y-i- A TREATISE ON THE ECCLESIASTICAL ARCHITECTURE OF ENGLAND, DURING THE MIDDLE AGES. Digitized by the Internet Archive in 2011 with funding from Research Library, The Getty Research Institute http://www.archive.org/details/ecclesiasticalarOOmiln THUiiJ oTiiMiH or Tia-: r(nxrKij srrrK ■/;,/ i', ir i:rr/;.;-f/t A XREATISE ECCLESIASTICAL ARCHITECTURE ENGLAND, DURING THE MIDDLE AGES, TEN ILLUSTRATIVE PLATES. THE REV. JOHN MILNER, D.D., F.S.A., THIRD EDITION, WITH CORRECTIONS. " Certe solet ecclesiarum cultus augustior quaslibet brutas mentes ad orandum illicere, quamlibet cervicositatem ad supplicandum inflectere." — Gul. Malms. ' De Antiq. Glas- ton. Eccl." LONDON: PRINTED FOR JOHN WEALE, (LATE JOSIAH TAYLOR), ARCHITECTURAL LIBRARY, 59, HIGH HOLBORN. 1835. LONDON: TAYLOR, U9, FLEET STREET. , HIS GRACE THE DUKE OF NORFOLK, HEREDITARY EARL MARSHAL OF ENGLAND, PHESIDENT OF THE SOCIETY FOR THE ENCOURAGEMENT OF ARTS, ETC. THIS TREATISE ON AN ANCIENT ART, WHICH OWES ITS RISE AND PROGRESS TO ENGLAND, IN GRATITUDE, FOR PROTECTION FROM OBLOQUY, IS RESPECTFULLY INSCRIBED BY THE AUTHOR. PREFACE. The subject of the present Treatise has given rise to so much and such earnest debate among* the learned and ingenious, and has occasioned so many pubhcations, and such a variety of systems concerning it, as cannot fail of exciting the wonder of persons insensible to the grandeur and beauty of Pointed Architecture, and unacquainted with the merit of its invention. Amongst other writers on this subject, is the present Author, in the 11 Second Volume of his * History of Winchester,' the first edition of which was published about a dozen years ago, when much attention was paid to the system there laid down. The following are the outlines of it : firsts that the whole style of Pointed Architecture, with all its members and embellishments of cluster-columns, converging groins, flying buttresses, tracery, tabernacles, crockets, finials, cusps, orbs, pinnacles, and spires, grcAv, by degrees, out of the simple pointed arch, between the latter end of the twelfth and the early part of the fourteenth centuries ; secondly^ that the pointed arch itself was dis- covered by observing the happy ef- fect of those intersecting semicircular arches with which the Architects of the latter end of the eleventh and Ill the beginning of the twelfth cen- turies were accustomed to orna- ment all their principal ecclesiasti- cal edifices ; and, thirdly^ that we are chiefly indebted for both these discoveries, that is to say, both for the rise and the progress of Pointed Architecture, to our own ances- tors, the Anglo-Normans, and the English. The system here traced out, w hich the Author first took up and ad- vanced with a considerable de^Tee of diffidence, has gained a much stronger hold upon his mind, in con- sequence of a more strict examina- tion of historical docviments and ex- isting monuments of Pointed Archi- tecture, and, in some degree, by more attentively weighing the arguments which have been advanced by dif- IV fcrcnt writers against this system. Nevertheless, occupied as the Author has been for a long time past with other more serious studies, he is confident he should never have gone to press for the sake of defending the opinions in question, had he not been called vipon and irresistibly pressed by that profound scholar and worthy man. Dr. Rees, to furnish the article, ' Gothic Architecture,' for the grandest and most copi- ous work in the English language, his new ' Cyclopedia.' In drawing up that article, the Author found himself precluded, by the natvire of the work, from availing himself of the numerous historical autho- rities he had collected in support of his system. Hence he came to the resolution of publishing the pre- sent Treatise in order to confirm and illustrate the article in the ' Cyclo- PiEDiA,' and to detail this system at greater length than he was able to do in that work. But, to return to the principal subject : the first of the positions ad- vanced above, namely, that Pointed Architecture grew out of the Pointed Arch, seems to be generally admitted at the present day. Upon the two others, various and uncertain judg- ments have been formed. Thus much, however, seems clear from the discussion, that there is a wayward disposition in many learned men which leads them to believe any- thing rather than what they see be- fore their eyes, and to admit any other ancient people, even barba- rians and ruthless destroyers of the VI arts, to have been ingenious and ca- pable of making a curious discovery, rather than their own high-minded, magnificent, and enterprising ances- tors, who nevertheless were, beyond all dispute, the first people of the age (in which Pointed Architecture was invented, and attained its first growth) for prowess and grand un- dertakings in general, and the most studious of Ecclesiastical Architec- ture in particular, that any age or country ever produced. Not content with defending his former system, the Author has gone a step beyond it in the present Trea- tise. He has attempted to refute the common objection that Pointed Architecture is destitute of orders, rules, and proportions. In opposi- tion to this, he has maintained, that vu there are three Orders of the Pointed Style, as distinct from each other as are the Orders of Grecian Architec- ture, having their respective members, ornaments, and proportions, though the essential and characteristical dif- ference among them consists in the degree of angle formed by the Point- ed Arch. Hence he shows that there is hardly less barbarism in confovmd- ing these Orders, as for example by intermixing the obtuse angles of the third Order with the acute angles of the first, in the manner that has sometimes been witnessed of late, than there was in uniting Grecian and Pointed Architecture together, as was so often done, one and two hundred years ago. To those persons who may wish to form a general idea of the nature and effect of these respective Orders, Vlll without entering into the detail of them, the three last plates in the present work cannot fail of being acceptable. He trusts that the views which they contain Avill con- vince the most superficial observer of the propriety of his division of Pointed Architecture into three dis- tinct Orders, and of the justness of his reasons for giving a preference to the second Order. Plate VIII. shows the first Order, in an interior view of the east end of Canterbury Cathedral, built at the latter end of the twelfth century. Plate IX. exhibits the second Order, in an interior view of York Minster, the erection of which may be placed at the beginning of the fourteenth century. Plate X. presents a speci- men of the third Order, in an inside view of the Lady Chapel of West- IX minster Abbey, built by Henry VII. at the very beginning of the six- teenth century. It may be observed, that the east end of Canterbury Cathedral, Plate VIII., with the few exceptions men- tioned in the Treatise, is entirely in the Pointed Style, and is probably the most perfect specimen of it ex- tant, of so remote a date. It is highly grand and awful ; still there is a de- gree of plainness and heaviness about it which marks the first gradation from the ponderous simple Saxon Style. The Pointed Arches are ir- regularly formed, and, for the most part, are too acute to be gracefvd. The latter circumstance is more dis- tinctly seen in the Arches of the gal- lery at the eastern extremity, which are exhibited in Plate VL, figure 27. 1 X There also may be seen one of those double circular Pillars, which may be considered as the first attempt to produce the cluster-colimin. It may be observed that the apsis, or east end of the choir, where the Bishop heretofore had his throne, and the Clergy their stalls on each hand of him, at the back of the altar, is semi- circular. Such was the general form of this part of the sacred fabric, till large east windows were introduced about the beginning of the thirteenth century. It being, in some sort, ne- cessary that these shoidd be in a straight line, and that the altars should be placed almost under them, to produce the desired effect, hence the choirs, about that period, were removed to the front, or westward of the altars. Another important re- XI mark here occurs. The writer has observed, in his ' Treatise,' what an incomparable advantage it is to the architectural student, in surveying this very interesting structure, to be possessed of a minute and accurate account of the building of it, drawn up by an intelligent eye-witness, Gervase, a monk of this Cathedral. Now, it is to be noticed that, in his description and praises of the work, he never once intimates that the style of it, or of any part of it, was borrowed from Syria, Arabia, France, Spain, or Italy, but that he appears to attri- bute the merit of the whole chiefly to the ingenuity of its two Archi- tects, both of them of the name of William. The view of Henry Vllth's Chapel, in Westminster Abbey, exhibited in b Xll Plate X., will arrest the eye and gain the chief and unqualified applause of many a spectator/ No doubt, it is grand and awful in itself, and still more so when compared with most modern places of worship : still we must not forget that its characteris- tical features are magnificence, inge- nuity, delicacy, and elegance. In these qualities it stands unrivalled among similar structures throughout the world, and hence it might aptly enough be said, by a former author, to have been knit together by the Jingers of angels. Nevertheless, in the present writer's opinion, it is too ** The tracery-work in this small view, appears so very rich and intricate, that it was only by an outline, or etch- ing, an adequate idea of its beauty could be clearly repre- sented. A plan of the ceiling may be seen, laid down geo- metrically, in * Britton's Architectural Antiquities.' Xlll gorgeous and too elaborate to pro- duce the proper effect of such a structure, in its highest degree ; and the pendant capitals, in particular, which are its most striking orna- ments, are more calculated to show the skill of Sir Richard de Bray, its Architect, than to add to the awful- ness of the place. They certainly bring down the groins nearer to the eye instead of producing an artificial height, which is so favourable to sublime sensations. It must be added, that the arches, where we see them in their simple form, namely, in the intercolumniations on the sides and over the doors, are exceed- ingly obtuse or flat. For the above-mentioned reasons, the judicious observer, after admir- ing the magnificence and delicacy of b 2 XIV this gorgeous chapel, will turn with pleasvire to contemplate the chaste and appropriate decorations of the Second Pointed Order, displayed in York Minster. Here every part is ornamented, and yet no ornaments appear redundant or crowded, none but what seem to have their use, and to be duly subordinate to the proper effects of the sacred fane, namely, awfulness and devotion. The massive columns which prin- cipally sustain the stupendous pile are so judiciously divided into clus- ters as to appear comparatively slen- der. The tallest shaft in each of them, rising to about two-thirds of the perpendicular height of the lofty groins, is there crowned with a sculp- tvired historic or hieroglyphic capital. From this spring three principal ribs, XV which diverge, at their respective knots, into other shorter ribs, after a simple but elegant design of tracery, so as to give the appearance at once of lightness, beauty, and height to the towering canopy which they support. From the same tall shaft proceed two lateral ribs, which, meet- ing in a point with similar ribs from the adjoining columns, form the arches of the beautiful windows of the nave. The mullions of these windows, being continued down to the bottom of their story, by an un- usual but happy contrivance, form those of the light and uniform trifo- rium or gallery. Other shafts of the main cluster sustain the springers, w hich support the well-turned arches of the intercokunniations, while ad- ditional springers, meeting with cor- XVI responding ones from the clusters in the walls of the aisles, produce their enchanting long-drawn vistas. An- swering to the open intercolumnia- tions are the windows of the aisles, rich with elegant tracery, but not obstructed by it. As the windows of the nave, by means of the mul- lions of the open gallery, are conti- nued down to a line just over the crown of the main arches, so the dado or open space beneath the win- dows of the side-aisles, down to the stone seat near the pavement, is en- riched with an appropriate arcade of the most elegant stall-work. In short, as no spectator, who has eyes to see and a sovd to feel, would wish a single ornament in the Minster nave to be removed or altered, so, it is presumed, that no judicious ob- XVII server would reconimend the addi- tion of a single new ornament to it ; and still less the gorgeous vaulting of Kings College, or of Henry Vllth's Chapel. It must be observed, that the au- thor has preferred interior views of churches for illustrating the pre- sent work, to exterior ones; because, whatever pains our ingenious an- cestors bestowed on the fa9ades and other outside w ork of these fabrics, it is certain that their chief art and magnificence were expended on the inside of them; for, as it has been frequently signified, their object was to excite those devout sensations for the sake of which the Pointed Style itself was invented. In this point their ideas differed essentially from those of the Pagan, and also of most XVlll modern Architects, whose sacred structures, I mean those in the Gre- cian Style, when viewed exteriorly, often present grand emotions of the mind, which, however, generally die away at the first glimpse of their naked and mean interior. The claims of our ancestors in both respects, that is to say, both as to the discovery and the improve- ment of Pointed Architecture, have been warmly contested of late by a Divine of extensive reading and acute observation,' and by a young- Nobleman of the greatest hopes to science,^ both of whom seem to have travelled as well as to have written in order to prove that this style '^ The Rev. G. D. Whittington. ' Survey of the Eccle- siastical Antiquities of France.' ^ See Preface to the above work. XIX appeared earlier and was carried to greater perfection in France than in England. These pretensions have been opposed with equal warmth and firmness by an Architectural Anti- quary,' to whom his professional art is more indebted for its illustration, for the preservation of some of its choicest monuments, and for direct- ing aright the public opinion and taste concerning it, than to any other individual whomsoever. There cer- tainly has been too much warmth on both sides. Controversies in gene- ral, particularly on scientific subjects, in order to conduct to truth, require to be discussed with coolness and withovit any mixture of national or other partiahty. The author is not «^ Mr. John Carter, Architect. See different numbers in ' Gent. Mag.' 1809—10. XX conscious that he has been influ- enced by any such temper in the system which he defends. On the contrary, he flatters himself that he has built upon historical and critical evidence alone. POSTSCRIPT. JUST as the press is closing, the writer sees cer- tain strictures on Mr. Britton's * Architectural An- tiquities/ in the last * Quarterly Review * (No. 8), which, if well-founded, must prove fatal to a part of the system contained in the present publication ; what the Reviewers say, is as follows : " A powerful *' attempt has recently been made, in the valuable " work of Mr. Whittington, to revive and confirm ** the supposition of the invention of the Gothic " Style in the East ; a supposition, which was " started by Wren, accepted by Lowth, and main- " tained by Warton ; and which seems to receive " a further support ^ from the ftict recorded hy ** Matthew Parisy of the employment of captive XXI " Saracens t as labourers under European Archi- " tects" — The writer has consulted the passage of Matthew Paris, here referred to, which had before escaped him, and finds it to stand thus : " A.D. 1184. — Quo mortuo (Macemunt) totus ejus " exercitus fugit, omni pecunia relicta. Rex vero " Portugalensis ex captivis Saracenis dedit servos " qui cementariis ministrarent ad ecclesias repar- •* andas ; et de pecunia, Sancto Vincentio auream " fecit thecam." — The question between the Re- viewers and the writer now is, how far this relation of the intelligent monk of St. Alban's proves th^t the Pointed Style of building was derived to Europe, from Arabia or other Eastern countries, through the Moors of Spain ? The writer, for his part, is of opinion, that the quotation, so far from proving this fact, proves directly the contrary. What it asserts is, that the Saracen Chieftain, Macemunt, being killed, and his army being dis- persed, the \dctorious king of Portugal devoted the treasures which they left behind them to the con- struction of a golden shrine for the relics of the celebrated Spanish martyr, St. Vincent, and the captive Saracens to serve the masons, who were employed in repairing the Churches, which had been desolated by the ancestors of these captives. In fact, both the Moors and the Christians of the Western Peninsula were in the habit of making their victories over each other subservient to the advancement and splendour of their respective re- XXll ligions. Thus, when Ahnansor took Compostella, he forced a considerable number of his Christian captives to carry the bells of the Cathedral Church on their backs to his capital of Cordova ; and, by the same rule, when Ferdinand III. of Castile, be- came master of Cordova in 1236, he obliged a num- ber of the Moors to carry them back to Compos- tella in the same manner. He also made it a rule to dedicate the spoils which he took in his nume- rous conquests over these Mahometans, to the ad- vancement of Christianity in one shape or another. Such was the nature and intent of the King of Por- tugal's decree, in 1184, with respect to the employ- ment of his Saracen prisoners. He did not set them to work in repairing the Churches, for any skill which they possessed in a style of Architec- ture, so peculiarly adapted to ecclesiastical purposes, otherwise he would have put Saracen Architects and masons in requisition, instead of masons' labour- ers ; but he condemned a certain number of them, as many, we may suppose, as could be so employed, to devote their personal toil to the re-establishment and splendour of the Christian religion. CONTENTS. CHAP. I. PAGE The little light which is to be derived from the Historj- of the Middle Ages concerning the different styles of their Architecture — Still it is from History and coeval Monu- ments that certain information in this matter is alone to be obtained — Principal object of the present Treatise Ambiguity of the terms hitherto employed in treating of the Architecture in question — The writer's opinion on this subject. ^ CHAP. n. Decline of Architecture in the Roman Empire — Form of the ancient Basilics and other Churches — Decline of Ecclesiastical Architecture in the Greek no less than in the Latin Church — The Ecclesiastical Architecture of this Island at its Conversion to Christianity, that of Rome being introduced by Missionaries from that City — Our Saxon Ancestors soon became eminent in Ecclesiastical XXIV PAGE Architecture, still following the Roman fashion — Genuine Saxon Architecture difficult to be met with but Represent- ations of it not uncommon — Vindication of this Archi- tecture from modem Misrepresentations. . . .11 CHAP. III. Devastation of the Ecclesiastical Structures of England and France by the Danes and Normans — Unexampled ardour of these invaders to restore Churches and Monasteries, upon their conversion to Christianity — Almost all the Cathedrals and Abbeys of England rebuilt by the Nor- mans — This passion for Ecclesiastical Architecture pro- duces improvements in it, and by degrees The Pointed Style. 37 CHAP. IV. Mistakes of other writers concerning the origin of the Pointed Style— Of Mr. Evelyn— Of Sir Christopher Wren and his followers— Of Mr. Mui-phy— Of the Rev. Mr. Whittington — Of Bishop Warburton — Of Mr. Smirke, jun. — Of Sir James Hall, &c 51 CHAP V. The real origin of the Pointed Style — The occasion, time, and place of its invention 77 XXV CHAP. VI. PAGE Progress of the Discovery, and Formation of the First Order of this Style— Description of the east end of Canterbury Cathedral ^^ CHAP. VII. Formation of the Second Order— This the Perfection of the Style— Description of its Characteristical Members. 