St Paul's Cathedral Quotes

Si monumentum requiris circumspice (If you seek his monument, look around.) [Epitaph on Wren's tomb in St. Paul's Cathedral]

Sir Christopher Wren Said, 'I am going to dine with some men. If anyone calls Say I am designing St. Paul's.

Human beings, for some reason or another, like symmetry. You leave a bunch of them next to a jungle for a couple of days and you'll come back to find an ornamental garden. We take stones and turn them into the Taj Mahal or St. Paul's Cathedral.

London is not a city, London is a person. Tower Bridge talks to you; National Gallery reads a poem for you; Hyde Park dances with you; Palace of Westminster plays the piano; Big Ben and St Paul’s Cathedral sing an opera! London is not a city; it is a talented artist who is ready to contact with you directly!

It is good to recall that three centuries ago, around the year 1660, two of the greatest monuments of modern history were erected, one in the West and one in the East; St. Paul's Cathedral in London and the Taj Mahal in Agra. Between them, the two symbolize, perhaps better than words can describe, the comparative level of architectural technology, the comparative level of craftsmanship and the comparative level of affluence and sophistication the two cultures had attained at that epoch of history. But about the same time there was also created—and this time only in the West—a third monument, a monument still greater in its eventual import for humanity. This was Newton's Principia, published in 1687. Newton's work had no counterpart in the India of the Mughals.

Words change meaning over time, and often in unpredictable ways. Queen Anne is said (probably apocryphally) to have commented about Sir Christopher Wren's architecture at St. Paul's Cathedral that it was "awful, artificial, and amusing"—by which she meant that it was awe-inspiring, highly artistic, and thought-provoking.

Simeon Potter notes that when James II first saw St. Paul’s Cathedral he called it amusing, awful, and artificial, and meant that it was pleasing to look at, deserving of awe, and full of skillful artifice.

A year after the Great Plague, London was destroyed by fire. Seventy per cent of its houses vanished into the flames. St Paul’s Cathedral, the Royal Exchange, Christ’s Hospital and the north end of London Bridge were engulfed. Thirteen thousand buildings, including eighty-nine churches, disappeared for ever.

It was Grandma Holland from Rhode Island—my mother’s mother—who appeared for me finally at the classroom door. She and Mrs. Nelkin whispered together at the front of the room in a way that made me wonder if they knew each other. Then, in a sweeter voice than I was used to, Mrs. Nelkin told me I could go home. We didn’t go home, though. Grandma led me down the two flights of school stairs and out into a taxicab, which took us to St. Paul’s Cathedral. On the way there she told me my mother had had to go to a big hospital in Hartford because of “female trouble” and that my father had gone with her. Ma would be gone for at least two weeks and she, Grandma, would take care of me. There just wasn’t any baby anymore and that was that. We were having creamed dried beef for supper.

NEWT withdraws his head, still leaning against the wall of the dark alleyway, to find a single black glove hanging in the air in front of him. He looks at it, expressionless. It gives a little wave, then points into the far distance. NEWT looks to where it is pointing. High on the dome of St. Paul’s Cathedral, a tiny human figure raises its arm. NEWT looks back at the glove, which makes as though to shake hands. NEWT takes it, and he and the glove Disapparate. EXT. DOME OF ST. PAUL’S—EVENING Apparating beside a dandyesque forty-five-year-old wizard with graying auburn hair and beard. NEWT hands back his glove. NEWT: Dumbledore. (amused) Were the less conspicuous rooftops full, then? DUMBLEDORE (looking out over city): I do enjoy a view. Nebulus. A swirling fog descends over London. They Disapparate.

Fashioned from nearly one million square feet of glass, the Crystal Palace was 1,851 feet long—a number deliberately chosen to reflect the year of the exhibition—and it boasted six times more floor space than St. Paul’s Cathedral. During its construction, contractors tested the building’s structural integrity by ordering three hundred compliant laborers to jump up and down on the flooring, and by having troops of soldiers march around its bays.

