a classical feature
and were one of the first elements Wren changed. Instead he made the walls of the cathedral particularly
thick to avoid the need for external buttresses altogether. The clerestory and vault are reinforced with flying
buttresses, which were added at a relatively late stage in the design to give extra strength.[99] These are
concealed behind the screen wall of the upper story, which was added to keep the building's classical style
intact, to add sufficient visual mass to balance the appearance of the dome and which, by its weight,
counters the thrust of the buttresses on the lower walls.[95][97]

Designers, builders and craftsmen

During the extensive period of design and rationalisation, Wren employed from 1684 Nicholas Hawksmoor
as his principal assistant.[32] Between 1696 and 1711 William Dickinson was measuring clerk.[100] Joshua
Marshall (until his early death in 1678) and Thomas and his brother Edward Strong were master masons, the
latter two working on the construction for its entirety. John Langland was the master carpenter for over
thirty years.[80] Grinling Gibbons was the chief sculptor, working in both stone on the building itself,
including the pediment of the north portal, and wood on the internal fittings.[80] The sculptor Caius Gabriel
Cibber created the pediment of the south transept[101] while Francis Bird was responsible for the relief in
the west pediment depicting the Conversion of St Paul, as well as the seven large statues on the west
front.[102] The floor was paved by William Dickinson in black and white marble in 1709–10[103] Jean Tijou
was responsible for the decorative wrought ironwork of gates and balustrades.[80] The ball and cross on the
dome were provided by an armorer, Andrew Niblett.[104] Following the war damage mentioned above,
many craftsmen were employed to restore the wood carvings and stone work that had been destroyed by the
bomb impact. One of particular note is Master Carver, Gino Masero who was commissioned to carve the
replacement figure of Christ, an eight-foot sculpture in lime which currently stands on the High Altar.[105]

Description
St Paul's Cathedral is built in a restrained Baroque style which
represents Wren's rationalisation of the traditions of English
medieval cathedrals with the inspiration of Palladio, the classical
style of Inigo Jones, the baroque style of 17th century Rome, and the
buildings by Mansart and others that he had seen in France.[106] It is
particularly in its plan that St Paul's reveals medieval influences.[95]
Like the great medieval cathedrals of York and Winchester, St Paul's
is comparatively long for its width, and has strongly projecting
transepts. It has much emphasis on its facade, which has been
designed to define rather than conceal the form of the building
behind it. In plan, the towers jut beyond the width of the aisles as
they do at Wells Cathedral. Wren's uncle Matthew Wren was the
Bishop of Ely, and, having worked for his uncle, Wren was familiar
with the unique octagonal lantern tower over the crossing of Ely
Cathedral, which spans the aisles as well as the central nave, unlike
the central towers and domes of most churches. Wren adapted this
characteristic in designing the dome of St Paul's.[95] In section St
Paul's also maintains a medieval form, having the aisles much lower A floorplan
than the nave, and a defined clerestory.

Exterior
The most renowned exterior feature is the dome, which rises 365 feet (111 m) to the cross at its summit,[107]
and dominates views of the city. The height of 365 feet is explained by Wren's interest in astronomy. Until
the late 20th century St Paul's was the tallest building on the City skyline, designed to be seen surrounded
by the delicate spires of Wren's other city churches. The dome is described by Sir Banister Fletcher as
"probably the finest in Europe", by Helen Gardner as "majestic", and by Sir Nikolaus Pevsner as "one of the
most perfect in the world". Sir John Summerson said that Englishmen and "even some foreigners" consider
it to be without equal.[37][108][109][110]

Dome
Wren drew inspiration from Michelangelo's dome of St Peter's
Basilica, and that of Mansart's Church of the Val-de-Grâce, which he
had visited.[110] Unlike those of St Peter's and Val-de-Grâce, the
dome of St Paul's rises in two clearly defined storeys of masonry,
which, together with a lower unadorned footing, equal a height of
about 95 feet. From the time of the Greek Cross Design it is clear
that Wren favoured a continuous colonnade (peristyle) around the
drum of the dome, rather than the arrangement of alternating
windows and projecting columns that Michelangelo had used and
which had also been employed by Mansart.[109] Summerson suggests
that he was influenced by Bramante's "Tempietto" in the courtyard of
The dome
San Pietro in Montorio.[111] In the finished structure, Wren creates a
diversity and appearance of strength by placing niches between the
columns in every fourth opening. [111] The peristyle serves to buttress both the inner dome and the brick
cone which rises internally to support the lantern.

