Skip to main content

Tickets

Home

Main navigation

  • Worship and music
  • Visit us
  • What's on
  • Safeguarding
  • Search

Secondary navigation

  • Search
  • Visit us
    • Book tickets
    • Plan your visit
      • How to find us
      • Guided and self-guided tours
      • Visit with your family
      • Accessibility at the Cathedral
      • Group visits
      • UK schools visits
      • Remember Me Memorial
      • Filming and photography
      • Safety and security
    • Explore our map
    • Information for travel trade
    • Booking tickets FAQ
  • What's on
  • Worship and music
    • Music
      • Upcoming performances
      • Our choirs
      • Our musicians
      • Working with schools
      • Information for visiting choirs
      • The bells
      • The organ
    • Worship with us
      • Our services
      • Attending a St Paul's service
      • Join your London community
      • Weddings, baptisms and confirmations
  • History and collections
    • Explore our stories and collections
      • Hidden histories
      • Architecture and decoration
      • Celebration and remembrance
      • Exploring faith through art
      • Library treasures
    • A timeline of the Cathedral
    • About our Collections
    • Access the Collections
    • Conservation
    • Our podcast series
    • The East India Company at St Paul's
    • War and resistance in the Caribbean: The monuments at St Paul's
  • St Paul's Cathedral Institute
  • Learning
    • Visit with your UK school
    • Our digital resources
  • About us
    • Our mission and purpose
    • Who we are
    • News and updates
    • Our annual reports and accounts
    • Contact us
    • Work for us
    • Press and media
    • St Paul's Cathedral in America
  • Support us
    • Donate to us
    • Become a Friend
    • Become a Music Patron
    • Leave a legacy
    • Volunteer with us
    • Corporate support
    • Trusts and foundations
  • Your event at St Paul's
    • Event space guide
    • Explore our venues
      • Wren Suite
      • The Crypt
      • Chapter House
      • Nelson Chamber
      • North Churchyard
    • Our approved suppliers
    • Weddings, baptisms and confirmations
  • Shop
Menu Close
Filter

Suggested searches:

  • Book sightseeing tickets
  • Family activities
  • Saving St Paul's exhibition
  • Wren 300
  • Map of the Cathedral
  • Opening times
  • Service schedule

Secondary navigation

  • Search
  • Visit us
    • Book tickets
    • Plan your visit
      • How to find us
      • Guided and self-guided tours
      • Visit with your family
      • Accessibility at the Cathedral
      • Group visits
      • UK schools visits
      • Remember Me Memorial
      • Filming and photography
      • Safety and security
    • Explore our map
    • Information for travel trade
    • Booking tickets FAQ
  • What's on
  • Worship and music
    • Music
      • Upcoming performances
      • Our choirs
      • Our musicians
      • Working with schools
      • Information for visiting choirs
      • The bells
      • The organ
    • Worship with us
      • Our services
      • Attending a St Paul's service
      • Join your London community
      • Weddings, baptisms and confirmations
  • History and collections
    • Explore our stories and collections
      • Hidden histories
      • Architecture and decoration
      • Celebration and remembrance
      • Exploring faith through art
      • Library treasures
    • A timeline of the Cathedral
    • About our Collections
    • Access the Collections
    • Conservation
    • Our podcast series
    • The East India Company at St Paul's
    • War and resistance in the Caribbean: The monuments at St Paul's
  • St Paul's Cathedral Institute
  • Learning
    • Visit with your UK school
    • Our digital resources
  • About us
    • Our mission and purpose
    • Who we are
    • News and updates
    • Our annual reports and accounts
    • Contact us
    • Work for us
    • Press and media
    • St Paul's Cathedral in America
  • Support us
    • Donate to us
    • Become a Friend
    • Become a Music Patron
    • Leave a legacy
    • Volunteer with us
    • Corporate support
    • Trusts and foundations
  • Your event at St Paul's
    • Event space guide
    • Explore our venues
      • Wren Suite
      • The Crypt
      • Chapter House
      • Nelson Chamber
      • North Churchyard
    • Our approved suppliers
    • Weddings, baptisms and confirmations
  • Shop
Explore our site

