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THE GENTLEMAN'S MAGAZINE 
 LIBRARY. 
 
The Gentleman' s Magazine Library 
 
 Sacred and Mediaeval 
 Architecture 
 
 A Classified Collection of the Chief Contents 
 of " The Gentleman's Magazine " from 
 1731-1868 
 
 ILdited by 
 
 George Laurence Gomme 
 
 Volume One 
 
 London 
 
 Elliot Stock, 62 Paternoster Row 
 1890 
 
\ 
 
 / 
 
ARCHITECTURAL ANTIQUITIES. 
 
PREFACE. 
 
 HE cry against the senseless waste of money spent in destroying 
 
 old buildings was begun years ago, as the papers in this 
 volume sufficiently attest. They were printed in the Gentleman's 
 Magazine anonymously, under the signature, "An Architect"; but it 
 was an open secret, if not from the beginning, at all events towards 
 the conclusion of the series, that they were by the well-known 
 antiquary and architect, John Carter. The authorship was after 
 his death announced publicly (1817, ii. 363). There is much in 
 these articles that offend the taste of the modern reader, and the 
 author had certainly not attained a high proficiency in the language 
 of his native country. A very considerable portion of them has 
 been omitted in this reprint, and I fear some will think that the 
 pruning-knife could have been more vigorously used. But I have 
 sought to preserve as much of the style in which the articles were 
 written as space would allow, so that the sense in which we may take 
 the facts which are recorded may be to some extent determined by the 
 disposition of the writer. It has been extremely difficult to do this 
 without at the same time printing a great deal that could be spared. 
 However, I think no true architectural antiquary will regret having 
 in a handy form for reference these honest attempts at reforming Eng- 
 lish taste and feeling about our ancient monuments. The details are 
 extremely important, because they consist of descriptions written from 
 actual surveys of the various buildings, and in many cases, as recorded 
 in the notes, the hand of the restorer has been at work again upon these 
 buildings, and spoilt much that existed at the beginning of the century. 
 
 There is no need to give here anything like an exhaustive 
 introduction to the series of papers presented in this volume. 
 
vi 
 
 Preface. 
 
 Architectural antiquities have been studied since Carter's time to a 
 greater degree, perhaps, than any other branch of archaeology ; and 
 it is not improbable that these papers produced the first impetus 
 towards the desire of preserving our ancient monuments. It is 
 dreadful to think of the miserable destruction that has taken place ; 
 and the record of destruction that has been averted is very 
 great. If any monuments may be considered as national, surely 
 our churches stand out as the very first to come under this designa- 
 tion ; and yet they seem to be the sport of every fancy and whim 
 that man can devise. The inhabitants of St. Albans do not really 
 appreciate or sanction by their approval the proceedings in their 
 once noble cathedral church, and the nation at large have, or at least 
 had, as great an interest in such a building as the St. Albans people. 
 But neither the local nor the national authority seems to have the 
 power of stopping the work. Sir John Lubbock has done immense 
 service, after years of disappointment and refusal, in getting the 
 Legislature to do something to protect ancient monuments; but 
 churches are unfortunately outside the scope of the Ancient 
 Monuments Act. On the Continent these things are managed very 
 differently, and it might perhaps not be altogether a dream of the 
 future to induce the Crown to grant a commission of inquiry into the 
 best and most practical way of preserving what is left of our ancient 
 monuments. I can think of no better argument for such a course 
 than the contents of this volume. 
 
 Readers will, of course, be careful against accepting too implicitly 
 the theories put forward by Mr. Carter. The statements as to fact, 
 I think, may be relied upon. On the question of "Saxon" 
 architecture there are many statements which the researches of later 
 times have corrected, and the list of Saxon buildings given in 
 Parker's " Glossary " will be a guide to check the statements in this 
 volume. But it is important to bear in mind Carter's own definition 
 of what he considered to be "Saxon." He employed the term as 
 Saxon in character rather than as in date. For instance, he says in 
 1810, part i., p. 130, answering a critic: "As for the cathedrals of 
 Durham and Norwich, I have nowhere said they were erected before 
 the Conquest; but merely termed them Saxon works, as being 
 designed after that manner ; at least those particular parts of walls 
 still bearing evident marks of such peculiarities. I call, for instance, 
 the chapel in the keep of the Tower of London a Saxon piece of 
 architecture, by way of distinction, as presenting many of its strongest 
 
Preface. 
 
 vii 
 
 features, though we all know this chapel was constructed by Bishop 
 Gundulph in Henry I.'s reign. Is it not a general observation when 
 a building is raised in our own time to say it is either Grecian 
 (example, east front of Covent Garden Theatre) or Roman (example, 
 east front Covent Church), etc. ?" 
 
 There is some sense in this argument, and there is certainly 
 method, though it is not now the accepted one. Carter was a self- 
 educated man, and was very obstinate in the view he took of 
 " English " antiquities, as opposed to anything foreign. Still, his 
 work was admirable of its kind, and I do not hesitate to claim for 
 this reprint the attention of those interested in architectural and 
 particularly church archaeology. 
 
 Saxon, as used by Carter in the following pages, corresponds in 
 nearly all cases to what is now termed Norman, and early English in 
 some cases includes not only transition from Norman to first-pointed, 
 but also the bar-tracery period. Norman he professes to use (see p. 
 125) for the mode of architecture of which the pointed arch is the 
 grand characteristic, i.e. to use it for early English, as nowadays 
 Norman is confined to the round arch period almost entirely. 
 
 The spelling and phraseology of the author has at all times been 
 followed. 
 
 Of the author, John Carter, there is an admirable account in the 
 " National Biography," and these articles are particularly alluded to 
 as being among his most important works. He died in 181 7, and as 
 the biographical notices in the Gentleman 's Magazine contain some 
 useful information in addition to that readily obtainable from Mr. 
 Leslie Stephen's great work, it is thought well to reprint them as an 
 addendum to this preface. 
 
 [1817, Part /., pp. 363-368.] 
 
 Mr. John Carter was born June 22, 1748. He was the son of 
 Benjamin Carter, who resided in Piccadilly, and followed the 
 profession of a sculptor, in which he attained to a considerable 
 degree of eminence, many of the principal chimney-pieces and 
 monuments of the then day having issued from his house. He was 
 placed at an early age at a boarding-school at Battersea, where his 
 genius began to unfold itself in practising music on the English 
 flute, and making attempts at drawing. From thence he was re- 
 moved to another in Kermington Lane, where, in the interval of 
 school hours, he followed his favourite pursuits. This he quitted 
 about the year 1760, and went home to his father, under whose roof 
 
viii 
 
 Preface. 
 
 he prosecuted the art of design, making working drawings for the 
 men, and indulging, as his leisure afforded him an opportunity, his 
 passion for music. 
 
 His father dying about the year 1763, he was left, at the age of 
 fifteen, unprotected and void of all support, to choose his own 
 course of life. He did not long hesitate, but fixed his mind upon 
 architecture; and in the year 1764 entered upon his antiquarian 
 labours by drawing the ruins of The Herald's Tower in Windsor 
 Castle, with which his voluminous and valuable sketches, from that 
 period to the year 1816 inclusive, commence. 
 
 About this time Mr. Jos. Dixon, surveyor and mason, of St. Alban's 
 Street (who executed the mason's work of Blackfriars Bridge, built 
 that at Exeter, etc.), made proposals to him to study under his 
 instruction, till he came of age, at a liberal salary, which kind offer 
 he accepted, and remained with him for some years. 
 
 In 1768 he began to make drawings for Mr. Henry Holland, the 
 eldest son of Mr. Richard Holland, bricklayer, of Halfmoon Street, 
 Piccadilly, which connection continued for many years, his engage- 
 ments with Mr. Dixon not preventing his employing his leisure 
 hours for the service of others. In 1774 he engaged to execute 
 drawings for a periodical work, the Builder's Magazine, edited by 
 Mr. Newbery, bookseller, in St. Paul's Churchyard, which he 
 regularly assisted with his talents till its completion in 1786, and 
 which contained a series of 185 engravings on all kinds of architec- 
 tural subjects. 
 
 The year 1780 was memorable for his having been then first 
 employed by the Society of Antiquaries to draw and etch some 
 subjects. To their patronage he had been introduced by the Rev. 
 Dr. Lort, from whom he received very considerable attention during 
 the remainder of his life. This year, likewise, he drew for Richard 
 Gough, Esq., his subsequent great patron, the west front of Croyland 
 Abbey Church and numerous other subjects, which are interspersed 
 in " The Sepulchral Monuments " and other works of that gentleman. 
 
 The following year, 1781, brought him acquainted with John 
 Soane, Esq., the architect to the bank ; his great friend, the Rev. 
 Dr. Milner, who about that time left the College of Douay, in 
 France, together with his associate in studies, John Kemble, Esq., 
 and returned to England ; and his eminent and learned patrons, Sir 
 Henry Charles Englefield, Richard Bull, Esq., and the Hon. Horace 
 Walpole, afterwards Lord Orford (to whose notice he was introduced 
 by Mr. Bull). He had also previous to this time received consider- 
 able patronage from Dr. Ducarel, William Seward, Esq., and Thomas 
 Barrett, Esq., of Leigh, near Canterbury, the two latter of whom 
 continued their friendship with him during their lives. 
 
 Encouraged by the flattering attention and recommendation of so 
 many eminent and learned men, Mr. Carter was induced to enter 
 
Preface. 
 
 ix 
 
 upon his first great work, " Specimens of Ancient Sculpture and 
 Painting," the first volume of which he dedicated to Lord Orford ; 
 an occurrence about that time— the discovery of a statue in West- 
 minster Hall, upon taking down the old stairs leading to the 
 Exchequer, of which, together with other sculptures about the Hall, 
 he had an intention of publishing an etching — having given him the 
 idea of commencing a work illustrative of the ancient sculpture and 
 painting of this kingdom. In this work Mr. Carter received much 
 valuable assistance from several eminent antiquaries, and particularly 
 from Mr. Gough, both in compiling and revising the descriptions of 
 his plates, in the course of which no less than ten articles were 
 written expressly for it by that distinguished antiquary. 
 
 In the year 1782 he was employed by Wm. Bray, Esq., F.A.S., the 
 now worthy treasurer, from whom he received great countenance and 
 recommendation, and always remained on the most friendly terms. 
 
 During the year 1783 he was engaged by the Earl of Exeter to 
 copy some paintings in water-colours, The Spanish Royal Family 
 (contemporary with James I.), and some of the Nobility at the late 
 Lord Grantham's, Whitehall. This nobleman (to whom he had 
 permission to dedicate the second volume of his " Specimens of 
 Ancient Sculpture and Painting," which he finished in 1794, and 
 which completed that work) proved a liberal patron to him. At the 
 exhibition of the Royal Academy in the spring of 1786, Mr. Carter 
 exhibited his splendid drawing, the design for the frontispiece of his 
 first volume of " Ancient Sculpture and Painting." 
 
 Among his chief patrons we may also recount that eminent 
 encourager of the fine arts, Sir Richard Colt Hoare, Bart., and 
 Thomas Lister Parker, Esq. Sir Richard has, perhaps, the largest 
 collection of finished drawings that Mr. Carter ever made for one 
 person ; and a curious collection of drawings of English dresses was 
 made expressly for Mr. Parker. 
 
 In the course of the year 1786 he commenced publishing a second 
 work, consisting of small etchings, of " Views of Ancient Buildings in 
 England." This work is comprised in six volumes, duodecimo, and 
 was intended by Mr. Carter, not only as a pocket companion to the 
 antiquary, but likewise as an index to his valuable and extensive 
 collection of sketches. 
 
 Having brought his "Specimens of Ancient Sculpture and 
 Painting " to a close in the year 1794, he the following year began a 
 new one of great importance and magnitude, " The Ancient Archi- 
 tecture of England," the first volume of which he lived to finish. 
 
 We have now to recount the very elaborate, faithful, and beautiful 
 drawings executed by him of St. Stephen's Chapel, the Abbey Church 
 of Bath, and the cathedrals of Exeter, Durham, and Gloucester for 
 the Society of Antiquaries, and which were afterwards published by 
 them. 
 
X 
 
 Preface, 
 
 The drawings of the Abbey Church of St. Alban's, made by Mr. 
 Carter for Mr. Gough, and presented by him to the Society of 
 Antiquaries, by whom they were subsequently published, swell a list 
 of works so numerous, and yet so highly delicate in design and 
 execution, as could hardly be considered capable of being executed 
 by the pencil of one man. Yet another set of numerous highly- 
 finished drawings, with descriptions, of York Minster crown his 
 industrious career in this line of his profession. 
 
 As an architect in the ancient English style, his designs were 
 carried into effect, amongst others, in the following works : A small 
 oratory, with appropriate decorations, for James Moore, Esq., F.A.S., 
 about the years 1794, 1795. Also a ver y ric ^ monument and 
 chimney-piece for Trench Chiswell, Esq. In the year 1800 he was 
 employed at Oatlands in certain parts of the exterior of the house 
 and in a chimney-piece. A few years afterwards he made a design 
 of four almshouses, afterwards erected at Wrotham, in Kent. The 
 great west window at Exeter Cathedral, executed by Coade, about 
 eight or nine years ago, under Mr. Soane, was from designs made by 
 Mr. Carter. And a chapel now completing near Sevenoaks, in Kent, 
 is likewise from his pencil, the very curious roof of which, in part 
 framed under his immediate inspection, exhibits a genuine specimen 
 of the ancient mode of framing timber work. 
 
 Music, which was the delight of his youth, was the companion of 
 his maturer years and the solace of his age; and, although almost a 
 self-taught musician, his compositions were very interesting and con- 
 siderable. He had likewise exhibited early in life a dramatic taste, 
 which he seemed to have imbibed from his maternal grandfather, 
 John Jameson, a Lancaster man, who had written a variety of 
 dramatic pieces, novels, etc. Being thus disposed, he had in his 
 younger days written several little pieces, which he had set to music, 
 and this turn of mind growing with his strength, he continued his 
 compositions, and set portions of Shakespeare's plays to music. He 
 likewise wrote an ode on the death of Richard II., to which he 
 composed the music. But his chefs d'oeuvre in this line were two 
 operas, founded upon the history, ancient manners and customs of 
 this country, "The White Rose" and "The Cell of St. Oswald," 
 which he not only wrote, but set to music, and painted the scenery 
 adapted to them, which he exhibited upon a small stage. And even 
 in the latter part of his life he appears to have advanced far in the 
 writing and composition of a third opera, illustrative of ancient 
 manners not introduced in his former productions. 
 
 [1818, Part I., pp. 273-276.] 
 
 The following additional particulars of our late worthy correspon- 
 dent are chiefly extracted from the New Monthly Magazine : 
 
 His education was very inferior even to what, in the time that he 
 
Preface. 
 
 xi 
 
 was educated, might have been given to qualify him for those pursuits 
 in which he subsequently engaged. He knew no language but his 
 own, and never could read or explain any inscription or epitaph that 
 was not written in English. This threw him into a very unpleasant 
 state of dependence in his subsequent pursuits, and was the cause of 
 much uneasiness to him in the course of his life. 
 
 I was told by himself that in early life he had been occasionally 
 employed by Dixon and Holland ; and since his death I have 
 information from a person who knew him forty years ago in the 
 employment of Mr. Wyatt, superintending the workmen in the 
 buildings upon which that gentleman was engaged. At that time 
 Carter was reckoned an odd, close man, and supposed to have saved 
 some money. There can be no doubt that this was the occupation 
 by which he supported himself ; and I know, from his own mouth, 
 that all his leisure time was employed in examining and drawing 
 Westminster Abbey and all its parts under every point of view. For 
 many years he cultivated the acquaintance of every person who was 
 employed about that building : was intimate with all the inferior 
 officers, and respectfully attentive to the superiors and dignitaries, 
 who, seeing him continually about the place, investigated his talents, 
 and finally introduced him to the world of antiquaries, by whom he 
 was afterwards employed and patronized. 
 
