The North Chapel is called the Morning Chapel, from its original use for morning prayer on weekdays. The mosaic above the altar is in imitation of a fresco by Raphael. That at the west end, by Salviati, is in memory of William Hale Hale, a voluminous writer and editor of the "Domesday of St. Paul's," who was a Residentiary, Archdeacon of London and Master of the Charterhouse. He died in 1870. The stained-glass window is in memory of the metaphysician, Henry Longueville Mansell, Dean of the Cathedral, who died suddenly, after a rule of three years, in 1871. It is by Hardman, and represents the Risen Christ and St. Thomas.
[Illustration: THE GEOMETRICAL STAIRCASE.]
The South Chapel is called the Consistory Chapel, because the Consistory Court has been held here excepting during the time that it sheltered the Wellington monument. The reliefs in white marble at the ends--the east by Calder Marshall, and the west by Woodington--have to do with this monument. Certainly the most appropriate of the six subjects is that on the west wall which illustrates the Baptist admonishing the soldiers. "Do violence to no man ... and be content with your wages." Wellington earned his name of the Iron Duke for the firmness and sternness with which he punished pillaging and outrage.[96] The stained-glass window by Mr. Kempe has been lately put in to the memory of James Augustus Hessey, Archdeacon of Middlesex (1875-93), whose Bampton Lectures, "Sunday," still remain for theologians the standard treatise upon the Day of Rest. The Font of veined Carrara marble, another work of Bird, rather resembles the round basins resting on stands of the ancient Greek baths than any of our usual models. As St. Paul's is one of those cathedrals with no parish annexed, only those connected with it have any claim for baptisms.
=The Geometrical Staircase.=--This is in the South Tower, and leads from the Crypt to the Library. It is circular, of a diameter of twenty-five feet, and so constructed that eighteen steps, each nearly six feet broad at the outside, lead from the outside entrance to the interior. The ironwork is worthy of the choir.
The three remaining limbs differ only on the plan; in the other features of their architecture they are essentially similar to the nave. While the Pointed architecture suggests upward lines, and the Greek entablature horizontal lines, the round arch suggests a neutral position between the two. The great span of the arches and the general largeness of the different parts diminish the apparent size. The uniformity in the details produces that symmetry which is a peculiarity of the Renaissance.