The wonderful wood-carving of the choir stall, and especially the remarkable realistic floral designs of the Bishop's throne, were executed by Grinling Gibbons, who lived between 1648 and 1720. He was born at Rotterdam, and as a youth came over to England, and was discovered by Evelyn, the diarist. So astonished was Evelyn by the genius of Gibbons, who had just carved in wood a copy of Tintoretto's "Crucifixion," that he introduced him to Wren, Pepys, and the King. With such powerful friends and his marvellous talent he soon became the most famous carver of his age. In viewing the great edifice one cannot help thinking from whence came the money which enabled Wren to carry on the work. With the exception of the Tillingham farm there were no endowments, and people were, after the fire, far from being generous donors. As funds were absolutely necessary, royal warrants were issued to authorise the building committee to borrow on the security of the coal and wine taxes. As the remuneration of Wren, Grinling Gibbons, and Tijou was nothing to speak of, we may take it that practically the whole of the proceeds was sunk in the materials and the workmen's wages.
Throughout the whole time of building Wren was harassed by petty annoyances on the part of the committee, who interfered in small matters of technical and artistic knowledge which lay quite beyond their province. Against the architect's will they insisted upon the erection of the heavy iron railings which fence in the Cathedral and mar the beautiful gradations of lines from the lowest step of the transept entrances to the summit of the dome's cross. This only serves as one of many such instances. Finally, Wren's persecutors went so far as to suspend his patent in the year 1718, being the forty-ninth of his office and the eighty-sixth of his age, and William Benson was appointed to succeed him.
This abrupt dismissal entirely upset any plan of internal decoration which Wren might have been thinking of, though it is supposed he had proposed to enrich and beautify St. Paul's with a scheme of colour composed of marble and mosaic work with gold and paintings. With the exception of the frescoes in the dome by Sir James Thornhill, nothing of importance was done for fifty years after Wren's death. A proposal to contribute a number of paintings from Sir Joshua Reynolds and the members of the Royal Academy was negatived by Dr. Terrick, who was Bishop of London at that time. In 1891 W. B. Richmond, A.R.A., was commissioned to decorate the choir and the dome with mosaic work, it being considered the most suitable material on account of the brilliancy of its surface, and the easiest to clean without risk of injury to the work. Sir William Richmond, K.C.B. (as he has since been created), decided to depart from modern methods in favour of the ancient way of embedding in cement cubes, so chosen and disposed to suit the various shades of his subjects. They represent various incidents taken from the Bible, treated most skilfully, as one would naturally expect from such a talented artist.