 I learned from himself that the first money he earned as a draughts- 
 man was by making drawings for booksellers : besides other things, 
 he made all the designs for the Builder's Magazine, of which work 
 he told me the following anecdote : 
 
 When it was determined to build a new Sessions House on 
 Clerkenwell Green instead of the old Hicks's Hall, the persons in 
 authority advertised for designs, and promised to adopt that which 
 should be approved of. Carter sent in a design, which was rejected 
 for reasons which were to him the cause of singular mortification. 
 He had in the Builder's Magazifie inserted a design for a new sessions 
 house ; this design was copied by some person from the magazine, 
 offered to the county, accepted, and is the design for that building 
 which is now standing on Clerkenwell Green. Those who possess 
 the book may ascertain their identity by comparison ; the magazine 
 was published before the house was built, so that there is complete 
 evidence that an artist of talents had his design for a building of con- 
 sequence rejected in favour of a design that was likewise his own, 
 but which had been either artfully or luckily borrowed from an 
 existing publication, without acknowledgment, by some person, who 
 thus obtained all the credit and emolument, while the real inventor 
 never received more than two or three guineas for his design. As the 
 evidence is complete, and the fact incontrovertible, I have much 
 pleasure in mentioning the Sessions House on Clerkenwell Green as 
 a farther proof of Carter's talents as an architect. 
 
xii 
 
 Preface. 
 
 As booksellers in those days were not accustomed to pay such 
 sums for the work of artists as are now paid by their successors, I 
 shall mention the circumstance which, Carter told me, first induced 
 him to project his " Specimens of Ancient Sculpture, Architecture," 
 etc., which was the first public step he made towards that eminence 
 he afterwards acquired in his peculiar department. 
 
 He was employed to make a drawing or drawings for a bookseller, 
 for which he expected to receive five or six guineas ; he carried it 
 home, the man examined, approved, and laid it aside ; but threw him 
 down a single guinea, and told him that was all he could give him for 
 it. This treatment enraged poor Carter so much that he vowed he 
 would never do anything more for a bookseller, but get into some- 
 thing that would set him above the power of such people. He then 
 projected his "Specimens of Ancient Sculpture, Painting," etc. ; and, 
 as it did not consist with his finances to employ engravers, he applied 
 himself to etching, and acquired so much power as enabled him to 
 execute that work. 
 
 His talents as a draughtsman were quite equal to that part of the 
 work ; but he could not draw up the descriptions to his own satisfac- 
 tion, and therefore solicited the assistance of gentlemen whose know- 
 ledge enabled them to perform the task in a way that greatly enhanced 
 the value of the works. This placed him in situations that first con- 
 verted some of his friends into enemies, and procured for him the 
 character of a quarrelsome man ; and as a knowledge of the facts 
 may afford useful cautions to others, I shall mention some of them. 
 
 In the choir of Westminster Abbey was, at that time, a whole- 
 length portrait of Richard II. which is believed to be authentic. 
 Carter made a finished drawing from this picture, and engraved it to 
 be inserted in his " Specimens," etc. A gentleman agreed to purchase 
 
 this drawing, and in consequence the plate was inscribed to , 
 
 Esq., from the drawing in his possession. Whether this honour 
 satisfied the gentleman, or whether more money was asked for the 
 drawing than he chose to give, I know not ; but after the plate was 
 published he refused to take the drawing, which remained in Carter's 
 hands. 
 
 Soon afterwards Harding, a printseller, undertook to publish a 
 collection of the most authentic portraits that he could procure of 
 Shakespeare's characters, or of persons mentioned in or connected 
 with Shakespeare's plays. The inscription upon Carter's plate led 
 
 him to ask Mr. 's permission to engrave the head of Richard II. 
 
 from the drawing in his possession. The permission was graciously 
 granted ; but he was told it would answer the same purpose, and 
 save the trouble of bringing the drawing to town, if he made his 
 drawing from the book, which was lent him for that purpose. Carter, 
 seeing his plate so unceremoniously copied, sued Harding for the 
 piracy ; this led to an explanation, from which it evidently appeared 
 
Preface. 
 
 xiii 
 
 that Harding was not to blame — because the gentleman, when 
 applied to, did not choose to acknowledge that he had not a right to 
 grant what was asked of him ; and, when the fact was discovered, 
 very dictatorially required that, because he had chosen to do this, 
 and in consequence of occasionally purchasing some of Carter's 
 works, called himself his patron, he should abandon his suit. This 
 he refused ; Harding made the best compromise that he could, and 
 Carter lost his patron, who, to save his own credit, told the story as 
 much to the artist's disadvantage as he could make it appear. 
 
 A needy author collected some scraps of information upon a 
 particular subject from various books ; and by the help of wide 
 printing, large paper, and without leave copying one of Carter's most 
 curious plates, constructed a book which he chose to sell for a guinea, 
 although the original matter it contained would not have produced 
 the odd shilling. Our artist, knowing that the author was not worth 
 powder, sued the bookseller, who, having no defence, suffered judg- 
 ment to go by default, and was compelled to pay such damages as 
 compensated for the injury sustained. These and some other 
 circumstances of less notoriety induced persons who found they could 
 not make free with his property with impunity to misrepresent his 
 motives and his actions, when his only object was to enjoy unmolested 
 that which his industry had acquired. 
 
 Of the trouble and expense it cost him to execute this work, none 
 but his confidential acquaintance can judge. I shall mention one 
 fact among others that I know, and which will convey some idea of 
 them. 
 
 He learned that the Corporation of Lynn-Regis, in Norfolk, 
 possessed a valuable cup, that was given to them by King John at 
 the same time that he granted their charter. Conceiving that this 
 would be a desirable article for his work, he procured some introduc- 
 tions, and went down to make a drawing from it. The Corporation 
 at that time could not comprehend the motives which should induce 
 a stranger to go so far only to take a picture, as they called it ; they 
 probably suspected that he intended to steal, or otherwise injure 
 their palladium, and abruptly refused the permission required. After 
 repeated applications, however, they consented — but on condition 
 that he should be confined to a room in company with a person 
 chosen by themselves, but paid by him, whose business was to see 
 that no improper liberties were taken with the valuable cup ; and 
 under these circumstances he actually made that drawing from which 
 he engraved the plate that is in the "Specimens of Sculpture," etc. 
 
 He expended considerable sums on other occasions to obtain 
 materials for that work, the value of which was greatly increased by 
 the written contributions of his antiquarian friends ; but as these 
 (except what he received from one person) were gratuitous, it was 
 necessary to wait their leisure before he could receive them. This, 
 
xiv 
 
 Preface. 
 
 and other circumstances, not necessary to mention, induced him to 
 terminate that work when two volumes were complete, and begin the 
 "Specimens of Ancient Architecture," which is entirely his own. 
 
 Those who remember the stage when Garrick and Smith performed 
 Macbeth, and Barry Othello, dressed in the laced scarlet uniforms of 
 the generals of that day, may justly estimate the extent of the improve- 
 ments that have been made in every department of the dresses and 
 decorations that are now used in theatrical representations, and for 
 the greater part of which we are indebted to the exertions of Mr. 
 Kemble. When that gentleman was engaged upon those subjects, 
 he consulted Carter, who readily gave the information that was asked 
 of him ; and, if it had been possible to comply with his suggestions, 
 he would have willingly dedicated his whole time gratuitously to 
 render the representations of all our old plays what he called perfect 
 in point of scenery and dresses ; his notion was that every play, 
 particularly those of Shakespeare, should have scenes exactly 
 representing all the places and dresses in every particular adapted to 
 each of the characters, which should be kept sacred to the play and 
 character intended, and not to make shift, as he called it, by shuffling 
 dresses and scenes backward and forward from one play to another, 
 and thus never truly representing any. However desirable such a 
 scheme, if executed, might be in some respects, it is easy to perceive 
 that in practice it would be impossible without abandoning all just 
 ideas of economy which should pervade all threatrical as well as all 
 other transactions. Mr. Kemble received what information was 
 communicated, and made that use of it which he thought proper. 
 Raymond, the late manager of Drury Lane, consulted him upon the 
 same subjects, and with the same success. 
 
 Mr. A. C. Bickley has compiled the notes and index to this 
 volume. I am greatly indebted to Mr. T. J. Micklethwaite for his 
 kindness in looking through the sheets and for many notes which he 
 supplied thereon for my guidance and use. 
 
 G. L. GOMME. 
 
 Barnes Common, S.W., 
 8 May, 1890. 
 
ARCHITECTURAL INNO VA TION. 
 
 VOL. X. 
 
ARCHITECTURAL INNOVATION. 
 
 [1798, Part II., pp. 764-765-] 
 
 IT having been a matter of admiration to those who venerate the 
 ancient arts of this kingdom, when informed that such or such 
 a work of antiquity had been preserved from destruction by judicious 
 repairs, or by the discerning protection of some guardian of his 
 country's historical landmarks ; it is, therefore, no less necessary to 
 point out for their abhorrence the knowledge of those remains of our 
 country's ancient splendour which may, from time to time, give way 
 to the iron hand of architectural innovation.* 
 
 Peterborough. 
 
 The gate of entrance into the close before the west front of this 
 cathedral is a noble performance of the Saxon and Norman styles of 
 architecture. By the latter, I would have it understood that species 
 where the pointed arch is the leading feature, and which has too long 
 been disgraced by the barbarous name of Gothic architecture. This 
 gate has lately been repaired, and the upper part decorated with the 
 ridiculous ideas of a country mason, who has, in this farrago of 
 architecture, set at defiance all the beautiful models around him. 
 On the right hand from this gate is a fine and curious range of ancient 
 buildings extending to the church. Here the rage of architectural 
 innovation and improvement has spread its devastating and disgust- 
 ing hand. The first building adjoining to the gate has partaken of 
 the same ignorant decorations ; and the last building abutting against 
 the cathedral has been entirely destroyed. It is rather now an 
 unpleasant task to say it was a very rich, a very charming piece of 
 ancient art ; and, what is of more real consequence, that it was a 
 protecting kind of buttress to the west end of the church. It is with 
 me a general remark, that all our ancient structures (I confine my- 
 
 [* The notes of this section are arranged as Note I, in alphabetical order under 
 the name of each of the buildings mentioned.] 
 
 I 2 
 
4 
 
 Architectural Innovation. 
 
 self at present to our cathedrals) in their walls, columns, etc., have a 
 tendency towards their western extremity. Now, considering this 
 serious circumstance, how will those who are real antiquaries feel 
 themselves affected when I inform them that there is actually at this 
 moment an idea afloat at Peterborough of taking away that most 
 superb piece of work called the singing-school, which now stands 
 between the centre arch of the cathedral ? This design has, in my 
 memory, been always looked on with delight, and its situation rather 
 approved of, as in some measure hiding the seeming defect (as it 
 may appear to our eyes in the eighteenth century) of the middle 
 arch of the three gigantic ones which form the west front of this 
 splendid edifice. 
 
 My opinion is, that this singing-school was placed in its present 
 situation by our ancestors for wise purposes ; and, independent of 
 its original use and fine workmanship, I think it is now a protecting 
 and uniting band to this part of the cathedral. 
 
 I will not presume entirely to raise a warning voice, but anxiously 
 hope that at Peterborough Cathedral architectural innovation has 
 done its worst. 
 
 London. 
 
 It may hardly be worth the attention of antiquaries, after having 
 led them to contemplate on such a wonderful structure as the above 
 cathedra], to inform them that that pleasing and delicate oriel window, 
 which decorated Grocers' Hall, has given way to architectural inno- 
 vation ; its matchless masonry lying among the common rubbish of 
 the hall itself. A modern edifice is now raising on its site after the 
 design of Mr. Leverton. 
 
 Under what innovating name can we term the cause that has 
 removed the London Stone, in Cannon Street, the awful informant of 
 the antiquity of this town, some yards more to the east of the church ? 
 It has been often called the symbol of this great city's quiet state, 
 from its being always believed to be " fixed to its everlasting seat." 
 
 I intend occasionally to give information of the pursuits of archi- 
 tectural innovation. 
 
 Peterborough. [See ante^ p. 3.] 
 
 [1798, Part II., pp. 824-825.] 
 
 As I have pointed out the danger that might accrue to the cathe- 
 dral, in case any attempt should be made to destroy the beautiful 
 chapel placed within the centre arch of the west front, it may be 
 farther necessary to adduce any fresh ideas which may arise towards 
 the protection of this august fabric. 
 
 It has been already observed, that the centre arch is of less dimen- 
 sions in width than the two side ones. This circumstance con- 
 sidered, it must be allowed that it has a greater pressure than its 
 opening can be supposed reasonably to bear ; add to this, two vast 
 
Hereford. — Maidstone. 
 
 5 
 
 towers flanking the side arches, all contributing to press towards the 
 centre. The practice of our day in architecture is to make the centre 
 opening of a range of arches, etc., of a superior size to the side open- 
 ing, as we witness in bridges, colonnades, porticos, etc. Now, suppos- 
 ing that, after the completion of this west front, the piers on each 
 side the centre arch had given signs of being insufficient to bear off 
 the adjoining parts of the building, and that it was thought expedient 
 to raise an interior uniting arch within it, decorated in the beautiful 
 manner we now behold it. Allowing but for an instant this propo- 
 sition, let the reverend guardians of this wonderful pile be cautious 
 how they attend to any professional advice from surveyors or masons 
 towards the annihilating this beautiful uniting band, this architec- 
 tural protection to the west end of this superb cathedral. 
 
 Hereford [1784]. 
 
 I now recall to memory some circumstances which preceded the 
 destruction of the west end of the cathedral in this city. On viewing 
 the west end, I noticed that the north-west angle of it appeared in a 
 dangerous state, as several large fractures were apparent in many 
 places. On expressing my apprehensions for the safety of the build- 
 ing, I was shown what had lately been done for preserving it from 
 any danger that might happen from such appearances. I was shown 
 a prodigious pile of masonry which had been raised against the 
 inside walls of the above-mentioned angle. This business, I plainly 
 observed, looked to me a palpable design to throw down the fabric, 
 not to protect it. And my prediction was but too soon verified. 
 
 Maidstone [1798]. 
 
 The collegiate church is a fine specimen of the architecture of the 
 fourteenth century ; Courtney, Archbishop of Canterbury, being the 
 founder thereof, and of the college adjoining. On the south side of 
 the choir, near the altar, are the three stalls' 55 ' for the priests, of a very 
 rich and noble design ; but they are much disfigured by some con- 
 temptible modern monuments placed against them ; however, the 
 side next the south aisle is partly entire, and presents many large 
 paintings. Whatever might have been the finishing of the building 
 overhead, either with groined arches or opened enriched woodwork, 
 they are either destroyed, or are now hid by common flat plastered 
 ceilings. Sorry I am to observe, that the inhabitants who frequent 
 some of our finest ancient churches wish for the same innovating 
 system to take place with them also. 
 
 Of the college there are still considerable remains. The grand 
 gate of entrance. In styling our ancient gateways grand, I hold 
 them in competition with the triumphant gateways or arches of 
 * See the " Archseologia," vol. x., p. 261. 
 
6 
 
 Architectural Innovation. 
 
 Greece and Rome ; and, in some future number of these pursuits, I 
 shall bring to the notice of the public gates of entrance upon as 
 splendid and magnificent a scale as any of those foreign works that 
 have so long been the theme and admiration of Englishmen, blind to 
 the noble remains of our architectural splendour. From this gate^of 
 entrance there is a range of buildings extending to the river, and 
 thence continuing to the south, at the boundary of which are some 
 remains of another gate of entrance corresponding with the gate 
 above-mentioned. While standing in the space between the college 
 and the church, and admiring the interesting and noble scene, my 
 satisfaction was much damped by noticing that part of the range of 
 the college building was at that moment used as lofts for drying 
 hops in. 
 
 Rochester [1798]. 
 
 The decent state of the cathedral, in regard to cleanliness, is 
 highly praiseworthy. Of the state of the religious establishment, that 
 can hardly be recognised ; no harmonious choir to 
 
 " Dissolve me into ecstasies, 
 And bring all heav'n before mine eyes." 
 
