still visible, stating that it was constructed by Q. Lutatius Catulus, in the year of Rome 651, or 102 B.C. It is still " to the fore" nearly 300 ft. in length, and 50 ft. in height; the stone is Peperino or tufo; the courses Isodomum or equal, header and stretcher; every stone a double cube of 2 ancient Roman feet. Of the works of which we know not the date, but which declare themselves to be as early, the finest specimen is the Peribolus wall of the Temple of Mars Ultor. The temple itself was, it is believed, built by Augustus, but I imagine the surrounding wall is far anterior. About 500 ft. in length of it remain, and to a height of 100 ft. It is Isodomum, or of equal courses; precisely 1 ft. 11, or 2 ancient Roman feet in height; laid in alternate courses, header and stretcher, but the stretcher courses are 3 cubes, or 5 ft. 9 in length. The cornice also is bold, and the skew arch (arco dei Pantani) is a magnificent piece of masonry. There is also some masonry of tufo lately discovered at the foot of the Palatine Hill on the West side. These stones are double cubes of 2 Roman feet, jointed like those of the Tabularium, and bonded into the solid tufo of the hill, which is of the same material. These must be very ancient. I should observe that all the Seven Hills of Rome are composed of a mass of volcanic tufo, and that most of them have alleys cut through them in various directions. Following up my hypothesis of judging of the dates of Roman buildings by their masonry, I must quote for the size of their stones, though not for such regularity: the Tomb of Scipio, 456 A.υ.C.; the Tomb of Cecilia Metella, (Capo di Bove,) в.с. 67; one of the finest specimens of early construction, the circular surface being composed of the finest Travertine; the Island of Esculapius in the Tibur, constructed in the form of a vessel; the Theatre of Marcellus; the Coliseum; and the Temple of Fortuna Virilis. The Travertine stones of the cell of this temple are exactly to the guage of the 2 Roman feet, or 1 ft. 11 English, a strong argument in favour of its reputed erection in the time of Servius Tullius, and its restoration in the time of the Republic. We will now trace whence the Romans derived this magnificent construction. For this end I must introduce you to Etruria, of which I made the tour in search of "old stones." The origin of the Etruscans is like that of the Romans-legendary; it is hardly known whence this enlightened race came. Their Lydian origin seems most probable; their entry into Italy is placed by some before the Trojan war, but the subjects on their most beautiful vases, representing the heroes of that time and their mighty deeds, with the names, Ajax, Achilles, &c., written in Greek at the side, would seem to controvert this idea. We may probably place it three or four centuries before Romulus. Rome, before her intercourse with Greece, was indebted to Etruria for her chief lessons in art and science. The history of Etruria, as there are no chronicles extant, and her race and language have been swept from the earth, must be gathered from the mighty walls and gates of her cities, of massive stones, put together with the finest joints, and without cement; from her tombs and their contents, which remain to this day. "Parlan le tombe e murà, ove la storia è muta." Tombs and Walls speak, where history is mute; as we shall see. But first regarding the language: although we have as yet been unable to decypher what is left of it, many attempts have been made to obtain the key, and at this time a member of the Collegio Romano, by name Tarquinio, and probably, therefore, a descendant of the Etruscan Tarquins, has propounded the idea that it is derived from the Hebrew, and has given, in the "Civiltà Cattolica," (an authorized publication of the church,) translations, word for word, of several inscriptions, and is proceeding with others. The character is very peculiar, and, like the Hebrew, read from right to left. We may therefore be able to enter more fully into the history of Etruria. Of the twelve confederate cities, nearly all were at different times struggling with the superior power of Rome, which eventually subjugated all those in which the walls are found agreeing precisely in size and construction with the walls in Rome already described; of which they were evidently the forerunners. At Sutri, much walling remains of the precise size of the stones of the Tabularium, "Isodomum;" much also "Pseudisodomum." Here is also an Etruscan amphitheatre, the seats and arena cut out of the solid tufo rock; the podium, an arched communication under it, the seats, &c., mostly remaining. This amphitheatre is supposed to have given the idea to the Romans. Here are also many tombs, and a mediæval church, cut out of the solid tufo. At Nepi, is much of the regular Isodomum walling, precisely the same in size and construction as in the Tabularium. At Faleri, near Civita Castellana, the whole of the walls of the city known to have been built в.