103 CHAP. VIII. Depression of the Pointed Arch- The Third Order of the Pointed Style— Description of it— Cause of the Decline of Pointed Architecture 11^ CHAP. IX. Further Description of the Three Orders— Periods of their respective duration— Churches, &C., which belong to each of them ^^^ APPENDIX of Quotations and Notes 125 A TREATISE ECCLESIASTICAL ARCHITECTURE ENGLAND, ETC. CHAP. I. The little light which is to be derived from the History of the Middle Ages concerning the different styles of their Archi- tecture — Still it is from Historj-^ and coeval Monuments that certain information in this matter is alone to be obtained — Principal object of the present Treatise — Ambiguity of the terms hitherto employed in treating of the Architecture in question — The writer's opinion on this subject. Next to the intrinsic beauty and subli- mity of the pointed Architecture of the middle ages, the circumstance which princi- B pally excites our admiration, is the silence of contemporary writers concerning the in- ventors of it, and the very covmtry where it first appeared. We frequently read in the annals and biographical histories of those times, of churches and other ecclesiastical buildings being built or repaired in a new style of elegance and with additional magni- ficence ; and we clearly discern the emula- tion which existed among the founders and Architects of these structures to outdo each other in the decorations and grandeur of their respective works, which emulation could not fail of producing improvements in an art not then subject to any fixed rules : still there is no record extant to inform us who first broke the architectural semicircle of former ages into the aspiring arch of the pointed style ; who devised to split the pon- derous pillar of the established Orders into the light cluster of our cathedral columns ; or who began to ramify the plain mullions of our windows and the ribs of our vaults into the rich tracery of our bays' and groins. It is even still a subject of controversy to what part of the world we are to look for these singular discoveries. But, indeed, the same mist of obscurity hangs over the ori- gin of bells, organs, clocks, painted glass, and other important inventions of the ages, injuriously called the dark ages by the vain and superficial one in which our lot is cast. Thus much we may gather with certainty, from this very silence of our religious ances- tors, and their general indifference with re- spect to posthumous fame, that they were more anxious about being good and useful than appearing so. Still it is from the records and monuments of the ages in question, and not from the fanciful theories or unsupported decisions of modern Architects or other writers, that such light as can be collected concerning these matters is to be obtained. Perhaps, ' Bays, or days, the ancient name for separate lights in a window. B 2 after all, this light, though dim and unsteady, may be found sufficient to lead the careful and unprejudiced inquirer to a satisfactory conclusion on the principal points in discus- sion. But then the records which are con- sulted ought to be coeval, or nearly so, with the works they mention ; or, if borrowed from later writers, these ought to be men of such acknowledged learning, judgment, and fidelity, as to be entirely depended upon. Then, as to the monuments, there must be sufficient evidence that they are the genuine unaltered productions of the eras to which they are attributed. For so numerous have been the changes in most ancient structures, either from alterations of the style, or from the necessity of reparations, that without the greatest judgment and knowledge in these matters, as well as the nicest and most jeal- ous attention to them, we are constantly ex- posed to the grossest anachronisms and other errors in pronouncing upon them. On this account coeval medals, carvings, mosaics, and paintings, representing ancient buildings, frequently afford better evidence as to their former state, than the actual sight of the originals do, as being free from those altera- tions to which the buildings themselves have been exposed. The principal object of the present Essay, which the author of it has been called upon to undertake, both by his scientific allies and his antagonists, is to ascertain the origin, progress, and orders of the pointed Architec- ture of the middle ages. This, however, cannot be done in a clear and satisfactory manner, without treating, at considerable length, of the circular style which prevailed in the preceding portion of those ages, and without clearing up the obscurity in which certain celebrated Architects and writers have enveloped both these st3des, by the un- certainty and confusion of their language and ideas concerning them. The restorers of the Grecian Orders in Italy, by way of disgracing all the Architec- ture of the preceding centuries, not conform- able to them, called it indiscriminately the Gothic. " In this they have been followed bv modern French Architects, as likewise by Sir Christopher Wren, Mr. Evelyn, and other English \\Titers. whose ignorance or whose prejudice has even led them to be- lieve that the Goths and other barbarians of the fourth and fifth centuries really in- vented a new style of Architecture, which thev substituted for that of the Roman monuments they destroyed. The celebrated Architect of St^ Paul's quotes, with applause, what he calls " iSIr. Evelyn's judicious com- parison of the ancient and modern styles," where the latter says, — " The ancient Greek " and Roman Architecture answers all the ^ The Italians more generally called the pointed style by the name of Tedesco, or German^ because the specimens of this style which thev were best acquainted with existed in Gennjiny, and becaxise the Architects who raised the few pointed structures which are found in Italy were mostly Germans. Ciampini, speak- ing of the canopy of an altar raised in the Old Vatican, by Pope Boniface Mil- in 1290, terms it, — "Ciborium cuspidatum, Ger- mani operis, cujus architectus fuit quidam Amulphus." — ' De Sa- cris .-Edificii* a Constant- Magn. Construct.' p. 65. " perfections required in a faultless and ac- " complished building, and doubtless would " have still subsisted and made good their " claim, and what is recorded of them, had " not the Goths and Vandals and other bar^ " barous nations subverted and demolished " them, together with that glorious empire " where those stately and pompous monu- " ments stood ; introducing in their stead a " certain fantastical and licentious manner " of building, which we have since called " Modern, or Gothic — congestions of heavy " dark, melancholy, monkish piles, without " any just proportion, use, or beauty." " The Architect having thus commended this invective of Mr. Evelyn, against Gothic Ar- chitecture, as being heavy congestions of " monkish piles," goes on to abuse it for possessing precisely the opposite character, where he says, — " The irruption of swarms " of these truculent people from the North, <= Sir Christopher Wren's ' Parentalia.' 8 " the Moors and Arabs from the South and " East, overrunning the civilised world, " wherever they fixed themselves, began to " debauch this noble and useful art : when, " instead of those beautiful Orders, so ma- "jestical and proper, they set up those " slender and mis-shapen pillars, or rather " bundles of staves, and other incongruous " props, to support incumbent weights and " ponderous arched roofs without entabla- " ture." *^ We shall afterwards see that the celebrated Bishop Warburton, at the same time that he speaks with admiration of pointed Architecture, actually ascribes the '' ' Parentalia.' Not very conformable with this idea, but in con- formity with that of Mr. Evelyn, Sir Christopher elsewhere de- scribes our sublime and beautiful cathedrals (so much superior, as places of divine worship, to all that he could borrow from the Pagan temples) as " Mountains of stone, vast gigantic buildings, " but not worthy the name of Architecture." — Ibid. To the prejudiced and extravagant declamation of one English Archi- tect, on this subject, we are glad to oppose the rational and liberal sentiments of another. Sir William Chambers, in his work on Civil Architecture, says, — " We are indebted to those " called Gothic Architects for the first considerable improve- " ments in construction. There is a lightness in their works, an " art and a boldness of execution to which the Ancients never " arrived, and which the Moderns comprehend and imitate with " difficultv." invention of it to the Goths, with the help of the Moors. The same confusion of language prevails among later writers, whose ideas are more correct on the subject than those of the authors just quoted. A late celebrated anti- quary who frequently praises the pointed style under the name of Gothic, and who had planned a history of it, positively denies that " Salisbury Cathedral is absolutely Gothic," ' while another architectural critic, of still greater fame and merit, as positively asserts that " Salisbury Cathedral is entirely in the " Gothic style."' Certain writers, who con- fess the impropriety of the term, Gothic Ar- chitecture, still persist in applying it to the pointed manner, ' whilst others, who are in- dignant at the unjust reproach which they «= The Rev. Thomas Warton's ' Notes on Spenser.' f The Rev. J. Bentham's ' History of Ely Cathedral,' sec. 5. 6 The Rev. James DaUaway, in his learned ' Observations on English Architecture,' occasionally applies the term, Gothic, to the Pointed style ; while the Rev. G. D. WTiittington terms it so in his ver>' title page. See an ' Historical Survey of the Ecclesi- astical Antiquities of France,' with a view to illustrate the nse and progress of Gothic Architecture in Europe. 10 conceive is thereby cast upon one of the hap- piest inventions of the human mind, call it, some the Norman style, others the English style, ^ these the Cathedral style, those the Pointed style. The writer long ago expressed his decided preference of the last of these terms,' and he is of opinion that the present dissertation will show its propriety. ^ See Appendix A. ' See ' Observations on the Means necessary for further Illus- trating the Ecclesiastical Architecture of the Middle Ages,' by the writer, prefixed to Mr. J. Taylor's ' Collection of Essays on Gothic Architecture.' 11 CHAP. II. Decline of Architecture in the Roman Empire — Form of the an- cient Basilics and other Churches— Decline of Ecclesiastical Architecture in the Greek no less than in the Latin Church — The Ecclesiastical Architecture of this Island at its Conversion to Christianity, that of Rome being introduced by Mission- aries from that City — Our Saxon Ancestors soon became emi- nent in Ecclesiastical Architecture, still following the Roman fashion— Genuine Saxon Architecture difficult to be met with, but Representations of it not uncommon — Vindication of this Architecture from modern Misrepresentations. Perpetual change is the condition of all human things ; accordingly, the arts and li- terature, like the power of the great Roman Empire, when they had attained their ut- most height in the Augustan age, began soon after to decline from it. This was particu- larly the case with its Architecture. Critics in the Grecian Orders remark, that the tri- umphal arch of Severus is less perfect than that of Titus ; whilst the monument of Con- stantine's triumph over Maxentius, erected 12 by the senate and people of Rome, is charged with columns, statues, and other ornaments, purloined from the arch of Tra- jan, and irregularly placed. It was chiefly, from about this period, namely, the begin- ning of the fourth century, when Christianity became the established religion of the civil- ised world, and when churches were every- where opened for the public exercise of it, that the prevailing Architecture be- gan to exhibit sensible marks of bar- barism. ^ These churches were not always built from the ground ; for, in several instances, the emperors gave up their palaces and courts of justice, called Basilics, for the service of religion. The form of these, ^ See the medals of the above-mentioned tyrant, Maxentius, PI. I., fig. 1, and that of Licinius, who was, during some time, fellow-emperor with Constantine, published by Speed, in his ' Historj' of England,' and copied in PI. I., fig. 2. In the former medal a temple is seen, with capitals, bases, and a nebule mould- ing, approaching to the zig-zag, which, had they appeared in Architecture, instead of a medal, would certainly be post dated many hundred years. In the latter medal we see a highly pointed cornice or canopy over a circular door. V3 being oblong, and surrounded by porticoes or aisles, raised upon columns, with gal- leries very frequently over these, was found very suitable both to the majesty and the uses of religion. Little more was requisite for the latter purpose than to shut up the porticoes exteriorly with walls and doors, ' to cover in the open area in the middle with a roof, where wanting, and to place an altar near the upper end, opposite to the bishop's throne, and an ambo, or pulpit, somewhere about the middle of the nave. We shall exhibit an elevation of an ancient Roman basilic in its original state, such as may be expected from a small medal ; "^ as also the plan of one in actual existence, which was changed by Constantine into a church. It was formerly called the Sessorian Basilic, and since, the Church of the Holy Cross of Jerusalem. In this plan we shall point out ' Appendix B. ■" PI. I., fig. 3. It is copied from Ciampini's ' Vet Monum.' T. I., pi. 21. 14 the principal parts and general arrangement of a church in primitive times, according to the best ecclesiastical antiquaries, " as far as these were common to the Greeks and Latins, and to the different forms of the sacred edifices : for some of the churches were built circular or octangular, others in the shape of a cross : still the general form of them was oblong, with a semicircular apsis at the eastern end ; and the disposi- tion of the sanctuary, the altar, and the nar- thex or penitentiary porch, at least, was the same in all churches. ° As a general outside view of an ancient Roman church, we have copied the Mosaic picture of the Church of St. Agnes, which " Montfaucon. ' Diar. Ital. Le Brun. Liturg.' T. II., AUatius, &c. ° See PI. I., fig. 4. Plan of the Church of the Holy Cross, from Ciampini's ' Vet. Mon.' T. I., pi. 4, compared with those of St. Clement and other churches described by the above-men- tioned ecclesiastical antiquaries. A A The Apsis, forming the Presbyter5\ B The Bishop's Throne, with Stalls for the Clergy. CC The Sanctuary- or Chancel. D The Altar. E The Gradus or Steps. F F The Nave. G The Ambo or Pulpit. H The Tribune for Women. I The Tribune for Men. K The Nar- thex or Penitent's Porch. L The Door. 15 is proved to have been executed by order of Pope Honorius, about the year 621. " The Pope is here represented in his dalmatic and pallium, bearing in his hands the present representation of the Church of St. Agnes, which was built by Constantine the Great, at the beginning of the fourth century, and repaired, as we have said, by Honorius, early in the seventh. We here see a porch or cloister surrounding the church, and closed up, except at the west end, where the en- trance into the narthex is barely covered with a curtain, as was the custom in that age, with respect to the first entrance into palaces as well as churches. The porch at the east end sweeps round to form the cir- cular apsis. The windows of the nave are small and round-headed, while those of the porches or aisles are square, and the whole sacred structure, which is of the oblong form, is destitute of ornaments. P This is expressed in the inscription under the picture exe- cuted in the same Mosaic work. See fig. 5. 16 Such, we may venture to say, was nearly the form and disposition of the Saxon churches built by St. Paulinus and our other primitive Architects, the contemporaries of Pope Ho- norius, at York, Lincoln, Rochester, Dorches- ter, and elsewhere. The same decline in the arts which is ob- servable in the monuments of the western empire, particularly after the beginning of the fourth century, is also to be traced in those of the eastern empire. " The celebrated church and choir of the Holy Sepulchre, at Jerusalem, which, after all that has been said and written about them, cannot be proved to have been rebuilt or essentially changed since they were erected by Constantine's mother, St. Helena, about the year 320, constitute altogether a most noble fabric ; still an air of Saxon na- kedness and rudeness pervades the whole of them, and the very columns, with their capi- *> The gradual decline of the arts from the fourth down to the twelfth century, when they began to improve in the Greek as well as in the Latin Church, may be traced in Dufresne's series of Medals published in his * Historia Byzantina.' 17 tals, &c., though of the Corinthian Order, are quite disproportioned and destitute of entabla- ture. ' This rudeness of design and execu- tion is still more visible in the boasted church of St. Sophia, at Constantinople, rebuilt by the Emperor Justinian, in 637, and still ex- isting as a Turkish mosque. We shall give a partial view of its interior, and another of one of its external porticoes. These will convince the architectural antiquary, that the Grecian Orders were not much more attended to, in their native land, during the seventh century, than they were in Italy and France. ' To speak now of our own country : the Romans were not so completely masters of it, as to allow of their raising any grand structures in it, till their Architecture was ■^ See the interior views of the church and choir, both of them being, as to their essential parts, circular, in Cornelius Le Bruyn's ' Voyage to the Levant.' ' See PI. I., fig. 6, being part of the exterior porch in front of the building, from Dufresne. Also PI. II., fig. 7, being a por- tion of the inside of St. Sophia, copied from a view of the whole, in the elegant work of M. De. D'Ohsson, ' L'Empire Othoman.' i8 upon the decline. Accordingly we meet with nothing perfect or very elegant in such ruins of their temples, houses, baths, hypo- causts, or other erections, as have been dis- covered in Britain. Afterwards, when the Ostrogoths and Huns overran Italy, the Vi- sigoths and Suevi, Spain, the Franks and Bur- gundians, Gaul, and the Saxons Angles and Jutes, South Britain, all which invasions took place in the course of the fifth century, these several hordes of barbarians destroyed innu- merable monuments of ancient Architecture, but they did not busy themselves in raising other structures in their place. It does not appear that they were then acquainted with any of the decorations or uses of Architec- ture beyond what are found in a military tent or a rustic cabin ; and when they sat down to inhabit the countries they had con- quered, instead of teaching the inhabitants a new species of Architecture (which they are supposed by some writers to have brought with them from their native forests and 19 wilds), tliey employed these very inhabitants to raise their principal structures, according to such knowledge and experience as remained of ancient art. So absurd is the idea that the Goths invented any species of Architecture whatsoever, and especially the elegant pointed style ! It would be no less contrary to reason to attribute the invention of that heavy cir- cular manner of buildino; in which our first churches were raised, to the Saxons. It is called the Saxon style merely because it prevailed during their dynasty in Britain ; but, in fact, it is the Grecian or Roman style, having the essential characters of that style, though, in consequence of the general decline of the arts, rudely executed. The truth is, it was introduced with Christianity itself, amongst our ancestors, by mission- aries from Rome, at the end of the sixth century. At first, indeed, the new converts made use of such few churches as had been spared c 2 20 by their fathers when they swept off Chris- tianity, together with the professors of it, the Britons, from the provinces of England ; notwithstanding most of these churches had been polluted with the worship of Thor and Woden. ' When they began to build other churches, they were content in the beginning to make them of oaken planks, or of wattles, thatched with reeds. " Such a church still ' St. Augustine, on his arrival at Canterburj', found a church called St. Martin's, which had been built whilst the Romans were masters of Britain. — Bede's ' Eccles. Hist.' L. I. c. xxvi. There is no reason to doubt that the Pagan temples, mentioned in chap- ter XXX. of the same book, had originally been Christian churches. See also Thomas Rudborne's ' Hist. Maj. Wint.' L. XI., c. i., Angl. Sacr., and Mat. West. The latter, speaking of the Saxon in- vaders, says : — " Si qua ecclaesia illaesa servebatur (a Saxonibus) " hoc magis ad confusionem, nominis Christi, quam ad gloriam " faciebant. Nempe, ex eis deorum suorum templa facientes " profanis suis ritibus sancta Dei altaria polluerunt." Ad an- num 586. " " Ecclesiam S. Petri (Eboraci) de ligno construxit." — Bed. L. II. c. xiv. See also Hen. Huntingdonens., L. III. The cathe- dral church of the East Angles, till almost the time of the Conquest (when it was removed from Elmham to Thetford, previously to its being fixed at Norwich), was made of wood. " Vir pnidentis '* consilii (Herebertus de Losinga) vagae sedis non ferens inju- " riam ; quae nunc in vico qui Elmham dicitur in sacello ligneo, " nunc vero apud Tefordense opidulum habebatur, multum " sibi locum Norwici comparabat," Sec. Vide Ang. Sac. Vol. I. p. 407. Finian, who had been a monk of the Irish monastery of Hi, in lona, becoming Bishop of Liudisfarn, is said to have 21 exists, or did exist not long since, at Green- sted, in Essex. "" It is true that Edwin, the first Christian king of the Northumbrians, began to build a church of stone, in his capital of York, soon after his baptism, namely, in 627, which church enclosed the wooden oratory he had first erected ; ^ but we are expressly told, by our venerable historian, that he was taught how to construct it by St. Pauli- nus, the same missionary from Rome, who had converted him. ^ It appears, how- ever, that Paulinus did not absolutely des- pise these wooden fabrics, since he him- self built such a one at Catarick. This is plain from the reason which Bede assigns ♦* built a