 A new screen at entering into the choir now meets the eye— a 
 poverty-struck imitation of the ancient pointed arch-work. Here 
 pointed arches and tracery are merely punched out; drops, crochets^ 
 finials, barely hinted, without any of their fine forms or beautiful 
 relief; none of the delightful, the incomprehensible, under-cut dis- 
 play of ornamental ideas in the soffuts of the canopies of the niches ; 
 none of the deep-shadowed infinity of mouldings. No ; the magic 
 charm of ancient workmanship is wanting ; and why ? Because the 
 inclination to adhere religiously to the ancient manner is wanting ; 
 a proud opinion of superior knowledge and taste pervades in general 
 all who at any time give designs in what they call the Gothic manner. 
 This is their universal opinion, that the ancient works of architecture 
 in this country are very well ; but we can, in this refined age of arts, 
 improve upon their style, and render perfect what they have left so 
 full of imperfections. Can that style be imperfect, the works of 
 which have stood the test of ages ? Can that taste be improved 
 which fills the soul of those who contemplate on its indescribable 
 system with such enthusiastic delight ? 
 
 Peterborough. [See ante, pp. 3, 4.] 
 [1798, Part II, pp. 926-927.] 
 
 In mentioning that the gate of entrance into the close of the 
 cathedral had been modernized, I should have previously remarked 
 that a late worthy dean (who now fills the episcopal chair in an 
 eastern part of the kingdom) did me the honour to consult me 
 about restoring the two monuments of Queen Catharine, wife of 
 
Peterborough. — Gloucester. 
 
 7 
 
 Henry VIIL, and the unfortunate Mary Queen of Scots, they having 
 been removed by his predecessor from each side of the choir to make 
 room for two common plain iron gates. The fragments of these 
 tombs were then before us in his garden, composing the front of a 
 summer-house. Discoursing on the several beauties of the cathedral 
 and the surrounding buildings, he mentioned that the Corporation 
 had strongly solicited for leave to pull down the above gate, that 
 they might have a more open view of the cathedral, and concluded 
 with these emphatic words : " So high a veneration do I entertain 
 for this noble piece of antiquity, that before they pull it down they 
 shall have my head." His highly-merited removal prevented the 
 proposed restoration of the two monuments, and afforded opportunity 
 for architectural innovation to put this gate into the degraded state 
 we now behold it. 
 
 Some few readers may be surprised at the concern which I express 
 for the preservation of the antiquities of this kingdom, which a 
 renegade antiquary lately told me in public were but " a parcel of 
 old walls and trumpery"! I presume to profess myself a real 
 antiquary ; and, in conformity to that character, I venerate the history 
 of my country ; I venerate the names of the great, the warlike, 
 and the good of former times ; I venerate those astonishing, those 
 magnificent fabrics, those enchanting monumental memorials, which 
 they have left behind them as proofs of their enlightened genius and 
 skill ! Thus far as an antiquary ; but, as an artist, who from my 
 earliest years have been in the habit of constantly admiring their 
 sublime performances, in critically surveying and minutely copying of 
 them, I cannot but feel in the most sensible degree any innovation 
 made in their arrangement, or any destruction made on their several 
 parts. And however weak my efforts may be in the task which I 
 have undertaken to point out to the public the pursuits of architectural 
 innovation, and to stay its iron hand, yet I am confident my efforts 
 will not be entirely in vain. In this consideration I shall continue to 
 bring forward the observations which I have made in various parts of 
 the kingdom to this purpose. 
 
 Gloucester [1796]. 
 
 During the civil wars in the last century those communion-tables 
 and their decorations, which had been set up after the reign of 
 Henry VIIL, were everywhere destroyed. At the Reformation new 
 communion-tables and screens were erected in the Roman and 
 Grecian styles, then the rage for church decorations ; and which we 
 still witness, not alone at the altars, but in the stalls, etc., etc. This 
 style we may without the least hesitation term entirely inconsistent 
 with the pointed arched work of the structures wherein they are 
 placed, and their screens hide many an exquisite ancient altar-screen, 
 as at Westminster Abbey, Winchester and Gloucester Cathedrals. 
 
s 
 
 Architectural Innovation, 
 
 This last fabric has a very fine altar-screen hid by the intrusion of a 
 Corinthian screen. Behind these two screens is room sufficient to 
 admit a person between them. I descended, and was astonished at 
 its enrichments. In its centre is a large compartment; and, on con- 
 sidering its form, and comparing its dimensions with that very curious, 
 interesting, and, in some instances, extremely beautiful, ancient 
 picture of the Last Judgement, now in the gallery on the east side of 
 the south transept, I judged that it might not be improbable but that 
 it once contained this picture as a principal embellishment to its 
 general design. 
 
 I cannot but lament an incautious custom prevailing in this church, 
 which at every music meeting is the means of mutilating the enrich- 
 ments of the east walls of the transepts. The several benches for 
 the accommodation of the company attending the meeting are stored 
 up in the galleries above, and at that time are let down by cords, 
 which in their descent and ascent necessarily beat against the walls, 
 whereby the pavement becomes strewed with the fragments of small 
 statues, niches, and other fine remains of ancient art. How different 
 are the sensations of men ! While I with pain and regret witnessed 
 the havoc, others present (and belonging to the church too) expressed 
 no more concern than if those walls had been but common ones of 
 flints and rubble ! 
 
 The oak tomb and statue of Robert Curthoise, Duke of Nor- 
 mandy, and eldest son of William the Conqueror, now in a small 
 chapel on the north side of the choir, was, a few years back, standing 
 in the centre of the choir, the honourable situation for monuments 
 and tombs of royal personages, as we see in Westminster Abbey, 
 Winchester and Worcester Cathedrals. In the latter structure an 
 attempt has lately been made to remove the tomb of King John from 
 the centre of the choir, upon the frivolous pretence that it was a 
 modern tomb, and that the king was not buried there; notwith- 
 standing the evidence of the fashion of the tomb, the dress of the 
 statue, of history, and of tradition, told the contrary; yet the under- 
 takers of this business, being under the influence of architectural 
 innovation, began the attack, but were soon convinced, by finding the 
 royal remains, that architectural innovation may proceed too far. 
 
 But to return to Gloucester. On the left side of the arch of the 
 south porch a shield has been restored, as it is called. The original 
 shield has on it the ancient arms of England, quartered with fleurs- 
 de-lis and lions. Here the improving or innovating hand of pro- 
 fessional men is most curiously displayed, not only by giving a new 
 form to the shield, but by transposing the lions into the first and 
 fourth quarters, and the fleurs-de-lis into the second and third 
 quarters. 
 
 I cannot quit this sublime pile without hinting that repairs are 
 absolutely necessary for the magnificent east window ; it should not 
 
Gloucester. — Canterbury. 
 
 9 
 
 be neglected, as its design is of such magnitude and splendour. It 
 extends the width of the choir, and rises from the pavement to the 
 top of the groins ; and is the only example, I believe, of the kind in 
 the kingdom. Its dimensions are 40 feet in width, and 84 feet in 
 height. But here, I doubt, my admonition will be fruitless, as I 
 recollect hearing one of the highest dignitaries of the church observe 
 that there was not any revenue appropriated for the repair of the 
 cathedral. 
 
 By-the-bye, those liberal benefactors to this building, who lately 
 expended such great sums for the accommodation of those who 
 perambulate its various aisles, by new paving it in every part, should 
 be informed of the dangerous state of this charming specimen of 
 ancient masonry. Their beneficent hands would surely be farther 
 extended by having immediately this window repaired in a proper, 
 substantial, and workmanlike manner. 
 
 Canterbury [1798]. 
 
 [1798, Part JL, pp. 1026-1027.] 
 
 In the cathedral the fine monument of Archbishop Warham has 
 lately been beautified ; an ominous term to the ears of an antiquary ! 
 the literal meaning of which is the whitewashing, painting, pewing, 
 mutilating, and altering the several parts and arrangements of our 
 ancient churches. In the above monument, this modernizing system 
 has much transformed it. The tomb, whereon lay the statue of the 
 archbishop, stood with its head abutting against the west end within 
 the monument, leaving sufficient room not only for a pass from a 
 door on its north side, which gave admittance from adjoining 
 buildings, but for a small altar at the east end, some of its appen- 
 dages remaining, as the basin for the holy water, niches for the 
 utensils of the altar, vestige of the table, etc. Now this door and 
 the altar appendages have been obliterated, and the statue and tomb 
 moved into the centre of the monument, leaving an equal space on 
 each side. Here, they say, they have improved the design of the 
 monument, by making the several parts more uniform. Allowing 
 this pretence, yet have they not in this innovation destroyed a link 
 of the history of this cathedral ? 
 
 If the improvers of our ancient works wish to show their superior 
 excellence, let them confine their genius to some situation uncon- 
 nected with the performances of our ancient artists ; then will the 
 admirers of each have their favourite objects before their eyes ; the 
 former with all the refinements of modern taste, and the latter 
 with all the enchantments of ancient enthusiasm. 
 
 The statue of the archbishop is of the finest sculpture, and in 
 good preservation. When it was first recommended to my notice by 
 a learned and pious sub-dean of this cathedral (since dead*) for the 
 
 * Dr. Berkeley. 
 
IO 
 
 A rchitectural Innovation. 
 
 noble and benign cast of the features, and which, he observed, was a 
 peculiar satisfaction to him to point out to strangers, we repined that 
 some rude hand had damaged the point of the nose. At his request 
 I took a very particular drawing of the profile. But how great was 
 my surprise and mortification in witnessing this autumn that the 
 improvers of this monument had been so particular as to descend 
 to the poor archbishop's very nose. For, instead of the beautiful 
 prominent sweep I at first witnessed with so much pleasure, I now 
 saw with contempt a new nose, after the improved manner, I suppose, 
 for its sweep was inverted ; in short, unlike anything that Nature 
 ever formed. 
 
 Turning from this (I call it) despoiled monument, I observed that 
 much work in repairs had been done about the structure ; and what 
 deserves particular praise is, that it was performed in the strictest 
 attention to the original work ; for example, the great windows of the 
 two south transepts, the stalls in the chapter-house, and in other 
 objects of less note. Nor must I withhold mentioning the nice 
 order that every part of the church and cloisters are now kept in, 
 and in particular the undercroft, that yet magnificent scene, if 
 numerous aisles and columns, if rich monuments and delicate screens, 
 can make it so ; if the recollection, that the very chapel that held the 
 gorgeous shrine of St. Thomas a Becket is still remaining, can charm 
 the admirers of the history of former times ; the mind so interested 
 will now find this undercroft in a clean, decent state, and not, as I 
 saw it in 1785, a receptacle for all kind of filth and rubbish. 
 
 St. Augustine's monastery, if we may judge from the remnants of it 
 still suffered to exist, must have been one of the most splendid in the 
 kingdom. St. Ethelbert's Tower has, on its west aspect, so exces- 
 sively rich a profusion of Saxon ornaments that no description can 
 give an adequate idea of its several parts. To an English artist, 
 fraught with the just admiration of the ancient architecture of his 
 country, the grand gate of entrance into this monastery is an object 
 of triumph. Why have the minds of Englishmen for these two 
 centuries been deluded to imitate the Roman and Grecian styles ? 
 What features have their boasted remains that we cannot parallel ? 
 For the extensiveness of their edifices, their grandeur, their elegance, 
 their enrichments, view our cathedrals and other attendant buildings. 
 Is any one excellence that architecture boasts to be sought for in vain 
 in our own country ? No, we may here find them all ; we may in 
 this charming gate, now brought to public notice, find the very 
 perfection of the art. It appears to have been erected in the glorious 
 reign of Edward III., famed alike for honour, arms, and architecture, 
 when the heroic Edward fought, and the venerated William of 
 Wykeham erected his various royal and religious structures. 
 
 This gate, that claims all our attention, has an extensiveness of 
 dimensions, elegance of design, and a profusion of enrichments. 
 
Canterbury. 
 
 Yet, stay ; thus it appears to me, by comparing it with objects of 
 every kind of architectural description ; and I may aimost say with 
 me alone, or why see this gate neglected, unrepaired ? Why see the 
 grand chamber over the entrance turned into a cock-pit ? Why see 
 it made a mark for boys and idle persons to throw stones at? Why 
 do I reflect that its owner, who is of an ancient stock (whose feelings 
 should be otherwise), suffers all this ? Aye, and more ; for the 
 adjoining buildings are the receptacle for the profligate of the city. 
 Here one chapel is turned into a tennis-court, another into lofts for 
 drying of hops. So great has been the depredations committed on 
 this once hallowed spot since the reign of Henry VIII., that only a 
 part of the wall of the north aisle of the nave of the church of the 
 monastery is to be met with. Nay, so furious is the zeal for 
 annihilating here the guides of history and the treasure of antiquaries, 
 that the famous relic mass of stones that stood near St. Ethelbert's 
 tower has lately, at much expense, been demolished — and for no one 
 purpose, for no kind of use has been, or will be, made of the spot 
 where it stood, being but an out-yard to the infirmary newly erected 
 within the site of the monastery. 
 
 It is on record that in 1765 the owner of the remains of St. 
 Augustine's monastery set about to demolish the whole of them, but 
 was persuaded by admonitions from abroad to desist j a severe 
 reflection on those at home, that strangers should be more sensible 
 of the beauties of these buildings than those who had the constant 
 opportunity to view and admire them. 
 
 May these exquisite specimens of our ancient art meet with that 
 attention and veneration they so highly merit ! And may the present 
 possessor, by driving away the hordes that infest its walls, and by 
 paying a just attention, in point of repairs, to this grand gate of 
 entrance, convince the world that he is not unworthy of the name 
 and fortune he inherits, or of the long train of ancestry from whence 
 he sprung ! 
 
 [1798, Part II,, pp. 1104-1106.] 
 
 The curious and uncommon gate of entrance into the monastery 
 of the Blackfriers, which stood on the east side of the High Street 
 and near West Gate (see vol. vi. of " Etchings of Small Views of 
 Antient Buildings in England "), has given way to the innovating 
 system for improving (as it is called) our cities and towns ; a system 
 which will soon level to the ground all these species of remains of 
 ancient architectural splendour ; which surely, in the minds of those 
 who affect to love their country, should be venerated, and meet with 
 their warmest protection ; instead of which, a more than barbarous 
 joy seems to possess the souls of these innovators at this (unfor- 
 tunately for the world) innovating day. 
 
 I was informed that the two gates, West Gate and St. George's Gate, 
 
A rchitectural Innovation. 
 
 situated at each extremity of the city, with that excessive rich gate 
 of entrance into the close of the cathedral, are but for a very short 
 date; their long-admired forms and enrichments will soon be no 
 more. 
 
 I perceived the extensive remains of the castle are degraded and 
 almost hid from the public eye by an infinity of huts and warehouses ; 
 indeed, they almost occupy the whole area of the castle. 
 
 In 1785 I took much notice of the famous Roman arch in the 
 walls which surround the castle. It was at that time permitted to 
 remain, from the exertions and influence of a worthy inhabitant of 
 the city.* But now the memory of it only exists. A prodigious gap 
 is made in that part of the wall where it was inserted for modern con- 
 venience, and to show to the people (as is here given out) how well 
 the city would appear if the whole wonderful range of wall (yet 
 encircling it round) were done away. 
 
 Thus are the antiquities of the kingdom wantonly destroyed, which 
 stand at the mercy of interested and illiterate mechanics. Our 
 cathedrals and parochial churches may indeed (from their being 
 needful for performing divine service in) stand a better chance of not 
 being entirely demolished ; though the iron hand of architectural 
 innovation is lifted against them, and only waits the nod of some 
 patron of such pursuits to continue their transformation and their 
 dilapidations. 
 
 Winchester [1789]. 
 
 The cathedral, though it remains at this day (with little alteration) 
 as it was left after the reign of Henry VIII., yet the neglect and con- 
 tempt shown for its sacred walls is most glaringly manifest. In 
 surveying this cathedral, I was struck with the idea that it appeared 
 in the same state as a building soon expected to be taken down to 
 make way for a new erection ; or, at least, to be entirely new 
 modelled and modernized. Therefore, repairs of any kind to the 
 present humiliated and suffering church would be altogether useless. 
 
 At the west front I remarked that the parapet of the gallery over 
 the three grand porches was in a most ruinated state, many parts of 
 it having fallen into the gallery. I might mention the dangerous 
 state of the whole front, but shall now decline the particular descrip- 
 tion till a future opportunity, when I may be enabled to give a more 
 minute account of its damaged parts, and what absolute repairs are 
 wanting. 
 
 On the north side of the nave I everywhere saw broken pinnacles, 
 architraves, and mullions of the windows"; innumerable quarries of 
 the glass were wanting — all together presenting a scene of general 
 devastation. The appearance of the west front of the north transept 
 
 * Mr. Friend, since deceased. 
 