Above the peristyle rises the second stage surrounded by a balustraded balcony called the "Stone Gallery".
This attic stage is ornamented with alternating pilasters and rectangular windows which are set just below
the cornice, creating a sense of lightness. Above this attic rises the dome, covered with lead, and ribbed in
accordance with the spacing of the pilasters. It is pierced by eight light wells just below the lantern, but
these are barely visible. They allow light to penetrate through openings in the brick cone, which illuminates
the interior apex of this shell, partly visible from within the cathedral through the ocular opening of the
lower dome.[95]

The lantern, like the visible masonry of the dome, rises in stages. The most unusual characteristic of this
structure is that it is of square plan, rather than circular or octagonal. The tallest stage takes the form of a
tempietto with four columned porticos facing the cardinal points. Its lowest level is surrounded by the
"Golden Gallery" and its upper level supports a small dome from which rises a cross on a golden ball. The
total weight of the lantern is about 850 tons.[37]

West front
For the Renaissance architect designing the west front of a large church or cathedral, the universal problem
was how to use a facade to unite the high central nave with the lower aisles in a visually harmonious whole.
Since Alberti's additions to Santa Maria Novella in Florence, this was usually achieved by the simple
expedient of linking the sides to the centre with large brackets. This is the solution that Wren saw employed
by Mansart at Val-de-Grâce. Another feature employed by Mansart was a boldly projecting Classical portico
with paired columns. Wren faced the additional challenge of incorporating towers into the design, as had
been planned at St Peter's Basilica. At St Peter's, Carlo Maderno had solved this problem by constructing a
narthex and stretching a huge screen facade across it, differentiated at the centre by a pediment. The towers
at St Peter's were not built above the parapet.

Wren's solution was to employ a Classical portico, as at Val-de-Grâce, but rising through two storeys, and
supported on paired columns. The remarkable feature here is that the lower story of this portico extends to
the full width of the aisles, while the upper section defines the nave that lies behind it. The gaps between the
upper stage of the portico and the towers on either side are bridged by a narrow section of wall with an arch-
topped window.

The towers stand outside the width of the aisles, but screen two chapels located immediately behind them.
The lower parts of the towers continue the theme of the outer walls, but are differentiated from them in
order to create an appearance of strength. The windows of the lower story are smaller than those of the side
walls and are deeply recessed, a visual indication of the thickness of the wall. The paired pilasters at each
corner project boldly.

Above the main cornice, which unites the towers with the portico and the outer walls, the details are boldly
scaled, in order to read well from the street below and from a distance. The towers rise above the cornice
from a square block plinth which is plain apart from large oculi, that on the south being filled by the clock,
while that on the north is void. The towers are composed of two complementary elements, a central cylinder
rising through the tiers in a series of stacked drums, and paired Corinthian columns at the corners, with
buttresses above them, which serve to unify the drum shape with the square plinth on which it stands. The
entablature above the columns breaks forward over them to express both elements, tying them together in a
single horizontal band. The cap, an ogee-shaped dome, supports a gilded finial in the form of a
pineapple.[112]

The transepts each have a semi-circular entrance portico. Wren was inspired in the design by studying
engravings of Pietro da Cortona's Baroque facade of Santa Maria della Pace in Rome.[113] These projecting
arcs echo the shape of the apse at the eastern end of the building.

The west front of St Paul's West front from St Paul's from the south-east, with
Cathedral at night the street, the tower of the destroyed Church
between of St Augustine, Watling Street to
encroaching the right
buildings

Walls
The building is of two storeys of ashlar masonry, above a basement, and surrounded by a balustrade above
the upper cornice. The balustrade was added, against Wren's wishes, in 1718.[113] The internal bays are
marked externally by paired pilasters with Corinthian capitals at the lower level and Composite at the upper
level. Where the building behind is of only one story (at the aisles of both nave and choir) the upper story of
the exterior wall is sham.[37] It serves a dual purpose of supporting the buttresses of the vault, and providing
a satisfying appearance when viewed rising above buildings of the height of the 17th-century city. This
appearance may still be seen from across the River Thames.

Between the pilasters on both levels are windows. Those of the lower storey have semi-circular heads and
are surrounded by continuous mouldings of a Roman style, rising to decorative keystones. Beneath each
window is a floral swag by Grinling Gibbons, constituting the finest stone carving on the building and some
of the greatest architectural sculpture in England. A frieze with similar swags runs in a band below the
cornice, tying the arches of the windows and the capitals. The upper windows are of a restrained Classical
form, with pediments set on columns, but are blind and contain niches. Beneath these niches, and in the
basement level, are small windows with segmental tops, the glazing of which catches the light and visually
links them to the large windows of the aisles. The height from ground level to the top of the parapet is
approximately 110 feet.