church, fit for his episcopal see, of sawn wood, covered ** with reeds, after the Scottish (that is to say, the Irish) manner. ** Fecit ecclesiam, episcopali sede congruam, quam tamen, more " Scottorum, non de lapide, sed de robore secto totam composuit, " atque arundine texit." — Bed. L. III., c. xxv. * See a view of it in ' Vetusta Monumenta,' Vol. II., pi. 7. y Bed. L. II., c. xiv. ^ " Curavit, docente eodem Paulino majorem et Augustiorem " de lapide fabricare basilicam." — Ibid. 22 for the preservation of the altar, when the church itself, soon after its erection, was burnt down by the Pagans, namely, that the altar was made of stone. * This same Roman Bishop and Architect built another church of wood, at the Mother of British Christianity, as it was called, the Monastery of Glastonbury, or, to speak more properly, he cased the church, which had hitherto consisted of wattles, or hur- dles, ^ with boards, and then covered the whole with sheets of lead. ' This method of '^ L. II., c. xiv. ^ This instance of building a church in basket-work cannot fail of being acceptable, if it has not already occurred to a learned baronet, who is said to be eagerly foUoM'ing up his new and favourite system concerning the wicker-work origin of pointed Architecture. It appears from William of Malnisbury, that the British anachorets of Glastonbury continued to follow their course of life in the fastnesses of their retired island, such as Glastonbury then was, during the whole period of the Pagan Saxon persecution. It is easy to conceive, however, that they must have practised their religion with great secrecy, which accounts for their having nothing better than a wattled hut for their oratorj\ This was preserved by Paulinus, out of reverence for the holy personages who had prayed in it, when he built a more decent church of wood and metal over it. •^ Appendix C. 23 casiiiii' whole churches in lead was followed by other Architects. ** Our Saxon ancestors were diligent disci- ples of their Roman masters in Architecture, as well as in every other art and science. St. Wilfrid, Archbishop of York, in parti- cular, rendered himself famous during the latter part of the seventh century, for the churches which he built at Ripon, Hex- ham, ^ and many other places. The last- mentioned church is celebrated by ancient writers, who had seen it, as a miracle of art. ' He likewise repaired, in the best manner, his Cathedral of York, " covering the roof " with pure lead, and the windows with " glass, in such manner as to prevent the " entrance of birds and rain, and yet to " admit the light." ' But then this pre- late's journeys to Rome, and his visits to the churches there, and the instructions which he received from Archdeacon Boni- ^ Appendix D. ^ Appendix E. f Appendix F. s Eddius, c. xvi. 24 face, *■ and his engaging Roman workmen to execute his buildings in England, ' are all recorded. The companion of his first journey to Rome was St. Benedict Biscop, who ren- dered himself almost as famous in Architec- ture as St. Wilfrid himself, by the grand monastery and church which he built at Weremouth, adorning them with religious images and pictures, ^ and glazing the win- dows with glass, which he caused to be made upon the spot. But he, as well as St. Wil- frid, made frequent journeys to Rome, in order to improve his skill in Architecture, and to procure from thence various articles he stood in need of for his church, which church he professed to build according to the Roman fashion. ' Hence we are not ^ Eddius, c. V. ' Appendix G. ^ Bed. ' Hist. Abbat. Wiremuth.' ' Ibid. With the express testimony of Bede and Eddius be- fore our eyes, as to the use of glass windows by our Saxon ancestoi-s in the seventh century, we may judge of the knowledge 25 surprised to find, that when Naitan, King of the Picts, was desirous of erecting a church in his own country, according to the Roinan style copied from ' Archaeolog.' vol. X., pi. 22. * See an engraving of it in Monfaucon's 'Monarch. Franc' plate XXVIII. 30 porting tliat the Saxons did not know how to make stone buildings, or to raise arches upon pillars, ' has fallen far short of doing justice to his subject, and has exposed himself to the same reproaches which he makes to the two last men- tioned writers. In the first place, he denies that the Saxons were accustomed to raise hio-h towers above the roofs of their churches, till about the tenth cen- tury, " and yet, a very ancient author, whom he has elsewhere quoted, Richard, Prior of Hexham, describes the church of St. Mary at Hexham, which, as well as the neighbouring Cathedral of St. Andrew, was built by St. Wilfrid, in the seventh century, as being furnished with a tower of a round or cupola form, from which, he says, four porticoes or aisles proceeded. From this description we learn that its plan ' This section is published apart in INIr. J. Taylor's ' Essays on Gothic Architecture.' " Page 29. 31 was not unlike the plan of St. Sophia's Church at Constantinople, built nearly about the same time, "" and that the tower resem- bled the one which we see in the representa- tion of the church of East Meon. The churches of Italy are proved to have had bell towers in the eighth century.^ But, to make an end of the matter : we are assured by that ancient and careful writer, Eadmer, of Canterbury, that the ancient cathedral of that city, as it existed, during the whole Saxon period, had two towers, one over the south, the other over the north, transept/ The same writer, Mr. Bentham, makes use of other arguments to persuade us that the Saxon Architects were unacquainted with the form of transepts or cross-aisles in their churches till the above-mentioned era, the tenth century. It would certainly be strange if that form which had been adopted in the east " Appendix I. " Appendix K. '- Appendix L. 32 in Italy, * and in France, ^ during so many prior ages, should not have made its way into England during four hundred years after its conversion. But we have seen above, that St. Mary's Church, at Hexham, was built in the form of a cross so early as the seventh century, as likewise the metropolitical church of Canterbury. We are likewise informed, that the latter church was built after the form of old St. Peter's, at Rome. " Now this, no less * The magnificent church of the Apostles, at Constantinople, was built by Constantine in the form of a cross, as St. Gregorj--, Nazianzen, who had frequently seen it, testifies. So was ano- ther raised by him at Mambre. See Bingham's ' Antiquities of the Church,' vol. I., b. viii. Le Brun ' Explicat. de la Messe,' &c. Hence we discover the mistake of Mr. Whittington, where he says : — " It may be doubted whether transepts were adopted in " Christian buildings of the age of Constantine." Appendix, page 176. ^ The church built by St. Cesarius of Aries, in the sixth cen- tur}', and that of S. S. Vincent, and Anastasius, at Paris, were of the same shape. — Fleury ' Hist. Eccl.,' L. XXXHI. — Ber- castel ' Hist. Eccl.,' &c. '^ " Erat ipsa ecclesia (Cantuariensis) Romanorum opere " facta, et ex quadam parte, ad imitationem ecclesiae B. Petri," &c. — Eadmer apud Gervas. The imitation is here restricted, because, no doubt, our Metropolitical Church never was fur- nished with a double aisle on each side of the nave, like St. Peter's. As this celebrated church was so much the object of 33 than the basilic of St. Paul, which still subsists as it was rebuilt by Theodosius, in the fourth century, was certainly con- structed in the form of a cross. The same learned writer denies that the use of bells, at least of bells of the larger sort, can be traced higher than the cen- tury in question ; and he supposes that the introduction of them occasioned the construction of towers to receive them, by way of belfries. It would be strange if our religious ancestors had remained whole centuries without adopting so useful and pleasing an invention of the country veneration and of imitation to our Saxon ancestors, we shall pre- sent the plan and interior view of it from ' Bonani Temp. Vati- cani Hist." See PI. III., fig. 12, being tlie ground-plan of St. Peter's, at Rome, as it had existed since the time of Constantine till it was taken down by Pope Julius II., copied from the ar- chives of the Vatican. A The Apsis. -\- The High Altar. B B The Transepts or Cross Aisles. C C The Nave. D D E E The high side Aisles. F G The low side Aisles. H The open Court in front of the Church. I The Narthex, or Penitent's Porch or Galilee. K L The North and South Porches of the quadran- gular Cloister. Fig. 13, an interior view of old St. Peter's. The exterior of the western facade shows a mixture of what we should call indifferent Norman and pointed work, inserted in the ori- ginal Roman work. D 34 which they so often visited. '^ The use of small bells, nolce^ in this country, if we may credit William of Malmsbury, may be traced as high as the fifth century. ^ And it is clear, from Bede, that even those of the larger kind, campance, such as sounded in the air, and called a numerous congregation to divine service, were employed in England as early as the year 680, being that in which the Abbess Hilda died. ^ Nothing, then, is more glaringly absurd than to suppose that the Goths and other barbarous nations who overturned the Ro- man empire introduced what we call the Saxon or any other style of Architecture in- tead of the prevailing one. It is almost as extravagant to say, with the learned Bishop ^ See the Note in page 33, concerning the belfry built by P. Stephen. ^ " Brigida domum, rediens (a. d. 488) relictis ibi (Glas- " toniae) pera, monili, nold, textrilibus armis, quae ibidem ad " ejus memoriam reservantur." — Gul. Malm. ' De Antiqui. Glast.' — " Patriarcha Dewy (David) quatuor muneribus ditavit insigni " nold" &c. Viz. circa ann. 500. — Ibid. f Appendix N. 35 Warburtoii, that " the piety of tlie Saxon " kings consisted chiefly in building churches " at liome, and in making pilgrimages abroad, " especially to the Holy Land ;" and that " they took the whole of their ideas of Ar- " chitecture from the religious edifices in " Palestine, and particularly from the church " of the Sepulchre at Jerusalem." This latter church, according to Eusebius, was, as it is still, circular ; now, this form was ex- ceedingly rare in our churches, before the foundation of the Templars, in the twelfth century ; on the other hand, not one of our Saxon kings or even prelates is known to have visited the Holy Land. In a word, it is demonstrated that Architecture, like the other arts of civil life, was inculcated to our ancestors by the Romans, in the state in which they themselves practised it. Such was the state of things during the Saxon period, and down to the Conquest ; but, not long after this period, a new era in Archi- tecture as well as in Literature commenced. D 2 36 The most grand and beautiful improvements in the art of building were discovered and executed by those northern people, who have been reproached as the corrupters and de- stroyers of it. Then the scholars became the masters, and taught proud Italy the little she ever knew of the beauty and sublimity of the pointed style. 37 CHAP. III. Devastation of the Ecclesiastical Structures of England and France by the Danes and Normans — Unexampled ardour of these invaders to restore Churches and Monasteries, upon their conversion to Christianity — Almost all the Cathedrals and Abbeys of England rebuilt by the Normans — This passion for Ecclesiastical Architecture produces improvements in it, and by degrees The Pointed Style. During the ninth and tenth centuries the civihsed world, particularly the people of these islands and of France, were as much harassed and afflicted by new hordes of northern barbarians, as the former inha- bitants, the Britons and Gauls, had been, four centuries earlier, by these very Saxons, Franks, and their kindred tribes, now be- come the most civilised and humane of Christian nations. The latter invaders, who were indifFerentIv called Danes and 38 Normans, '^ were even more cruel and de- structive in their ceaseless incursions than the Goths and Vandals had been ; because these were a sort of Christians, being half- converted Arians, whilst the Danes and Normans, during the whole of their inva- sions, were savage barbarians, and professed persecutors of Christianity. ^ Few were the churches or monasteries in England, and throughout a great part of France, which were not demolished or laid waste by their fury. France, by entering into a composition with them, and yielding up to them one of her fairest provinces, from this circumstance, since called Normandy, was much sooner delivered from the scourge than England was. This being effected, it is incredible with what ardour the French 8 " Daci qui et Normanni." — * Hen. Hunting.' L. III. " Dani " a suis nuncupantur Normanni, quia lingua eorum Boreas " North vocatur." — ' Wilhehn.' Gemeticensis ' De Ducib. Norm.' L. I., c. iv. •> We are told that, during the period in question, the follow- ing supplication was inserted in the Litany : " A Normannorum " furore libera nos, Domine !" 39 Princes, Nobles, and Bishops, set abont re- building or repairing their churches and other religious edifices. Robert, surnamed the Pious, who succeeded to the throne of France, at the latter end of the tenth century, for his own share, built fourteen monasteries and seven other churches. ' But he and all the other Christians of that period were far outdone in this respect by the Normans, who, from impious bar- barians, were now become devout Christians, and the neatest encouragers of literature and the arts of any nation then existing. This appears incontestable from the number of monasteries (that is to say, of the schools, as well as the religious houses of those times) which they then raised. During the reign of our William L, in Normandy, previously to his invasion of England, he himself built two princely abbeys at Caen, that of St. Stephen, and that of the Holy Trinity ; and his nobles built thiity- * Fleurv ' Hist. Eccl.' L. LIX., s. 20. 40 eight others in that single province, each of them striving to surpass the rest in the magnificence and elegance of his struc- ture." We may be sure that the prelates were not behindhand with the nobility in zeal for building and repairing religi- ous edifices. The abbeys erected at this time, in Normandy, particularly those of Bee and Caen, became the most cele- brated schools throughout Christendom, and produced the most able men ; as, for example. Pope Alexander II., Lanfranc, and St. Anselm of Canterbury, and parti- cularly the best Architects of the age. In- deed, most of those Norman prelates, who rebuilt the different cathedrals of England, during the latter part of the eleventh cen- ^ " In illis diebus (Regnante in Normanniti Gulielmo Imo.), " maxima pacis tranquillitas fovebat habitantes in Normannia, " et servi Dei a cunctis habebantur in summa reverentia. Unus- " quisque optimatnm certabat in praedio suo ecclesias fabricare, " &c. Primum igitur ponam ipsum ducem, patrem patriae, qui " monasterium S. Trinitatis, aedificavit Cadonii. Rogerius de " Montegomerii indignans videri in aliquo inferior snis conipari- " bus ecclesias duas nobilitcr construxit," tic Wilhcl. Gemetic. ' Dp Durib. Norm.' c. 22. 41 tiiry, and the beginning of the twelfth, had been educated in one or other of these abbeys. Such were the Normans at the time when they entered England, being, without question, the most valiant, magni- ficent, studious, enterprising, and religious people of the eleventh century ; and, we must add, they were the very flower of Normandy and the neighbouring provinces, both in church and state, who crossed the sea, and settled in our island. The conti- nent was despoiled to enrich England. The effect of this important change in it soon appeared in every sort of improvement, but most of all in Architecture. ' The great ecclesiastical benefices, as may well be sup- posed, very quickly became filled with Normans. When, having wealth at their command, they did not fail of indulo-inc, to the utmost, their passion for erecting grand churches and monasteries. In a very short time almost every Saxon cathedral, some ' Appendix L. 42 of which had been but lately rebuilt, was demolished and replaced by a new one on a grander scale and in a more noble style. At one and the same time these vast and costly works were carrying for- ward by Mauritius in London, Lanfranc at Canterbury, Thomas at York, Walke- lyn at Winchester, Gundulph at Ro- chester, Remigius at Lincoln, " William at Durham, St. Wulstan at Worcester, " ™ This Prelate, having removed his See from Dorchester to Lincoln, chose for the model of his new cathedral that of Rouen, which had been rebuilt a little before by Archbishop Maurillus, who had been a monk of Fescamp, in Normandj\ This church was dedicated three years before the Norman Conquest ; namely, in 1063. " Remigius, constituta ecclesia, et salubriter consti " tuta juxta ritum Rothomagensis Ecclesise quam sibi in singulis, " quasi exemplar, elegerat," &c. — Girald. Cambren. in ' Vita Ep. Line. Angl. Sac' p. 417. It is well known that a fire took place in this magnificent fabric, during the episcopacy of his next suc- cessor but one, Alexander, who himself was one of the greatest Architects of his age. It seems, however, clear, from Giraldus, that only the roof was consumed. " St. Wulstan, who was a Saxon, though he found himself obliged to follow the general example in rebuilding his cathedral of Worcester in the new style of magnificence, yet appears to have done this unwillingly. When the former structure, raised by St. Oswald, was taken down, the historian tells us : " Lachry- " mas tenere nequivit et dixit nos miseri sanctorum opera " destruimus ut nobis laudem comparemus non noverat ilia 43 Robert at Hereford, ° Herbert at Nor- wich, St. Anselm at Chester, '' Roger at Sarum, in short, by almost every prelate of every then existing cathedral in Enoland. The abbots would not be c5 outdone by the bishops : accordingly, far the greater part of the rich and ample monasteries, such as St. Augustine's, at Canterbury, '^ St. Alban's, ' Evesham, ' Glas- " felicium virorum aetas pompaticas asdes construere, sed sub " qualicunque tecto seipsos Deo immolare. Nos, e contra " nitiimir, ut aniniaruin negligentes curam, accumulemus la- " pides." — Gul. Malm. ' De Pont.' L. IV. There cannot be a stronger proof than this passage affords of the increased magni- ficence of Norman Architecture. ° " Robertus de Losinga ecclesiam suam Herefordensem de " novo construxit, et ad exemplar Aquisgranensis a Carolo " Magno extructae efformandam curavit." — ' Godwin,' p. 480. P Hugh Lupus, the great Earl of Chester, sent for St. An- selm, then Prior of Bee, to give directions for the building of the church and monastery of St. Werburgh, at Chester, which the founder was resolved to fill with monks from Bee. — Gul. Malm. ' De Pontif.' L. I. 1 A. D. 107 4'. "Abbas monasterii St. Augustini Cantuariae " Scotlandus (Normannus) ad dilatandum monasterii sui templum " larguni extendit animum," &c — Gul. Thorn. ' Chron. Twysd.' page 1790. ^ " Abbatiam St. Albani, per Paulum Abbatem, in eum quo "nunc est statum (Lanfrancus) provexit." — Gid. Malm. ' De Pontif.' * A. D. 1077. Walter, a monk of Ceresia, became abbot of 44 tonburj, ' Malmsbury, " Ely, ' St. Edmund- bury, ^ &c., were rebuilt in the whole or in a considerable part of them, with a zeal and an emulation in their builders, which had never before been equalled in any age or country of the world, and which could not fail of leading to improvements in an art not then subject to fixed rules. In short, all the great abbeys throughout the Evesham, and, " being taken with the netv way of building, he " destroyed the old church, which was looked upon as one of the " finest of its kind in England, and began a new one." — Leland ' Collect.' Tom. I. ' Turstin, a monk of Caen, became abbot of Glastonbury in 1077, and began to rebuild the church of the monastery. He was succeeded, in 1097, by Herlewin, who had been educated in the same Norman monastery, and who, " conceiving that the " church begun by his predecessor did not correspond with the " grandeur of his abbey, took it down to the ground, and " began to build a new one." — ' Antiq. Glaston. Gale.' p. 333. " It appears, from William of Malmsbury, that some great and expensive works were carried on at the church of his monastery, by its Norman abbots, particularly by Warinus De Lyra. — ' De Pontif.' L. V. ^ Vide Thomam Eliens. ' Ang. Sac' T. I., p. 611. y ' Browne Willis.' Vol. I., p. 85. N.B. The church of St. Ed- mund, at Bury, was not finished and dedicated for the first time till the year 1020, yet such was the rage for Norman improve- ments, that Baldwin, who became abbot of it only forty years afterwards, namely, in 1065, took it down and rebuilt it in the prevailing taste — 'Leland Itin.' V. XL, p. 165. 45 English realm, seem to have been rebuilt soon after the Norman Conquest ; that is to say, during the latter part of the eleventh century and the beginning of the twelfth, except Westminster, Gloucester, Waltham, and some few others very lately erected, at which time, from the connec- tions of the sovereign and many of the prelates and nobles with Normandy, the refinements of that country had begun to gain a footing in England. A regard for their own safety after the Conquest, and the orders of their master, spurred on the Norman lay barons to equal diligence in building castles, with that of the great clergy in erecting churches. ^ But in what did this novum cedificandi genus, this improved manner of building, introduced by the Normans, consist? Cer- tainly not in its general style. We have ^ " Ad Castra construenda (Rex Wilhelmus) omnes fatigabat," — Huntingdonens. Vid. 