Winchester. 
 
 13 
 
 is really disgraceful : here is an entrance into the transept,* which is 
 converted into a receptacle for all kind of rubbish ; a modern con- 
 venience usually to be met with in some part or other of our religious 
 structures. 
 
 It is impossible to command the indignation raised by viewing the 
 groins over the exquisite monumental chapel of Cardinal Beaufort, 
 which are left in such a miserable state that the rain often deluges 
 this wonderful object. Nay, so little is it respected, that prodigious 
 quantities of its broken minute parts are thrown by as so much 
 rubbish. Are the revenues for the repair of this cathedral, like those 
 of Gloucester Cathedral, wanting ? I cannot pursue my observations 
 on this structure any farther. The recollection of the general 
 debased appearance of the whole pile fills my mind with unpleasant 
 reflections, which if communicated, some readers might conclude 
 that I was actuated in my dissertations by motives not con- 
 sistent with a " Christian antiquary " and an artist. However, I 
 cannot forbear quoting a paragraph from the Rev. Mr. Milner's 
 learned and interesting " History of Winchester " (just published), as 
 a necessary conclusion to this number : 
 
 " Whilst our eyes are yet feasting on the beauties of this unrivalled 
 screen (the high altar of the cathedral), it is proper to mention that 
 proposals have been made to demolish it, together with the oratories 
 behind it, in order to lengthen the choir with the disproportioned 
 aisles of the east end, in the manner that has been so absurdly done 
 in Salisbury Cathedral, f If any consideration could console us for 
 the weak and tottering state of the whole east end of the church, 
 from the tower to the extremity, it is that it will not admit of the 
 removal of this stay against the inward pressure of the walls and 
 buttresses without falling in ruins upon the heads of its presumptuous 
 violators." 
 
 [1799, Parti., pp. 27-28.] 
 
 Our ancestors, from their constant attendance to the religious 
 ceremonies celebrated in our cathedrals and other churches, from 
 their witnessing the splendour of the various objects which they 
 presented of superb monumental chapels and tombs ; statues, basso- 
 relievos, paintings on glass, board, and on the walls ; the rich 
 embroidery of tapestry ; the shining pavement of high-wrought grave- 
 stones and brasses ; the infinity of burning tapers ; from their 
 listening to the melting sounds of the harmonious minstrels ; from 
 thus, by turns, having every noble and divine passion of the soul 
 raised to the highest pitch of rapture ; it was no wonder that those 
 
 * See a specimen of the architecture of this transept, built by Bishop Wakelin, 
 in No. V. of "The Ancient Architecture of England." 
 
 t See Mr. Milner's dissertation on the transformation of the inside of Salisbury 
 Cathedral, reviewed in p. 1057. 
 
Architectural Innovation. 
 
 who had passed their lives in courts and camps should seek the 
 cloister, there to end their bright career. We find that most, if not 
 all, our monumental chapels and tombs were erected by the very 
 persons, in their lifetime, whose memory they were intended to 
 commemorate after death ; and we likewise know that they used to 
 pass much of their time in these chapels in prayer and devout 
 meditation. 
 
 Our ancestors, thus so delightfully attached to this last object of 
 all their worldly happiness, and ever witnessing the profound venera- 
 tion and respect paid to these repositories of mortality, became so 
 familiarised to the name of death that they met the awful hour with 
 fortitude and resignation. So much did this holy fervour possess 
 their souls, that we find many noble and royal personages, in their 
 dying moments, desired as their last request to be carried into the 
 church, where, before the high altar, and during the office of divine 
 worship, they breathed their last sigh amid heavenly sounds and 
 pious prayers. 
 
 Whatever terms may now be affixed to the customs and manners 
 of former times, they cannot do away with this conviction, and which 
 the heart of everyone must own, that to " depart in peace " from this 
 world is the constant attendant wish of all. But these ideas cannot 
 be brought about by contemplating at this day our neglected religious 
 structures and their cemeteries. We there (too often) hear the 
 service mumbled over in a hasty and careless manner \ we notice in 
 many instances the vestments of the clergy in a condition that 
 creates the mirth and pity of the congregation. The churches them- 
 selves we find, in general, are unaired, covered with dust and rubbish, 
 the weather suffered to invade their sacred walls at all points ; that 
 thousands, I believe, from an opinion that militates against the 
 healthfulness of the structures, are prevented from attending to their 
 duty. We behold the monuments defiled, mutilated, and used for 
 the most ignoble purposes — the graves violated — and we are informed 
 that the bodies are taken up and used in a way Nature shudders to 
 think on. And do we not continually hear of some sacrilegious act or 
 other committed on the noblest works of our ancient architecture, 
 to make way for an innovating false taste obtruded on their ruins ? a 
 false and barbarous taste, which these essays have dared to drag 
 before the public for their discountenance and abhorrence. 
 
 These reflections induce me to bring before the reader's attention 
 the collegiate church of 
 
 Howden, Yorkshire [1790]. 
 
 This church is one of the first class of enriched work of our 
 ancient pointed arched style of architecture ; and those parts which 
 remain in a kind of perfect state are the nave (used as a parish 
 
Howden, Yorkshire. 
 
 15 
 
 church) and the great tower, dividing it from the choir. This choir 
 is now a ruin ; its exterior walls are partly standing, and its eastern 
 end presents one of the most regular and beautiful designs that this 
 kingdom can boast of. It is filled with enriched buttresses, windows, 
 grounds, niches, statues, compartments, pinsels, etc. ; and which 
 are so happily disposed that the mind is at a loss which to admire 
 most, the skill of the architect, or that noble patron whose discern- 
 ment gave him the opportunity of showing the power of his enlightened 
 genius. 
 
 Must I say that this eminent example of ancient skill is left 
 unprotected, left to fall, when a few trifling repairs would insure its 
 existence for many years ? The chapter-house is also a ruin, though 
 great part of its walls are remaining ; and an inhabitant informed me 
 that in his memory this chapter-house was in a very perfect state. 
 
 I here must own that, although I have seen most of our celebrated 
 chapter-houses which have hitherto escaped the iron hand of 
 architectural innovation, I cannot but positively assert that the 
 chapter-house of Howden, when perfect, must have been the very 
 essence of them all; and notwithstanding the inexhaustible display 
 of ancient art which is introduced over the entire face of the design, 
 as well on the outer parts as on those within, yet they are arranged 
 in so judicious a manner, and varied with that magic skill, that no 
 description can do its extraordinary merits justice, nor can any 
 description convey sufficient marks of censure against those who 
 have so insensibly left this charming object to perish. 
 
 In the ruins of the south aisle of the choir are some vestiges of 
 a chapel belonging to the Saltmasses. Here, among rubbish and 
 weeds, are yet to be noticed one monument and two tombs belonging 
 to the ancestors of this family. On the tombs are some remarkable 
 statues finely sculptured ; two of them are knights armed and cross- 
 legged ; and a third, a female in the same attitude. 
 
 From commenting on these scenes my foregoing strictures are but 
 too well warranted; and the more so, as it may be observed that 
 descendants of the Saltmasses are still living, and living in this part 
 of the country in affluence. It was but a very short time before I 
 witnessed this unhallowed spot that a relative had been interred 
 without any mark or memorial to point out the awful repository. In 
 short, the whole appeared a shocking example of modern inattention, 
 and neglect to the sacred remains of mortality ! 
 
 Westminster. 
 
 [1799, Part Z, pp. 92-94.] 
 
 Since the reign of Henry VIII. every dilapidation committed on 
 our ancient structures, and every neglect shown for their necessary 
 
i6 
 
 Architectural Innovation. 
 
 repairs, whereby they were suffered to fall into ruins, may justly be 
 considered as arising from this cause, architectural innovation. A love 
 of novelty, and an unfeeling contempt shown for our sacred works of 
 antiquity, which have been stigmatized with the barbarous name of 
 Gothic, is the cause whereby the Roman and Grecian styles of 
 architecture have been introduced into every line of building since 
 that period, both public and private. Therefore, the admiration that 
 has been conjured up in support of such styles has necessarily turned 
 the genius of Englishmen from their national architecture, to toil in 
 an inglorious and servile pursuit to imitate a foreign manner. Thus 
 infatuated, they advise the destruction and alteration of edifices 
 which it should be their height of ambition to protect and imitate. 
 
 Hence we, who profess ourselves real antiquaries, and lovers 
 of our country's former architectural glory, are constrained every- 
 where to witness those devastating scenes, and those transformations 
 wrought on our finest ancient works; and are continually forced to 
 exclaim, in bitter reproaches, against the ruthless, savage, and 
 interested pursuits of architectural innovation. Some attempts 
 have been made of late years to introduce a mode of architecture, 
 under a title which is truly significant: the enlightened designers 
 call it Gothic architecture, a sort of taste which just glances at our 
 ancient pointed arched style, and catches much from the Chinese 
 manner, but abounds most with their own ideas. We behold this 
 farrago of architecture, in various parts of the kingdom, set up in a 
 kind of mock triumph in several new buildings, and set up in a way 
 that is to be seriously deplored; I mean, where such ideas have been 
 intruded into our ancient beautiful remains. I shall mention but 
 one instance at present, and that very superficially, as I mean to take 
 soon an opportunity to comment on it more at large. The instance, 
 therefore, is the facades or fronts of the two courts of justice in 
 Westminster Hall! Thus is one of the most august and extensive 
 rooms in the world rendered mean and contemptible, and its 
 royal walls curtailed of much of its surprising dimensions. 
 
 How interesting, how truly sublime, would be the effect, if these 
 fronts were removed, and two noble apartments erected beyond the 
 south wall of the hall, for the purposes of national justice, and which 
 might be seen through the arches under the range of those fine 
 statues above of our ancient sovereigns — the whole work to be executed 
 in strict conformity to the architecture of the hall! Then, indeed, 
 might we boast of the sublimity of one of our national architectural 
 glories. 
 
 We hear of new erections on foot called "Gothic abbeys," and 
 which, as they are announced, will rival all the works of antiquity; and, 
 although there is to be a place which is to be called a choir, yet that 
 part we usually assign for the communion-table is to be placed west- 
 ward; but not a word of side-aisles, the body of the church, or 
 
Beverley Minster, Yorkshire. 
 
 17 
 
 transepts. To be sure, the figure of a cross, exemplified on the 
 transepts, and the original and universal eastern situation of the 
 altar, are but the superstitious plans and arrangements of the idle 
 and ignorant religious in former ages, usually termed by our literati 
 "the dark ages;" yet, by some unaccountable means, they contrived 
 to construct those buildings which we wrong-sighted antiquaries 
 presume to praise and defend. 
 
 To pursue our modern inventors of new styles of architecture, we 
 find every kind of novelty introduced among their ideas; and we are 
 told, with the utmost assurance, that it is our ancient national style, 
 "revived and improved," and "designed after a new manner."* 
 
 How these contradictions are to be reconciled, we are yet to 
 learn ; and either the patrons, or the workers in these strange mines 
 of inconsistencies, must clear the dust of antiquity from the eyes of 
 us its admirers; or else we must conclude innovation, baleful innova- 
 tion, guides their architectural pursuits. 
 
 Beverley Minster, Yorkshire [1790]. 
 
 This superb structure in its general appearance much resembles 
 our Abbey Church of Westminster, though its dimensions are not so 
 extensive; yet the profuse display of enrichments seen on every part, 
 and the perfect state of every object, make it a far more gratifying 
 scene of ancient splendour than our venerable and national sepulchre 
 of royal and noble characters. For, the truly ridiculous jumble of 
 Roman and Grecian decorations intruded on the upper parts of its 
 towers by Sir Christopher Wren, which performances evince how 
 much that architect despised his country's native architecture, makes 
 us turn our eye from those towers with disgust and regret. 
 
 The church of Beverley has not escaped those invidious marks of 
 contempt; -for we find the great tower in the body of the fabric 
 terminated with an ogee octangular dome, having on each face a 
 circular window. This departure from the work of the building is 
 only to be accounted for by making its architect, the late Lord 
 Burlington,! a worthy follower of the high fame of Sir Christopher. 
 His lordship's skill in Roman and Grecian architecture is not con- 
 fined to the exterior of this church; for we notice between the arches 
 of the side-aisles of the nave, pews and galleries according to their 
 rules. The screen entering into the choir is a performance since his 
 lordship's day ; it is in the new and improved style of Gothic, and 
 contains, notwithstanding, excellent statues, but dressed according to 
 the fancy, or, as it is called, taste, of our modern sculptors, though 
 
 * See Langley's " Gothic Architecture designed after a New Manner," exempli- 
 fied in various elevations. 
 
 + The ^information of his lordship's name I received from the people of the 
 place. 
 
 VOL. X. 2 
 
i8 
 
 Architectural Innovation. 
 
 these statues were intended by the donors to represent some illus- 
 trious characters of former times. 
 
 To speak of the original decorations of this church yet permitted 
 to occupy their appropriate, and, no doubt, dear-purchased situation, 
 is that first of models of ancient monuments,* wherein every effort 
 that sculpture and masonry could combine are displayed in one great 
 excellence. Here the divine forms of heavenly beings shine resplen- 
 dent before us. The august figures of Edward III., Queen Philippa 
 his consort, Edward the Black Prince, and other dignified characters, 
 are everywhere portrayed. An infinity of basso-relievos and orna- 
 mental enrichments are profusely displayed over every part of the 
 monument. The excessive admiration excited by this national 
 honour cannot be described; and we have only to observe that it 
 was executed in the zenith of our pointed arched style's highest glory, 
 the glorious days of Edward III. It was raised to the memory of a 
 Lady Percy. Adjoining is a small chapel belonging to the same 
 name, in which is a fine altar tomb of the family.t 
 
 Although these monuments and chapel are in a tolerable state of 
 preservation, yet, as some indispensable repairs (trifling in themselves 
 with regard to expenditure) were found necessary to protect them 
 from decay, application was made to a noble descendant, whose open 
 hand and hospitable doors are now the theme of public praise ; yet, 
 by some (we must suppose) informal method of proceeding, the 
 application passed unheeded ! 
 
 To soften the feelings of us antiquaries, we may call to recollection 
 the public spirit, the ever-to-be venerated noble mind, % of that 
 individual, who some years back, left for the repair of this pile a 
 yearly income of considerable amount, and which is entirely 
 expended during the course of the year on various repairs and other 
 works necessary for so extensive a building. 
 
 Nor let us pass by the magic efforts of that wonderful man,§ who, 
 by his knowledge in mechanical powers, raised the whole of the front 
 of the north transept to its original situation, which before hung four 
 feet beyond its perpendicular position, and endangered the safety of 
 the whole pile. 
 
 These are the architectural pursuits demanding the applause of all, 
 but, in particular, from us who have the preservation of our ancient 
 structures so much at heart. Here we may awhile indulge our 
 antiquarian pleasures, awhile forget those ruthless devastations which 
 have so often embittered our studies, for which the contemplative 
 mind of those who revere the history of their country, and who 
 abhor innovation in whatever shape it may appear, are naturally 
 formed. 
 
 * See Gough's " Sepulchral Monuments," vol. ii. t Ibid. 
 
 X I cannot call to recollection this benefactor's name. 
 § William Thornton, 1739. 
 
Beverley Minster, Yorkshire. 
 
 19 
 
 [1799, Part /., pp. 189-191.] 
 
 However strange the assertion may appear, yet it is too true, that 
 the study of music at this day is confined to a very few, except those 
 who follow it professionally. In the last century it was far otherwise; 
 for we are informed* that it was as customary after meals to bring 
 the music books to the table, for the use of the ladies and gentle- 
 men^ as it is now to bring the bottles and the cards ! How fashion 
 changes the tide of our enjoyments! 
 