Flo designed a tapestry chair for Heydon Hall and hassocks for Norwich Cathedral. When in the early 1970s an appeal was made for volunteer workers to create hassocks for the Chapel of the Most Excellent Order of the British Empire, in St Paul’s Cathedral, Flo responded. Her heart sank somewhat when the complicated patterns arrived, but never turning down a challenge, Flo set about creating her hassock, and then volunteered for another . The service of dedication was held in the Cathedral on 22nd November 1972.

HMS Belfast is a gunship of 11,000 tons, commissioned in 1939, which saw active service in the Second World War. Since then it has been moored on the south bank of the Thames, in postcard-land, between Tower Bridge and London Bridge, opposite the Tower of London. From its deck one can see St. Paul’s Cathedral and the gilt top of the columnlike Monument to the Great Fire of London erected, as so much of London was erected, by Christopher Wren. The ship serves as a floating museum, as a memorial, as a training ground.

They bear down upon Westminster, the ghost-consecrated Abbey, and the history-crammed Hall, through the arches of the bridge with a rush as the tide swelters round them; the city is buried in a dusky gloom save where the lights begin to gleam and trail with lurid reflections past black velvety- looking hulls - a dusky city of golden gleams. St. Paul's looms up like an immense bowl reversed, squat, un-English, and undignified in spite of its great size; they dart within the sombre shadows of the Bridge of Sighs, and pass the Tower of London, with the rising moon making the sky behind it luminous, and the crowd of shipping in front appear like a dense forest of withered pines, and then mooring their boat at the steps beyond, with a shuddering farewell look at the eel-like shadows and the glittering lights of that writhing river, with its burthen seen and invisible, they plunge into the purlieus of Wapping. ("The Phantom Model")

Look at a current list of the most popular tourist attractions in London and you would probably come up with a Top Ten which would include the British Museum, the Tate Modern, the National Gallery, the Natural History Museum, the London Eye, the Science Museum, the V&A, Madame Tussaud’s Wax Works, the National Maritime Museum, and the Tower of London. Throw in St. Paul’s Cathedral and Westminster Abbey and you have a dozen of the most popular sites

At King Henry’s Mound there is a perfect, uninterrupted view – created in 1710 – through a gap in the trees and all the way across the city to St Paul’s Cathedral. It is a view that is protected by law. Protecting magnificent views is proof that the law is not, always, an ass.

Now as the train moved towards Calcutta, Malay felt as if his life was coming full circle. It had been a strange decision to visit the city at a time when post-Partition vomit and excreta was splattered on Calcutta streets. Marked by communal violence, anger and unemployment, the streets smelled of hunger and disillusionment. Riots were still going on. The wound of a land divided lingered, refugees from East Pakistan (now Bangladesh) continued to arrive in droves. And since they did not know where to go, they occupied the pavements, laced the streets with their questions, frustrations and a deep need to be recognised as more than an inconvenient presence on tree-lined avenues. The feeling of being uprooted was everywhere. Political leaders decided that the second phase of the five-year planning needed to see the growth of heavy industries. The land required for such industries necessitated the evacuation of farmers. Devoid of their ancestral land and in the absence of a proper rehabilitation plan, those evicted wandered aimlessly around the cities—refugees by another name. Calcutta had assumed different dimensions in Malay’s mind. The smell of the Hooghly wafted across Victoria Memorial and settled like an unwanted cow on its lawns. Unsung symphonies spilled out of St Paul’s Cathedral on lonely nights; white gulls swooped in on grey afternoons and looked startling against the backdrop of the rain-swept edifice. In a few years, Naxalbari would become a reality, but not yet. Like an infant Kali with bohemian fantasies, Calcutta and its literature sprouted a new tongue – that of the Hungry Generation. Malay, like Samir and many others, found himself at the helm of this madness, and poetry seemed to lick his body and soul in strange colours. As a reassurance of such a huge leap of faith, Shakti had written to Samir: Bondhu Samir, We had begun by speaking of an undying love for literature, when we suddenly found ourselves in a dream. A dream that is bigger than us, and one that will exist in its capacity of right and wrong and beyond that of our small worlds. Bhalobasha juriye Shakti

He lifted his hands, indicating the garden canopy, the silver-grassed mountain on the other side of the valley, the white-trunked gums. "This is my church. My dad used to talk about places overseas, like St. Paul's Cathedral in London, the Notre-Dame in Paris---places he'd read about in books and wanted to see. But I always felt most connected when I was outside; not just surrounded by nature, but intrinsic to it, a tiny part of a system much larger than I was. Reverence. Grace. Meaning. Purpose. I feel those things when I'm working. Nature is my cathedral.