'Chron. Saxon.' a. d. 1086. Rudborne ' Hist. Major.' L. V., c. i. 46 evident proofs that the general plan of their sacred edifices, as well as their arches, piers, capitals, shafts, bases, mouldings, doors, and windows, was much the same as it had been since the first introduction of Christianity into the island ; in other words, it was an imperfect imitation of Roman or Grecian Architecture. But, in the first place, the dimensions of their structures were, in general, much larger than those of the Saxons had been. We are expressly assured of this by the in- telligent Malmsbury ; * and we have other satisfactory proofs of it. With respect to the length, in particular, of their respec- tive churches, we find, for example, that the Saxon Cathedral of Dunwich was only 120 feet long, by 24 wide. ^ In like manner, * " Angli pai'vis et abjectis domibus totos sumptus absume- " bant. Franci et Normanni amplis et superbis edificiis modicas " expensas agunt." Domi ingentia i^ildificia, &c., Malm. L. III., ' De Reg.' p. 102. ^ See the plan and account of it, by Mr. Wilkins, ' Archaeol.' V. XII., p. 166. 47 we see, by the vestiges of the ancient ca- thedrals of Sherborn, Dorchester, and other Saxon churches, that they were in ge- neral comparatively small. The celebrated abbey church of Abingdon was only 120 feet long : ^ whereas, the magnificent Normans were not satisfied, either in their cathedral or grand abbatial churches, with a length of less than from three to five hundred feet. The cathedrals of York and Lincoln were, each of them built by their Norman Foun- ders 490 feet long. Walkelyn's church, at Winchester, as built by himself, was 500 feet long. The Abbey Church of St. Alban, as built under the direction of the great Lanfranc, was 600 feet long ; '^ while *= ' Monasticon.' It may be here observed, that most of the churches on the continent, till near the time in question, had also been comparatively small. The celebrated church of St. Agnan, at Orleans, which was dedicated in 1029, was only 252 French feet long. The ancient church of St. Clement, at Rome, exclu- sively of the exterior court and exedree, was barely 180 such feet ; while the wonder of the world, as St. Sophia was con- sidered, independently of the exedrae, is barely 270 French feet long. See the plan of it in Du Fresne's ' Familia Bysant.' '^ Browne Willis. < Mitred Abbeys,' Vol. I., p. 14. 48 the high-minded Mauritius, to the surprise even of his contemporaries, ' extended old St. Paul's, of London, to the length of 690 feet. ^ Nor was it only great length, but also great height, that the Norman Archi- tects affected. It is true the Saxon church of St. Andrew, at Hexham, and perhaps some others, were three stories high ; ^ there is, however, reason to conclude, from the remains of some Saxon churches, and the representation of others, " that they were seldom above two stories high, and those not very lofty ; whereas, the churches built by the Normans frequently rose to the height of 100 feet, and more, beneath the main beams. ' The extraordinary height of the walls required buttresses to support them * Malms. ' De Pont.' Londin. f Dugdale's ' Hist, of St. Paul's.' 8 " Parietes tribus tabulatis distinctos." ' Ric. Haguls.' •* See the above engravings of the churches, carved on Win- chester and West Meon fonts, &c., PI. II., fig. 10. * Old St. Paul's was 102 feet. York Minster is 99 feet high, up to the crown of the arches, beneath the girders. Of course they were much higher before they Avere \a\ilted. 49 on tlie outside, and frequently toruses, running up from the basement to the plates in the inside. " These buttresses were, at their first adoption, broad, thin, shelving upwards in regular breaks, and quite unor- namented. They are amongst the charac- teristics of Norman buildings. ' The Nor- man work, in general, was executed with much greater firmness and neatness than that of the Saxons. Previously to the Con- quest, we constantly read of churches of no long standing being out of repair ; whereas, several Norman structures, as, for example, the tower and transept of Winchester Ca- thedral, after standing above 700 years, bid fair, with moderate care, to stand as many hundred years more. The Norman win- dows and portals were much larger and better proportioned than those which pre- ceded them, and were generally supported ^ This may be seen, for example, in the transepts or cross aisles of Winchester Cathedral. ' These also may be seen, without any subsequent alteration, on the outside of the north cross aisle of Winchester Cathedral. 50 by columns at the sides ; their mouldings, also, and other carvings, though not essen- tially different from those of the Saxons, were far better designed and executed. In short, next to the effect of sublimity, what these ingenious and indefatigable Architects chiefly aimed at, in their religious structures, was beauty. An equal attention to these two effects did, by degrees, produce a per- fectly new style in Architecture, properly called The Pointed Style, being one of the greatest efforts of human genius that has been witnessed in the course of ages. But, before we proceed to give an account of the rise and progress of this style, let us examine the theories of other writers on the same subject. 51 CHAP. IV. Mistakes of other writers concerning the origin of the Pointed Style— Of Mr. Evelyn— Of Sir Christopher Wren and his fol- lowers—Of Mr. Murphy— Of the Rev. Mr. Whittington— Of Bishop Warburton— Of Mr. Smirke, jun — Of Sir James Hall, &c. It has been seen above, that Sir Christo- pher Wren and Mr. Evelyn, speaking ge- nerally of the Architecture of the middle ages, under the opprobrious term of Gothic, describe the pointed, no less than the cir- cular, style which prevailed in them, as being the real invention of Goths and other barbarians. The latter of these writers, as quoted with applause by the former, says : " The Goths and Vandals, having demolished " the Greek and Roman Architecture, intro- " duced in its stead a certain fantastical and E 2 52 " licentious manner of building, which we " have since called modern, or Gothic, — of " the greatest industry and expensive carv- " ing, full of fret and lamentable imagery, " sparing neither pains nor cost." "" We here clearly see that Mr. Evelyn, whose in- genuity and judgment are so much applauded by Sir Christopher Wren, in return for the praises the former bestows upon him, con- founds together two different, or rather op- posite, styles, belonging to different periods ; the one being as remarkable for its lightness, as the other is for its heaviness ; the one be- ing pointed, the other round, and that he really believes both of them to be the genu- ine invention of the barbarians who destroyed the Roman empire. It is sufficient for the present purpose to remark, that the Goths and Vandals, who overturned the Empire of Rome, early in the fifth century, were themselves, with their very name, crushed and swept off from the civilized world in the ■" ' Parental ia.' 53 course of the sixth century ;" whereas the pointed style, which is the subject of the present enquiry, by the confession of all writers, did not make its appearance in it till the twelfth century. At the same time that Sir Christopher Wren commends the system of his friend, he himself departs from it. He will not have this style called Gothic^ but Saracenic; and he professes to trace it, not to the Northern Goths and Vandals, but to the Eastern Arabs and Saracens. He says, " What we now " vulgarly call the Gothic, ought, properly " and truly, to be named Saracenic Architec- " ture, refined by the Christians, which first " The Ostrogoths entered Italy, under their king, Alaric, in the year of Christ 4-00, and in the same year the Emperor Ho- norius, yielded up to the Visigoths Gaul and Spain. In 409, the Vandals also established themselves in Spain, whence, in 427, they passed over to the Roman provinces in Africa, of which they soon rendered themselves masters. In 506, Clovis, King of the Franks, extinguished the power of the Goths in France. In 534, the Emperor Justinian put an end to the power and the name of the Vandals iji Africa ; and, in 553, to the power and name of the (joths in Italy. In Spain alone the name of the Goths remained till 713, when Rodoric, its king, was killed, and the greater part of Spain was seized upon by the Moors. 54 " of all began in the East, after the fall of the " Greek empire. " The Holy War gave the " Christians who had been there an idea of " the Saracen works, which were afterwards " by them imitated in the West." This system of a Saracenic origin of the pointed style has, out of mere compliment to the name of its author, been adopted by Bishop Louth,'' Riou, Warton, Grose, and the ge- nerality of modern writers, who have had occasion to enter upon the subject. In refutation of Sir Christopher's system, it may be observed that the first, or grand crusade, in which the Conqueror's son, Ro- bert, the Earl of Albemarle, and many other Normans and Englishmen, amongst a million of other Europeans of different countries. ° Every one knows that the Greek Empire fell by the reduc- tion of Constantinople and Trebizond, under the amis of Maho- met II., in 1453. But it would be a vain attempt to render Sir Christopher's ' History of Architecture ' consistent, cither with the truth or with itself. P See his account of the Architecture of Winchester Cathedral, in the ' Life of William of Wykeham,' and the observations on this account, in the author's ' History of Winchester.' Vol. II. 55 were engaged, took place in the eleventh cen- tury. It began in 1096, and terminated by the conquest of Jerusalem in 1099. Now, nothing- is more certain, and evident, than that the crusaders did not bring back with them into England or Europe a single feature of the pointed style, since the churches built subse- quent to that period ; as, for example, the an- cient parts of Exeter"* and Rochester' cathe- drals, and the Abbey Church of Reading,' &c., do not, in their original works, exhibit one of these features. If any individual of that period might be expected to have brought back with him into Europe this supposed Eastern style, it was the celebrated monk of Bee Abbey, Gundulphus, who afterwards became Bishop of Rochester. He was the most celebrated practical Architect of his age.' In fact, he built the cathedral church 1 Built by B. Wanvelast, in 1107. ' Built by B. Gundulph, about 1100. * A.D. 1125. ^ " Episcopus Gundulphus in opcre caementarii pluriuium " sciens ut officax erat." — Ernul[)h dc Roff'en. ' Ecc. Angl. Sac' Tom. I., p. 338. 56 and monastery, and also tlie castle of Ro- chester, which latter he made a free gift of to William Rufus ;" likewise Mailing Abbey, the chapel within the keep of London Tower and several other churches. Now, this eminent builder had made a journey of de- votion to the Holy Land,'' (in company with William, who afterwards became Archbishop of Rouen, and was himself one of the Archi- tects of its cathedral) a little before the first crusade, and, of course, surveyed the build- ings of that country at his leisure. Yet in vain do we examine his subsisting works at Rochester, and in London, for an arch, a pil- lar, or a moulding, in the style under consi- deration. Secondly, from the accounts and drawings of the most intelligent and accurate virtuosi, such as Pocock, Norden, Shaw, Le Bruyn, &c., who have visited the Holy Land and other countries frequented by the crusa- ders, it does not appear, as Bentham and " Enuilph. de Roti'en. ' Ecc. Angl. Sac' Tom. I., p. 338. '^ Monach. Roffen. ' Vit. Gund. Angl. Sac' p. 274'- Grose remark, that a single building or ruin, except one church at Acre, is to be found in this style,'' and very rarely such a thing as a mere pointed arch. It has been conjectured that this church was built by some Euro- pean Christian, and the writer flatters himself that he has discovered the name of this Eu- ropean ; and that he was an Englishman, who accompanied the crusade, under our Richard 1/ In fact the Architecture of it exactly corresponds with that of St. Hugh of Lincoln, Godfrey De Lucy, and other })iiilders of that period, having long lancet windows, slender cluster columns, and cor- responding ornaments. If we proceed fur- ther east, namely into Persia, we find indeed the pointed arch in a few bridges and other y See a print of it in ' Voyage to the Levant.' by Cornelius Le Bruyn, p. IG^. ^ " Cum primum Achon obsessa fuisset capellanus quidam, " nomine Willelmus, natione Anglicus, votum vovit, quod si, " prospcro cursu Achon intraret, B. Martyri Thomee capel- " lam construeret ; quod ita factum est." — Mat. Paris, a. d. 1190. Peter de Ilupibus, Bishop of Winchester, in the reign of Henry III., left money to this church. 58 public buildings : but we have no records to attest the date of any of these ; and we have otherwise sufficient reason to believe them to be posterior, not only to Gengis Khan/ in the 13th century, but also to Tamerlane in the 15th, both of whom swept off from that country all its monuments, and a great part of its inhabitants ; hence these arches could not have been models of European Pointed Architecture. In India there are several mausoleums, and other buildings, with the cinquefoil arch, and other decor- ations, which might seem to belong to the latest order of the pointed style. But these are confessedly of a very recent date. "" There is no account at all of the building of the temple of Madura, which also has some re- semblance with our Pointed Architecture. ^ It appears, however, not to be very ancient. The original style of India, as it appears in their stupendous excavations, and other an- ' Sec Daniel's ' Indian Views.' '' Ibid. 59 cient works, *" is much the same with the primitive style of Egypt. The cohimns are circular, with huge heavy capitals and bases, still not without pretensions to ornament. ** After all, we may safely pronounce, that these specimens in Egypt, the mother coun- try of Athens, were the origin of the Grecian Orders, and the primeval Architecture of mankind. Mr. Murphy, to whom the admirers of Pointed Architecture are indebted for his elegant views of the Church of Batalha in Portugal, with his account of it, conjectures that the idea of Pointed Architecture was borrowed from the pyramids. *" This is to trace its origin to Egypt. But the pyramids may be said, upon an average, to have been raised 3000 years ago ; whereas, Pointed Ar- chitecture is not yet 700 years old, and they '^ See Daniel's ' Views.' '* See, in Pocock's ' Travels,' the columns at Carniach in Egypt ; and in the late work of Denon, the French Savant, the ruins of the temples of Hermopolis, Thebes, and Elephantis. ^ ' Introductory Discourse on the Principles of Gothic Archi- tecture.' 60 were forgotten, and almost unknown, at the time when it appeared. Again, pediments and gable ends must have been coeval with building itself, in every age and country ; and therefore may be called the parents of Pointed Architecture, with more apparent reason than the pyramids. A circumstance, much more favourable to the pretensions of Egypt, is, that there is an ancient hall in the Castle of Cairo, called Joseph's Hall, with regular high-pointed arches, and cor- responding columns. ^ The inhabitants sup- pose this to have been built by the patriarch Joseph ; but Niebuhr and Lord Valentia give sufficient reason to suppose that it was built by the great Saladin, the rival of our Richard I., whose real name was Jussuff, or Joseph. ^ In this supposition, we may safely say that he employed some of his European prisoners, or other stragglers, from the third f See the view of it by Mr. Salt, in Lord Valentia's ' Travels ;" also Luigi Meyers' ' Views." 8 Lord Valentia's 'Travels.' Vol. IIL, page 311. 61 crusade, to erect this hall in the pointed style of the age. It appears, from a work lately published, '' that an ingenious young writer, the Rev. Mr. Whittington, and his Right Honourable Edi- tor, have surveyed (by means of prints) the Architecture of the East, with different eyes from those of all former writers and travellers. The latter says, " All Eastern " buildings, as far back as they go, have " pointed arches, and are in the same " style." ' If a line be drawn from the " north of the Euxine, through Constan- " tinople to Egypt, we shall discover, in " every country to the eastward of this " boundary, frequent examples of the pointed " arch, accompanied with the slender pro- " portions of Gothic Architecture." " It ** ' An Historical Survey of the Ecclesiastical Antiquities of France,' quarto, 1809. ' Pref. p. 6. — Denon, who is accurate observer, and writes from what he has seen, speaking of the Turkish Architecture, says, " Every province has its own ta^te : it has no fixed prin ciples or rules." ^ Ibid. p. 11. 6:2 is impossible to conceive upon what ground the writer makes this strange assertion, except on account of the misshapen mi- nerets and obelisks, which the Mahome- tans add to their mosques, for the conve- niency of calling upon the people from them to come to prayer, as they reject the use of bells. The writer acknowledges that he does not know the dates of these erec- tions, nor is it of any consequence to the present question that they should be known. Thus much, however, we know, that the edifice of St. Sophia, at Constantinople, erected in the seventh century (which he acknowledges to have been the model of the Mahometans, since they became masters of it, in the fifteenth century, in building their mosques), has neither a pointed arch nor a pinnacle in the whole of its original work. ' " But," adds this writer, " is it at all pro- " bable that the dark ages of the West, ' See views of it in Du Gauge's ' Famil. liysant.' Also PI. II. fig. 7. G3 " should have given a mode of Architecture » to the East ?""^ If there is any force in this suggestion, we may, with equal reason, deny that bells, organs, the gamut, or musical scale, optical glasses, gunpowder, the com- pass, printing, &c., were discovered in the dark ages of the West, and we ought to search amongst the barbarians of the East for their invention. The fact is, that be- tween the fifth and the sixteenth centuries, the most enlightened was that in which Pointed Architecture was discovered, namely, the twelfth century; and that during this, particularly in the reigns of Henry L, Henry n., and Richard I., the natives of this realm, which then included the finest provinces of France, were, without dispute, the greatest people existing. Bishop Warburton, whose bad success in accounting for the origin of Saxon Architec- ture has been seen above, speaking of the "" Pref. p. 6. 