Exhibition: Saving St Paul's: The Watch and the Second World War

a silhouette of a male figure wearing a hat against a background of St Paul's bell tower

Exhibition: Saving St Paul's: The Watch and the Second World War

Worship with us

couple reading service schedule during consecration service

Worship with us

Ways to donate

choristers boys sharing candle light christmas

Ways to donate

Our digital resources

Rowan Williams smiling as he leafs through his book at an event at St Paul's Cathedral

Our digital resources

Stories from St Paul's podcast

library books dark

Stories from St Paul's podcast

4. The Choir and Morning Prayer Chapel, 1693-97

A near-final study for the layout of the Morning Prayer Chapel, drawn and annotated by Hawksmoor, c.1693-94. (WRE/4/3/1)
A near-final study for the layout of the Morning Prayer Chapel, drawn and annotated by Hawksmoor, c.1693-94. (WRE/4/3/1)

The Wren Office Drawings

1693–97: The Choir and Morning Prayer Chapel

The design, construction and decoration of the choir enclosure and sanctuary occupied Wren and his assistants at least four and a half years, from the middle of 1693 – or a few months earlier – to the choir’s formal opening on 2 December 1697. To the same period belong his designs for fitting out the Morning Prayer Chapel on the north side of the west end, for use by the cathedral’s clergy for daily Morning and Evening Prayer (renamed St Dunstan’s Chapel in 1905).

Wren presented a design for his choir enclosure at a meeting of the Building Committee on 2 October 1693. This first stage of the design – stage 1(WRE/4/1) – is represented by a complete plan of the layout of choir and apse at All Souls College, Oxford (fig. 1) and by several study-plans for parts of the whole enclosure, WRE/4/1/5–7. Contemporary with these drawings are wooden models of a choir bay and a reredos-canopy by the joiner Charles Hopson (fig. 2).

Other designs belonging to stage 1 include two preliminary schemes for the organ, drawn jointly by Nicholas Hawksmoor and Grinling Gibbons (WRE/4/1/1 and 2), a study by Hawksmoor for the Bishop of London’s and Lord Mayor’s stalls in the centres of the north and south ranges of stalls (fig. 3), and numerous sketches and more detailed studies for parts of this enclosure.

The minutes of the meeting in October 1693 record that ‘nothing was resolved upon’. Wren was probably asked to make revisions. His reredos-canopy is reminiscent of Bernini’s baldacchino in St Peter’s, Rome (1623–34), and the clergy may have thought it too overtly Roman Catholic in its associations. When the Commissioners met on 1 May 1694 to reconsider the choir, Wren’s design was ready to implement. Ten days later the Building Committee ordered ‘that the Surveyor do with all haste provide stones for the Paving of the Choire’ and agreed the specification and dimensions of the organ. 

Image
Fig. 1. Plan of the choir and altar enclosures, drawn by Hawksmoor, c.1693 (© All Souls College, Oxford, G.93)
Fig. 1. Plan of the choir and altar enclosures, drawn by Hawksmoor, c.1693 (© All Souls College, Oxford, G.93)
Image
Fig. 2. Wooden model of Wren's proposed reredos-canopy, by Charles Hopson, c.1693
Fig. 2. Wooden model of Wren's proposed reredos-canopy, by Charles Hopson, c.1693
Image
Fig. 3. Study for the central and end portions of the stalls, drawn by Hawksmoor, c.1693 (WRE/4/1/13[D170])
Fig. 3. Study for the central and end portions of the stalls, drawn by Hawksmoor, c.1693 (WRE/4/1/13[D170])
Image
Fig. 4. Elevation and section of east side of west range of choir stalls including the organ, drawn by Hawksmoor, c.1693–94 (WRE/4/2/6[D180])
Fig. 4. Elevation and section of east side of west range of choir stalls including the organ, drawn by Hawksmoor, c.1693–94 (WRE/4/2/6[D180])
Image
Fig. 5. The Bishop's Throne at the east end of the south range of stalls. Carved by Grinling Gibbons, 1696–9
Fig. 5. The Bishop's Throne at the east end of the south range of stalls. Carved by Grinling Gibbons, 1696–97
Image
Fig. 6. Robert Trevitt's engraved view of the choir at a thanksgiving service attended by Queen Anne, 31 December 1706 (© City of London, London Metropolitan Archives)
Fig. 6. Robert Trevitt's engraved view of the choir at a thanksgiving service attended by Queen Anne, 31 December 1706 (© City of London, London Metropolitan Archives)
Image
Fig. 7. The north range of the present choir, following reordering by F.C. Penrose in the early 1870s
Fig. 7. The north range of the present choir, following reordering by F.C. Penrose in the early 1870s
Image
Fig. 8. Annotated plan of the fittings of the Morning Prayer Chapel, drawn by Hawksmoor, c.1693–94 (WRE/4/3/1[D190])
Fig. 8. Annotated plan of the fittings of the Morning Prayer Chapel, drawn by Hawksmoor, c.1693–94 (WRE/4/3/1[D190])