 I am not ashamed to own that I am an humble performer, and an 
 enraptured admirer of harmonious sounds, such as Purcel raised or 
 Handel created; therefore, it has ever been my particular object 
 to notice every representation left us of our ancient musical 
 memorials; from which observations I have drawn this conclusion : 
 that, if we allow our ancestors to have excelled in the display of 
 their enlightened genius, so wonderfully manifested in our ancient 
 structures, that they must have had every accompanying object in the 
 same high style of excellence; for it would be most unjust and most 
 ungrateful in us antiquaries to suppose that they were deficient in 
 every other science than those of architecture and sculpture, because 
 at this day we have hardly any other remains of their bright efforts to 
 decide from. Therefore, to elucidate the subject under discussion, 
 divine music, I have observed that, from the various carvings of 
 musical instruments, the ancient service of the Church must have been 
 celebrated in every way adequate to the magnificence of the building ; 
 I mean here to be understood as appertaining to the musical depart- 
 ment. For the upper parts of their compositions I found trumpets, 
 pipes, flutes, cruths, or fiddles; for the middle parts, viols, theorbs, 
 larger flutes, etc. ; for the bass parts, double flutes, sackbuts, bass 
 trumpets, and twisted horns or serpents. Of those instruments by 
 which the full harmony or chords were given, were the harp of all 
 sizes and forms, dulcimers, the regalls or small organs, and the large 
 organs ; and for giving the grand uniting effect of the whole band, 
 were tamborines, double drums, etc. 
 
 From such a number and variety of musical instruments, can we 
 suppose that they were used in a way derogatory to the general 
 knowledge shown in every other embellishment made use of in our 
 ancient scenes of pomp and magnificence? Why do I ask this 
 question? Has it not been the general opinion, that our charming 
 ancient structures were barbarous Gothic works; that our ancestors 
 were savage, and without any taste for what is called the fine arts ; 
 and that they were entirely ignorant of the art of the composition of 
 music in parts? 
 
 I have lived to see part of the veil torn from the dark mind of pre- 
 * See Sir John Hawkins's " History of Music." 
 
 f Corresponded by the various paintings of conversation-pieces of that time. 
 
20 
 
 Architectural Innovation. 
 
 judice, which had so long overshadowed the native beauties of our 
 ancient structures ; and I may yet live to see the time when our 
 ancestors may be allowed to have had the same refined taste to bring 
 to perfection all the elegances of life as is presumed to be the case at 
 the present day. 
 
 As no assertions bring conviction without proofs, I shall describe 
 the several musical instruments which are in the hands of the 
 statues over the columns on each side of the nave of Beverely Minster.* 
 The first, a female with a lute or cittern. Second, a man with a 
 bagpipe. Third, an angel with a cymbal. Fourth, an angel playing 
 on a crewth, or violin. Fifth, an angel with a lute or gittern. 
 Sixth, an angel with a tamborine. Seventh, a man with a bass flute. 
 Eighth, a man with a double flute, or shawn. Ninth, a man with a 
 bass or double bagpipe. Tenth, a man with a harp. Eleventh, a 
 man with a large tamborine. Twelfth, a female with a dulcimer. 
 Thirteenth, a man with a small harp, of an uncommon form. Four- 
 teenth, an angel with a very large cittern, defined probably as a tenor 
 instrument. Fifteenth, an angel with a trumpet. Sixteenth, an angel 
 with a small harp of a still more uncommon form. Seventeenth, a 
 man with a tabor and pipe. Eighteenth, a man playing on a very 
 large violin, as an instrument for the bass parts. 
 
 As a conclusion to these ideas of our ancient music, I shall intro- 
 duce that delightful and divine sentiment given by a reverend author, 
 whose pen brings conviction to the heart and instruction to the 
 mind ;t who, speaking of the music of the choir in ancient times, 
 says : 
 
 " Will anyone deny that such exterior means are a help to excite 
 our languid piety ?" 
 
 That such heavenly sensations, raised by the contemplation of our 
 ancient memorials, may never know a change, let me give way to the 
 impulse of the moment. 
 
 In a day like the present, " when the infernal dispensers of liberty 
 and equality " are spreading their destroying power over so many 
 realms, and when this country, the favoured nation of Heaven, has 
 hitherto escaped the direful contagion, it behoves every Englishman 
 to come forward in the general cause, to protect his king and country, 
 each in a way his ability enables him to perform, either by his person, 
 his contributions, or his mental faculties ; and I know of no way that I 
 can so well aid the general cause, as to stimulate my countrymen to think 
 well of their own national memorials, the works of art of ancient times, 
 and not hold up any foreign works as superior to our own \% and, in 
 particular, the name of France should never be introduced, but to 
 raise ideas of terror and destruction ! I presume my brother artists 
 
 * See Carter's "Ancient Sculpture and Painting," vol. ii. 
 
 + See the Rev. Mr. J. Milner's " History of Winchester," vol. ii., p. 83. 
 
 % See J. Flaxman's "Address to the Royal Academy," p. 97. 
 
The Collegiate Church at Staindrop, Durham. 21 
 
 will not think me singular in this opinion, but join with me heart 
 and hand in the praiseworthy pursuit which I have hinted to them. 
 
 Then will our ancient remains of art, that everywhere meet our 
 eyes (unviolated by modern innovation), remind us of the sublime 
 genius of their authors; remind us of the heroic acts of those 
 defenders of their country who brought perfidious France beneath 
 their triumphant swords; remind us of our long race of sovereigns, 
 the admiration and dread of surrounding nations, and remind us of 
 our duty to our Creator, to ourselves, and to mankind. 
 
 The Collegiate Church at Staindrop, Durham [1795]. 
 
 Within these six or seven years stood in the centre of the choir the 
 superb tomb of Lord Ralph de Nevil, a relative of the famous 
 Lord Ralph de Nevil, who, under the command of Queen Philippa, 
 consort of Edward III., defeated the Scots, assisted by the French 
 (they having invaded this country), at the battle of Nevil's Cross, 
 fought near the walls of Durham. This latter nobleman died in 
 1367. The former, whose tomb we are now going to speak of, 
 founded this church, 1410; and, as a distinguishing mark of honour, 
 it was placed as above described. It is now shoved into the south- 
 west corner of the church, and in its place is raised up a gallery 
 for the accommodation of Lord Darlington, the possessor of Raby Castle 
 adjoining. So cruelly inattentive have been the workmen employed 
 in its removal, that the beautiful small statues which decorated the 
 niches on the side have been broken to pieces and thrown among 
 the rubbish in the pews, and other uncleanly parts of the church. 
 The statues of Lord Ralph de Nevil and his two wives, on the tomb, 
 have lost their hands, their faces damaged, and various parts of the 
 tomb have been shamefully mutilated. This is an innovation bitterly 
 to be lamented, as the sculpture of the tomb and statues are in so 
 high a style of excellence that no performances of any age or nation 
 can exceed it.* And sorry I am to reflect, that this memorial of 
 one of the family of the Nevils, who no doubt partook of the glory of 
 saving his country in the battle above alluded to, should at this age 
 of threatened invasion meet with so ominous a fate. 
 
 Answers to Architectural Questions. 
 " Window of six bays," and oriel window. The six bays appear to 
 me to mean either the six sides of a decagon (a geometrical 
 figure of ten sides) or the six divisions made by the tracery in 
 our ancient windows ; the first reason, as appertaining to its plan, 
 and the second reason applying to its elevation. The oriel window 
 is generally understood to mean those projecting windows in our 
 ancient halls whereby room is given for people to retire into them 
 * See Gough's " Sepulchral Monuments," vol. ii. 
 
22 
 
 A rchitectural Innovation. 
 
 for conversation, and for views, as the other windows were too 
 high (upon account of the accommodations under them for benches, 
 tables, etc.) for any such purpose. Oriel windows may, perhaps, have 
 some affinity to those chambers called the " bowers,*' or, as we call 
 them now, closets or cabinets. Of bowers, take the following lines 
 from an old song : 
 
 * * Lady Annis the fate 
 In her bower window, 
 A kniting of her night coif," etc. 
 
 Of the meaning of Gothic age and Gothic architecture I am 
 entirely ignorant. I believe the word " Gothic " was invented as an 
 ungrateful term of reproach and disgrace towards our beautiful ancient 
 structures by the introducers of the Roman and Grecian styles in the 
 reign of Henry VIII. If your correspondent will have the goodness 
 to wait a few months, he will, I am given to understand, see an 
 attempt made to show by actual examples, not theoretical supposi- 
 tions, that the pointed style of architecture gradually, nay, almost 
 imperceptibly, raised itself from the Saxon architecture by the common 
 cause of accidental change of modes of workmanship ; and that it 
 did not arrive to its pure state, undiverted of Saxon ideas, till after 
 the reign of Stephen. The work I allude to is a publication in 
 numbers, called " The Ancient Architecture of England."* How- 
 ever, to give H. H. present information on the subject, I refer him to 
 the "History of Winchester," just published, vol. ii., under the article 
 of the Hospital of St. Cross ; where he will find a full, clear, and 
 learned dissertation upon the interesting topic he wishes to be in- 
 formed of, exemplified from the architecture of that celebrated fabric. 
 
 Raby Castle, Staindrop. 
 
 [1799, Part pp. 295, 296.] 
 
 Raby Castle, which stands so near this town, has undergone within 
 these few years many alterations. A new arrangement has been 
 given to a part of its plan ; many of the exterior and interior decora- 
 tions have been modernized, according to the received ideas of 
 improving the works of our ancestors, by introducing those familiar 
 architectural objects which professional men cannot dispense with. 
 However, Raby Castle yet presents a noble and extensive scene of 
 ancient splendour. Although we may express a wish that the marks 
 above hinted had not been affixed to this superb pile ; yet, when we 
 consider that the castle itself is still standing, still inhabited, and still 
 in perfect repair, our admiration is excited at the good sense of the 
 noble owner, who prefers the mansion of his ancestors to reside in, 
 before the transitory villas of the present day, which only exist while 
 the style of their architecture holds a momentary sway over the 
 fluctuating taste of modern times. 
 
 * Eight numbers are already published. 
 
Raby Castle, Staindrop, Durham. 23 
 
 The exterior of this castle is a striking example of the romantic 
 turn of former days. The indescribable forms of gates, towers, walls, 
 and buttresses that, at each adventurous step, meet the exploring 
 eye, well reconcile our minds to give a willing belief to all the stories 
 of warlike knights, of beauteous dames, of gallant tournaments, of noble 
 feasts, of trophied halls, and painted bowers, that fill the pages of our 
 books of chivalry ; nay, we are not insensible to the whispered tales 
 of fairies, giants, ghosts, and spectres. Fantastic delusions of a soul 
 entranced ! ye may surely there awhile hold your pleasing reign. 
 
 If anyone deride these ideal charms, I shall answer, Raby Castle 
 has no delights for him. I hope I shall not be too confident when I 
 express my thoughts, that few of my readers will be found to con- 
 template our castellated structures with other sensations than those 
 which I have just raised to their imaginations. 
 
 As I now glance over my several sketches of this castle, I am struck 
 with the amusing irregularity of every part of the design ; while, like 
 a labyrinth, its plan still eludes my eager expectation to find again 
 the portal that first invited my curious investigation to trace the 
 system that formed its various parts. I scarce give credit to the 
 efforts of my pencil, when I find that most of the elevations of the 
 walls have their lines inclining inwards; a peculiar and whimsical 
 mode of masonry, though not without its use in point of giving 
 strength to the building, and in giving a fine picturesque effect to the 
 whole scene. 
 
 At my leaving this interesting pile, I regretted that I had not been 
 so fortunate as to have seen the great hall in its original state, before 
 it was divided into two stories, as it now appears. The lower story 
 presents a modern hail, with fancy columns, fancy groins, and all the 
 fancied enrichments now in general practice. As for the upper story, 
 its guise made so little impression on me, as, being solely intent on 
 sketching the original works, that it has entirely slipped my memory. 
 
 Wressel Castle, Yorkshire [1790]. 
 
 The present Duke of Northumberland is, I believe, the owner of 
 this castle, which to appearance shows but part of a more extensive 
 building ; sl body and two wings being all that now exists ; yet their 
 dimensions are so extensive, their apartments so various and so 
 magnificent that, should an idea be conceived to revive its ancient 
 fame, by making it one of the residences of his Grace, Wressel Castle 
 would become once more the glory of this part of Yorkshire. 
 
 At present, an honest farmer, his family, and the fruits of his 
 industry are all the objects that occupy this silent mansion. In one 
 chamber, appearing as an anteroom, I particularly noticed an 
 elaborate carved door with basso-relievos, descriptive of some warlike 
 deeds of the lords of this castle ; and another door, giving admittance 
 
24 
 
 Architectural Innovation. 
 
 to a double staircase, whereby two persons might ascend without 
 seeing each other. The several state-rooms were finished in a style 
 of the highest excellence of ancient art, as was the interior of a chapel 
 adjoining. 
 
 As I passed with awful sensations from room to room, gazing at the 
 profuse display that every way caught my wondering eye, I could not 
 but reflect on the mutability of human affairs. 
 
 Here where once all the fascinating joys of honour, dignity, and 
 splendour united in one bright example of old English hospitality, to 
 charm an heroic age, I now only found cold and forsaken walls, 
 darkened windows, and barricaded doors ; with creaking floors, 
 sinking beneath the pressure of the husbandman's toils ! 
 
 In one part of this melancholy pile, where the light had been in 
 part excluded, I own I felt some trembling mementos, which, in such 
 a situation and in such a frame of mind, few, I believe, would be 
 insensible of: I heard — or, it may be, I thought I heard, some low 
 hollow groans ! — which, as my tremor increased, soon lost their 
 presaging sounds in distant air. 
 
 Returning to that part of the castle inhabited by the farmer, I 
 received much hospitable attention, which soon calmed my agitated 
 mind ; and I bade farewell to this dreary abode, these sad remains of 
 former greatness. 
 
 I would not be supposed to give way to superstitious ideas ; but a 
 presentiment surely possessed my senses when at Wressel Castle ; for, 
 soon after that period, I read in the public prints that the whole 
 fabric had been burnt to the ground ! 
 
 [1799, Part L, pp. 392-395-3 
 
 The first studious impressions which we imbibe in our early years 
 are from the proofs of Holy Writ, and from the historic records of our 
 native country. Confining my impulses, at present, to the latter 
 principle, and imagining that I address myself to those whose feelings 
 are congenial with my own ; I exclaim, how did our youthful hearts 
 glow when reading of the benevolent actions of the good and the 
 heroic deeds of the great, of former ages ! how were our minds 
 elevated, when contemplating on the piety and on the arts of those 
 periods which first gave rise and perfection to those religious and 
 other structures that are yet remaining in this kingdom, and within 
 whose walls we were taught to believe were still preserved the 
 monumental and other memorials of those royal, military, clerical, 
 and learned characters, whose acts raised an emulation in our souls 
 to follow their bright careers, and to venerate their sacred remains ! 
 
 Our minds thus formed, how did we pant with eager expectation 
 to witness those glorious scenes ! We first viewed the stupendous 
 building, if sacred, with awe and astonishment ; then we explored 
 
The Abbey Church of Westminster. 25 
 
 these innumerable objects which everywhere decorated the hallowed 
 fane, each by turns possessing every passion that holds a place within 
 a feeling heart. We witnessed examples (either from sculpture or 
 inscription) of filial duty, parental tenderness, connubial love, patriotic 
 fervour, and royal munificence. We traced the hand of pious zeal 
 and enlightened genius wheresoever we turn our delighted eye. 
 Words are too weak to convey the sentiments which they inspired in 
 our imaginations, then uncontaminated with that blind partiality which 
 is now (unfortunately) the rage to profess for foreign arts. 
 
 Foreign arts are allurements held out to deceive the good sense of 
 Englishmen ; whereby they are taught to believe that in them consist 
 all the embellishments of life. I would, in the present instance, be 
 understood as speaking of architecture. Such of my countrymen 
 who return from travel with these exotic prejudices can have but little 
 share in the divine sensations above alluded to. And, alas ! I fear 
 the true admirers of our national antiquities are but a few; for, 
 however great the number of those who, in their early days, enjoyed 
 the sublime rapture of proving the truth of those studies which 
 informed them of the merits of their ancestors, yet, in their riper 
 years, new pursuits arising, they mix with those swarms who (I would 
 wish to believe only) affect to despise the productions of their own 
 country, and are soon induced to hold in contempt those objects 
 which they once so enthusiastically praised and admired. 
 
 The Abbey Church of Westminster [1799]. 
 
 The following remarks on the present state of this church are 
 given from a very particular survey which I have taken on purpose for 
 these essays; as it is one of the most important remains of our 
 ancient fine arts, and of our historic evidences, that can possibly 
 engage the attention of the lover of his country, the historian, the 
 artist, or the antiquary. 
 