64 pointed style, endeavours to unite the tWO refuted systems, that which derives it from the Northern Goths, and the other which brinsis it from the Eastern Saracens, at the same time that he assigns the Western Pen- insula of Europe (Spain) for the place of its birth. The following is what he says on the subject : " When the Goths had con- " quered Spain, and the genial warmth of the " climate and the religion of the old inhabi- " tants had ripened their wits and inflamed " their mistaken piety (both kept in exercise " by the neighbourhood of the Saracens, " throuo:h emulation of their service, and " aversion to their superstition) they struck " out a new species of Architecture, unknown " to Greece and Rome. For this northern " people having been accustomed, during " the gloom of paganism, to worship the " Deity in groves (a practice common to all " nations), when their new religion required " covered edifices, they ingeniously projected " to make them resemble groves as nearly as «5 " the distance of Arcliitecture would per- *' mit ; at once indulging their old prejudices, " and providing for their present conveni- " ences, by a cool receptacle in a sultrj cli- " mate ; and with what skill and success they " executed their project, by the assistance of " Saracen Architects, whose exotic style of " building very luckily suited their purpose, " appears from hence, that no attentive ob- " server ever viewed a regular avenue of " well-grown trees, intermixing their branches " overhead, but is presently put in mind of " the long vista through a Gothic cathedral," &c. " Having amused ourselves with this reverie, let us now attend to facts. The Goths and Vandals entered Spain in the year 409 : they did not, however, acquire " a new " religion there from the old inhabitants," for they were previously Christians, though Arians. On the other hand, the Moorish Saracens did not enter Spain till 300 years afterwards, namely, till the year 712, and they " Notes on Pope's ' Epistles.' F 66 ever afterwards continued in a state of the most determined hostility against the Chris- tian Spaniards, whom they cooped up in the mountains of Asturias. It is easy to ga- ther, from these simple facts, the multiplied and gross errors of Bishop Warburton's sys- tem. Let us, however, suppose, in con- formity with this system, that the Spanish Goths had retained an idea of their pagan worship in the woods of Germany, during 400 years, till the arrival of the Moors ; and that, afterwards, they kept to them- selves the secret of Pointed Architecture, during 400 years longer : certain it is that when once this system broke in upon the English and the French, in the twelfth century, it would have made its appear- ance at once amongst them, with all its characteristical features of equilateral pointed arches, connected cluster columns, crocketed pinnacles, and the other dressings of this style, contrary to what we know to be the fact. With respect to the inhabitants of 67 the Western Peninsula, so far from their practising tracery work, imitating the inter- lacing of trees, several hundred years be- fore our ancestors, it seems that the latter were their masters in the art of executing this above two hundred years, after they themselves had learnt it ; since a subject of this kingdom was chosen to direct the building of the above-mentioned magni- ficent church of Batalha, in the fourteenth century. ° After all, the intersection of tracery work is almost the only circum- stance in which it resembles the inter- mixing boughs of trees growing toge- ther. The ribs of a groin do not grow smaller, as they extend themselves like ° It was built by John, King of Portugal, in 1388, David Hac- kett, an Irishman, being the principal Architect. See Murphy's account. We admire the style of Batalha, as a pleasing variety from our contemporary buildings of Winchester Cathedral, St. Stephen's Chapel, Westminster, &c., but we by no means put it in comparison with them, upon the general principles of beauty and sublimity. The boasted Cathedral of Burgos, built in 1221, is more gorgeous, but by no means so elegant, as its contemporary Cathedral of Salisbury, and far less awful than our more ancient Cathedral of Lincoln. F 2 6S vegetable shoots, nor do the latter, when they cross each other, form large knobs like the bosses of Architecture. Again, the trunk which supports the boughs is gener- ally a simple upright, not a cluster of sup- porters ; nor has it anything resembling either capitals or bases. Having followed different guides north, east, and west, in search of the primitive pointed style, we have latterly been invited by an ingenious artist to accompany him to the cradle of modern arts in the south, namely, to Italy, with the promise that he will there point out to us much earlier specimens of this style than our northern climates afford. In the year 1805, Mr. Smirke, junior, laid before the Society of Antiquaries certain drawings, since en- graved, '' of the dressings of a window belonging to the Cathedral of Messina, in the richest and most elegant taste of P ' Archaeologia,' Vol. XV., p. 363, &c. (59 the third or last order of the pointed style. These he represents as the work of Roger, Earl of Sicily, in the eleventh cen- tury. He presented another drawing of the celebrated baptistery of Pisa, avow- edly built by Dioti Salvi, in 1152," con- sisting of what we should call Roman and Saxon work, intermixed with crocketed pe- diments and pinnacles, such as were not in use amongst us till the thirteenth cen- tury. Lastly, Mr. Smirke exhibited a view of the beautiful cloister of the campo santo, adjoining the cathedral, and erected in the year 1278. Here we see the richest tracery mullions under semicircular arches, being a mixture of styles which never pre- vailed at any period whatever in these coun- tries. These exhibitions seem to have gained many partisans to the claim of Italy, and 1 It was begun in 1152, and finished in 1160. We have a full and interesting history and account of the cathedral, baptist- ery, and campo santo of Pisa, enriched with excellent plates, by Joseph Martini, a canon of that cathedral, in his ' Theatrum Ba- silicae Pisanae.' Folio. 70 amongst others, to a certain degree, the ingenious Mr. Dallaway, who says, — " The " baptistery at Pisa, by Dioti Salvi, is " the great prototype of arches, pedi- " ments, and those ornamental particles " which are now confined to the Gothic " style." ' It has been already observed that there is no error which the architectural student has so much to guard against, when he surveys ancient buildings, as the con- founding of subsequent alterations with the original work. There are few critics in this matter who would not start at the first sight of Mr. Smirke's drawings as at a creation of fancy, or an incon- gruous assemblage of works executed at periods considerably distant from each other ; but it was reserved for Sir Henry Englefield's profound knowledge of the subject and critical acumen to detect the ^ * Observations on English Architecture,' Preface, p. iv. 71 pointed enrichments with which some later Architect has decorated the plain circular work of Dioti in the baptistery and of John of Pisa, in the campo santo. This he has done to the entire satisfac- tion of his scientific readers.' In confirm- ation of this learned gentleman's remarks, we find that, in the year 1303 (with the style of which period these additions very well agree), an Architect, one Burgundius Taddi, added some new members to the exterior of this building, as an inscription upon it still testifies. ' By way of sup- porting his system, in favour of the Italic orioin of Pointed Architecture, Mr. Smirke next brought forward the upper part of the pediment of the cathedral itself, built by Bruschettus, a century before the building of the baptistery, namely, in 1063. " This 5 ' Archseoi; Vol. XV., p. 367, &c. ' ' Theatrum Basil. Pizanae,' p. I*, &c. " The Church of St. Mark, at Venice, was built about the same time with that of Pisa, namely, in 1071, in the form of a pediment consists of narrow circular arches, supported by Grecian columns, and sur- mounted with a coping, charged with crockets, and three elegant and spirited statues. With the exception, however, of the usual triangular form of the pediment and the crockets, which Mr. Smirke may, possibly, from the imperfection of his ori- ginal sketches, have placed in a situation to which they do not belong, "" there is not (ireek cross, surmounted with cupolas. It was evidently formed on the model of the Church of St. Sophia, The same operation has been performed upon it as upon the baptistery and cupola of the Cathedral of Pisa, namely, crocketed pediments and pinnacles have been inserted in it. In consequence of its present appear- ance, Sir C. Wren calls it a Saracen church. But the critic who can admit that these pointed oi'naments belonged to the original structure is capable of believing that the four famous horses, by Lysippus, which have followed the course of victory from Greece to Rome, thence to Constantinople, thence to Venice (where during many ages they adorned the portal of this church), and lastly to Paris, made part of its original design of St. Mark's.. '^ Should Mr. S. still contend that the crockets are actually seen on the coping of the pediment, and (which is the only ques- tion of any consequence) that they formed part of the original work of Dioti, then he must equally say, that the three elegant and spirited statues which now ornament it, are the production of the year 1063 ! The fact is, the whole roof of this magnifi- cent structure, from the cupola to the west end, was burnt down in 1569, as Martini informs us, with which date (on re- 73 a feature in this pediment which belongs to the pointed style any more than there is in the general style of the exterior and in- terior of the church itself, and of the cam- panile or leaning tower, which latter was built by William, a German Architect, in 1174. Together with the above-mentioned drawing of the pediment, Mr. Smirke pre- sented one of the church towers of Li Frari, at Venice. ^ This shows the circu- lar arch and the intersecting circular arch, too-ether with the corbel table, &c., in its uppermost story, with rows of slightly- pointed arches in the three lower stories. But what is the date of this tower ? The ino-enious artist tells us that it was begun in 1234, a period corresponding with the building of Salisbury Cathedral. In a word, this plate, instead of proving that the Italians were before-hand with us in Pointed pairing the cathedral) the style of the statues, &c., perfectly well agrees. y ' Archajol.' Vol.. XV., p. 25. 74 Architecture, shows how much they were behind us both as to time and execution. Indeed, Mr. Smirke himself acknowledges that " the examples of the pointed kind " are in a more mixed and unformed char- " acter of design in Italy ; a defect that " may be ascribed to the aspect which the " face of that country, different from all " others, formerly presented with regard " to more ancient architectural remains." This passage, if I understand it, means that the Italians never excelled in Pointed Architecture, being attached to the Roman manner, in consequence of the numerous examples of it they had everywhere be- fore their eyes, — an opinion in which the writer perfectly agrees with the ingeni- ous artist. * 2 Amongst the several altars and tombs in the pointed style which existed in the Old Vatican, and which are exhibited by Ciampini, being all of them very imperfect and poor, we have selected the tomb raised by Boniface VIII., because the name of the Architect and its date, 1290, are ascertained. See PI. IV., fig. 15. 75 Other systems respecting the origin of Pointed Architecture, do not seem to affix it to any particular country, and are still more fanciful than those which have been examined. Sir James Hall, Bart., having observed that wands which are bound fast to posts, fixed in the earth, may be so bent and fastened together as to represent cluster columns and tracery vaulting, thinks the idea of Pointed Architecture was some- where or another borrowed from the sight of such basket work ! * Lord Orford, quoted by Mr. Dallaway, says, that " the " style was first peculiar to shrines, and " then was peculiar to churches." ^ But where did the shrine-makers learn it ? Mr. Payne Knight makes an absolute medley of the business, pronouncing that " the " style of Architecture, which we call " cathedral or monastic Gothic, is mani- * ' Essay on the Origin and Principles of Gothic Architecture,' in the ' Transac. Royal Soc. Edinburgh,' Vol. III. ^ ' Observations on English Architecture,' P. 5- 76 " festly a corruption of the sacred Archi- " tecture of the Greeks or Romans, by a " mixture of the Moorish or Saracenesque, " which is formed out of a combination of " Egyptian, Persian, and Hindoo !" ^ ^ * Enquiry into the Principles of Taste,' P. 162. 77 CHAP. V. The real origin of the Pointed Style — The occasion, time, and place of its invention. But why should we wander into every remote country in the known world, and into the regions of fancy, in search of an invention which belono;s to our own cli- mate ? And for what purpose should we take so much pains to prove a plant to be an imported exotic which we actually see sprouting up and attaining its full growth in our own garden ? Let us now go back to the point from which we started, for the purpose of running down the different false systems. We have seen that the greatest people, without dispute, of the eleventh and twelfth centuries, the conquerors of France, England, Italy, Sicily, and of 78 different countries in tlie East, namely, the Normans, were possessed of the most ardent passion for Ecclesiastical Architec- ture of any nation upon record, and that they vied with each other in the grandeur and beauty of their respective structures. For the former of these effects, grandeur, we observed that they gave to their churches the greatest length and height in their power ; for the latter, beauty, they en- riched them with a variety of architectural ornaments, several of which appear to be of their own invention. The most common of these was the arcade, or series of arches, with which some of their buildings (as for example, the outside of St. Osyth's and St. Botolph's conventual churches in Essex, '' and the inside of Durham, on the base- ment story) were covered over, and which occur more or less on all their cathedral and conventual churches extant. These «* See I'l. v., fig. 24, 25. 79 arcades were divorsifiecl many ways, as may be particularly seen on the tower of St. Aiigustine^s Monastery, in Canterbury, built by its first Norman abbot, Scot- landus, in 1080. ^ One of these varieties consisted in making the semicircular arches (such as all nations, Grecians, Romans, and Saxons had hitherto built) intersect each other in the middle. ^ The part thus intersected formed a new kind of arch, of more graceful appearance and far better calculated to give an idea of height than the semicircular arch : for every one must be convinced that a pyramid or obelisk, « ' Chronicon. Will. Thorn.,' apud Twysd. Col. 1789. f There is no proof that Tickeneote and other ancient churches on which these intersecting arches appear, were built before the Norman Conquest, much less that these ornaments are not a subsequent addition ; and there is good reason to judge from William of Malmsburj^'s account of his own monastery, in particular, that the intersecting arches still seen there were made by Abbot Warin de Lira, a Norman, in lOSO. It is worthy of observation, that, in the famous tapestry of Bayeux, representing the Conquest of England, and said to have been wrought by the Conqueror's mother, and engraved by Montfaucon and Ducarel, though several churches, palaces, shrines, and other arched work are seen in it, there is not the least appearance of intersecting arches, much less of a pointed one. 80 from its aspiring form, appears to be taller than the diameter of a semicircle, when both are of the same measure. These plain and intersectino^ arcades were sometimes placed in alternate rows, as in Remigius's work on the fa9ade of Lincoln Cathedral ; and sometimes irregularly intermixed, as on the north side of Durham Cathedral. The pointed arch, thus formed, appeared at first a mere ornament, in basso relievo, as in the above-mentioned instances, but very soon it was also seen in alto relievo, over niches and recesses in the inside of churches as in the remains of the Cathedral of Can- terbury, built by Lanfranc, ^ and in the 8 It appears, from Gervase, the monk of this cathedral mon- astery, that Lanfranc rebuilt the whole of it about tlie year 1085, and that the fire which t^)ok place in the roof of its choir in 1174-, did not destroy the whole of the parts adjoining to it. From this circumstance and an examination of the work itself, we may safely pronounce that the recess here spoken of in the wall of the south aisle, adjoining the choir, is a remain- ing part of the work of Lanfranc. Twysd. Col. 1293. This pointed arch, which accompanies other circular ones of the true Saxon fashion, is represented at PI. IV., fig. 16. It is copied from PI. XXXVI., part 1, of Mr. Carter's 'Ancient Architecture of England.' 81 abbey churches of Glastonbury *■ and Rumsey.' It is probable that the first open pointed arches in Europe were the twenty windows constructed by that great patron of Archi- tecture, Henry de Blois, " brother of King Stephen, and Bishop of Winchester, in the choir of the Church of St. Cross, near that city, which structure he certainly raised •> Abbot Herlewin, who died in 1 1 20, began to rebuild the whole of Glastonbury Abbej^ as Malmsburj- informs us, ' De Antiquit. Glaston. Ecc.' Six years after this date, Henry de Blois became abbot of it. Hence it is not unlikely that the intermixed pointed and circular work exhibited by Mr. Carter, in the above-mentioned plate, were executed under his directions. ' The conventual church of Rumsey, first built by Edward the Elder, was rebuilt by King Edgar : but it was so much augmented and ornamented by Bishop De Blois, whose neice, Mary, the daughter of King Stephen, became a nun there, that Warton and other writers describe him as the founder of it. The arches here copied from ]Mr. Carter, were pro- bably made by him very soon after he built St. Cross, PL IV., fig. 17. He seems not to have had either the means or the disposition to raise great buildings after the civil war began between his brother Stephen and his cousin, the Empress Maud. •^ He is described by his contemporary, Giraldus Cambrensis, in his ' Copula Tergemina,' as a prince of the most active and enterprising mind, particularly in undertaking Morks of art, which seemed impracticable to other men. See a speci- men of the windows in the choir of St. Cross, Plate IV., fig. 18. G 8-2 between the years 1132 and 1136.' These consist of openings made in the intersected parts of semicircular arches, which cross each other. The ocular evidence of this, taken along with the ascertained date of the work, is a sufficient proof that, to the accidental Norman ornament of intersect- ing arcades, we are indebted for the inven- tion of pointed arches, and Pointed Ar- chitecture. If any man chooses to dispute the proof, he cannot at least deny the fact, that open pointed arches, to the number of twenty, were seen together under intersect- ing arches, in an English church, between the years 1132 and 1136. As the above- 1 Godwin, ' De Praesul. Angl.,' says that he built St. Cross in 1132; Bishop Lowth, who had examined the -archives of this foundation, says, in 1136. Probably the choir, which is evidently the older part, and all that was requisite for the use of the original establishment, was begun in the former year, and finished in the latter. The date of 1 1 36 agrees with the testimony of Rudborne, the Monk of Winchester, in his ' His- toria Major,' who says, — " Hoc anno (1136) Henricus Wyn- " toniensis Episcopus incaepit facere domes de Wulvesey et " alias, in maneriis pertinentibus ad episcopatum Wyntoniae, " et similiter Hospitale Sanctae Crucis juxta Wyntoniam." See the Author's 'Historical Survey,' p. 160., second edition. See also Appendix O. 83 mentioned prelate proceeded in his build- ing, from the east or choir end (which on all such occasions was first erected, and ren- dered fit for divine service "") to the tran- sept, the tower, and the nave of the church, he made many other pointed arches, some of them obtusely, " others acutely, pointed ; ° intermixed, however, with a still greater proportion of circular and other Saxon work. In 1138, he built the Castle of Farnham, '^ where his pointed arches, resting on huge Saxon columns, are still to be seen. "^ Nor was the pointed arch, during the reign in question, that of King Stephen, "^ This is agreeable to the remark of Mr. Bentham, in his , * History of Ely.' " Plate IV., figure 19. ° Plate v., figure 20. P "Anno 1138, fecit Henricus Episcopus aedificare domum " quasi palatium, cum turri fortissima in Wyntonia, Castellum *'de Merdona et de Fernham, &c." — ' Annales Ecc. Wynt. Auctore Monacho Wynton. Angl. Sac, T. I., p. 299. 'J These very interesting remains were first noticed by that indefatigable antiquary, Mr. Carter, and are represented by him in his * Ancient Architecture,' Part I., plate 65. They arc copied in our Plate V., figure 21. G 2 84 confined to the works of his brother, Henry, Bishop of Winchester, for Roger de Chnton, Bishop of Chester and Lich- field, introduced it into the church of the latter city, the greater part of which he rebuilt, and also into the abbey of his foundation, at Bildwas, on the banks of the Severn, in Colebrook Dale. In the ruins of this interesting monastery, which was built between the years 1136 and 1139, ' as also in those of Lanthony Abbey, Gloucester, built at the same period, we see the lancet point in all the arches of the nave, under round-headed Saxon windows, intermixed with the chevron billet, and other characteristics of Saxon Architecture. If we may give implicit credit to the ■■ Richardson, apud Godwin, assigns this year, quoting the ' Monasticon.' Dugdale, himself. Vol. III., p. 779, cites both the annals of St. Wcrburg and those of Peterborough (Bib. Cot.) for the year 1136, as that of the foundation. Probably the buildin"- was begun in the one, and finished in the other. The Abbey of St. Mary, near Dublin, was made a cell to Bildwas, by authority of Henry II. The remains of Bildwas Aery much resemble those of Lanthony Abbey, Gloucester, which, as ap- pears from Dugdale's 'Evidences,' was founded in 1136 — See the latter in Plate V., figure 22. 85 drawings and the autliorities of Grose, the Scotch were not long in adopting the new style of the English, which was probably introduced amongst them by David, their king, who came into England to command the army of his neice, the Empress Maud, against King Stephen. Thus much is cer- tain, that Kelso Abbey, founded by him before he came into this country, namely, in 11-28, affords no specimen of the pointed arch, whilst other abbeys and churches in Scotland, built soon after his return home, present much the same mixture of round and pointed arches as occurs in all the sa- cred edifices of that period in England. A late writer, whose professed object was to transfer the palm of Pointed Architec- ture from the English, and Norman Eng- lish, to the French (which palm the French themselves are in the habit of attributing to our countrymen ') asserts that the pointed * ' Historical Survey of Ecclesiastical Antiquities of France,' bv the Rev. G. D. Whittington. The received tradition, through- 86 jirch was adopted in the Abbey Churcli of St. Denis, near Paris/ begun in 1137, and finished in 1144, before any instance of it occurred in England. But this we have proved to be a palpable error, by the works and dates referred to above. In the second place, the writer admits, that this very church of St. Denis, was rebuilt from the out all the northern provinces of France, is, that almost all their grand churches were built by the English. This testimony of the author is confirmed by Major Anderson, who surveyed these provinces with the eye of an antiquaiy, in 1801, and who men- tions the chui'ches of Notre Dame, Amiens, Beauvais, Rouen, and St. Nicaise, as being attributed to English Architects. This proves, at least, the high reputation in which English Architects were held in France, at the time of the introduction of Pointed Ax'chitecture. ' This writer describes the apsis or circular part at the east end of the abbey church of St. Germain, at Paris, as consisting of pointed arches, which he says were adopted ft-om " accident " and necessity." — P. 87. This is giving up his system as to their eastern origin. Again, this alleged necessity is a mere imagination, as will be seen in the circular arches in the apsis of the chapel of the tower, built by Gundulphus, before 1100. The writer mentions this Church of St. Germain as having been "finished, nearly as it exists now, before 1014;" and yet he says, " it was not dedicated till 1163." It is evident that he has either mistaken the sense of his French authors, or that they themselves were not entitled to credit. Would the monks of that abbey forego the use of their finished church, during 150 years, or perform divine service in one not dedicated, when their own or any other bishop could have performed this ceremony as well as the Pope himself? 