up to the gallery, the wide
geometrical staircase leading down to the portico, the corridor into which
this staircase opens, and from which a visitor could either ascend by a
flight of stairs to the gallery crossing the nave, or, turning to his
right, either enter the library, or pass eastwards towards the dome.

[Illustration: Fig. 129, Ground plan of Library and adjacent parts of S.
Paul's Cathedral, London.]

[Illustration: Fig. 130. Sir Christopher Wren's Library at S. Paul's
Cathedral, London, looking north-east.]

The library (fig. 130) is a well-lighted room, with an area measuring 53
ft. by 32 ft, and of sufficient height to admit of the introduction of a
gallery under the vault. A massive stone pier projects into the room at
each corner, so as to break the formal regularity of the design in a very
pleasing manner. The gallery, together with the bookcases, which stand
against the walls, both in the gallery and below it, were either
designed by Wren himself, or placed there with his approval. The Building
Accounts[509] contain many valuable pieces of information respecting the
history of the room and its fittings. The floor "in the south library" was
laid down in July, 1708, as was also that in the gallery; the windows "in
the north and south library," words which shew very clearly that the
corresponding room on the north side was also intended for a library, were
painted in December, 1708; and the ornamental woodwork was supplied in
March, 1708-9. From the entries referring to these works I will quote the
following, as it particularises the most striking feature in the room,
namely, the large ornamental brackets which appear to support the gallery:

To Jonathan Maine Carver in the South Library, viz. For
carving 32 Trusses or Cantalivers under the Gallary, 3
ft. 8 in. long, and 3 ft. 8 in. deep and 7 in. thick
with Leather worke cut through and a Leaf in the front
and a drop hanging down with fruit and flowers etc. at
6^l. 10^s. each.

208^l.----

The words "leather work," used in the above entry, are singularly
suitable, for the whole composition looks more like something molded out
of leather or plaster than cut out of a solid piece of wood. The vertical
portion, applied to the pilasters, consists of a bunch of flowers, hops,
and corn, somewhat in the manner of Grinling Gibbons, who has been often
named as the artist. The above-ment