с. 241, remain, though not only the buildings of the ancient city within them are gone, but also of a mediæval city the ruins only of a church remain. These walls enclosed a city three miles long and two broad, and they remain round the whole circuit; two gateways also remain, with noble semicircular arches. The walls are Isodomum, the courses each 1 ft. 11 high throughout, but the stretchers are larger, and the perpendiculars of the joints are not preserved. These walls in some parts are 26 courses, or 50 feet in height; they are 7 ft. 8 in. thick, or two stones of a double cube. At Fiesole are extensive Etruscan walls, but more irregular in their construction. At Cortona the walls are Pelasgic, of large blocks; and there is a Tomb with a semicircular arch of fine masonry. At Siena there are remains of the ancient city walls, "Pseudisodomum." At Volterra, the stones are larger, and may be called Cyclopean; the gateway bears a bold Etruscan character, with three ominous-looking projecting heads. At Clusium, the ancient stones of the walls lie scattered in more modern buildings. At Perugia, much of the Etruscan walling of the ancient city remains, with more extensive walls of Braccio Forte Braccio, of the 15th century. In the former still remains the magnificent North entrance gate, the most imposing gateway extant. Perugia was besieged 40 years в.с. by Octavius Cæsar, and set on fire by the inhabitants. I have represented this scene in a "tempera" drawing, and the gateway as it now appears in another. Perugia has maintained its high position in every phase of her existence, and at this time rises superior to every other Etruscan city in her state of modern art and civilization. Near it is the tomb of the Volumni, an Etruscan family, the monuments of whose members are still preserved in the vault, which is cut out of solid tufo, the ceiling and walls ornamented by sculpture in relief, the last member being a Roman who married into the family. At San Manno there is also an Etruscan, semi-circular arched tomb of fine masonry, and an Etruscan inscription. At Albano, the ancient Alba Longa, are great remains of "Pseudisodomum," and the masonry of the Emissario is Etruscan in character, and grand in size. I could name many others if time permitted. The ancient usages of the primitive Etruscans appear to have been preserved and followed by the moderns more in Florence and Siena than any other part of Etruria. The Florentine Braccio, which is the measure of their early masonry, is exactly 2 ancient Roman feet (1 ft. 11 of ours), while the Braccio of every other Italian state or city is different. It would appear, therefore, that there was some law or reason for the measure, which was so respected by the Romans. The Florentines continued in the Rénaissance to adopt the grand and imposing style of building of their ancestors-Michelozzi, Maiano, Brunelleschi, Michel Angelo, Pollajolo, Florentine architects who studied in Rome, -followed up this peculiar style when they returned to their native city to practice as architects. The Strozzi Palace, commenced by Maiano, 1489, continued by Pollajolo; the Palazzo Pitti, by Brunelleschi, 1435, finished by Ammanati, 1559; the Palazzo Riccardi, by Michelozzi, 1430; are all in the bold, massive, rough, though grand and regular style. The height of the Braccio is not preserved in the courses, but the massiveness, which appears to us heaviness, is, with great regularity and closeness of joints. In the Façade of the Palazzo Pitti, I have traced stones 25 ft. long, 2 ft. 2 high, and probably 2 to 3 ft. on the bed. The Palazzo Vecchio, of earlier date, is in the same style, but the stones are smaller. Among the moderns this style is quite peculiar to Florence and to Siena. We have thus traced their similarity of construction in the early buildings in Rome to those remaining of ancient Etruria: many other most interesting relics are found in Etruria which bear on the subject, and prove their superior state of civilization. We have now to trace on to Augustus, who became Emperor in the year 30 в. с., and died in the 14th year of the Christian Era. He boasted to have found Rome brick and to have left it marble; and we shall find few, if any, marble buildings before his time. We know from Strabo, who wrote in the time of Augustus, that the whole of the Campus Martius was covered with fine buildings; and the Mausoleum of Augustus, and the Pantheon, with several other remains, corroborate his statement. The Temple of Concord, and of the Dioscuri, the noble marble construction of which you see in full sized drawings on the walls, prove the state of architectural construction and sculpture in the Augustan period. We know that in the Capitol itself there were still nobler buildings, of which nothing remains. We know that to the Northward of the Capitol was a range of buildings, the Forum of Augustus, of Trajan, of Nerva, of Paulus Emilius; Eastward the Temple of Peace; and of Venus and Rome, the work of Adrian; with numerous other magnificent edifices, raised by the different Emperors down to Constantine, whose Basilicæ, and numerous churches, formed out of ancient