87 ground, in 1-231 ; and though he says that some portions of the old building were pre- served, it is plain he is unable to ascertain which these are. Thirdly, in the painted windows of this church, as represented by the learned Montfaucon, who says they were executed under the directions of Abbot Suger, in 1140," we have a continued se- ries of the first crusade, in which a great number of arches are seen ; but in none of them is there the least appearance of the point. This is a double-edged sword against the writers's system. It proves that the painter was equally unacquainted with the pretended eastern origin of the pointed arch, and with its alleged adoption in the church he was then ornamenting. Lastly, the many instances of mistake and preju- dice which occur in the posthumous work under consideration, prove the writer's " See Plate L., with the four followiDg ones, and Montfau- con's explanation of them, in his ' Antiquities of the French Monarchy.' 88 haste and want of reflection when he wrote it. " ^ Amongst the instances of the writer's prejudice may be placed his denial of the existence of St. Genevieve, whose " name, he says, " is probably a corruption of Janua Nova." This ety- mology reminds us of Swift's derivation of Peloponnesus, from Pail-up-and-ease-us. St. Genevieve's name was well known in the East as well as in the West, during her life-time ; and fre- quently occurs in the life of her contemporary, the celebrated St. Germain, Bishop of Auxerre, written by Constantius, who, as well as the writer, lived at the same time with her. It occurs likewise in all the original histories we have of Clovis, King of France. A chapel of wood was built over her tomb, soon after her death, about the year 512; and, in the following century, the famous St. Eloy made a costly shrine for her remains 89 CHAP. VI. Progress of the Discovery, and Formation of the first Order of this Style -Description of the east end of Canterbury Ca- thedral. To return now to the subject of inter- secting arches ; these were sometimes plain semicircles crossing each other, as on the south transept of Walkelyn's Church, at Winchester,* and on the fa9ade of St. Botolph's Church, Colchester,^ in which they form a mere pointed arch, or else they were intersecting semicircles resting upon pillars, with a capital, or at least an abacus, by way of an impost, as on the north transept of Durham, ' the facade of Lin- a See Plate V., figure 23. ^ See Plate V , figure 24. c See Plate V., figure 25. 9U coin, &c. In tlie latter case they present the appearance of a pointed arch, with the lateral points, or cusps, as Sir James Hall has very aptly called them. '^ This orna- ment, dm'ing a considerable time, was only used occasionally, but, in the end, its use became universal. The addition of another cusp, on each side of the pointed arch, turned its trefoil head into a cinquefoil. In like manner, four cusps being introduced into that circle, or oeil de boeuf, which the Saxon as the ancient Roman and Greek Architects had been accustomed to place in the tympanum of their pedi- ments, formed a quatrefoil rose or cross. By an additional number of cusps, Catha- rine wheel or marygold windows were easily produced. But these did not make their appearance till the beginning of the thir- teenth century. During the latter part of the twelfth, a strange mixture of styles '* ' Essay on the Origin of Gothic Architecture.' See ' Transac. Edinburgh Pliilos. Soo." 91 prevailed in the numerous ecclesiastical buildings which were then going forward, as might be expected, when an old style began to be exploded and a new one was in the act of formation. This would not have been the case had the latter been copied from established models in Syria, Arabia, Egypt, Spain, or elsewhere. Pointed arches were everywhere intermixed with circular ones. ^ The former were more ge- nerally placed upon massive Saxon pillars, and were, in some few instances, at first, very obtuse, as in the intercolumniations at St. Cross, ^ or, what was almost always the case, they were exceedingly acute, as in those of the neighbouring Church of St. ^ A great number of these architectural varieties and intermix- tures are exhibited by Mr. Carter, in his rich treasuiy of architec- tural antiquities cited above. See Plates XXXVI., XXXVIL, &c. Most of these he demonstrates to have been originally so con- structed, having been occasioned by what he calls the struggle between the circular and pointed styles. f See Plate IV., figure 19. 92 Mary Magdalen on the Hill, raised about the year 1147. ^ It is matter of evidence that the pointed arch was used in England a considerable time before any other member which is now considered as belonging to the pointed style. It could not, however, long escape the observation of our ingenious Architects, that the ponderous circular pillar ill ac- corded with the light and aspiring pointed arch. Accordingly, towards the close of the century in question, the Saxon column, in some instances, began to be shaped into the form of the Arabic figure 8, so as to retain its former strength and yet to appear gracefully slender ; and where columns were used for decoration rather than for B See PI. VI., fig. 28. Mr. Whittington maintains that the " slender proportions " of the stj-le in question, by which we presume he means cluster columns, pinnacles, &c., were bor- rowed from tlic East, together with pointed arches ; and yet it is demonstrated that the former did not appear in England or France till a considerable time after the latter, and that they made their way by slow degrees. See the foregoing figures. 93 strength, as to support ornamental arcades and the architraves of windows, very thin ones, and those, for the most part, of Purbec marble were adopted. We have a striking example of these and other improvements in the pointed style before our eyes at the east end of Canterbury Cathedral, which was rebuilt between tlie years 1175 and 1180, under the direction of William of Sens, and of another Architect of the name of William. It is an incomparable advan- tage for forming a right idea of the rise of Pointed Architecture in this country, that we are possessed of an accurate comparison, made by an intelligent eye-witness, Gervase, a monk of this cathedral, between the choir part of the church built by Lanfranc, who was an architect as well as a prelate, about the year 1085 (and which was burnt down in the year 1174), and the said choir part rebuilt by the two above-mentioned Architects at the dis- tance of about ninety years afterwards. "^ The ^ Appendix P. 94 most remarkable things which he mentions are these, — that the pillars of the new choir were of the same form and thickness ' with those of the old choir, but that they were twelve feet longer ; that the former capitals were plain, while the latter were delicately carved ; that there were no marble columns in Lanfranc's work, but an incredible num- ber in that which succeeded it ; that the stones which formed the ancient arches were cut with an axe, but those of the new arches with a chissel ; that the vaulting of the side- aisles of the choir was formerly plain, but now pointed with key-stones ; " that the old ' He speaks of them as they appear to the eye, namely, round, in contradistinction to the square and hexagon piers, which were common in Saxon and Norman churches. •^ " Arcuatae et clavatae," In a former passage he had said : " Clavem pono pro toto ciborio ; eo quod clavis in media posita " partes undequaque venientes claudere et confinnare videtur." Twysden * Scriptores X.' p. 1298. From this account of the key- stone or boss, which in forming a pointed groin is the support of all the others, and requires to be made of a particular shape, it is plain that the author speaks of pointed vaulting. It is unac- countable that our great Architect should assert, as he does in liis ' Parentalia, ' page 297, speaking of the supposed authors of Pointed Architecture, that " their arches were pointed without " key-stones, which they thought too heavy." 95 choir was covered with a flat ceiling, orna- mentally painted, ' while the new one was elegantly arched, with hard stone for the ribs, and light toph stone for the interstices ; finally, that there was only one triforium or gallery round the ancient choir, while there were two round the modern one. The present state of the east end of Canter- bury Cathedral still corresponds with the account of Gervase, written above 600 years ago, and is faithfully exhibited by Mr. Carter, from whose plate, with his permission, we shall borrow a copy of it. ° We still see large well-proportioned columns, which ap- pear round to the spectator, when in a proper position, crowned with elegant ca- pitals, nearly of the Corinthian Order. Upon the abacus of these capitals rest the bases of slender marble columns, which mix ' This is the actual state of the grand abbatial church of St. Alban's, and of other ancient churches. ™ See Plate VI., fig. 27. Sec also an interior view of this portion of Canterbury Cathedral, as it still subsists, Plate VIII. 96 their heads with those of other marble cohimns supporting the arches of the prin- cipal triforium. From these united capitals branch out triple clusters, which, at a proper height, form themselves into ribs to sustain the groinino;. The arches on both the upper stories and in the groining are highly pointed, " as are those also on the basement story, which latter sweep round the eastern extremity to form the concha, or apsis ; in short, twenty years before the close of the twelfth century, there was not a member of Saxon Architec- ture to be seen in the whole chancel and choir of the church of Canterbury, except the main arches of the basement story, " It is, however, worthy of remark, that the arches on the upper story alternately take the horse-shoe sweep, embracing more than half a circle. The same is the case with the ribs which support the groining. This form of arcli occurs also in the church of Rumsey, the porch of St. Cross, in a side chapel now used as a work-shop, in the north transept of Winchester cathedral, &c. The Moors of Spain, having late in the thir- teenth century acquired some knowledge of Pointed Architec- ture, probably from France, parts of which they over-ran, were particularly fond of the horse-shoe arch. Swinburn discovered upon the Alhambra the date, if I mistake not, of 1276. 97 which were probably so constructed from an idea of their being firmer than pointed ones, and certain billet-blockings and mouldings, which themselves gave place as the work ad- vanced upwards to what may be called the quatrefoil moulding. This moulding, thus in- troduced, soon became universal, and is a sure criterion of the first order of Pointed Archi- tecture in its more perfect state. ° The style adopted in the first metropoli- tical church of this kingdom, was followed in the suffragan cathedrals as soon as any of them stood in need of rebuilding or repair- ing. Lincoln led the way about the year 1195, under the directions of the illustrious St. Hugh, who undertook to rebuild the whole of this vast cathedral, and who was so intent upon the work, that he carried stones and mortar on his own shoulder for the use of the masons. "^ The church was ° See PI. v., fig. 26, copied from Mr. Halfpenny's plate 74- of ' Gothic Ornaments in York Minster.' The original is in the west aisle of the north transept, erected early in the thir- teenth century. I' Mat. Paris, ad ann. 1200. 11 98 so far advanced by him at the time of his death, which happened in 1200, that he is considered as its principal builder, though we know that its nave was not finished till about fifty years afterwards, in the epis- copacy of Robert Grostete. Except the west front, which is almost all the original work of the Norman prelate, Remigius, and except the groins, skreens, and certain other interior decorations, it is all in the simple style of the first or lancet order of Pointed Architecture, but magnificent and beautiful beyond the conception of those who have not seen it." The rich and power- ^ Beverley Minster is for the most part in the same style, and probably of the same date with Lincoln. It is hardly inferior to it, except in its dimensions. The western and eastern fa9ades, however, are in a later style. Worcester Cathedral, having been defaced with fire in 1202, was restored in the course of sixteen years afterwards, being dedicated in 1218. — ' Annales Wigorn,' ad diet. ann. Its choir is decorated in the same magnificent and striking style as that of Lincoln. The triforia, or galleries, and other inside work of Lichfield Cathedral, -are in the same rich manner. This and the windows of the nave are certainly not the work of Bishop de Clinton, in the reign of Henry I., as is ge- nerally believed, but rather of Alexander de Stavenby, who was consecrated in 1224, and who is recorded for having done great things for this church (' De Successione Epis. Lichf. Thorn. Chesterfeld. Angl. Sac.') and of his other near successors, to one of whom Henry III. gave a license for taking stone from the <>9 fill Bishop of Winchester, Godfrey de Lucy, undertook, in 1'202, to do the same at his church that had been done at Canter- bury, namely, to rebuild the east end of it in the new invented style. His exten- sive work still remains, and is remarkable for its long narrow arches, pointed hke a lancet, its slender detached pillars of Pur- bec or Petworth marble, its quatrefoil mouldings, and light, though simple, groin- ing. And, whereas, it was usual, for the sake of ornament, and also of use, when a window was wanted, to place two of these narrow arches toojether under one laro^er arch, and, being thus placed, there occur- red a vacant space between their heads, a trefoil, qautrefoil, or cinquefoil was, about this period, gracefully introduced to fill it up. ' In 12*27, Archbishop Walter de Grey Forest of Hopwas, " Pro nova fabrica ecclesiae." — See Shaw's ' StaiFordshire,' &c. The Lady Chapel, and the groining of the whole cathedral, was the work of Bishop Langton, about the year 1320. •^ See an outside view of De Lucy's arches at the east end of H 2 100 undertook to rebuild the northern metro- political church, that of York, beginning with the south cross-aisle, which exhibits all the above-mentioned characters.' The same work was going on at this time at Worcester, Salisbury, and other great churches. The latter, which was a new foundation, begun by Bishop Poore in 1 220, ' and finished by Bishop Bridport in 1258, exhibits in its front and other parts the double lancet arch, with the intermediate rose between their heads and the other above-mentioned characters. " Finding it, however, necessary to place three lancet windows together in the upper story of his Winchester Cathedral, Plate VII., fig. 32. Also at Plate VII., fig. 31, an inside view of the same, showing the slender de- tached Purbec pillars, the simple groining, the quatrefoils in- serted between the cuspated heads of the pillars, &c., being all ofthe date of 1202. « See the triforia, or galleries, built by Archbishop de Grejs in Mr. Halfpenny's ' Views,' plate 78. t Bishop Poore, being translated to Durham, began to orna- ment the east end of the cathedral there, namely, the nine altars, &c., in the same style with his works at Salisbury. " See PI. VI., fig. 29, copied from the facade of Salisbury Catliedral. 101 church, he raised the middle one consider- ably higher than the others, an improve- ment which was adopted in many other churches at this period. A still more im- portant improvement of his was the raising of the cornice or canopy to a considerable height above the arches ; which cornice had hitherto stuck fast to the architrave. It terminated, indeed, in a trefoil or other flower, but was not furnished with crockets or other rich decorations. "" At the time when the work at Salisbury was drawing towards a conclusion, that at Westminster Abbey was beginning, namely, in 1245. The north transept and part of the adjoining- work remain in much the same fashion of Architecture they were left in by their founder, Henry III. ^ The windows of the ^ PI. VI., fig. 30, copied from the same. It must be added, that the cornice at this time seldom descended so low as the im- post of the arch, and commonly rested on a scroll, mask, or other simple ornament, by way of bracket. See fig. 26. y Mr. Carter shows that the great Catherine wheel window of the transept has been enlarged to its present dimensions at a subsequent period. 102 side-aisle and upper story are larger and better proportioned, and the work in general is more perfect than had hitherto been wit- nessed. These windows adopt the cinque- foil in their heads, and those which light the triforium externally consist of a triple cinque- foil under a pointed arch, thus furnishing beautiful models which were imitated in the heads of windows during a long time afterwards. The arches and windows of the transept being placed in regular rows above and near each other, present the idea of those immense mullioned windows which afterwards came into fashion. Here, also, namely, in the inside of the transept, we find statues of tolerably good workmanship ; and on the outside we observe niches with pedestals and plain canopies. 103 CHAP. VII. Formation of the Second Order — This the Perfection of the Style — Description of its Characteristical Members. During the reign of our first Edward, which commenced in 1272, the Architecture of this country, tlu'ough the genius, industry, and piety of its Architects and Artists, ac- quired a new character, or rather trans- formed itself into a new order of the pointed style. The first feature of this was the ge- neral adoption of the well-proportioned and well-formed aspiring arch. The pointed arches, which had hitherto been constructed, though sometimes accidentally graceful and perfect, were almost always too narrow, too sharp in the point, and ungracefully turned. 104 as appears, amongst other instances, in the windows of the nave of Worcester, and in the old parts of Lichfield Cathedral. But those of the present period were universally well turned, and duly proportioned.* They w^ere also invariably adorned with one or more cusps on each side of the head, so as to form trefoils, cinquefoils, &c., as also with new invented and highly-finished mouldings. The pediments raised over these and other arches were universally purfled, that is to say, adorned with the representation of foliage along the jambs, called crockets. ^ Pinnacles, which had hitherto been rare and quite plain, were now placed at the sides of almost every arch, and at the top of every buttress, being invariably purfled and surmounted * The best proportion of the head of a pointed arch is allowed to be wlien an equilateral triangle can be inscribed within its crown, and its imposts or springing. '' These terminations of the canopy, pediment, or sweeping cornice, as Mr. Carter terms it, were now made to descend as low as the springing of the arch, and rested on the busts of bishops, kings, or other founders, or benefactors of the building. 105 with an elegant flower, called a finial. A pinnacle of a larger size being placed on the sqnare tower of former times, as was the case at Salisbury, and elsewhere, became a broach or spire. Nay, so fond were the people of this novel ornament, that we read of a new built tower being taken down, because it was not fit to sustain one, when another tower, with a spire to it, was built, equal in height with the whole length of the church. " That bold feature of this style, the flying buttress, for supporting the upper walls of the nave, which had hitherto, for the most part, been concealed in the roof of the side-aisles, was now brought to view^ with suitable dressings, as an ornament. The window no longer consisted of an arch divided by a mullion into two, and sur- mounted with a single or triple circle, or quatrefoil, but was now portioned out by '^ Du Fresne, Article ' Turrile.' N.B. We read of a steeple upon the top of St. Paul's, London, early in this century, but we may be sure it was such a small plain obelisk, as those we see on the fa9ade of Salisbury. 