ing and judicious adornment.
=The Lectern= takes the familiar form of an eagle, and is of bronze.
This fine piece of work was finished in 1720 by Jacob Sutton, at a
cost of L241 15s.

=The Mosaics.=--Stephen Wren tells us that his grandfather intended
his great building to be adorned with mosaic work, and that one of his
numerous disappointments was his inability, thanks to the ignorant
opposition of the Commission, to carry out this intention. The
categorical statement of the grandson is corroborated by (_a_) the
text of various Acts of Parliaments, (_b_) other Renaissance Churches
and notably St. Peter's, (_c_) the use of material softer than
Portland stone for various surfaces.[103] Bishop Newton, who was Dean
a hundred and twenty years ago, roundly accused the authorities of
filching the decoration funds for William's wars. Queen Anne's wars
would have sounded more probable. It was not until our own day that in
this respect, as in others, the Surveyor's ideas have been carried
out.

The eight spandrels of soft and suitable stone have designs of the
four Greater Prophets, and the four Evangelists, executed by Dr.
Salviati of Venice. For the designs of St. Matthew and St. John the
authorities were fortunate enough to secure the services of that
wonderful Academician, Mr. G.F. Watts. He thoroughly understood and
overcame the difficulty of the great distance of the spectator on the
pavement below. These designs are in every way worthy of the painter
of the Rider on the White Horse, and its fellows. The other
Evangelists were designed by Mr. Brittan, and the Prophets by Mr. A.
Stevens. The smoke should never be allowed to mar the colouring, and
so injure the good effect, of this part of the scheme of decoration.

Subsequently the authorities and their committee turned to Mr. (now
Sir William) Richmond, R.A., whose veneration for St. Paul's dates
from childhood. His interest in mosaic work caused him to study
carefully the principles of design which obtained in Italy, Greece,
and Asia Minor, during the best times of the Byzantine Empire.[104]
Sir William has adopted the old plan of glass tesserae or cubes, and of
four shapes--the cube, double cube, equilateral triangle, and a longer
form with sharp points. They are of eight to ten tones of colour, and
are put into position on the spot, being joined together by a mastic
cement which resembles that used by Andrea Tafi in restoring the
mosaics in the Baptistery at Floren