Fencing
The original fencing, designed by Wren, was dismantled in the 1870s. The surveyor for the government of
Toronto had it shipped to Toronto, where it has since adorned High Park.[114]

Interior
Internally, St Paul's has a nave and choir
in each of its three bays. The entrance
from the west portico is through a square
domed narthex, flanked by chapels: the
Chapel of St Dunstan to the north and the
Chapel of the Order of St Michael and St
George to the south.[95] The nave is 91
feet (28 m) in height and is separated
from the aisles by an arcade of piers with
The nave, looking towards the choir The choir, looking towards
attached Corinthian pilasters rising to an
the nave entablature. The bays, and therefore the
vault compartments, are rectangular, but
Wren roofed these spaces with saucer-
shaped domes and surrounded the clerestory windows with lunettes.[95] The vaults of the choir are
decorated with mosaics by Sir William Blake Richmond.[95] The dome and the apse of the choir are all
approached through wide arches with coffered vaults which contrast with the smooth surface of the domes
and punctuate the division between the main spaces. The transepts extend to the north and south of the
dome and are called (in this instance) the North Choir and the South Choir.

The choir holds the stalls for the clergy, cathedral officers and the choir, and the organ. These wooden
fittings, including the pulpit and Bishop's throne, were designed in Wren's office and built by joiners. The
carvings are the work of Grinling Gibbons whom Summerson describes as having "astonishing facility",
suggesting that Gibbons aim was to reproduce popular Dutch flower painting in wood.[80] Jean Tijou, a
French metalworker, provided various wrought iron and gilt grilles, gates and balustrades of elaborate
design, of which many pieces have now been combined into the gates near the sanctuary.[115]

The cathedral is some 574 feet (175 m) in length (including the portico of the Great West Door), of which
223 feet (68 m) is the nave and 167 feet (51 m) is the choir. The width of the nave is 121 feet (37 m) and
across the transepts is 246 feet (75 m).[116] The cathedral is slightly shorter but somewhat wider than Old St
Paul's.

Dome
The main internal space of the cathedral is that
under the central dome which extends the full
width of the nave and aisles. The dome is
supported on pendentives rising between eight
arches spanning the nave, choir, transepts, and
aisles. The eight piers that carry them are not
evenly spaced. Wren has maintained an
appearance of eight equal spans by inserting
segmental arches to carry galleries across the ends The interior of the dome This view of an arch
of the aisles, and has extended the mouldings of showing how Thornhill's spanning the aisle shows
the upper arch to appear equal to the wider painting continues an how Wren succeeded in
arches.[97] illusion of the real giving an impression of
architectural features eight equal arches.
Above the keystones of the arches, at 99 feet
(30 m) above the floor and 112 feet (34 m) wide,
runs a cornice which supports the Whispering Gallery so called because of its acoustic properties: a whisper
or low murmur against its wall at any point is audible to a listener with an ear held to the wall at any other
point around the gallery. It is reached by 259 steps from ground level.

The dome is raised on a tall drum surrounded by pilasters and pierced with windows in groups of three,
separated by eight gilded niches containing statues, and repeating the pattern of the peristyle on the exterior.
The dome rises above a gilded cornice at 173 feet (53 m) to a height of 214 feet (65 m). Its painted
decoration by Sir James Thornhill shows eight scenes from the life of St Paul set in illusionistic architecture
which continues the forms of the eight niches of the drum.[117] At the apex of the dome is an oculus inspired
by that of the Pantheon in Rome. Through this hole can be seen the decorated inner surface of the cone
which supports the lantern. This upper space is lit by the light wells in the outer dome and openings in the
brick cone. Engravings of Thornhill's paintings were published in 1720.[d]

Apse
The eastern apse extends the width of the choir and is the full height of the main arches across choir and
nave. It is decorated with mosaics, in keeping with the choir vaults. The original reredos and high altar were
destroyed by bombing in 1940. The present high altar and baldacchino are the work of W. Godfrey Allen
and Stephen Dykes Bower.[94] The apse was dedicated in 1958 as the American Memorial Chapel.[118] It
was paid for entirely by donations from British people.[119] The Roll of Honour contains the names of more
than 28,000 Americans who gave their lives while on their way to, or stationed in, the United Kingdom
during the Second World War.[120] It is in front of the chapel's altar. The three windows of the apse date
from 1960 and depict themes of service and
sacrifice, while the insignia around the edges
represent the American states and the US
armed forces. The limewood panelling
incorporates a rocket—a tribute to America's
achievements in space.[121]