The revised design – stage 2 (WRE/4/2) – involved adding a separate Bishop’s Throne to the east end of the south range of stalls, omitting the reredos-canopy and setting the communion table further back in the apse. At the same time Wren simplified the steps up to the narrow eastern bay and sanctuary, enlarged and enriched the gallery fronts around the interior of the enclosure and redesigned the organ case to include a larger ‘chair organ’ (for the smallest pipes) behind the organist’s seat (fig. 4).

The elaborate Bishop’s Throne, at the east end of the south range of stalls, carved by Grinling Gibbons in 1696–97 (fig. 5), was in some ways a substitute for the reredos-canopy. It was used by the Bishop of London on grand state occasions, as at the service of thanksgiving attended by Queen Anne on 31 December 1706, when both houses of Parliament, the Lord Mayor and aldermen of the City of London, with their wives and servants, occupied the principal stalls and the middle and upper galleries of the enclosure, and most of the cathedral establishment was seated in the apse and the adjoining narrow bay (fig.6). On other occasions the Bishop occupied the central stall on the south side and the cathedral canons and prebends were seated in the back rows of stalls around the three sides of the enclosure. The middle and upper galleries on both sides could accommodate at least 100 people. The middle galleries were used by families of the canons and prebendaries and both levels could be occupied by members of the public, for until the mid-nineteenth century public services at the cathedral were only conducted in the choir.

In the early 1870s the cathedral’s surveyor, F. C. Penrose, opened up a vista through the whole cathedral by dismantling the organ case and the western range of stalls. He moved the entire enclosure one bay westwards and placed two matching halves of the organ case at the entrance to the new choir, with repositioned stalls beneath them (fig. 7). The whole ensemble was raised three steps above the church floor, and the altar rail, shown in Robert Trevitt’s view in 1706, was moved to the new choir entrance beneath the crossing arch. Penrose reused Jean Tijou’s wrought-iron gates from the choir screen as panels in new screens across the easternmost bays of the choir.

During the same period Penrose removed the stalls from the east side of the Morning Prayer Chapel to create a sanctuary in its apse. Hawksmoor’s early design for the seating of this chapel shows it to have been planned and executed as a symmetrical enclosure about a raised reading desk in the centre of the north side; see WRE/4/3 (fig. 8). No altar was needed, as these early morning and early evening services (typically at 7.00 a.m. and 6.00 p.m.) did not involve the taking of Communion.

In 1888 Penrose installed a new high altar and reredos designed by G. F. Bodley and Thomas Garner in the narrow bay in front of the apse. Damaged in World War II, this imposing feature was replaced in the 1950s by the present high altar and baldacchino designed by Stephen Dykes Bower and W. Godfrey Allen, its twisted ‘Solomonic’ columns inspired by those in Wren’s unexecuted scheme for the reredos-canopy.

References: 

Wren Society 16, pp.75–77

Jacob 2004, pp.71–77

Newman 2004, pp.220–32

Sladen 2004, pp.243–56.