 Presuming that the feelings of those readers, who have an interest 
 in my task, will accompany me in the momentous visit to this mortal 
 repository of English glory, and whose rising walls continually meet 
 our eyes to remind us of the inexhaustible subjects they contain, I 
 shall first excite their attention by observing it is with no common 
 sensations that we approach this sublime assemblage of national 
 sepulture, the distinguished scene of those eventful transactions which 
 have rendered dear to Britons the memories of their great forefathers ! 
 But, suspending these reflections, let us examine 
 
 The North Side, 
 
 where the first objects that arrest our attention are those habitations 
 which block up and darken the north side of the choir. Here we 
 must instantly wish (as this age is so remarkable for making improve- 
 
26 
 
 Architectural Innovation. 
 
 ments in this metropolis) that they were taken down, whereby we 
 might command a general view from east to west of the whole 
 edifice. These erections can have no claim to protection upon the 
 plea of their being reliques of antiquity. But I consider that, had 
 they been the remains of any of our ancient palaces, churches, or 
 other public buildings, not being in immediate use, or not con- 
 tributing to the emoluments of certain individuals, a breath from the 
 devisers of modern convenience would in a moment have consigned 
 them to oblivion ; else why are we continually forced to witness the 
 rapid reverse of what London once was ? a fatal system, that will soon 
 render its topographical publications but a confused mass of visionary 
 accounts, without one document to warrant the truths which they set 
 forth for public information. 
 
 Who will credit that within our memories existed, in New Palace 
 Yard, that part of Henry VIII. 's palace where his bed-chamber 
 was situated ? that opposite to the west end of this abbey church 
 stood an extensive gate of entrance into its precincts ? at Whitehall a 
 grand gate of entrance ? in the Strand the vestiges of the palace of the 
 Bishops of Durham, and near it the principal part of the magnificent 
 palace of the Savoy ? still farther eastwards in this high-street of 
 London, Somerset House ? Here we cannot repine, as its materials 
 were purloined from the superb religious buildings that adorned 
 Clerkenwell in the sixteenth century. In Holbourn, an entire palace 
 belonging to the Bishops of Ely ? near the west end of St. Paul's, 
 Ludgate ? at Grocers' Hall, a beautiful oriel window ? in Clerkenwell, 
 the church belonging to a destroyed nunnery ? in Threadneedle 
 Street, a curious ancient church called St. Mary Outwich ? in 
 Bishopsgate Street, a noble mansion known by the name of Leather- 
 sellers' Hall, and a religious structure under it ? at the end of Corn- 
 hill, a vast range of buildings called Leadenhall ? 
 
 I shall not here pursue this innovating list any farther, these being 
 sufficient memoranda to show the state of public taste; which, I 
 shudder to think, may be but the prelude to devastations of far 
 greater moment. 
 
 Resuming our survey of the Abbey, we find that the north front of 
 the north transept has undergone a thorough architectural reforma- 
 tion. The basement story contains three porches. In that to the 
 west is introduced a square-headed doorway, and in the centre porch 
 a double square-headed doorway. The tracery over it is ancient ; 
 but has been recut according to those maxims which inspire modern 
 workmen with the presumption that they can improve the perform- 
 ances of our ancient artists. Much of the soffit of the arch of this 
 porch has been recut. The other porch to the east (which has no 
 doorway) remains in its original state. In the spandrils of the arches 
 of these porches the compartments are in a new way, as is the open 
 parapet above them. Great part of the four grand buttresses, with 
 
The Abbey Church of Westminster. 
 
 27 
 
 their niches, etc., on them, the compartments in the flying buttresses, 
 and various other parts! of this front, have been recut. The north 
 side of the choir appears in tolerable repair, and its parts remain 
 unaltered. 
 
 Henry VII.'s Chapel. 
 
 We find the whole of the basement part of this chapel is in a 
 damaged state. On its north side the windows are broken, their 
 lower divisions stopped up, and their mullions hacked in every 
 direction ; the flying buttresses and turrets have many of their parts 
 destroyed, and the parapets to the two stories have been hacked 
 likewise. On the east front the windows are broken, their lower 
 parts stopped up, their mullions hacked, the turrets and parapets 
 damaged, etc. On the south side the windows are broken, their 
 lower parts stopped up, and their mullions hacked ; the parapets, 
 turrets, and flying buttresses are likewise in a damaged state ; which 
 circumstance in the latter objects is particularly to be regretted, as 
 they are the great supporters to the upper story of the chapel. 
 Viewing the windows of the upper story more attentively, I noticed 
 that their mullions were kept from falling by boards having been 
 bound upon them. 
 
 Let us for a few moments consider this most extraordinary work of 
 ancient art. Our astonishment increases as we trace the multiplicity 
 of its enrichments. Our eyes cannot find a resting-place ; every 
 space is occupied with compartments, tracery, ornaments, and 
 devices, showing that the architect* was determined to extend his 
 power to the extreme point of possible perfection. 
 
 The south side of the choir of the church and east side of the 
 south transept are in good repair, but appear to have been new 
 faced. Adjoining the south transept stands the chapter-house; its 
 form is octangular ; five of its sides have windows of an immense 
 size, rising from the basement story to the parapet ; but they have 
 been filled in with brickwork and modern small circular-headed 
 windows. At each angle are flying buttresses, which take their rise 
 from the ground line : they have likewise been filled in with brick- 
 work. For the convenience of the dignitaries, a carriage-way has 
 lately been cut through one of these filled-up flying buttresses, and 
 the remaining courses of bricks supported by common perpendicular 
 and horizontal planks. 
 
 Returning to the north side of the church, we find the west front 
 of the north transept, and the whole of the nave, in their original 
 unaltered state, and in good repair ; some few of the battlements, 
 indeed, have been renewed. We must not pass without remarking 
 
 * Sir Reginald Bray, privy-counsellor to Henry VII. See his portrait in 
 Carter's " Ancient Sculpture and Painting," vol. ii. 
 
28 
 
 Architectural Innovation. 
 
 the damaged state of the basement part of this side of the building. 
 The compartments of the base part of this front of this north-west 
 tower are recut, and great part of the rest of the tower to the battle- 
 ments of the church has been new faced. The continuation of the 
 tower, from the battlements to the pinnacles, are entirely of Sir 
 Christopher Wren's own work : the original west towers were never 
 carried higher than the said battlements, they being left unfinished by 
 Abbot Islip, 
 
 West Front. 
 
 The base part of the north-west tower recut ; the rest of the work, 
 to a line with the battlements on the north side of the church, is in 
 its original state; its corresponding parts on the south-west tower 
 recut, and not without some tolerable degree of attention. The 
 porch, confessedly a chaste and elegant design, is in its original state, 
 but has been lamentably damaged, and that within a very short 
 period. By-the-bye, we must notice the iron fence at its front, lately 
 put up in consequence of a fatal catastrophe : an unfortunate man 
 there put an end to his existence by shooting himself. I will not 
 absolutely say that the above fence is a conveniency for those who 
 may be inclined to hang themselves : of this let each beholder judge 
 for himself. 
 
 The canopies to the tier of niches over the porch appear recut, 
 and over them is a scroll entablature and an open parapet in a new 
 way. The great west window, and the parts on its sides, are in their 
 original state. Over the point of the window is another open parapet 
 in the new way. Behind this work we see the west end of the roof 
 with a window in their original state. The upper parts of the tower 
 are all new creations, and show new mouldings, new compartments, 
 new windows, new open parapets, and new pinnacles ; likewise, new 
 circular openings (some of them for the dial of the clock), with 
 scroll-divided pediments, masks, and swags of fruit and flowers, 
 foliage, etc. 
 
 These new architectural ideas, placed on the ancient walls of this 
 church, must either show that Sir Christopher beheld its style with 
 contempt, or that we, at this day, are but degenerate sons in 
 architectural studies, not to be sensible that there his marks are 
 improvements on our ancient architecture. 
 
 I for one am incorrigible, and hold that this weak side of his great 
 professional abilities has thrown much of his well-raised temple of 
 fame out of its beautiful perpendicular position, and left an ugly 
 fracture, which no architectural panegyrist can ever make good, 
 though their mortar may be tempered with all the flowers of rhetoric, 
 or their trowel edged with all the Attic fire of wit and humour. 
 
The Abbey CImrch of Westminster. 
 
 29 
 
 [1799, Part /., pp. 445"448.] 
 
 Abutting against the south-west part of the west front of the church 
 is the north front of the Jerusalem Chamber. The upper finishing 
 has been repaired with brick battlements. Proceeding westwards, 
 we find some small remains of ancient buildings. At the angle 
 leading to Dean's Yard, part of an interior wall of the great gate of 
 entrance into the precincts of this church is still visible, and which is 
 considered by those artists who study the picturesque antiquities of 
 this country a choice example to guide their judgments in giving 
 their works the " sober gray tint " so characteristic of our national 
 buildings. In the modern gateway leading into Dean's Yard ancient 
 doors have been preserved, as have similar doors in the modern gate- 
 way at the southern extremity of the said yard. 
 
 Dean's Yard. 
 
 On the north side we see the south front of the Abbey-house (now 
 the Deanery), where one of the original windows has had some 
 slovenly repairs, and two sashed windows have been introduced. On 
 the east side is a farther continuation of the Abbey buildings, which, 
 with the Abbey-house, were erected by Abbot Islip. They must, 
 when in their original state, have been a range of much architectural 
 grandeur, as will appear to any minute observer; but have of late 
 years been so metamorphosed by modern doors, sash windows, brick 
 parapets, and chimneys that, from a slight view, I am persuaded, of 
 these piece-patched walls, the eye would have turned from them with 
 contempt and derision ! We may notice, however, three of the 
 ancient doorways, and two or three of the smaller windows, with 
 several others which have been stopped up. The south side 
 presents a melancholy scene indeed ! Here let me quote a few lines 
 from the " Anti-Wyatist," p. 211 : " I have ever heard it remarked, on 
 the site where once religious buildings stood, and have read in various 
 authors, that a fatality had always attended those whose arms had 
 destroyed them, and those who had given the dire command !" The 
 modern buildings, then, on the south side, were never entirely 
 finished ; and their builder (I believe I am correct) ended a life in 
 extreme misery and despair ! We behold them dropping by piece- 
 meal into rubbish, and in tottering suspense, waiting theirt premature 
 termination. On the south side are a variety of miserable habitations 
 of all dimensions, raised at different periods since the sixteenth 
 century. In the open space of the yard the ground is left in an un- 
 levelled state, from much of the rubbish there remaining of the 
 dormitory of the religious of this monastery, which, within the 
 memory of many still living, appeared an erection of much conse- 
 quence. 
 
30 
 
 A rchitectural Innovation. 
 
 The Abbey-house. 
 
 This is entered from the north-east angle of Dean's Yard, where 
 we first find an avenue of much simple grandeur leading to the 
 cloisters ; but on the left hand of this avenue is a smaller one giving 
 admittance to a courtyard, the south side of which has received a 
 sash-window. The west side, which gives the Abbot's Hall, has like- 
 wise partaken of some modern intrusions. The north side is un- 
 altered, and the east side shows a range of late erections. The west 
 side of the hall itself is perfect, except its battlements, which, with 
 those on the building in continuation, have been modernized. The 
 interior of the hall has undergone some alteration in the gallery at 
 the south end, and at the north end, where are modern paintings ; 
 under the windows is modern wainscoting, etc. The north side of 
 the courtyard just mentioned leads to the Jerusalem Chamber through 
 two other chambers, which are in their original state, with painted 
 windows (of arms), doors, a chimney-piece, and a curious small niche 
 near the door of the Jerusalem Chamber ; which having entered, we 
 see only the window at the north end (containing some paintings) 
 remaining. Sash-windows, a coved ceiling, doors, panel-work, stuc- 
 coed ornaments, chairs, tables, a carpet, and a stove in the modern 
 style, are the objects now that claim attention, and almost banish the 
 recollection that this chamber is rendered awfully interesting in 
 history ; for here Henry IV. breathed his last sigh. This chamber, 
 however, is not without some curious decorations : the chimney-piece 
 is of Elizabeth's time ; and on the walls on each side of it are hung 
 some good pieces of tapestry. But, on turning towards the entrance 
 of the chamber, our highest admiration is excited at witnessing that 
 beautiful historic treasure, the whole-length portrait of Richard II.,* 
 which, before the choir was fitted up with the present stalls, pews, etc. 
 (in a new mode of architecture), stood near the situation of the 
 pulpit. How must the English artist enjoy the pleasing satisfaction 
 of seeing this almost only remaining example of the state of painting 
 of former times ! The historian must likewise feel his share of 
 delight when he reflects that he can at least introduce one semblance 
 of our ancient monarchs into his learned and instructive pages. 
 Although in this chamber the business of the chapter is transacted, 
 yet it still retains its original name, the Jerusalem Chamber, which, 
 with the hall above, were erected by Abbot Littlington in 1300. 
 
 Returning into the courtyard, we cannot but particularly observe 
 in the smaller avenue a modern doorway, which leads into that part 
 of the building inhabited by the Dean. What ideas must the builder 
 of it have conceived when he set up this object as a work of compe- 
 tition with the sublime examples which everywhere shone around him 
 within the walls of these religious structures ! 
 
 * See Carter's " Ancient Sculpture and Painting," vol. i. 
 
The Abbey Church of Westminster. 31 
 
 The Cloisters. 
 
 Having passed through the avenues, we come at once into these 
 grand structures, where, turning into the west cloister on the left, we 
 find one of the windows has lost its mullions and tracery, and that 
 one of the divisions to the south (once entirely open into the Abbey- 
 house) has been in part stopped up. The north cloister unaltered. 
 The east cloister unaltered. Of the superb entrance into the chapter- 
 house from this cloister we shall take particular notice when we make 
 our visit to that noble room. South cloister not perfect ; for the rich 
 doorway entering into the refectory towards its western extremity has 
 been shamefully deprived of some of the sweeping lines of its arch to 
 give room for workmen to pass in and out of this side of the cloisters. 
 We find that those very curious recesses near it, where the linen for 
 the use of the religious after meals was hung, has likewise had much 
 of the tracery over them obliterated by a common mural monument 
 stuck up against its principal sweeps, as if there were not vacant 
 spaces enough for such purposes in any other of the divisions of 
 these cloisters. And we also find that the mullions and tracery 
 from six of the eight windows in this cloister have been entirely cut 
 away. 
 
 I have been informed that, about six or seven years ago, a plan 
 was set on foot to deprive these cloisters of the mullions and tracery 
 in their several windows, but for what purpose I could not learn ; nor 
 could I learn the name of him who first proposed such an under- 
 taking ; at least, not with that certainty that my curiosity in this 
 instance violently led me to desire. The workmen had proceeded to 
 destroy the six windows already recounted, and then they desisted. 
 Of the reason of this suspension I could likewise get no information. 
 Indeed, I learned that several of the inhabitants of Westminster, 
 though not like their noble and spirited ancestors in Edward VI. 's 
 reign, who rose in a body to resist the workmen of the Protector 
 Somerset when they had begun to assail this very church for the 
 purpose of getting materials towards constructing his new buildings in 
 the Strand ; yet, with a laudable and becoming zeal for the preserva- 
 tion of their venerated fabric, they strongly remonstrated, by letters 
 and otherwise, against so useless and dangerous an innovation. To 
 this I can with confidence assert, that, had the attempt been made 
 on the north cloister, where its walls, arches, groins, mullions, and 
 tracery are so entirely connected with the south side of the nave of 
 the church, it might in all probability have been of the most serious 
 consequence ; for this north cloister is in that state for want of re- 
 pairs that the violent means which must have been used to cut away 
 the (offending) mullions would have weakened it still more ; when, 
 instead of taking away any of its component parts, additional masonry 
 should be added to it. These assertions are not given on light 
 
32 Architectural Innovation, 
 
 grounds : they indeed are but too true ; and those who wish to satisfy 
 themselves in this instance need but strictly examine this cloister for 
 that purpose. 
 