Artworks, tombs and memorials

St Paul's, at the time of its completion, was
adorned by sculpture in stone and wood:
most notably that of Grinling Gibbons, by the The choir, looking east The apse and high altar
paintings in the dome by Thornhill, and by
Jean Tijou's elaborate metalwork. It has been
further enhanced by Sir William Richmond's mosaics and the fittings by Dykes Bower and Godfrey
Allen.[94] Other artworks in the cathedral include, in the south aisle, William Holman Hunt's copy of his
painting The Light of the World, the original of which hangs in Keble College, Oxford. The St. Paul's
version was completed with a significant input from Edward Robert Hughes as Hunt was now suffering
from glaucoma. In the north choir aisle is a limestone sculpture of the Madonna and Child by Henry Moore,
carved in 1943.[94] The crypt contains over 200 memorials and numerous burials. Christopher Wren was the
first person to be interred, in 1723. On the wall above his tomb in the crypt is written in Latin: Lector, si
monumentum requiris, circumspice ("Reader, if you seek his monument, look around you").

The largest monument in the cathedral is that to the Duke of

Wellington by Alfred Stevens. It stands on the north side of the nave
and has on top a statue of Wellington astride his horse
"Copenhagen". Although the equestrian figure was planned at the
outset, objections to the notion of having a horse in the church
prevented its installation until 1912. The horse and rider are by John
Tweed. The Duke is buried in the crypt.[94] The tomb of Horatio,
Lord Nelson is located in the crypt, next to that of Wellington.[122]
Sarcophagus of Nelson in the crypt
The marble sarcophagus which holds Nelson's remains was made for
Cardinal Wolsey but not used as the cardinal had fallen from
favour.[123][94] At the eastern end of the crypt is the Chapel of the Order of the British Empire, instigated in
1917, and designed by John Seely, Lord Mottistone.[94] There are many other memorials commemorating
the British military, including several lists of servicemen who died in action, the most recent being the Gulf
War.

Also remembered are Florence Nightingale, J. M. W. Turner, Arthur Sullivan, Hubert Parry, Samuel
Johnson, Lawrence of Arabia, William Blake, William Jones and Sir Alexander Fleming as well as clergy
and residents of the local parish. There are lists of the Bishops and cathedral Deans for the last thousand
years. One of the most remarkable sculptures is that of the Dean and poet, John Donne. Before his death,
Donne posed for his own memorial statue and was depicted by Nicholas Stone as wrapped in a burial
shroud, and standing on a funeral urn. The sculpture, carved around 1630, is the only one to have survived
the conflagration of 1666 intact.[94] The treasury is also in the crypt but the cathedral has very few treasures
as many have been lost, and on 22 December 1810 a major robbery took almost all of the remaining
precious artefacts.[124]
The funerals of many notable figures have been held in the cathedral, including those of Lord Nelson, the
Duke of Wellington, Winston Churchill, George Mallory and Margaret Thatcher.[125]

The East India Company Trail at St. Paul's Cathedral

In 2023, following nationwide discussions over the status and value of memorial statues celebrating the
lives of individuals involved with the British Empire, including slavery, the St. Paul's Cathedral initiated a
partnership with Stepney Community Trust (https://stepney.org.uk/), a community-led charity based out of
the East End of London. A group of volunteers were recruited to help historically situated the many
memorial statues inside St. Paul's Cathedral, whose careers, actions and views were associated with historic
harm done to communities in South Asia. The project entailed writing explanatory texts that situated the
highly eulogistic statues in their wider historical context. These texts are now available on the website of St.
Paul's Cathedral, on dedicated webpages titled The East India Company at St. Paul's (https://www.stpauls.c
o.uk/east-india-company-st-pauls).