buildings, are of much interest; so that the whole area of the city, not only within the walls of Servius Tullius, but extending to those of Aurelian, were covered with them. I regret that another evening is not at my command to explain the details of such of the marble buildings as remain, and to show that, as Etruria was instructor to the Romans in stone erections, so Greece was in those of marble; the hand of the Greek artist being apparent in every ornament. As I have described the city walls of Servius Tullius to have been found lately in great extent, of the peculiar sized stones and "Isodomum," construction, I have explained, I may briefly mention the nature of the Aurelian walls, which are in their way deserving of notice. They are of brick or tile, and a plan of their disposition is shown. They consist of a thick outer wall, to which are attached buttresses, arched over and perforated with openings through each. There are towers at distances of about 200 ft., with staircases, so that the warders could give notice of an attack; and a regular communication throughout being formed by the openings, the soldiers could flock to any part for defence. These walls remain for a great part of their extent. Having concluded his observations on the immediate subject before the Meeting, Mr. Taylor proceeded to avail himself of the opportunity, in an assembly of Brother Architects, to pay a tribute to the memory of his old and valued friend, and companion during his previous researches in Rome, Mr. Edward Cresy; entering into interesting details of the professional education and subsequent career of that gentleman at greater length than the limits of this paper permit to be published on the present occasion. Mr. Taylor's paper was listened to with much attention, and the cordial thanks of the Meeting having been conveyed to him by the Chairman, the Members adjourned. VARIOUS MATTERS CONNECTED WITH ST. PAUL'S CATHEDRAL. By F. C. PENROSE, Fellow. Read at the Royal Institute of British Architects, Feb. 7, 1859. THIS paper will, I fear, be greatly wanting in unity, as I shall have to enter on different subjects while carrying out the purpose I have in view of tracing rapidly the history of our magnificent Cathedral since it passed out of the master hands of Sir Christopher Wren down to the present time; and then of inviting your consideration of some topics which may have influence on its history for the future. In accomplishing my task, I must claim your indulgence if I am obliged to introduce matters in which I have a personal responsibility. All present are, no doubt, familiar with the history of the commencement, and the general progress of the building during the reigns of Charles II, James II, William and Mary, and Anne. The great architect's task, while steering through the difficulties opposed to him, was no easy one: even during Anne's time he was very shamefully treated,* and continually thwarted by the Commissioners appointed to administer the funds, &c.; but after the accession of George I. in 1714, Wren, being then 82 years of age, endured for four years continued annoyances from intriguing persons, favourites of the new dynasty, and was finally dismissed from the Office of Surveyor-still unimpaired in mind and even sufficiently strong in body to superintend the works; and an ignorant person, named Benson, was installed in his place a man of such incapacity that after one year's trial he was ejected. At this time it would appear that almost the only parts of the external structure not completed were the statues on the pedestals, respecting which Wren wrote, Oct. 28, 1717, "The pedestals for the statues I have already laid in the building which now stand naked for want of their acroteria." The balustrade above the general entablature was not, as you are aware, designed by him; and it is probable that it was not executed until after his dismissal. Still it is presumable that when the Commissioners insisted on it he may have made the drawings, though under protest, for fear of his design being still more interfered with, if put into such hands as Benson's. So far as the execution is concerned, these late works were worse done, and have given more trouble to keep in repair than any other parts of the structure. Wren having replied to the Commissioners Oct. 28, 1717, protesting against the balustrade, was dismissed April 26, 1718, from his office of surveyor. We may just pause to reflect on the misfortune of political intrigue interfering with architectural appointments, and to indulge the wish that instead of Benson being made surveyor, Wren's own pupil, Hawksmoor, had been commissioned to assist him; or Gibbs, who has shown in the tower of St. Clement Danes (added to Sir Christopher's church), that he well knew how to combine his own work with that of his great master. The addition, however, of the balustrade over the main cornice, and the omission of the vases on the piers of the balustrade over the colonnade of the dome, are but slight matters in the general aspect of the Cathedral; and we may