We must not omit one munificent donor who came forward now:  Sir Paul Pindar, who had made a large fortune as a Turkey merchant, and had been sent by King James as Ambassador to Constantinople, gave over L10,000 to the restoration of the cathedral.  He died in 1650, and his beautifully picturesque house remained in Bishopsgate Street (it had been turned, like Crosby Hall, into a tavern) until 1890, when it was pulled down.  Some of the most striking portions of its architecture are preserved in the Kensington Museum.

That the alterations and additions of Inigo Jones, under King James, were altogether incongruous with the old building everybody will admit.  But there are excuses to be made.  He knew very little about Gothic architecture.  The only example now remaining of his attempts in this style is the Chapel of Lincoln’s Inn.  St. Katharine Cree in the City has been attributed to him, but with little probability.  And if he had essayed to work in Gothic at St. Paul’s, it would not have been in accordance with precedent.  Nearly all our great cathedrals display endless varieties of style, because it was the universal practice of our forefathers to work in the style current in their own time.  We rejoice to see Norman and Perpendicular under one roof, though they represent periods 400 years apart.  In the case before us Gothic architecture had died out for the time being.  Not only our Reformers, who did not require aisles for processions nor rich choirs, but the Jesuits also, who had sprung suddenly into mighty power on the Continent, repudiated mediaeval art, and strove to adapt the classical reaction in Europe to their own tenets.  Nearly all the Jesuit churches abroad are classical.

It was, no doubt, fortunate that Inigo Jones confined his work at St. Paul’s to some very poor additions to the transepts, and to a portico, very magnificent in its way, at the west end.  He would have destroyed, doubtless, much of the noble nave in time; but his work was abruptly brought to an end by the outbreak of the Civil War.  The work had languished for some years, under the continuance of causes which I have already adduced.  But Laud, as Bishop of London, had displayed most praiseworthy zeal, and King Charles had supported him generously.  When the troubles began, the funds ceased.  In 1640 there had been contributions amounting to L10,000.  In 1641 they fell to less than L2000; in 1643 to L15.  In 1642 Paul’s Cross had been pulled down, and in the following March Parliament seized on the revenues of the cathedral.

With the Rebellion the history of the cathedral may be said to be a blank.  It would have been troublesome and expensive to pull it down, so it was left to decay; the revenues were seized for military uses, and the sacred vessels sold.  There is a doubtful tradition that Cromwell tried to sell the building to the Jews for a stately synagogue.  Inigo Jones’s portico was let out for shops, the nave was turned