Memorials thus contextualised include the statue of Charles George Gordon (https://www.stpauls.co.uk/char
les-george-gordon-1833-85), the statue of Arthur Wellesley, 1st Duke of Wellington (https://www.stpauls.co.
uk/arthur-wellesley-1st-duke-of-wellington-1769-1852), the statue of Richard Southwell Bourke, 6th Earl of
Mayo (https://www.stpauls.co.uk/richard-southwell-bourke-6th-earl-of-mayo-1822-72), the statue of Bishop
Thomas Fanshaw Middleton (https://www.stpauls.co.uk/bishop-thomas-fanshaw-middleton-1769-1822-art),
the statue of Granville Gower Loch (https://www.stpauls.co.uk/granville-gower-loch-1813-1853), the statue
of William Jones (https://www.stpauls.co.uk/sir-william-jones-1746-94), the statue of Charles Cornwallis,
1st Marquess Cornwallis (https://www.stpauls.co.uk/charles-cornwallis1st-marquess-cornwallis-1738-180
5), the statue of Henry Montgomery Lawrence (https://www.stpauls.co.uk/sir-henry-montgomery-lawrence-
1806-57), the statue of Henry Bartle Frere (https://www.stpauls.co.uk/sir-henry-bartle-frere-1st-baronet-181
5-84), the statue of Robert Cornelius Napier, 1st Baron Napier of Magdala (https://www.stpauls.co.uk/robert
-cornelis-napier-1st-baron-napier-of-magdala-1810-90), the statue of Charles James Napier (https://www.stp
auls.co.uk/sir-charles-james-napier-1782-1853), the statue of Charles Metcalfe Macgregor (https://www.stpa
uls.co.uk/sir-charles-metcalfe-macgregor-1840-87), the statue of Samuel James Browne (https://www.stpaul
s.co.uk/sir-samuel-james-browne-1824-1901), the statue of Harry Smith Parkes (https://www.stpauls.co.uk/s
ir-harry-smith-parkes-1828-85) and the memorial to Indian Army Volunteers (https://www.stpauls.co.uk/indi
an-army-volunteers). The trail has a printed guide that visitors may use, and the statues on the trail are
identifiable by a graphic and a QR code which leads to the relevant webpage upon scanning. The graphic is
original artwork produced by graphic design artist Sonal Agarwal, and represents a cluster of statues of
South Asian persons, men and women, who currently serve as decorative or supportive features of the main
statues.[126]

Clock
A clock was installed in the south-west tower by Langley Bradley in 1709 but was worn out by the end of
the 19th century.[127] The present mechanism was built in 1893 by Smith of Derby incorporating a design of
escapement by Edmund Denison Beckett similar to that used by Edward Dent on Big Ben's mechanism in
1895. The clock mechanism is 19 feet (5.8 m) long and is the most recent of the clocks introduced to St
Paul's Cathedral over the centuries. Since 1969 the clock has been electrically wound with equipment
designed and installed by Smith of Derby, relieving the clock custodian from the work of cranking up the
heavy drive weights.

Great Paul
The south-west tower also contains four bells, of which Great Paul,
cast in 1881 by J. W. Taylor of Taylor's bell foundry of
Loughborough, at 161⁄2 long tons (16,800 kg) was the largest bell in
the British Isles until the casting of the Olympic Bell for the 2012
London Olympics.[128] Although the bell is traditionally sounded at 1
pm each day, Great Paul had not been rung for several years because
of a broken chiming mechanism.[129] In the 1970s the fastening
mechanism that secured the clapper had fractured, sending both
through the clock mechanism below and causing damage which cost
£30,000 to repair. In about 1989 the clapper fractured completely,
although less damage was sustained.[130] On 31 July 2021, during
the London Festival of the Bells, Great Paul rang for the first time in
two decades, being hand swung by the bell ringers.

Great Tom
The clock bells include Great Tom, which was moved from St
Stephen's Chapel at the Palace of Westminster and has been recast
several times, the last time by Richard Phelps. It chimes the hour and
is traditionally tolled on occasions of a death in the royal family, the
Bishop of London, or the Lord Mayor of London, although an
exception was made at the death of the US president James
Garfield.[131] It was last tolled for the death of Queen Elizabeth II in
2022, ringing once every minute along with other bells across the The south-west tower
country in honour of the 96 years of her life.[132]

Quarter-jacks
In 1717, Richard Phelps cast two more bells that were added as "quarter jacks" that ring on the quarter hour.
Still in use today, the first weighs 13 long cwt (1,500 lb; 660 kg), is 41 inches (100 cm) in diameter and is
tuned to A♭; the second weighs 35 long cwt (3,900 lb; 1,800 kg), is 58 inches (150 cm) in diameter and is
tuned to E♭. They are sometimes known as Ding and Dong due to the way they sound.

Bells
The north-west tower contains 13 bells. A ring of 12 bells by John Taylor & Co of Loughborough hung for
change ringing, and the single communion bell. In January 2018 the bells were removed for refurbishment
and were rehung in September that year, being rung again for the first time on All Saints' Day. The original
service or "Communion" bell dating from 1700 and known as "the Banger" is rung before 8 a.m.
services.[128]
 Details of the bells (including clock bells mentioned above)

Bell Weight Nominal Diameter Date

Note Founder
(Name) (long measure) (lb) (kg) Hz (in) (cm) cast

John
1 8 long cwt 1 qr 4 lb 928 421 1,461 F 30.88 78.4 1878 Taylor &
Co
John
2 9 long cwt 0 qr 20 lb 1,028 466 1,270 E♭ 32.50 82.6 1878 Taylor &
Co