indeed be thankful that in its integrity the external design, as executed, displays the intentions of Sir Christopher Wren. The building cost in round numbers £750,000. and the works were in hand during the period of 44 years under his actual superintendence. A longer period of the great architect's presiding care could hardly have been hoped for; but had the funds exceeded the moderate average of £17,000. a-year, some portions of the work might doubtless have proceeded more rapidly, and his views for the embellishment of the interior might have been carried out more or less perfectly. We are not acquainted in detail with these views, but we know In a curious cotemporary pamphlet "Frauds and Abuses in St. Paul's" he, with the master workmen, and others under his charge, was attacked in a most unjust and unscrupulous manner. : : that mosaic work and marble decoration entered largely into them, and we cannot doubt that the whole interior would have corresponded in magnificence with the exterior. It is impossible to say how far Sir James Thornhill acted in concert with Wren, when painting the cupola of the dome. All that can be stated is, that in the year 1711 the latter writes despondingly about it. "As for painting the cupola your lordships (the Archbishop and the Bishop of London) know that it has been long in consideration; that I have no power left me concerning it, and that it is not resolved in what manner to do it or whether at all." This was written in 1711; Sir Christopher Wren being 80 years old. Again, the decoration by Thornhill is quite different from the coffered arrangement of Wren's first model and from that shown in an early print. On the other hand, Thornhill seems to have been on friendly terms with Wren; for he was employed on his works at Greenwich and at his college of All Souls, Oxford. However, considering the barocco style of Thornhill's decoration, I think Sir Christopher's wishes could hardly have been consulted, and we may be thankful that more, such as is shown in Gwyn's section, was not done; for, however naked the interior may appear at present, it does not shock by reason of any tawdry effect; and should the public subscriptions, now invited for the purpose of carrying out a suitable embellishment in accordance with the views of Sir Christopher Wren, flow in with sufficient spirit, it will be possible to ensure a vastly superior effect, by following such examples as St. Peter's, and Sta. Maria Maggiore, instead of the fashion of the beginning of the eighteenth century. To proceed with the history of the building. There seems to have been but little done after Sir Christopher left it, till towards the end of the last century, when, under the surveyorship of R. Mylne, apprehension was felt for the safety of the fabric, arising from settlements chiefly apparent in the North and South transepts; and large iron ties were introduced into the walls at the level answering to the triforium of Gothic cathedrals. So far as I can judge, these ties have either arrested the threatened injury, or, the cause of it, viz. the compression of the substratum, having arrived at its maximum, there are no present grounds for apprehension. Should, however, any deep cuttings, e. g. for a sewer, be formed in the immediate neighbourhood (one was actually commenced in 1831, which would have passed 20 feet below the level of the foundation, and only 50 feet distant, but was fortunately stopped by Mr. Cockerell's vigilant resistance), there would again be cause for alarm. At present, owing to Wren's admirable precautions and the care taken of the fabric by such surveyors as Mr. Mylne and Mr. Cockerell, (care, it is to be hoped, which will never be wanting when necessary) the fabric is in a remarkably sound condition, and the small amount of displacement of the stones, visible here and there, is no more than is inevitable in so solid and lofty a structure founded on the London clay. There does not seem to have been anything done towards the embellishment of the interior, except a pulpit by Mr. Mylne, and an alteration in the front of the organ screen (making, perhaps, rather too much of the original modest panel dedicated to Wren's memory, "Lector si monumentum requiris circumspice," an inscription which has again given place to an expansion of the organ itself) until the year 1821, when Mr. Cockerell superintended the restoration of the decayed gilding and decorative painting at the East end, and at the same time most effectually renovated the ball and the " cross of gold, that shines over city and river." During the first twenty years of the present century, however, the walls of the interior have been appropriated to the reception of monuments, good, bad, and indifferent; which, while they certainly add interest to the cathedral, seem even to enhance the cold aspect of its architecture. An opportunity now offers itself, in the Wellington monument, to combine more colour with the composition, which will, I trust, not be altogether thrown away. The paintings of the cupola having become nearly black |