 In these cloisters I have passed (perhaps) some of the most rational 
 hours of my life. In each renewed perambulation round its endless 
 aisle, I still found my thoughts ever receive some new sensations. 
 The wonderful infinity of the various enrichments, the pleasing diversity 
 of Time's long- worn tints, the enthusiastic diffusion of light and shade, 
 the enchanting recollection of passed eras, all filled my enraptured 
 imagination with ideas too exquisite for description. Surely the divine 
 Milton when he wrote these lines, 
 
 u But let my due feet never fail 
 To walk the studious cloister pale," 
 
 must have been sensible to the " delights " of these silent and these 
 solemn aisles — delights which, no doubt, contributed to aid his 
 sublime genius, which soared on angel-wings to worlds above. 
 
 Forgive me, readers, for having a while detached my mind from 
 our several observations, which we will now continue by regretting to 
 see the walls of these cloisters hung with modern monumental 
 memorials, whereby their forms are in many instances intruded upon 
 or cut away; to see them converted into play-walks for "unreproved" 
 headstrong youth ; to see their wanton and mischievous hands con- 
 tinually damaging the several parts of the work; and to see with 
 sorrowing eyes the sad, neglected state of these our much-loved 
 scenes ! 
 
 I may here mention that Abbot Littlington likewise erected the 
 south and west cloisters. In the former are the gravestones of 
 Abbots Vitalis, Crispinus, Laurentius, and Gervaise, which are all 
 the ancient memorials that are now to be found in these cloisters. 
 
 [1799, Part 7/., pp. 576-579-1 
 
 At the east end of the south cloister we find an avenue with plain 
 walls, and a single-arched headway, running on part of the west side 
 of a large ancient building (its extreme length north and south) con- 
 sisting of two stories. The basement story serves as an undercroft, 
 arranged into several divisions in length, and two in breadth, 
 decorated with columns, rich sculptured capitals, and semicircular 
 groined arches. As the work is entirely Saxon, I conceive it to be 
 some of the religious edifices erected here by Edward the Confessor, 
 before the present surrounding walls were raised by Henry III. and 
 the abbots of this church; and the rather, as we are informed by 
 history that Hugolin, steward to Edward, was buried here. The two 
 first divisions northward, and nearly adjoining the chapter-house, 
 are separated from the others by a wall, wherein formerly was kept 
 the regalia of our sovereigns ; but now only the standard-money is 
 
The Abbey Church of Westminster. 
 
 33 
 
 deposited ; which, when there is a new master of the mint, is taken 
 out to be carried to the Exchequer for a trial of the pix. Since the 
 writing of my last paper, in one of my usual visits to the cloisters, I 
 saw its double doors of this first division opened for the above- 
 mentioned purpose, which opportunity has enabled me to give the 
 above description of its architectural parts. I likewise noticed, at the 
 east end of the first division, a complete altar-table raised on two steps, 
 which of late years has been erroneously called the tomb of Hugolin, 
 with a curious piscina on its right side. The short time allowed for 
 the purpose of taking out the money, and the confusion caused from 
 a crowd of people who had entered, prevented me from paying 
 attention to the infinite number of lockers and chests that nearly 
 filled the place, and from making those memorandums which such a 
 repository of antiquities would have afforded. I saw the double 
 doors again closed, and fastened by seven locks, each lock a different 
 key, and each key a different possessor, who were all assembled on 
 this occasion, which to me, as an antiquary, and who had never 
 enjoyed such a sight, was particularly gratifying. The third and 
 fourth divisions of this undercroft serve for offices to one of the 
 dignitaries of the church, and of course are seen in common ; the 
 other divisions have been much altered, and are turned into lumber- 
 places. The second story is one entire room, and is used as a school 
 by the Westminster scholars. The upper part of the walls are 
 repaired with brickwork, and modern windows have been inserted ; 
 and the roof is an open timber one, appearing as a performance of 
 the sixteenth century. We now pass through part of the undercroft 
 southwards into 
 
 The Little Cloisters, 
 
 of which only the interior walls, with one or two doorways and 
 windows, are remaining; the rest of the erections are entirely 
 modern. However, that we might not repine too much at such a 
 change, one of the doorways on the east side is left us as a fine 
 example of the pointed arch style. In the garden behind this door- 
 way are several rich Saxon columns and arches, which I saw in 1788, 
 some sheds having been taken down that hid them from the public 
 eye ; but they were soon immured again by a small office-room which 
 has been built up against these curious remnants of antiquity. Was 
 there no other space either to the right or left for the purpose of 
 constructing a common room without fixing on this spot ? How true 
 is the remark that what is considered as precious to one man is of no 
 value in the estimation of another ! Near this part of the cloister is 
 a small chamber, or (not unlikely) a chapel of a remote date, remaining 
 nearly in an unaltered state. 
 
 vol. x. 3 
 
34 
 
 Architectural Innovation. 
 
 The Abbey Tower and Walls. 
 
 From the parts of the Abbey buildings just described we find a 
 wall running eastwards to Abingdon Street, where is a large square 
 tower, built by Abbot Littlington, called the Treasury, now used to 
 contain the records of the House of Lords. Its appearance has 
 been greatly changed on the outside ; and within we find no remains 
 in any of the stories of its original finishing except in the basement 
 story. Here I am almost in doubt if I should recount that the 
 whole of its parts are in the finest style of our ancient pointed archi- 
 tecture; and I shall scarcely gain credit when I observe that so 
 masterly a performance of our ancient artists is now converted into a 
 kitchen ! From this tower the said wall continues south to College 
 Street, then returns westwards to the Bowling Alley, where it meets 
 one of the modern (or rebuilt) gateways before mentioned. This 
 wall, we may suppose, once continued round Dean's Yard, and 
 united itself with the two other gateways, which have likewise been 
 spoken of; thence it took its course round the northern extremity of 
 the Church, where, at the back of the houses in St. Margaret's Church- 
 yard, we may still find some vestiges. Its line may be farther pursued 
 to remnants of gateways visible on the west side of King Street. Of 
 the ditch that encircled these walls many people yet remember some 
 part of it in College Street ; and its memory was retained till of late 
 in that street leading from the west part of the Abbey to Storey's 
 Gate, by the name of Long Ditch, now called Princes Street. 
 
 The Refectory. 
 
 This pile flanks the whole of the south great cloister, and we enter 
 into its walls through the rich doorway which we before regretted to 
 see in so damaged a state. But this is a trifling consideration in 
 comparison to the universal havock wrought on this once-magnificent 
 building ; another work of the enlightened Abbot Littlington. Here 
 we can only find its north side in being in any degree to form a con- 
 jecture of its original design, which shows nine finely-proportioned 
 windows, and between them blockings of supporting angels for the 
 springing timbers of the open-worked roof. From which evidences, 
 and the immense dimensions of its site, we may not idly presume 
 that it rivalled its near competitor for architectural fame, West- 
 minster Hall. 
 
 In this spot, the sumptuous scene of ancient repasts, where the 
 profuse banquet for royalty, or the moderate board for the religious, 
 was set forth, must in each instance have been an interesting sight, 
 either from the splendour of the noble guests, or the calm and peace- 
 ful order of its pious inhabitants. Alas ! the scene is changed indeed ! 
 Here we now only witness a carpenter's rubbish yard and workshop, 
 
The Abbey Church of Westminster. 
 
 35 
 
 instead of the once-elegant open-worked roof, niches, galleries, 
 screens, painted windows, stalls, tables, forms, and doors ; briars, 
 nettles, weeds, and thorns, for the refined pleasures of the generous 
 feast, the social hearth, the restraining admonition, the brotherly 
 salutation, the cheerful dialogue, and all the unembittered sensations 
 that holy converse can inspire. 
 
 The Chapter-house, 
 
 the entrance to which is from the east great cloister through a 
 double archway. The work is profuse and exquisite. How is our 
 just indignation raised at beholding the ravages of those savage 
 hands, which have destroyed the statue of the Virgin, which stood on 
 a bracket in the centre of the design, and nearly so the accompany- 
 ing angels on each side !* We shall not call those who have set up 
 an insignificant mural monument where the Virgin was placed, either 
 savage or sacrilegious ; but we will hold them as beings incapable of 
 feeling for the " ancient sculptural honours of their own country 
 and as such we leave them. Passing through the right-hand arch- 
 way, we proceed along a double avenue of columns and arches (the 
 left-hand archway, with that side of the avenue, has of late years 
 been partitioned off). We come into a second avenue of a superior 
 style of grandeur, its groins rising to a great height ; a flight of steps 
 brings us to the double archway entering into the chapter-house 
 itself. This double archway has had its dividing columns in the 
 centre, with nearly all its open tracery (in the manner of the chapter- 
 houses of Wells and Southwell) cut away. Its design is a continua- 
 tion of that elaborate perfection which we have viewed from the 
 cloister. It really is mortifying that, at every step, I must be obliged 
 to note the mean use or alteration that is made on each charming 
 object that attracts our admiration. This second avenue is so 
 disfigured by presses, chests, and lumber j so partitioned off for 
 office-rooms, etc., that it is with the utmost difficulty I can restrain 
 my rising thoughts. Well, we are now within the chapter-house. 
 We have attentively examined every part, and find that five of the 
 eight sides of its octangular form, which were each nearly open in 
 one large window, have had their tracery filled in with brickwork and 
 small modern semicircular-headed windows. The tracery in two of 
 the remaining blank sides has been cut away, the groins destroyed to 
 a small portion, which is yet springing from the delicate and 
 delightful cluster of eight columns in the centre, and which arched 
 to the several angles of the structure, where a few portions of their 
 mouldings may be observed. In all probability, the seats, stalls, and 
 other decorations against the lower part of the walls may yet be 
 remaining ; but the presses that occupy the entire face of the several 
 
 * See Carter's "Ancient Sculpture and Painting," vol. i. 
 
 3—2 
 
36 
 
 Architectural Innovation. 
 
 sides block them up from the view of those few who may visit this 
 once celebrated place. In truth, the building is most materially 
 altered from its original magnificent display, by these presses, and 
 various galleries, for the safe keeping of the records of the Treasury of 
 the court of the receipt of the Exchequer. Here common observers 
 will find little to admire but modern carpenters' work, vast rolls of 
 parchment, dust and rubbish, and the famous Domesday Book 
 composed in the reign of William the Conqueror. 
 
 Among the many reflections that here occur, is one for the extreme 
 danger that attends the cluster of columns in the centre by the 
 modern hanging, or false floor, whose centrical part rests on the 
 remnant of the groins springing from it. However, had this con- 
 venient prop escaped the consideration of architectural innovation, in 
 all probability this enchanting cluster of columns would have shared the 
 fate of the other parts of the structure, which owes its foundation to 
 that munificent monarch Henry III. It is understood that in the 
 reign of Edward III. this chapter-house was used for the purposes 
 of Parliament, and continued in that state for succeeding gener- 
 ations. 
 
 The South Side of the Church 
 
 appears to have received much new facing and many new battlements, 
 The west side and south front of the south transept are unaltered 
 excepting the finishing of the small towers at its south front, which 
 terminate with domes. 
 
 The examinations of these parts of the church are made from the 
 area of the cloister, where a striking view is had of this side of the 
 building. We may, if so inclined, take a look at the east side of the 
 Deanery in its modern state, and may also take a look of pity on the 
 north side of the ruinated refectory. 
 
 In the south-east angle of this area, and near to the work of the 
 cloister, was discovered, in 1794, a few feet from the surface of the 
 ground, a subterraneous passage, or aqueduct, running from north- 
 west to south-east. I observed its headway had the pointed arch- 
 sweep, which towards its south-east end dropped considerably, and 
 the continuation was, through a lower pointed avenue, a pointed- 
 headed doorway; about 10 or 12 feet were only explored either 
 way, and the chasm was then filled up. I conjectured that this work 
 was for the purpose of conveying the water from the buildings into the 
 ditch without the walls, and from thence into the Thames. My 
 opinion was strengthened by its direction bearing towards the ancient 
 walls on the south side of the House of Lords ; which, when I come 
 to speak of the present state of the palace of our ancient sovereigns 
 at Westminster (which, I am shocked to observe, is publicly 
 announced will soon become a prey to the iron hand of architectural 
 innovation), I shall be particular in ascertaining. 
 
The Abbey Church of Westminster. 
 
 37 
 
 [1799, Part II., pp. 667-670.] 
 
 Having described the state of the exterior of this church, and of 
 the several erections which remain belonging to it, we will now pass, 
 through the west door, into 
 
 The Nave 
 
 of this hallowed pile ! We are instantly struck with the charming 
 proportions of every part, rising in majestic beauty, till our uplifted 
 eyes, wandering over the ribs and groins crowning the design, are, 
 by a kind of holy impulse, carried beyond the limits of this earth to 
 view the realms of endless bliss ! It is not improbable but in this 
 situation the inspired Milton received those enraptured sensations, 
 when he composed these lines, which can never be too often 
 repeated : 
 
 " But let my due feet never fail, 
 To walk the studious cloister's pale ; 
 And love the high embowed roof, 
 With antique pillars massy proof, 
 And storied windows, richly dight, 
 Casting a dim religious light ; 
 There let the pealing organ blow 
 To the full-voic'd choir below, 
 In service high and anthem clear ; 
 And let their sweetness through mine ear 
 Dissolve me into ecstasies, 
 And bring all heav 'n before my eyes." 
 
 Oh, Music ! thou balm to every woe, thou harbinger to every joy ! 
 — Descending from these enthusiastic reveries, we too soon witness 
 (as our eyes resume an horizontal direction) the confused hetero- 
 geneous jumble of undigested and unarranged monumental objects, 
 many of which, like foul excrescences, disfigure and destroy the fair 
 form and regularity of the basement part of the structure, as but a 
 few of the recesses remain. As a proof how modern workmen 
 restore our ancient works, as they term it, a pitiful attempt has been 
 made, on each side of Major Andre's monument, to supply some of 
 the bases, columns, and their capitals : I would wish this attempt to 
 be noticed. On each side of the west end of the nave were rich 
 screens, partitioning off the western extremities of the side aisles for 
 peculiar purposes ; that on the north side is in part visible, its 
 obstructive monumental usurper not taking up the whole of its 
 dimensions. Entering through the door of this screen into the afore- 
 said partitioned part, now used as a ringing-room, we notice, turned 
 topsyturvy on the pavement, the mutilated elegant font, that till lately 
 stood in the south transept ; but its room being wanted for a modern 
 monument, it was forced to resign its appropriate situation (as have 
 some of the finest ancient memorials in this church on the like 
 
38 
 
 Architectural Innovation. 
 
 occasion, which we shall not pass unnoticed, at the proper opportunity 
 of bringing such practices into discussion.) 
 
 The screen on the south side has been entirely taken away within 
 these few years, and in its place is heaped up a prodigious mass of 
 stones, worked into forms, at once showing the sculptural taste of the 
 present day, and the architectural system of improving on the ancient 
 architecture of this kingdom. 
 
 So prevailing is the desire of individuals that their memorials 
 should be stuck up in this church, or so prevailing a kind of decora- 
 tion are they to some particular feelings, that great part of the 
 windows are blocked up and darkened by these materials, drawn from 
 the statuary's and mason's workshops. Here let me except those 
 unrivalled performances that will for ever perpetuate the name of 
 Roubiliac. The great west window is full of modern painted glass, 
 catching the general gaze for its glare of colours ; the reverse of that 
 still display of tints in ancient glass, " casting a dim religious light," 
 and which, by turning towards the eastern part of the church, may be 
 well exemplified. The compartments below the west window have 
 had, since the last commemoration of Handel, a gray wash laid over 
 them. None can possibly contradict me in saying that, had this 
 sample been continued on every part of the building, a good job 
 would have fallen to the lot of some one or other, but it certainly 
 would not have been a beautifying work; no, I confidently pronounce 
 such an undertaking would have sullied and disgraced all the glories 
 of this transcendent place. I have a heartfelt satisfaction in men- 
 tioning that there is one religious structure in the kingdom that 
 stands in its original finishing, exhibiting all those modest hues that 
 the native appearance of the stone so pleasingly bestows, and which 
 so well harmonises with the various objects which they have given to 
 our wondering sight. This structure, then, is the Abbey Church of 
 Westminster, my first and most admired work of ancient art : I have 
 often viewed the other stupendous piles in this country, have adored 
 their several excellences, yet still here I find my happiness the most 
 complete. In fact, then, this church has not been whitewashed ! I 
 make little scruple in declaring, that this job-work, which is carried 
 on in every part of the kingdom, is a mean makeshift, to give a 
 delusive appearance of repair and cleanliness to the walls, when, in 
 general, this wash is resorted to, to hide neglected (or perpetrated) 
 fractures, and, while a sort of opinion is begged to approve its short 
 state of gaiety, its admirers soon repent of their attention to so 
 unpleasant an obtruder on their persons. 
 