106 mullions and transoms, or cross bars, into four, five, six, and sometimes into nine, bays, or days, as the separate lights of a window were called ; and their heads were diversi- fied by tracery-work into a variety of archi- tectural designs, and particularly into the form" of flowers. The circumstance which had favoured the introduction of large west windows, was the abrogation of canonical penances, in consequence of the frequent crusades which, in its consequence, rendered the Galilee, or penitential porch, at that end of the church unnecessary. '^ The plain niches of the thirteenth century early in the fourteenth became gorgeous tabernacles, in ^ There were formerly such porches at the western extremity of all large churches. In these, public penitents were stationed ; dead bodies were sometimes deposited, previously to their inter- ment, and females were allowed to see the monks of the convent who were their relatives. We may gather from a passage in Gervase, that, upon a woman's applying for leave to see a monk, her relation, she was answered, in the words of scripture : " He *' goeth before you into Galilee, there you shall see him." Hence the term Galilee, which is still retained for the western porches of Durham and Ely Cathedrals, and which ha-s puzzled all anti- quaries. It is well known that at Durham Cathedral, women were not even allowed to attend divine service, except in the Galilee. 107 which as much Architectural skill and indus- try was often bestowed as in building the whole church. These tabernacles, as well as various other parts of the sacred edifice, were filled with statuary, which frequently exhi- bited equal spirit in the design, and art in the execution/ Finally, the ribs, supporting the groined ceilings, were no longer simple intersecting arches, but they branched out in tracery-work of various devices, still more rich and elegant than that in the large windows ; and wherever these ribs met, they were tied together by an archi- tectural knot, called a boss, or orb, which generally exhibited some instructive de- vice. « This will be acknowledged by every person of taste, who looks into Mr. Halfpenny's work, representing the decorations of York Minster, executed early in the fourteenth centurj-. f It is proper to observe that the pediments, or canopies, which during the reign of the two first Edwards, and the early part of Edward the Third's reign, rose straight upAvards, like the sides of an equilateral triangle, as has been seen in fig. 30, towards the latter end of the reign of Edward III., began to humour the sweeping curve of the arches they covered, which reduced their excessive height, and added to their gracefulness. See PI. VIL, fig. 33, copied from Winchester College Tower. 108 We have proofs of these improvements, or rather of this new order of Pointed Ar- chitecture, in the three remaining o^rand crosses erected in memory of Eleanor, wife of Edward I., at Northampton, Geddington, and Waltham. She died in 1290. We have other proofs in the magnificent tomb, in Westminster Abbey, of Edmund Crouch- back, brother of King Edward I., who died in 1296. But the most perfect specimen of the whole detail of these improvements is to be met with in York Minster, the nave of which was built between the years 1290 and 1330, and the choir some thirty years afterwards. If any similar erection, on a smaller scale, could, in its time, have vied with this in beauty and grandeur, it was St. Stephen's Chapel, Westminster, which was begun by Edward III., in 1348. But of the inimitable beauties of this chapel, only a few scattered vestiges remain.^ There 8 See the plans, elevations, &v., of this chapel, now the House of Commons, published by the Society of Antiquaries, from Mr. Carter's drawings. 109 are few indeed, if any, of our cathedrals which were not rebuilt or repaired in some or other of their parts in the newly-improved manner. Before 13*21 Bishop Langton had added the Lady Chapel to his Cathedral of Lichfield, had groined the whole, and had erected the beautiful western fagade.*" About the same time the chief part of the nave of Westminster Abbey was in building. Be- tween the years 13*27 and 1370, Exeter Ca- thedral was groined, and its heavy Norman work changed into the light and elegant Pointed Architecture of that period, by its munificent prelate, Grandison.' During the pontificate of Courtney, which commenced in 1381, and that of his successor, Arundel, the nave of Canterbury Cathedral was re- built. ^ About the same period that great prelate and architect. Bishop William de Wykeham, was employed in performing the ^ Thomas de Chesterfeld * Aug. Sacr.' et Godwin ' De Pi-aesul.' ' Godwin ' De Praesul." ^ Idem. 110 same difficult work in Winchester Cathedral, which had taken place in that of Exeter and others. It has been generally said^ that Wykeham took down the nave of his church, which had been erected by his Norman pre- decessor, Walkelyn, in order to build that which exists at present, and few persons can understand how the clumsy circular Archi- tecture of the eleventh century could be altered into the elegant pointed style of the fourteenth ; but, to convince themselves of the possibility of this, they have but to ascend into the roofs of the side-aisles and nave of the last-mentioned church. Indeed, without such climbing, they may see this demon- strated at the west end of Gloucester, St. Alban's, and Rumsey great churches, where two or three of the plain circular Saxon pillars have been cased with mouldings, so as to appear cluster columns, and where the naked round arches have been shaped into ' Bishop Lowth, in his ' Life of W. of Wykeham,' the Rev. Thomas Warton, in his * Survey of Winchester,' &c. Ill elegant pointed ones, while the rest of the columns and arches to the eastward are left in their original state. The taste for im- provement descended to the parish churches, in which, though means should have been wanting for making any other alterations, yet the windows, at least, of almost all of them, were changed by some benefactor or another into those of the pointed style. Hence it is not uncommon to see figures of knights or ladies presenting windows of this form in the painted glass of such churches. "* "^ There are representations of such in Dugdale's 'Warwick- shire,' in Montfaucon's ' Antiquities of the French Monarchy,' &c. In the last-mentioned work we see, in Plate XCIII., the figure of Louis, Count of Evreux, son of the French King, pre- senting a window to the principal church of that city. It is a very poor specimen of Architecture for the beginning of the fourteenth centuiy, with which this offering corresponds. ll-J CHAP. VIII. Depression of the Pointed Arch — The Third Order of the Pointed Style — Description of it — Cause of the Decline of Pointed Architecture. It is the condition of all mortal things to be subject to change ; hence human arts, like the human body, when they have at- tained their perfection, tend towards a de- cline. This was the case with that singular invention of human genius and piety. Pointed Architecture. Its rise, progress, and de- cline, occupy little more than four centu- ries in the chronology of the world. As its characteristical perfection consisted in the due elevation of the arch, so its de- cline commenced by an undue depression of it. This took place in the latter part 113 of the fifteenth century, and is to be seen, amongst other instances, in parts of St. George's Chapel, Windsor, built by Ed- ward IV." in Khig's College Chapel, Cam- bridge, and in the chapel of Henry VII., Westminster. It is undoubtedly true, that the Architects of these splendid and justly- admired erections. Bishop Cloose, Sir Re- ginald de Bray, &c., displayed more art and more professional science than their predecessors had done ; but they did this at the expense of the characteristical ex- cellence of the style itself which they built in. They consulted more their own reput- ation than the proper effect of their works. The spectator, in viewing these, was amazed at the sight of huge masses of stone, of more than a ton weight, called pendent capitals, hanging in the air, which, instead of supporting the vast groins in which they " This monarch died in 1483. We have selected the arch over his tomb in St. George's Chapel, Windsor, as a specimen of the arch in question. PI. VII., fig. 34. 114 are fixed, are supported by them. But this taste betrayed a disregard for the aspiring arch, the curvature of which was hencefor- ward discernible at its springing, rather than at its point. Finally, ingenuity more then sublimity was now affected, and curio- sity more than devotion gratified. Thus, the royal chapels and mortuary oratories, built in the reigns of the last two Henrys, are seen covered over with tracery and other carvings of the most exquisite design and execution, but which fatigue the eye and cloy the mind by their redundancy. Hence, the judicious critic, after admiring their ingenuity, fails not to sigh for the chaste grandeur of York Min- ster, or even for the unadorned majesty of Salisbury Cathedral, instead of them. The windows of this period were so enlarged, multiplied, and brought down so low as to give the whole sacred edifice the appearance of a glass lanthorn. This amongst other in- stances is exemplified in the Lady Chapel of Gloucester Abbey, which was built towards 115 the close of the fifteenth century. The mul- lions were multiplied proportionably to the size of the windows, in such manner that fre- quently the eye cannot discover any regular figure or design in them. The tracery of the vaulting corresponded with that of the win- dows. The ribs, whose office it is to support the groins, were ramified into fibres ; but, in return, they were loaded at the knots with such numerous and disproportioned heavy armorial bearings, badges, rebuses, and other similar ornaments, as to draw down the low arches still nearer to the eye, and to give them an appearance of heaviness very remote from the due efiect of the pointed arch." The same depression of the arch, which cha- ° It is to be understood, however, that these observations do not apply to all the Pointed Architecture of the era in question. Bishop Oliver King, for example, about the year 1500, erected the grand church at Bath, in a very chaste, and in some respects too plain a manner ; for he contented himself with co\ing the nave instead of groining it. In 1525, Bishop Fox rebuilt and ornamented the chancel of Winchester Cathedral with the same good taste, except as far as regards the substituting of canopies over the towers instead of pinnacles, and loading the groins with numberless heavy devices. I 2 116 racterizes the inside of the sacred buildings of this period, appears also on the outside of them. Instead of the aspiring pinnacles and spires of the preceding era, the towers now built were covered with hemispherical cupolas, and the portals of this period, though still slightly pointed, instead of being sur- mounted with crocketed canopies and purfled side-buttresses, were enclosed in large square architraves, the chief ornaments of which were inscribed in the spandrels." In short, the downfal of Pointed Architecture in this kingdom, as its established style for ecclesi- astical purposes, was inevitable from a variety of causes, but chiefly from a falling-oif from its primary character, the sublime, which was the necessary consequence of the depression of its aspiring arch. The ruin was complete when Edward VI. mounted the throne in the middle of the sixteenth century. Tlien be- gan a truly Gothic, or at least a barbaric. P See the arch ovei' the tomb of Edward IV., in the figure above referred to. 117 style, consisting of irregular and ill-executed Grecian members, with intermixed globes, triangles, frets, pyramids, obelisks, and other absurd devices, as may be seen on all the ornamental tombs and other works executed in England, between the close of the reign of the last Henry and the early part of the reign of the first Charles, by whose taste and mu- nificence, and the genius of Inigo Jones, true Grecian Architecture was introduced into this island. 118 CHAP. IX. Description of the Three Orders — Periods of their respective duration — Churches, &c., which belong to each of them. From what has been said it will appear that there are three orders of the pointed style, corresponding with the different periods in which they prevailed, each one of which has its proper character and members '^ as much as the five orders of the Grecian style have theirs." It is for professional men, such as the author of the ' Ancient Architecture of England,' who has spent his life in bi- *i It is a mistake in Mr. Payne Knight to assert, as he does in his 'Inquiry,' p. 159, that "if we ask what is meant by pure " Gothic, we can receive no satisfactory answer, as there are no " rules, no proportions, and consequently no definitions of it." ^ Batty Langley attempts to make out five Orders of what he calls Gothic Architecture, to correspond, in number, with the Grecian Orders. But it is to be observed, that this miserable Architect invents all his Orders : they are none of them con- 119 secting our Cathedrals, longitudinally and latitudinally, * and in copying them, from their grand proportions down to their mi- nutest decorations,' to enter into the detail of these with both his pencil and his pen. The chief rule he will have to follow in the performance of the task here pointed out, is that which the writer has scrupulously adhered to in the course of this Treatise, namely to select such architectural speci- mens " for his authorities, as can be demon- forraable to original works in the pointed style. Such, however, as they are, they have served to mislead this nation into a pre- posterous species of Architecture, very prevalent in the villas round the metropolis, called the Gothic, but which ought to be called the fantastic, style. * See that splendid work, which does so much honour to our nation, published by the Society of Antiquaries, ' Plans, Eleva- tions, and Sections, of St. Stephen's Chapel, and of Exeter, Bath, Durham, and Gloucester Cathedrals,' engraved by Mr. Basire, from the drawings of Mr. Carter. ^ See Mr. Carter's ' Specimens of Ancient Sculpture,' likewise his ' Ancient Architecture of England.' In the latter work he is laying the foundations and furnishing the materials for the regu- lar system here suggested. " A great variety of examples, accurately drawn, and ele- gantly engraved, will be found in ' The Architectural Antiqui- ties of Great Britain,' of which two volumes, in quarto, are al- ready published, and which with the accompanying documents 120 St rated to belong to the periods and orders in which he places them. That this task has not yet been performed is ho proof that it cannot be performed. Grecian Architec- ture was long practised before the rules of it were laid down, or the proportions of it discovered. With respect to the present writer, it is sufficient for him to refer to the proofs which he has adduced, that the pointed style of Architecture in this country can be traced up to the reign of Henry I., in 1132, or, at the latest, to the beginning of the reign of Stephen, in 1136, and that its First Order, that of the acute arch, was perfected before the conclusion of the twelfth century, and that this order continued till near the con- clusion of the thirteenth century ; that its Second Order, that of the perfect or equila- teral arch,'' reigned from that period till after would be of the greatest use to the scientific Architect who should undertake the important task here pointed out. " It is not meant that all the arches of the second order are of the proportion in question : it is sufficient that they come near to it- aii'l are all elesiantly turned. 121 the middle of the fifteenth century ; and that the Third Order, that of the obtuse arch, obtained from this time down to the middle of the sixteenth century, when the style itself was exploded, and a great pro- portion of the most beautiful specimens of it were destroyed. We have also remarked that the First Order is characterized during its formation, that is to say, till near the latter part of the twelfth century, chiefly by its acute arch (its pillars and other members being frequently Saxon), but, after its form- ation, not only by the narrowness and acuteness of its arch, but also by its de- tached slender shafts, its groining of sim- ple intersecting ribs, its plain pediments without crockets or side-pinnacles, and its windows, which are either destitute of mullions, or have only a simple bisecting mullion, with a single or a triple trefoil, quatrefoil, or other flower, in the head of them. Of this order are the east end of 122 Canterbury, the west end of Lincoln, and the whole of Sahsbury, Cathedrals, besides the transepts of York Minster and of West- minster Abbey. The Second Order is marked, not only by the due proportion and the fine turn of its arch, but also by the cluster-columns being, for the most part formed out of one and the same stone, for the sake of combining strength with lightness, by the elegant, but not over- crowded, tracery of its windows and groining, by its crocketed pinnacles, tabernacles, and pediments, the latter of which, towards the conclusion of the fourteenth century, were made to humour the sweeping of the arch which they covered. To this order belong the nave of Westminster Abbey, the nave and choir of York Minster, the naves of Winchester, Exeter, and Canterbury, Cathe- drals, Wykeham's two colleges, St. Stephen's Chapel, &c. The Third Order is known, not only by the flatness of the point of its 123 arch, but also by its numerous, large, and low descending windows, together with the multiplicity and intricacy of its tracery, by its pendent capitals, by the profusion of its ornaments on the walls, both exteriorly and interiorly, by its fan-work and countless shields and devices on the ceilings. To this order belong King's College Chapel, the Chapel of Henry VII., those of Prince Ar- thur at Worcester, of Cardinal Beaufort and the Bishops Waynflete and Fox at Win- chester, &c. It will be readily gathered, from the whole of this Treatise which of the three orders the Author himself prefers for religious structures, as best calculated to produce the proper effect of the style ; ' though, doubtless, the impracticability of raising a lofty arch, from want of strength in the supporters or other causes, may some- times render the obtuse arch preferable upon the whole, especially for small chapels. But whichever order of the pointed style is y See Appendix Q. 124 adopted, good taste as strictly requires that their respective members and ornaments should not be blended together, as that Grecian and Pointed Architecture should not be intermixed in the same work. ' * This want of taste is conspicuous in the alterations which have been made of late years in Salisbury Cathedral, where the ornaments of the demolished Beauchamp Chapel, being of the third order of Pointed Architecture, are employed to decorate the chaste and uniform work, in the first order, of the illustrious Prelate who founded the Cathedral and City of Sarum, Richard de Poore. See the Author's ' Dissertation on the Modern Style of altering Ancient Cathedrals.' APPENDIX. [a] It is so called in the ' Account of the Cathedral of Durham,' published by the Society of Antiquaries, which accompanies their magnificent and beautiful plates of that church, engraved by Mr. Basire, from Mr. Carter's drawings. The appellation of English Architecture has draAvn forth certain criticisms on the part of Mr. Whit- tington and others ; but if these writers even had suc- ceeded in proving that the pointed style did not begin in England, as certainly they have not, still, arguing by an- alogy, there would be no impropriety in the term. When we speak of the antiquities discovered at Bath, and exhi- bited and explained by Sir Henry Englefield, ' Archaeolog.' Vol. X., we call them Roman, not that the style of them was invented at Rome, for they are in the Corinthian Or- der, but because they were erected during the Roman dy- nastv in Britain. In like manner we call those Saxon 126 remains which we believe to have been erected during the Heptarchy, not that the Saxons invented the manner of building them, for we know the Saxons were taught to build by the Romans of their age. Why, then, may not that be called English Architecture which began to prevail when the nation became properly denominated English ? [b] The lower porch, however, which was the place for penitents, was shut up interiorly, and thus formed part of the open cloister that was generally in front of the primitive churches. Mr. Whittington, in his late work, supports an opinion, that " the Basilicae, erected by Con- " stantine, like the buildings from which they were copied, " were open at the sides." — ' Hist. Survey,' p. 3. This observation rests upon no other ground than an abserva- tion of Ciampini, that, in the Sessorian Basilic, now the church of the Holy Cross at Rome, the arcades which were heretofore open are filled up with different materials and workmanship from the original building; but could hardly appear otherwise, though they had been stopped up by Constantine, as we make no doubt they were. Had the ancient churches been open on all sides, how could that object of primitive veneration, the altar, have been preserved safe from violation ? How could the sacred mysteries be kept secret from the heathens, in conformity with the canons ? Of what use was the ancient order 127 of Ostiarii, or door-keepers, mentioned by St. Ignatius, in the first century, and St. Cornelius, in the third ? and, indeed, of what use were church-doors