dii 57 feet in
length, whose centres are in a horizontal diameter passing through its
base. The cone and the interior dome are restrained in their lateral
thrust on the supports by four tiers of strong iron chains (weighing 95
cwt. 3 qrs. 23 lbs.), placed in grooves prepared for their reception,
and run with lead. The lowest of these is inserted in masonry round
their common base, and the other three at different heights on the
exterior of the cone. Over the intersection of the nave and transepts
for the external work, and for a height of 25 feet above the roof of the
church, a cylindrical wall rises, whose diameter is 146 feet. Between it
and the lower conical wall is a space, but at intervals they are
connected by cross-walls. This cylinder is quite plain, but perforated
by two courses of rectangular apertures. On it stands a peristyle of
thirty columns of the Corinthian order, 40 feet high, including bases
and capitals, with a plain entablature crowned by a balustrade. In this
peristyle every fourth intercolumniation is filled up solid, with a
niche, and connection is provided between it and the wall of the lower
cone. Vertically over the base of that cone, above the peristyle, rises
another cylindrical wall, appearing above the balustrade. It is
ornamented with pilasters, between which are two tiers of rectangular
windows. From this wall the external dome springs. The lantern receives
no support from it. It is merely ornamental, differing entirely, in that
respect, from the dome of St. Peter's.

In 1822 Mr. Horner passed the summer in the lantern, sketching the
metropolis; he afterwards erected an observatory several feet higher
than the cross, and made sketches for a panorama on a surface of 1,680
feet of drawing paper. From these sheets was painted a panorama of
London and the environs, first exhibited at the Colosseum, in Regent's
Park, in 1829. The view from St. Paul's extends for twenty miles round.
On the south the horizon is bounded by Leith Hill. In high winds the
scaffold used to creak and whistle like a ship labouring in a storm, and
once the observatory was torn from its lashings and turned partly over
on the edge of the platform. The sight and sounds of awaking London are
said to have much impressed the artist.

On entering the cathedral, says Mr. Horner, at three in the morning, the
stillness which then prevailed in the streets of this populous city,
contrasted with their midday bustle, was only surpas