Sources and abbreviations

 

Links to the catalogue:

WRE/4/1 Stage 1: choir fittings, organ case and altar enclosure, c.1693

WRE/4/2 Stage 2: addition of the Bishop's Throne and revision of the fittings, c.1693–97

WRE/4/3 Morning Prayer Chapel, c.1693–94

The drawings

2.1.1 Great Model - Lead Image - Ref 8851

1. Designs for the Great Model, 1673

Wren’s unrealised Great Model, now in the Cathedral’s Trophy Room, took about ten months to design and more than a year afterwards to build and decorate.

Find out more
Fig. 7. St Paul’s Cathedral. South elevation and half-plan as built, showing the main phases of construction from 1675 to 1688 (Richard Lea and Gordon Higgott)

2. The Design in the First Phase, 1675-85

After the rejection of the Great Model in the latter part of 1674, Wren prepared several designs for a new Cathedral on a cruciform plan.

Find out more
Fig. 1. ‘The Revised design’: South elevation, drawn by Hawksmoor, c.1686 (© All Souls College, Oxford, G.81)

3. Upper elevations and west end, c. 1685

The dramatic increase in funding from 1686 was the main factor behind a major revision to the design that can be dated from mid-1685.

Find out more
Fig. 1. Engraving of the north elevation, probably by Simon Gribelin, c.1687–88, with cut-outs from a later engraving of the finished dome (St Paul’s Cathedral, SP105)

5. Designs for the Dome, c. 1685-1710

Wren’s revisions to the design in 1685–86 created a podium for a vast, richly modelled Dome, inspired by those of Michelangelo’s St Peter’s in Rome and Jules Hardouin-Mansart’s Invalides church in Paris.

Find out more
2.9.1 WRE_6_1_5 (D143)_Lead image

6. The western towers, c. 1685-1710

Wren had always intended a belfry in one of the towers at the west end of the Cathedral.

Find out more
Fig. 3. Study by Hawksmoor in half-elevation, section and plan, for a mausoleum-like rotunda on the west side of the piazza, c.1696–97 (WRE/7/1/3)

7. Churchyard and paving and miscellaneous drawings, c. 1690-1713

The earliest known scheme to improve the Cathedral churchyard is an outline study by Wren and Hawksmoor, drawn over a survey of the whole precinct prepared by William Dickinson. 

Find out more

Our address

St Paul's Cathedral
St Paul's Churchyard
London
EC4M 8AD

View on map
How to find us

Footer Column 2

  • Visit us
    • Book sightseeing tickets
    • Explore our map
    • Plan your visit
    • Accessibility
    • Remember Me COVID-19 Memorial
    • Travel trade
  • What's on
    • Search our events
  • History and collections
    • Explore our stories and collections
    • Timeline of the Cathedral
    • 70 Years of the Friends
    • About our Collections
    • Access the Collections
    • Conservation
    • Our podcast series
    • Visit the catalogue

Footer Column 3

  • Worship and music
    • Worship with us
    • Music
  • Learning
    • Our digital resources
    • Visit with your UK school
  • About us
    • Our mission and purpose
    • Who we are
    • Annual reports and accounts
    • News and updates
    • Contact us
    • Work for us
    • Press and media
    • Statement of investment principles
  • St Paul's Cathedral Institute

Footer Column 4

  • Support us
    • Donate to us
    • Become a Friend
    • Become a Music Patron
    • Leave a legacy
    • Volunteer with us
    • Trusts and foundations
    • Corporate support
  • Your event at St Paul's
    • Corporate hospitality
    • Wren Suite
    • Chapter House
    • Nelson Chamber
    • North Churchyard
    • The Crypt
    • Weddings, baptisms and confirmations
  • Shop

Utility links

  • Terms and conditions of entry
  • Privacy policy
  • Staff and volunteers portal
  • Terms of use

Safeguarding

St Paul's Cathedral takes safeguarding very seriously. We are committed to protecting the welfare of children and of all adults who are vulnerable – whether that be our worshippers, visitors, clergy, staff or volunteers.

Find out more

rgb(143,63,109)

Copyright St Paul’s Cathedral 2025

Registered charity number: 1206171