Christopher Wren, architect of St. Paul’s Cathedral.

St Paul's cathedral stands like a cornered beast on Ludgate hill, taking deep breaths above the smoke.  The fire has made terrifying progress in the night and is closing in on the ancient monument from three directions.  Built of massive stones, the cathedral is held to be invincible, but suddenly Pegge sees what the flames covet: the two hundred and fifty feet of scaffolding erected around the broken tower.  Once the flames have a foothold on the wooden scaffolds,, they can jump to the lead roof, and once the timbers burn and the vaulting cracks, the cathedral will be toppled by its own mass, a royal bear brought down by common dogs.

Just how matchless is the Great Pyramid? Hutchings starts out by showing that it is:   ·         A building so large that all the locomotives in the world today could not pull its weight. ·         A building so large that it could hold the cathedrals of Rome, Florence, and Milan and still have room for the Empire State Building, Westminster Abbey, St. Paul’s Cathedral, and both houses of the British Parliament. ·         A building made up of two and one-half million blocks of stone ranging from three to sixty tons each. ·         A building that has not settled, has not shifted, has not budged even one-tenth of an inch in thousands of years—a feat that even modern engineering could not equal.[259]

In my youth, I saw St Paul's Cathedral. The Big Ben touched my precious silent heart, forever!!

In the seventeenth century John Donne, the dean of St. Paul’s Cathedral in London, wrote these words: “The church is catholic, universal, so are all her actions; all that she does belongs to all. When she baptizes a child, that action concerns me; for that child is thereby connected to … the body whereof I am a member. And when she buries a man, that action concerns me: all mankind is of one author. … No man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less. … Any man’s death diminishes me, because I am involved in mankind; and therefore never send to know for whom the bell tolls; it tolls for thee.”1

Sir Henry Channon said of (Queen) Mary: 'Her appearance was formidable, it was like talking to St Paul's Cathedral.

Pause, reflect, admire, take heed of your ways—so these ancient tablets are always advising and exhorting us. One leaves the church marveling at the spacious days when unknown citizens could occupy so much room with their bones and confidently request so much attention for their virtues when we—behold how we jostle and skip and circumvent each other in the street, how sharply we cut corners, how nimbly we skip beneath motor cars. The mere process of keeping alive needs all our energy. We have no time, we were about to say, to think about life or death either, when suddenly we run against the enormous walls of St. Paul’s.

To the ordinary cultivated student of civilization the genesis of a Church is of little interest, and at all events we must not confound the history of a Church with its spiritual meaning. To the ordinary observer the English Church in history means Hooker and Jeremy Taylor — and should mean Andrewes also: it means George Herbert, and it means the churches of Christopher Wren. This is not an error: a Church is to be judged by its intellectual fruits, by its influence on the sensibility of the most sensitive and on the intellect of the most intelligent, and it must be made real to the eye by monuments of artistic merit. The English Church has no literary monument equal to that of Dante, no intellectual monument equal to that of St. Thomas, no devotional monument equal to that of St. John of the Cross, no building so beautiful as the Cathedral of Modena or the basilica of St. Zeno in Verona. But there are those for whom the City churches are as precious as any of the four hundred odd churches in Rome which are in no danger of demolition, and for whom St. Paul's, in comparison with St. Peter's, is not lacking in decency; and the English devotional verse of the seventeenth century — admitting the one difficult case of conversion, that of Crashaw — finer than that of any other country or religion at the time.