John
3 9 long cwt 3 qr 12 lb 1,104 501 1,199 D 34.00 86.4 1878 Taylor &
Co

John
4 11 long cwt 2 qr 22 lb 1,310 594 1,063 C 36.38 92.4 1878 Taylor &
Co
John
5 13 long cwt 1 qr 0 lb 1,484 673 954 B♭ 38.63 98.1 1878 Taylor &
Co

John
6 13 long cwt 2 qr 14 lb 1,526 692 884 A 39.63 100.7 1878 Taylor &
Co

John
7 16 long cwt 1 qr 18 lb 1,838 834 784 G 43.75 111.1 1878 Taylor &
Co
John
8 21 long cwt 3 qr 18 lb 2,454 1,113 705 F 47.63 121.0 1878 Taylor &
Co

John
9 27 long cwt 1 qr 22 lb 3,074 1,394 636 E♭ 52.50 133.4 1878 Taylor &
Co

John
10 29 long cwt 3 qr 21 lb 3,353 1,521 592 D 55.25 140.3 1878 Taylor &
Co
John
11 43 long cwt 2 qr 0 lb 4,872 2,210 525 C 61.25 155.6 1878 Taylor &
Co

John
12 61 long cwt 2 qr 12 lb 6,900 3,130 468 B♭ 69.00 175.3 1878 Taylor &
Co

Clock
Richard
(quarter- 12 long cwt 2 qr 9 lb 1,409 639 853 A♭ 1707
Phelps
jack Ding)
Clock
Richard
(quarter- 24 long cwt 2 qr 26 lb 2,770 1,256 622 E♭ 1707
Phelps
jack Dong)

Clock Richard
102 long cwt 1 qr 22 lb 11,474 5,205 425 A♭ 82.88 210.5 1716
(Great Tom) Phelps
Bourdon John
(Great 334 long cwt 2 qr 19 lb 37,483 17,002 317 E♭ 114.75 291.5 1881 Taylor &
Paul) Co
 Communion
Philip
(The 18 long cwt 2 qr 26 lb 2,098 952 620 E♭ 49.50 125.7 1700
Wightman
Banger)

Education, tourism and the arts

Interpretation Project
The Interpretation Project was a long-term project concerned with
bringing St Paul's to life for all its visitors. In 2010, the Dean and
Chapter of St Paul's opened St Paul's Oculus, a 270° film experience
that brings 1400 years of history to life.[133] It was located in the
former Treasury in the crypt, the film took visitors on a journey
through the history and daily life of St Paul's Cathedral. Oculus was
funded by American Express Company in partnership with the World
Monuments Fund, J. P. Morgan, the Garfield Weston Trust for St
Paul's Cathedral, the City of London Endowment Trust and AIG. It
was closed by 2020. The Treasury space is now used for changing
exhibitions.

In 2010, touchscreen multimedia guides were launched. These

guides are included in the price of admission. Visitors can discover
the cathedral's history, architecture and daily life of a busy working Gilt statue of Saint Paul at the top of
church with these new multimedia guides. They are available in 12 the monument to St Paul's Cross in
different languages: English, French, German, Italian, Spanish, the cathedral precinct
Portuguese, Polish, Russian, Mandarin, Japanese, Korean and British
Sign Language (BSL). The guides have fly-through videos of the
dome galleries and zoomable close-ups of the ceiling mosaics, painting and photography. Interviews and
commentary from experts include the Dean of St Paul's, conservation team and the Director of Music.
Archive film footage includes major services and events from the cathedral's history.

Charges for sightseers

St Paul's charges an entrance fee for sightseers, admission to worship services is free. The entrance ticket is
£25 for adults (June 2024).[134] Outside service times, people seeking a quiet place to pray or worship are
admitted to St Dunstan's Chapel free of charge. On Sundays people are admitted only for services and
concerts and there is no sightseeing. The charge to sightseers is made because St Paul's receives little
regular or significant funding from the Crown, the Church of England or the state and relies on the income
generated by tourism to allow the building to continue to function as a centre for Christian worship, as well
as to cover general maintenance and repair work.[135][136]

St Paul's Cathedral Arts Project

The St Paul's Cathedral Arts Project explores art and faith. Projects have included installations by Gerry
Judah, Antony Gormley, Rebecca Horn, Yoko Ono and Martin Firrell.
In 2014, St Paul's commissioned Gerry Judah to create an artwork in the nave to commemorate the 100th
anniversary of the beginning of the First World War. Two spectacular sculptures consisting of three-
dimensional white cruciforms reflect the meticulously maintained war graves of northern France and further
afield. Each sculpture is also embellished with miniaturised destroyed residential blocks depicting
contemporary war zones in the Middle East—Syria, Baghdad, Afghanistan—thus connecting 100 years of
warfare.[137]