themselves ? [c] " Paulinum asserit patrum traditio ecclesiae con- " textum dudum, ut diximus, virgeae ligneo tabulatu indu- " isse, et plumbo, a summo usque deorsum, cooperuisse. " Egit nimium praedicabilis viri solertia ut nihil decede- " ret sanctitati et plurimum accederet ornatui." — Gul. Malm. * Antiq. Glaston.' apud Gale. [d] Venerable Bede, speaking of the above-mentioned church of Lindisfarn, which Bishop Finian had built of oaken planks and covered with reeds, says : — " Episcopus " loci illius, Eadbert, ablata arundine, plumbi laminis " eam totam, hoc est et tectum et ipsos parietes ejus, " cooperire curavit." This happened about the year 700. [e] " In Hr}'pis basilicam polito lapide, a fundamentis in " terra usque ad summum sedificatam, variis columnis et *' porticibus suffUtam in altum erexit et consummavit." — Eddius «Vita S. Wilf.' c. xvii. apud Gale. This writer flourished in the year 720. [f] " Profunditatem ecclesiae (Hagustaldensis) crj'ptis " et oratoriis subterraneis et viarum anfractibus inferius 128 " cum magna industria fundavit. Parieles autem qua- " dratis et variis et bene politis columnis suffultos et " tribus tabulatis distinctos, immensae longitudinis et " altitudinis erexit. Ipsos etiam et capitella columna- " rum quibus sustentantur et arcum sanctuarii historiis " et imaginibus et variis celaturarum figuris ex lapide " prominentibus, et picturarum et colorum grata varie- " tate, mirabilique decore deeoravit. Ipsum quoque " corpus ecclesiae appenticiis et porticibus undique cir- " cumcinxit, quae miro atque inexplicabili artificio per " parietes et cocleas inferius et superius distinxit. — " Denique citra Alpes nullum tale tunc temporis repe- " riri poterat." — Ricard. Prior ' De Stat. Hagust. Ecc' c. iii., ' Twysden X. Script.' " Neque ullam domum " aliam citra Alpes montes talem ( sicut Hagustal- " densem ) aedificatam audivimus." — Eddius ' Vita S. Wilf.' c. xxii. See also Will. Malm. ' De Pontif.' L. III., p. 273. [g] Bede, L. IV., c. ii. " ^Edificia mirabile quantum " expolivit arbitratu quidem multa suo, sed et caementa- " riorum, quos ex Roma spes munificientiae attraxerat, " magisterio." — Will. Malm. De Pontif. L. III. [h] " Architectos sibi mitti petiit qui, juxta morem " Bomanorum ecclesiam de lapide ingenti ipsi facerent." — Bed. L. v., c. xxii. 129 [i] " Sunt autem in eadem villa duae aliae ecclesiae, " una haud procul a muro matris ecclesiae, mirandi " operis, et ipsa scilicet in modum turris erecta et fere " rotunda, a quatuor partibus totidem porticus habens. — " Has tres ecclesias S. Wilfridus incepisse creditur, sed " ejus successor, beatae memoriae, Acca, eas consumma- " vit." — ' Ric. Hagust.' c. iv. [k] " Idem B. Papa (Stephanus III., a. d. 770) fecit " super Basilicam S. Petri turrim, in qua tres posuit " campanas, quae clerum et populum ad officium Dei con- " vocarent." — ' Anastas. Biblioth. in Vita Steph. III.' [l] " Sub medio longitudinis aulae ipsius ( Ecclesiae *' Cantuariensis ) duae erant turres prominentes ultra " ecclesiae alas ; quarum una, quae in austro erat, sub " honore B. Gregorii altare dedicatum habebat, et, in " latere, principale hostium ( ostium ) ecclesiae, quod " Suthdure dicitur. Alia vero turris in aquilonali plaga, " e regione illius, condita fuit in honore B. Martini." — Gervas. Dorob. ' De Combust, et Reparat. Ecc. Dorob.* apud ' Twysden X. Script.' N. B. Gervase in this passage quotes the account of the old church, by Eadmer, who had seen it previously to its being burnt, in the time of Lanfranc. [l*] " Porro Normanni erant tunc et sunt adhuc ves- " tibus, ad invidiam culti, cibis, citra ullam nimietatem, 130 " delicati. Domi ingentia sedificia moliri. Religionis " noniiam usquequaque emortuam adventu suo suscita- " runt. Videas ubique in villis ecclesias, in vicis et ur- " bibus monasteria, novo oedificandi genere, consurgere, " recenti ritu patriam florere, ita ut periise diem quisque " opulentus existimet, quern non aliqua praeclara magnifi- " centia illustret."— Wilhelm. Malmsb. ' De Wilhel. Imo.' L. III. ' De Reg.' p. 102. [n] " Haec ( sanctimonialis Begu) tunc in dormitorio " sororum pausans, audivit subito in aere notum cam- *^ pancB, sonum quo ad orationes excitari vel convocari " solebant cum quis eorum de saeculo fuisset evocatus." ' Bed. Hist.' L. IV. c. xxiii. — N. B. The use of painted glass in England is brought down by modern writers as low as the reign of Henry III. Such may be the era of its being made in England; but it is likely that the use of it is a great deal more ancient, since it was em- ployed in windows at Rome as early as the year 813; in which year Leo III. glazed the church of St. John La- teran with glass of various colours. See ' Fleuiy,' L. XLVL, sec. XX., and his authorities. [o] Upon what authority, then, has Mr. Whittington pronounced the arches of this choir, which the writer had referred to in a foraier work, ' Hist, of Winch.,' Vol. II. p. 152, to be "doubtful instances?" He says, " Perhaps these intersections were not originally pierced." 131 To clear up this doubt, let the choir be first inspected, Without the twenty windows of the intersected arches it would be nearly dark at noon-day. Next, let the work itself be examined. It will be found that the cor- nice from which the pointed arch springs, not only on the surface of the wall, but also through the whole thick- ness of it, is of one and the same construction. Lastly, let the pointed arches at Fig. XX. copied from the south transept of St. Cross, which have no intersecting semi- circles over them, be compared with those of the windows, they will be found to be of exactly the same very singu- lar design and workmanship with them, and therefore are to be pronounced coeval with them, that is to say, as ancient as 1136, at least. With equal inattention to his subject, this writer denies that " the church of St. " Cross is a sort of collection of Architectural essays;" affirming that " it is made up of successive alterations " and repairs." It is for the architectural critic, who surveys the still diversified arches, and columns with their capitals and bases, ribs, mouldings, &c., in the same series, and adjoining to each other, all of them being of characteristical Norman workmanship, to decide whe- ther the author had good reason for his assertion, or Mr. Whittington for his denial. This gentleman's diffi- culties would all have vanished, had he conceived that De Blois finished the choir, and erected the huge columns of the nave, with the side aisles, leaving to Toclyve, or 132 one of his other successors, to raise the upper story and west facade. [p] " Nunc autem quae sit operis utriusque differentia " dicendum est. Pilariorum, igitur, tarn veterum quam " novorum una forma est, una et grossitudo, sed longitudo " dissimilis. Elongati sunt enim pilarii novi longitudine " pedum fere duodecim. In capitellis veteribus opus erat " planum, in no vis sculptura subtilis. Ibi in chori am- " bitu pilarii viginti-duo, hie autem viginti-octo. Ibi ar- " cus et caetera omnia plana utpote sculpta secure et non " scisello, hie in omnibus fere sculptura idonea. Ibi co- " lumna nulla marmorea, hie innumerae. Ibi in circuitu, " extra chorum, fornices planae, hie arcuatae et clavatoe. " Ibi murus super pilarios directus cruces a choro seques- " trabat, hie vero, nullo interstitio, cruces a choro divisae " in unam clavem quae in medio fornicis magnae consistit, " quae quatuor pilariis principalibus innititur, convenire " videntur. Ibi ccelum ligneum egregia pictura decora- " turn, hie fornix ex lapide et tofo levi decenter com- " posita est. Ibi triforium unum, hie duo in choro et '* in ala ecclesiae tertium. Quae omnia visu melius quam " auditu intelligere volenti patebunt." — Gervas. ' De Com- bust. Dorob. Ecc. Twysd.' col. 1302. [q] It cannot be questioned that the primary object of the religious inventors and improvers of ecclesiastical pointed Architecture was to excite awe and devotion, 133 for which purpose they studied sublimity rather than richness, as Mr. Whittington supposes, the latter quality being secondary and quite subservient to the foraier. Hence we cannot prefer the portal of Amiens Cathedral, nor even that of Rheims, which he givps us a plate of, to that of York, or even to that of Lichfield, after all the violence the latter has sustained in a formal siege : we cannot, I say, prefer that of Amiens in consequence of " armies of saints, prophets, martyrs, and angels lining "the door- way, crowding the walls, and swarming round " all the pinnacles." — * Survey,' p. 149. According to this rule, the fa9ade of the church at Wells would be the most beautiful of English cathedrals. For our part, we think that the simplex munditiis of Horace is the rule of all that is beautiful, and that a due proportion, rather than a profusion of statuary and other ornaments, is a recommendation of pointed as well as of other Architec- ture. In the same taste the writer repeatedly extols the church of Amiens for being "all windows," p. 151 and 153, than which, in the opinion of Mr. Burke, nothing can be more injurious to the effect of the sublime. The surveyor of French Architecture dwells with rapture on the size of the French portals, p. 127 ; but surely a door may be too high as well as too low, and few persons of taste would admire a door which, with its ornaments, reaches to a great deal more than half the height of the whole building to which it serves as an entrance, as is the case with his boasted cathedral of Rheims, and still 134 more so with that of Rouen. The neighbouring abbey church of St. Nicaise was, in this particular, as well as in the general appearance of its facade, far preferable to the cathedral at Rheims. The surveyor reproaches the English cathedrals with having only three parallel aisles, whereas some of those in France have five, p. 117. The latter, undoubtedly, had their advantage in the ancient service ; which use, however, the side-chapels in most of our great churches answered better. With respect to effect, it is most certain that more than one aisle on each side of the nave appears to be an ex- crescence, and takes off from the unity of the grand design. It is like having more than two hands or two legs. The French boast of the portal of Rheims, which is far surpassed by that of York, especially in its re- stored state, as Mr. Carter has exhibited it. Again they boast of the choir of Beauvais, to which we oppose that of Lincoln, stripped as the latter has been since the Reformation, and now disgraced as it is by a profane disgusting altar-piece. Lastly, they boast of the nave of Amiens : with this (though seen to so great an advantage in consequence of all the rich and judicious decorations which the late good Bishop La Motte added to it) we hesitate not to compare that of York. LONDON: PRINTED BY JAMES TAVLOn, 119, l-LEtT »TKEKT. TO BE HAD OF JOHN WEALE, at the ARCHITECTURAL LIBRARY, 59, HIGH HOLBORN, THE FOLLOWING WORKS ON THE TUDOK & ELIZABETHAN STYLES : BRIDGEN'S INTERIOR DECORATIONS, DETAILS, and VIEWS of Sefton Church, in Lancashire, erected by the Moly- neux Family, (the ancestors of the present Earl of Sefton,) in the early part of the reign of Henry VIII. The Plates, (34 in number,) display the beautiful style of the Tudor age ,n Details, Ornaments Sections and Views. Etched in a masterly style of art, in folio size. 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Any family desirous of building an eligible country residence, or of improving the condition of the residents on their estates, may know to a certainty what sum will be necessary to apply for the purpose, as the estimates will accompany each design. Tlie work is printed in Two Volumes, large 4to., (including the Supplement — the preceding article,) each volume contains Forty-nine or Fifty Plates. Price 21. Vis. 6d. each volume. Coloured Scenic Views, 12s. extra. Proofs upon India paper, 4/. 4s. each volume. S John Weai.e (Successor to t/ie lute Josi mi Ta\ ton), GRECIAN VILLAS. ATHENIAN or GRECIAN VILLAS; being a series of ori- ginal designs for Villas or Country Residences to exemplify in effect its applicability to Domestic Edifices of this country, and its adaptation in Plan to the modern arrangement of their usual a[)artments. By Edward Jones, Architect. Folio size. Division I. (complete of itself) with Plates. Price 15s. DESIGNS for VILLAS and other RURAL BUILDINGS. By the late Edmund Aikin, Archt. Engraved on 31 Plates, with Plans and Elevations, elegantly coloured and an Introductory Essay, containing Remarks on the prevailing Defects of Modern Architecture, and on the Investigation of the Style best adapted for the Dwellings of the Present Times. Dedicated to the late Thomas Hope, Esq. " Modern Architects profess to imitate antique examples, and do so in rolumns, entablatures, and details, but never in the general effect. Is it that they imitate blindly, and without penetrating into those principles and that system which is superior to the details that guide them? This is a subject which it may be useful and interesting to pui-sue." — Vide Intro- duction, — Second Edition, 4to. Price 1/. I.'.-. COTTAGES AND HOUSES FOR THE PEASANTRY AND FOR EMIGRANTS. ELEMENTARY AND PRACTICAL INSTRUCTIONS ON THE ART OF BUILDING COTTAGP:s AND HOUSES FOR THE HUMBLER CLASSES. An easy method of Constructing Earthen Walls, adapted to the Erec- tion of Dwelling-Houses, Agricultural and other Buildings, surpassing those built of Timber in comfort and stal)ility, and equalling those built of Brick, and at a considerable saving : to which are added, Practical Trea- tises on the Manufacture of Bricks and Lime ; on the Arts of Digging Wells and Draining ; Hearing and Managing a Vegetable Garden ; Ma- nagement of Stock, Sec. For the use of Emigrants ; to tlie better Lodging of the Peasantry of Great Britain and Ireland ; and the Improvement of those Districts to which the benevolence of Landed Proprietors is now directed. By William Wilds, Surveyor. The Work contains — Chapter I. The Art of Constructing Houses and Cottages with Earthen Walls made easy, being intelligible to all classes, and to the most ignorant on building, with Wood-cuts of tools, plans, sections. Sec. II. On Bricks, how they are to be advantageously applied in conjunc- tion with rammed cartli ; rules for selecting the best earth, &c. III. On the Manufacture and Choice of Bricks. IV. On the Properties, Uses, and Manufacture of Lime. V. On Well-digging, Draining, Well-sinking, Sec. ; on Fuel, on Garden- ing, what quantity of Land will keep a Family in culinary Vegetables ; Pork, Eggs, Milk, and Bread Corn ; on the Keeping of Cows, Hogs, Poultry, Bees, and Art of making of Candles, Soap, Storing Fruit, Roots, &c. The whole making a most useful volume in 8vo., with Six Plates and Twenty-seven Wood-cu ts. Price 7s. in boards. A SERIES of DESIGNS for VILLAS and COUNTRY HOUSES ; adapted with Economy to the Comforts and to the Elegancies of Modern Life. 24 Plates, Plans, and Elevations, elegantly coloured. By C. A. Busby, .\rchitect. 4to. Price \Cis. Architectural Library, 59, High Holhorn. Just published, in 1 thick Svo. volume, price 31., a Netv Edition corrected, and with above 100 of the Plates re-engraved, THE encyclop.^i:dia COTTAGE, FARM, AND VILLA ARCHITECTURE AND FURNITURE ; With about 1 100 Pages of Letter-press, and upwards of 2000 beauti- fully executed Wood Engravings, Embracing Designs of Cottages, Farm- Houses, Farmeries, Villas, Country Inns, Public Houses, Parochial Schools, &c. ; including the Interior Finishings and Furniture ; accompanied by Analytical and Critical Remarks, illustrative of the Principles of Architectural Science and Taste on wiiich the Designs for Dwellings are composed, and of Land- scape-Gardening, with reference to their Accompaniments. By J. C. LOUDON, F.L., G., H., and Z.S., Conductor of the Architectural Magazine, &c. Publishing in Monthly %vo. Numbers, Price 25. 6c?. each. No. 6. appear- ing June 1, 1835, and to be completed in 24 Numbers, THE ARBORETUM BRITANNICUM ; OR, THE HARDY TREES OF BRITAIN, NATIVE AND FOREIGN, PICTORIALLY AND BOTANICALLY DELINEATED, AND SCIENTIFICALLY AND POPULARLY DESCRIBED ; WITH THEIR HISTORY, CULTURE, USES, AND EFFECTS IN LANDSCAPE SCENERY. By J. C. LOUDON, F.L., H., and G.S.,&c. Publishing in Monthly Nos. at 2s. each ; No. 16 appearing June 1, 1835. THE ARCHITECTURAL MAGAZINE, AND JOURNAL OF IMPROVEMENT IN ARCHITECTURE, BUILDING, AND FURNISHING, AND IN THE VARIOUS ARTS AND TRADES CONNECTED THEREWITH. Conducted by J. C. LOUDON, F.L., G., Z.S., &c., Author of" The Encyclopmdia of Cottage, Farm, and Villa Architecture and Furniture" ^'c. 10 John Wealk {Surcessor to the late Johiau Taylor), ARCHITECTURAL ANTIQUITIES OF ATHENS AND OF ROME. THE ANTIQUITIES OF ATHENS, ACCURATELY MFASIRF.D AND DELINEATED BY JAMES STUART, F.R.S., F.S.A., and NICHOLAS REVETT, PAINTERS AND ARCHITECTS. This Work contains Three Hundred and Eighty-four Plates, engraved by eminent artists,* and accompanied by Essays, Architectural, Classical, Historical, Explanatory, and Descriptive, elucidating, by a research of many years' arduous labour and great expense, the purest examples of Grecian Architecture, many of which no longer exist, and the traces of them are to be found only in this elegant and elaborate publication. The re-issue of this magnificent Woriv, to be completed in Eighty Parts, at 5s. each, commenced on May 1, and will be continued with as niucli rapidity as a due attention to careful workmanship will permit ; it will form Four Folio Volumes. Any Part may be procured separately. THE ARCHITECTURAL ANTIQUITIES OF ROME, ACCURATELY MEASURED AND DELINEATED BY ANTOINE DESGODETZ, Architect Royal to the King of France, and Professor of Architecture in the Royal Academy of the Fine Arts at Paris. THE TEXT TRANSLATED AND THE PLATES ENGRAVED BY GEORGE MARSHALL, Architect. This Work contains One Hundred and Thirty-seven folio Plates ; the subjects are selected from the most esteemed specimens of Roman archi- tectural magnificence, with Descriptions and Explanations. The re-issue will be completed in Twenty-one Parts, at 5s. each, forming Two Folio Volumes. The original price was Ten Guineas. Foreigners have remarked tliat those great undertakings of a public character, whether for tiie advancement of tiie Fine Arts or of the useful Sciences, whether of splendour or of utility, wliether for the attainment of commercial advantages or for promoting the interests of philanthropy, — which in other realms are either regal or national, — in England owe their origin, their completion, and their permanent support, to the munificence, to the enterprise, or to the benevolence of private individuals. Perhaps this observation has in no instance been so fully exemplified as in tlie plan, the commencement, the persevering support, and the successful completion of the magnificent publication which now solicits the reader's attention. ATTICA.— The UNEDITED ANTIQUITIES of ATTICA. By the Society of Dilettanti. Comprising the Architectural Remains of Eleusis, Rhamnus, Sunium, and Tlioricus. 78 very fine plates, royal folio, neat in cloth boards and lettered. Price 3/. 3s. * The Artists are Aliamet, Basire, Baxter, Blake, Couse, Dadley, Davis, Four- drinier, Grin^nion, Hall, Harding, Landseer, Lerpiniere, Lowry, Mazell, Medland, Moses, Newton, Ricord, Hooker, Sharp, Skelton, Smith, Stothard, K. A., Strang'e, Taylor, Tlionilhwaite. Turrell, \\'al!u'r. Woollett, fic. SiC. Architectural Library, 59, High Holborn. 1 1 THE VITRUVIUS BRITANNICUS. Under the Patronage of, and Dedicated by Permission to, her INIost Gracious Majesty, The Queen. The Third Part of this National Work is ready for Publication, being the History of HARDWICK HALL, A Seat belonging to His Grace the Duke of De\ onshire : explaining by a Plan, and Geometrical Elevations, drawn and figured from actual measurement, the detail of this tine Elizabethan building. The Work will be accompanied bv Scenic Views of the principal Apartments, and a Per- spective View of the Exterior, with an Historical Account of the Building. Printed on imperial folio ; tlie Plates elaborately engraved by Shaw, and got up under tlie superintendence of P. F. Robinson, Architect, F.S.A. and F.G.S., and Vice-President of the Institute of British Architects : author of a work on Rural Architecture ; an Essay on the Age of Meikle- ham Cluirch, in Surrey ; a Series of Designs for ornamental Villas ; Designs for Farm Buildings , Village Architecture ; and a Series of Designs for Park Entrances, Gate Lodges, &c. Price, to Subscribei-s, iil. 3s. ; India Proofs, ol. as. The Fii-st and Second Parts of this Work, being tlie History of Woburn Abbey and of Hatfield House, may be had. SUPPLEMENTARY VOLUME TO THE ANTIQUITIES OF ATHENS. BY R. C. COCKERELL, Esq., &c. ANTIQUITIES OF ATHENS, AND OTHER PLACES IN GREECE, SICILY, &c. Supplementary to the Antiquities of Athens by James Stuart, F.R.S., F.S.A., and Nicholas Revett, delineated and illustrated by C. R. CocKERELL, A.R.A., F.S.A. , W. Kinnard, T. L. Donaldson, W. Jen- kins, and W. Railton, Architects. Imperial folio, uniform with the ori- ginal edition of Stuart and Revett, and the Dilettanti Works. Very dnely printed, and with numerous beautiful Plates of Plans, Elevations, Sections, Views, Ornaments, , 2 vols, plates, folio, 10/. lOs. Kinnards Antiquities at Athens and Delos, /)/<7fe<, folio, 1/. Is. large paper, 1/. 16*. Le Koi, Ruines de la Grece, plates, folio, 21. I2s. 6d. Leakes (Col.) Researches in Greece, plates, 4to., 3/. 3s. Journal in Asia Minor, plates, 8vo., 18s. 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