Thus in 1711, the ninth year of the reign of Queen Anne, an Act of Parliament was passed to erect seven new Parish Churches in the Cities of London and Westminster, which commission was delivered to Her Majesty's Office of Works in Scotland Yard. And the time came when Nicholas Dyer, architect, began to construct a model of the first church. His colleagues would have employed a skilled joiner to complete such a task, but Dyer preferred to work with his own hands, carving square windows in miniature and cutting steps out of the clean deal: each element could be removed or taken to pieces, so that those of an enquiring temper were able to peer into the model and see the placing of its constituent parts. Dyer took his scale from the plans he had already drawn up and, as always, he used a small knife with a piece of frayed rope wrapped around its ivory handle. For three weeks he laboured over this wooden prototype and, as by stages he fitted the spire upon the tower, we may imagine the church itself rising in Spitalfields. But there were six other churches to be built also, and once again the architect took his short brass rule, his pair of compasses, and the thick paper which he used for his draughts. Dyer worked swiftly with only his assistant, Walter Pyne, for company while, on the other side of the great city, the masons shouted to each other as they hewed out of rough stone the vision of the architect. This is the vision we still see and yet now, for a moment, there is only his heavy breathing as he bends over his papers and the noise of the fire which suddenly flares up and throws deep shadows across the room.

AND SO let us beginne; and, as the Fabrick takes its Shape in front of you, alwaies keep the Structure intirely in Mind as you inscribe it. First, you must measure out or cast the Area in as exact a Manner as can be, and then you must draw the Plot and make the Scale. I have imparted to you the Principles of Terrour and Magnificence, for these you must represent in the due placing of Parts and Ornaments as well as in the Proportion of the several Orders: you see, Walter, how I take my Pen? And here, on another Sheet, calculate the positions and influences of the Celestiall Bodies and the Heavenly Orbs, so that you are not at a Loss on which Dayes to begin or to leave off your Labours. The Désigne of the Worke, together with every several Partition and Opening, is to be drawne by straightedge and compass: as the Worke varies in rising, you must show how its Lines necessarily beare upon one another, like the Web which the Spider spins in a Closet; but, Walter, do this in black lead and not in inke -1 do not trust your Pen so far as yet.

At this Walter Pyne hangs down his Head in a sullen Manner, as if he was like to have been Whipp'd at the Cart's Tail, and I could not refrain my self from bursting out in Laughter. Walter was apt to be of a Morose and Sullen cast of Mind, and so to Cheer him I lean'd forward across the Table and gave him Inke readily-see, says I, what I will risk to keep you Merry? And now you are not so vex'd please continue: draw the erect elevation of this Structure in face or front, then the same object elevated upon the same draught and centre in all its optical Flexures. This you must distinguish from the Profile, which is signifyed by edging Stroaks and Contours without any of the solid finishing: thus a book begins with a frontispiece, then its Dedication, and then its Preface or Advertisement. And now we come to the Heart of our Désigne: the art of Shaddowes you must know well, Walter, and you must be instructed how to Cast them with due Care. It is only the Darknesse that can give trew Formed to our Work and trew Perspective to our Fabrick, for there is no Light without Darknesse and no Substance without Shaddowe (and I turn this Thought over in my Mind: what Life is there which is not a Portmanteau of Shaddowes and Chimeras?). I build in the Day to bring News of the Night and of Sorrowe, I continued, and then I broke off for Walter's sake: No more of this now, I said, it is by the by. But you'll oblige me, Walter, to draw the Front pritty exact, this being for the Engraver to work from. And work trewe to my Design: that which is to last one thousand years is not to be praecipitated.

I had a violent Head-ach and, altho' there was only a small fire in the Closet, I was feeling unnaturall hot and walk'd out into Scotland-Yard; I knew that others imployed in the Office might stare at me, for I am an Object of Ridicule to them, and so I hasten'd my Steps to the Wood yards next the Wharfe where, since the Work men were at their Dinner, I might walk silent and unseen. This being the middle of Winter, and a strong Wind blown up, the River was pretty high for this spot and the Water was at times like to start a second Deluge while, on the Side opposite, the Feilds were quite darken'd as if in a Mist. And then of a sudden I could hear snatches of Song and confus'd Conversation; I whipp'd about, for in no wise could I ascertain where these Sounds came from, until I comforted my self with the Thought that it was the Wherry from Richmond which even then came into my View. So my Perceptions followed one another, and yet all this while my Thoughts were running on my seven Churches and were thus in quite another Time: like a Voyager I am confin'd in my Cabbin while yet dreaming of my Destination. And then, as I stand looking upon the River and the Feilds, I Blot them out with my Hand and see only the Lines upon my Palm.

I walk'd back to the Office, thinking to find Walter engag'd upon the Generall Plan and Upright, but I saw him lolling upon his Stool by the Chimney-Corner, gazing into the Fire as if he saw Strange Visions in the Coles and looking as melancholly as a Female Wretch does upon a Smith-Feild Pile. I trod softly to the Table and saw there one Draught half-made in inke and black lead. Well this is good for Nothing you impudent Rogue, said I, come here and see. And Walter in confusion rose from the Fire rubbing his Eyes, and would as like have rubb'd out his Face if he could. Look here Master Pyne, I continu'd, I do not like the jetting out of the Pillars after I instructed you to shew Pilasters there: and also here the Portal is near three feet out. Are you so wooden-headed that I must teach you Feet and Inches? Walter thrust his Hands into his Breeches and mutter'd so that I could not hear him.

And are you in such a Brown Study, I told him, that you cannot answer me?

I was sitting on my Stool, says he, and thinking on a Subject.

You will have Stools, Sir, when I beat them from your Arse. Then 1 went on: And in your Thought did you bring off any Conclusions?

I was thinking on Sir Christopher, and I was considering our new Church of Spittle-Fields.

And what does a green-head say of these Matters? (I do not give a Fart for Sir Chris, says I secretly to my self)

Master, says Walter, We have built near a Pitte and there are so vast a Number of Corses that the Pews will allwaies be Rotten and Damp.

This is the first Matter. The second Matter is this: that Sir Chris, thoroughly forbids all Burrials under the Church or even within the Church-yard itself, as advancing the Rottennesse of the Structure and unwholesome and injurious for those who worship there. Then he scratch'd his Face and look'd down at his dusty Shooes.

This is a weak little Thing to take up your contemplations, Walter, I replied. But he gaz'd up at me and would not be brought off, so after a Pause I continu'd: I know Sir Chris, is flat against Burrialls, that he is all for Light and Easinesse and will sink in Dismay if ever Mortality or Darknesse shall touch his Edifices. It is not reasonable, he will say, it is not natural. But, Walter, I have instructed you in many things and principally in this -I am not a slave of Geometricall Beauty, I must build what is most Sollemn and Awefull. Then I changed my Tack: from what Purse are we building these Churches, Walter?