Bill Viola has created two altarpieces for permanent display in St Paul's Cathedral. The project commenced
production in mid-2009. Following the extensive programme of cleaning and repair of the interior of St
Paul's, completed in 2005, Viola was commissioned to create two altarpieces on the themes of Mary and
Martyrs. These two multi-screen video installations are permanently located at the end of the Quire aisles,
flanking the High Altar of the cathedral and the American Memorial Chapel. Each work employs an
arrangement of multiple plasma screen panels configured in a manner similar to historic altarpieces.

In summer 2010, St Paul's chose two new works by the British artist Mark Alexander to be hung either side
of the nave. Both entitled Red Mannheim, Alexander's large red silkscreens are inspired by the Mannheim
Cathedral altarpiece (1739–41), which was damaged by bombing in the Second World War. The original
sculpture depicts Christ on the cross, surrounded by a familiar retinue of mourners. Rendered in splendid
giltwood, with Christ's wracked body sculpted in relief, and the flourishes of flora and incandescent rays
from heaven, this masterpiece of the German Rococo is an object of ravishing beauty and intense piety.

In March 2010, Flare II, a sculpture by Antony Gormley, was installed in the Geometric Staircase.[138]

In 2007, the Dean and Chapter commissioned Martin Firrell to create a major public artwork to mark the
300th anniversary of the topping-out of Wren's building. The Question Mark Inside consisted of digital text
projections to the cathedral dome, West Front and inside onto the Whispering Gallery. The text was based
on blog contributions by the general public as well as interviews conducted by the artist and on the artist's
own views. The project presented a stream of possible answers to the question: "What makes life
meaningful and purposeful, and what does St Paul's mean in that contemporary context?" The Question
Mark Inside opened on 8 November 2008 and ran for eight nights.

Depictions of St Paul's
St Paul's Cathedral has been depicted many times in paintings, prints and drawings. Among the well-known
artists to have painted it are Canaletto, Turner, Daubigny, Pissarro, Signac, Derain, and Lloyd Rees.

Paintings and engravings of St Paul's

 Canaletto: The River Thames with 19th-century coloured engraving from the Romantic 19th-
St. Paul's Cathedral on Lord south-west by Thomas Hosmer Shepherd century engraving
Mayor's Day (1746; Lobkowicz of St Paul's in the
Collections, Prague) evening after rain
by Edward Angelo
Goodall

Oil painting, John St Paul's from Richmond St Paul's viewed from a

O'Connor, House in Westminster by loggia, a capriccio (c. 1748)
Evening on the Venetian painter by Antonio Joli who also
Ludgate Hill Canaletto (1747) worked in Venice
(1887) St Paul's
looms beyond St
Martin's

An Impressionist view of St Paul's St Paul's from Bankside, a

from the River by Ernest Dade watercolour by Frederick E. J.
(before 1936) Goff (before 1931)

Photography and film

St Paul's Cathedral has been the subject of many photographs, most notably the iconic image of the dome
surrounded by smoke during the Blitz.(see above) It has also been used in films and TV programmes
(including Thames Television's most recognised ident), either as the focus of the film, as in the episode of
Climbing Great Buildings; as a feature of the film, as in Mary Poppins; or as an incidental location such as
Wren's Geometric Staircase in the south-west tower which has appeared in several films including Harry
Potter and the Prisoner of Azkaban.

Films in which St Paul's has been depicted include:

St. Paul's Cathedral (1942), a wartime documentary film for the British Council, the final part of
which shows bomb damage in and around St Paul's.[139]
Lawrence of Arabia (1962) shows the exterior of the building and the bust of T. E. Lawrence.
Mary Poppins (1964) shows the steps and west front of the cathedral, the main setting for the
song '"Feed the Birds'".
St Paul's Cathedral has appeared as a filming location twice in Doctor Who, in the 1968 serial
The Invasion, and in the 2014 two-part story "Dark Water"/"Death in Heaven". In both, the
Cybermen are shown descending steps outside the cathedral.
St Paul's is seen briefly in the Goodies episode "Kitten Kong" (1971). During his rampage
through London, Twinkle damages London landmarks, including St Paul's Cathedral, the dome
of which is knocked off.
In the BBC educational programme "A Guide to Armageddon" (1982), a one-megaton nuclear
weapon is detonated over London, with St Paul's used as ground zero.
Lifeforce (1985): The cathedral's interior is the setting for the climax of the film.
The Madness of King George (1994) shows the Geometric Staircase in the South West Bell
Tower.
Harry Potter and the Prisoner of Azkaban (2004) shows the Geometric Staircase in the south
west bell tower, representing the staircase towards the Divination classroom.
Star Trek Into Darkness (2013) depicts St Paul's in 23rd century London along with other
notable modern-day London buildings.[e]
St Paul's is the only building of ancient London that survived the "Sixty Minute War" in the
movie Mortal Engines (2018) and the books it is based on.

See also

Christianity portal

London portal

Category:Burials at St Paul's Cathedral

History of early modern period domes
List of cathedrals in the United Kingdom
List of churches and cathedrals of London
List of tallest domes
List of tallest structures built before the 20th century
Magnificat and Nunc dimittis for St Paul's Cathedral
Paternoster Square
Cyril Raikes (fire watching on the dome of St Paul's Cathedral in the Second World War)
 Tall buildings in London

References

Notes
a. "Nomina Episcoporum, cum Clericis Suis, Quinam, et ex Quibus Provinciis, ad Arelatensem
Synodum Convenerint" ["The Names of the Bishops with Their Clerics who Came Together at
the Synod of Arles and from which Province They Came"](from Labbé & Cossart 1671,
col. 1429 included in Thackery 1843, pp. 272 ff.).
b. Not to be confused with an identically named film director.
c. The largest is at Liverpool Cathedral, followed by the Royal Albert Hall, the Royal Festival Hall
and St George's Hall.
d. Entered in the Entry Book at Stationers' Hall on 7 May 1720 by Thornhill. The Bodleian
Library's deposit copy survives (Arch.Antiq.A.III.23).
e. Advertising poster (http://i.imgur.com/YdoFW.jpg) for Star Trek Into Darkness (2013)—bottom
right, the dome is visible to the left of and behind 30 St Mary Axe (the Gherkin)

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Further reading
Atkinson, Frank (1985). St Paul's and the City (https://archive.org/details/stpaulscity0000atki/p
age/n1/mode/2up). London: Park Lane Press. ISBN 978-0-7181-2629-2.
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rm/page/n3/mode/2up). Bell & Hyman. ISBN 978-0-7135-2617-2.
Clifton-Taylor, Alec (1974). The Cathedrals of England (https://archive.org/details/bwb_KL-466-
795/page/n5/mode/2up). Thames and Hudson.
Harvey, John (1961). English Cathedrals (https://archive.org/details/englishcathedral0000john/
page/n3/mode/2up). Batsford.

External links
The Sound of Bells—Great Paul (http://www.hibberts.co.uk/collect2/grtpaul.htm) from William
Hibbert (self-published)
St. Paul's Cathedral (https://artsandculture.google.com/partner/st-paul-s-cathedral) from
Google Arts and Culture
Wren's various designs (https://www.bbc.co.uk/history/british/civil_war_revolution/gallery_st_p
auls.shtml)
The 'Registrum Statutorum..' of St Paul's (http://www.british-history.ac.uk/source.asp?pubid=3
31)—Collected charters and other documents from the earliest years until the nineteenth
century. Published by the cathedral in 1873, Latin and English.
Bells of St Paul's (http://london.lovesguide.com/paul_cathedral.htm); Archived (https://web.arc
hive.org/web/20060707191257/http://london.lovesguide.com/paul_cathedral.htm) 7 July 2006
at the Wayback Machine
A history of the choristers of St Paul's Cathedral (https://web.archive.org/web/2007030211434
7/http://www.ofchoristers.net/Chapters/StPauls.htm)
Mystery Worshipper Report (https://web.archive.org/web/20061019234350/http://www.shipoffo
ols.com/Mystery/mws_05/reports/1076.html) at the Ship of Fools website
The Chapel of the Most Excellent Order of the British Empire—OBE Chapel (http://www.ianmc
grawphotos.co.uk/wp-content/uploads/2010/08/st_pauls_wedding_london_ianmcgrawphotos_
2010_146.jpg)
St Paul's lithographs c. 1647–1817 (http://www.historystreets.com/search.php?page=1&nump
erpage=24&idx=0&keywords=pauls/)
The giant 350-year-old model of St Paul's Cathedral (https://www.bbc.com/reel/video/p0jnkzzy/
the-giant-350-year-old-model-of-st-paul-s-cathedral)—Short BBC video on the Saint Paul's
Cathedral model built by Christopher Wren

Retrieved from "https://en.wikipedia.org/w/index.php?title=St_Paul%27s_Cathedral&oldid=1268677690"