 In the windows of the partitioned parts of the west ends of the aisles 
 of the nave (above mentioned) are some fragments of the old glass, 
 which are all that remain at this part of the church (no doubt, in 
 Milton's time these windows shone with great part of their first 
 enrichments, or else we should not have had his picturesque descrip- 
 
The Abbey Church of Westminster. 
 
 39 
 
 tion). These made-up effigies are said to represent Edward the 
 Confessor and Edward the Black Prince.* Adjoining the partitioned 
 part in the south aisle, on a line with the windows, is an ancient 
 gallery, for the use of the abbot's household in viewing the pro- 
 cessions, and now occupied by the dean's family for the like purposes. 
 A modern door gives admittance to it ; the least that is said of it, 
 and of the accommodation in the said gallery, will the better prevent 
 the public from reflecting how ill it accords with the dignity of the 
 fabric. 
 
 Since I have begun the survey of this church, I find two or three of 
 the broken windows to the first story of Henry VII.'s chapel have been 
 mended, but with the loss of some of their mullions. It is generally 
 understood that the chapter has no obligation to do any more to this 
 chapel than keep the roof and windows in repair, that is, to keep 
 out the wind and weather ; other repairs belonging to the Crown. 
 Surely, if the august and munificent patron of the fine arts and of 
 antiquity saw, or was made properly acquainted with, the state of 
 this chapel, the architectural wonder of his kingdom, and the 
 sepulchre of his ancestors, he would command that more attention 
 should be bestowed on it. 
 
 Ere we proceed, let me devote a few moments to contemplate on 
 the monument of Lieutenant-Colonel Roger Townshend. Here I 
 recall my juvenile years, when it was my lot to have often the 
 opportunity of witnessing the execution of the design. I then loved 
 the hand that gave form to the yielding marble ; I now revere his 
 memory, deeper engraved on my heart than on that part of the 
 monument allotted to perpetuate the name of the sculptor. 
 
 In the pavement there are no ancient gravestones or brasses to be 
 met with. 
 
 The North Transept. 
 
 Three of the divisions of the eastern aisle were originally partitioned 
 off into chapels, dedicated to St. Michael, St. Andrew, and St. John ; 
 now we see nearly the whole space, and the site of their several 
 altars, occupied with monuments, face to face, and back to back, 
 striving which shall have the greatest portion of elbow-room, and 
 setting at naught the old idea, that the statue of the deceased should 
 front the east. Here we might naturally suppose that this building 
 is now esteemed as a receptacle for memorials alone, without any 
 consideration of the purposes for which it was at first erected.t 
 
 In the second division of the west aisle stood the font above 
 mentioned, which is now, with the first division to the north, filled 
 with gigantic modern monuments j and the third division will soon 
 
 * See Carter's " Ancient Sculpture and Painting," vol. i. 
 
 f See a late description of the public buildings of London, by a foreigner ; where 
 all he has to say of Westminster Abbey is, that it is a place where fine monuments 
 are to be seen ! 
 
4Q 
 
 A rchitectural Innovation. 
 
 be occupied in the same manner by a monument which is in great 
 forwardness. Thus, in time, what with covering the walls, and filling 
 up the several divisions of the arches round the church with these 
 monuments, there will be very little left, for admiration or con- 
 veniency, of the basement part of the design ; however, as there is 
 no evil without some good attached to it, these piles of marble will 
 at any rate prevent the clusters of columns supporting these arches 
 from falling against each other, whatever they may do by throwing 
 them out into the body of the building. 
 
 This transept seems to be a favourite spot for monuments, for we 
 discover one has found its way up to the first gallery on the north 
 side; where, not content with the new station, but it must supplant 
 the forms of the columns and arches with trophies and palm- 
 branches. 
 
 In the pavement of the above three chapels are some gravestones, 
 but their brasses are gone, and I believe very lately. 
 
 The South Transept. 
 
 Here likewise we repine at seeing the order of the basement part 
 of the building broken in upon for the setting up of the several 
 monuments, which are mostly in memory of learned and ingenious 
 men : hence its modern name, ' Poets' Corner,' whereby we lose the 
 thought if ever here were any chapels dedicated to holy martyrs or 
 saints. But the most reprehensible stroke of architectural innovation 
 is that where we perceive a common monument placed on the 
 finishing of the doorway entering into the chapel of St. Blaze, now 
 the vestry. How insulting is it to hear it affirmed by some, that we 
 are now awaking to a due sense of the refined beauties of our 
 ancient works, and at the same time behold their disgrace, as is 
 apparent in the doorway now noticed. Somewhere in this transept 
 was St. Catharine's Chapel, wherein Henry III. caused the great 
 anathema to be read against all violators of this church. The 
 monument pretended to be for Chaucer must have been set up as 
 late as Henry VIII. 's time ; by reason of its being placed north and 
 south, its despoiling the recesses, its style of architecture, and its 
 inscription. 
 
 Though they have made the statue of the immortal Shakespeare 
 turn its back to that part of the heavens where his divine soul, when 
 on this earth, must have ever bowed to receive his portion of 
 inspiration, yet we find the sublime genius of Roubiliac soaring to 
 its highest pitch in the composition, arrangement, and execution of 
 the monument of the godlike Handel. I own, though, it owes all 
 its blaze of perfection to modern times, yet I feel its magic power in 
 the same enraptured way as from the finest reliques of antiquity. I 
 see the statue of this more than man turning his eyes to where the 
 
The Abbey Church of Westminster. 41 
 
 Eternal Father of heaven is supposed to sit enthroned, " King of 
 kings and Lord of lords," and holding up these words, the 
 Christian's hope, " I know that my Redeemer liveth 1" 
 
 Indulge me, my friends, with introducing the following lines 
 prefixed to a design for a building to be erected in memory of 
 Handel : 
 
 " To thy great name I dedicate this pile, 
 Who hast so charm'd this wond'ring list'ning isle, 
 With notes harmonic, which still rend the sky, 
 While modern untun'd strains in discords die ; 
 The chief of all the choirs thou stand'st confest 
 Of lower worlds. In scenes of endless rest, 
 Handel, thou sure art highly placed among 
 (In awful state) the bright angelic throng. 
 For, oh ! no mortal more deserv'd the skies, 
 Who hast made millions, with uplifted eyes, 
 Adore their Maker ; tun'd by thee to sing 
 The praises of our mighty heavenly King." 
 
 [1799, Part II. , pp. 733-736.] 
 
 Before we proceed on the examination of the rest of this church, 
 we must not neglect noticing an ancient gravestone in the south 
 transept, still permitted to remain ; the brass is gone, but the form 
 indented on the stone shows an armed figure standing on a lion, and 
 a border for an inscription. It is pointed out to be in memory of 
 John Haule, who was slain before the high altar in the reign of 
 Henry III. 
 
 East Aisle of the Choir. 
 
 The first chapel at its south-west extremity is St. Benedict's. We 
 read that its screen was destroyed when Dryden's monument was put 
 up. The site of the altar is hid by a monument of the 16th century. 
 Near the centre of the chapel we find the monument of Archbishop 
 Langham, in a situation not only appropriate, but in no way obtruding 
 on the symmetry of the building. This example impresses on us 
 the more forcibly the present custom of cutting away the several 
 niches under the windows for the conveniency of sticking up the 
 modern monuments. In a space of the wall between this chapel and 
 the succeeding one is the monument in memory of Richard, John, 
 and Henry, children of Henry III. On the flat of this tomb, the 
 missal of the former service of the church has given place to the 
 ledger, containing an account of moneys received for admittance to 
 see the wax-work, etc.; which collection is made for the payment of 
 the salaries of the choir and their inferior officers. In most other 
 religious structures, the choristers, I believe, are supported out of the 
 revenues of the church. 
 
 St. Edmund's Chapel. — The screen was thrown down by the pro- 
 digious crowd on the night of the funeral of the late Duchess of 
 
42 
 
 Architectural Innovation. 
 
 Northumberland. I well remember I had, just before the accident, 
 been admiring its tracery and open compartments. It was indeed 
 set up again, that is, so much of it as was not damaged ; and the 
 rest of the work, from an apprehension that it would be attended with 
 some expense to repair, was thrown aside. The tombs of John of 
 Eltham, William of Windsor, and Blanch of the Tower; William de 
 Valence, Earl of Pembroke ; the monument of Sir Bernard Brocas ; 
 and the brasses of Eleanor, Duchess of Gloucester, and Robert 
 de Walbye, Bishop of Durham, must come under our observation 
 with great satisfaction, as they are in a tolerable state of repair, and 
 stand clear of the reproach which we are compelled to vent on 
 modern monuments for breaking in on the regularity of the building. 
 This one happy circumstance, united to the ancient memorials, will 
 accompany us in our contemplations round this church ; and the 
 chaste disposition of such objects will apply in general to every 
 ancient religious building in the kingdom. On the tomb of Valence, 
 some few years past, was raised a most beautiful canopy of stone- work. 
 The site of the altar is hid by a monument of the present century. 
 Here are several other monuments placed in the same innovating 
 style. 
 
 The Chapel of St. Nicholas. — Here again the sixteenth-century 
 monuments show their incongruous arrangement, hiding the site of 
 the altar and the whole of the recesses. Nearly in the centre of this 
 chapel stood the tomb of Philippa, wife of Edward Duke of York, 
 grandson of Edward III., with an exceeding rich canopy of wood- 
 work, till the erection of the late Duchess of Northumberland's 
 monument ; when, for the accommodation of making a family-vault, 
 it was shoved to the north side of the chapel, and its canopy heaped 
 (in broken pieces) into the rubbish of the church. 
 
 Passing under that inundating torrent of enrichments, Henry V.'s 
 chantry, we come to the chapel of St. Paul. The screen 
 has lately been destroyed, to make room for a modern monument. 
 The site of the altar and the recesses are hid by various monuments. 
 The remarkable monument of Lord Bouchier, standard-bearer to 
 Henry V., arrests our curiosity. This lord, no doubt, shone one of 
 the heroic examples in Henry's warlike band of Britons, the con- 
 querors of France ! Notwithstanding this monument is an incite- 
 ment to emulation, it only waits the flat — " We want its room." 
 Perchance the statue of some overgrown nabob, or some harpy 
 fattened on the widow's and orphan's tears, may soon be elevated on 
 its overthrown glories, conquered by interest and innovation. 
 
 The Chapel of St. Erasmus. — If ever the chisel of our ancient 
 artists had brought their art to its summit of perfection, if ever excess 
 knew its utmost bounds, the recess over the entrance into this chapel 
 is a most striking proof of their enlightened genius, and their extra- 
 ordinary skill. Well could I lament away an age for the irreparable 
 
The Abbey Church of Westminster. 43 
 
 loss this recess has cruelly sustained, by cutting away parts of its 
 work for the purpose of introducing a despicable performance of 
 some low-hoveled cutter of monumental memorials. The deed being 
 done, invective, chagrin, or public indignation are alike fruitless ; 
 therefore with a sigh we will note what other ravages await our offended 
 sight. We find, as in the other chapels, the site of the altar hid by a 
 monument of the seventeenth century. On the south side are the 
 tombs of Ruthall, Bishop of Durham ; William de Colchester and 
 George Flaccet, Abbots of Westminster ; and on the west side is the 
 tomb of Sir Thomas Vaughan. These ancient tombs, it is true, have 
 hitherto escaped the fate of being destroyed ; but have not escaped 
 the mortifying insults of dilapidation, neglect, and contempt. 
 
 Islifts Chapel, — This captivating work, in memory of that great 
 character who assisted in the completion of the western part of the 
 fabric, has been for some years converted into the rubbish-hole of 
 the church (this convenient receptacle in our religious buildings has 
 been repeatedly pointed out in these essays), and its screen backed 
 up with deal-boards. From among the rubbish we can perceive that 
 the site of the altar is hid by an Oliverian monument ; and against 
 the west side are raised up what is called the "ragged regiment." This 
 "ragged regiment" is the remains of the wooden blocks, and the 
 leather and wooden effigies of personages who have been buried in 
 this church, which at their funerals were carried in procession, 
 dressed in the most splendid robes of the deceased. We read of 
 several instances, particularly at the obsequies of Henry V. The 
 "ragged regiment" have had various quarters assigned them during my 
 time. I first wondered at them in a press in Islip's chantry ; next, I 
 drew from them in Henry V.'s chantry ; and now I pity their con- 
 signment to oblivion, by seeing them thrown in amongst the dust and 
 lumber of this degraded chapel. In the chantry over it are several 
 presses with wax-work figures ; which, as they show some popular 
 modern characters, are kept in great order and cleanliness. These figures, 
 independent of the transcendent glories of the building, have, with 
 those of a like composition in other situations in this part of the 
 church, proved a fund of some small emolument to the inferior 
 members of the choir, as we have before mentioned. 
 
 In returning from these chapels along the east aisle of the choir, 
 we may perceive, in the pavement near Islip's chapel, the brass of 
 Abbot Estney, and the brass of a knight, the inscription gone. 
 Several gravestones likewise meet our eyes, which from their indents 
 show they must once have had very rich brasses. Before we visit 
 the choir, we will return to the west end of the nave, for the purpose 
 of conceiving some idea of the grand effect that the east end of the 
 choir would have, if that preposterous decoration the organ-case was 
 not in the way, to disappoint our long-drawn inquiring sight. Con- 
 sidering these favourite objects in our choirs in the most partial light, 
 
44 
 
 A rchitectural Innovation. 
 
 are they not a huge, dark, unmeaning something, militating against 
 every architectural rule, which is, that all the decorative parts should 
 be in uniform with the fabric they are introduced into ? Though 
 this organ-case contains the soul of harmony, yet its heavenly 
 sounds would be as well heard if it were placed against the side 
 arches (as formerly) as in its present position. Let us, then, imagine 
 this organ removed, and the present entrance into the choir restored 
 to its original appearance, then should we have the finish of the 
 altar-screen (I mean, if the original one were visible) appearing above 
 it ; beyond which a considerable portion of Edward the Confessor's 
 shrine would rise in a conspicuous manner to rivet our admiration. 
 Eager to enjoy new scenes, we should then crown our ecstasy in the 
 termination of the view by the upper part of Henry V.'s chapel, and 
 chantry over it. — Odious usurper of our fancied joys, hence ! But 
 let us divest ourselves of harsh reflections • let Moderation, " grace 
 divine," lead us (if we can attend to her peaceful admonitions) into 
 
 The Choir. 
 
 And here we must relinquish the feeble hold of indifference ! The 
 antiquary's glowing zeal for the renown of our ancient architecture 
 now blazes in our breasts ! Disgusting victor over its fallen glories, 
 you stand at this holy entrance to despoil us of our late acquired 
 composure. Why is this piece of workmanship called an im- 
 provement on our national style ? Was it set up as an object to 
 excite our applause ? If so, I grieve indeed at the perversion of the 
 mind of man, never more glaringly conspicuous than in the door of 
 entrance, which we must pass through before we can congratulate 
 ourselves on being within the choir. 
 
 What objects, then, are here to recompense us for our present 
 chagrin ? (I confine my observations to the embellishments of the 
 choir only.) In truth, we are immersed in an investigation that will 
 go nigh to overwhelm our judgments, and which will put our 
 patience to a fiery trial. 
 
 The work of the screens, pews, stalls, pulpit, are from the designs 
 of an architect of this church, now deceased ; who, setting aside the 
 architectural parts, and the ornaments which are so lavishly bestowed 
 on every part of the building, and in contempt of the sacred walls 
 he received a salary to protect and venerate, presumed to raise an 
 architectural creation of his own. Was such an one, I ask, an 
 eligible artist to be elevated to so high and distinguished an office as 
 architect to the Abbey Church of Westminster ? An architect, when 
 honoured with the care of this pile, should or ought to be ever on 
 the spot, to watch with anxious care the state of its innumerable 
 parts ; he should be studiously attentive that whatever repairs 
 (however trifling) are made should be executed in strict imitation of 
 
The Abbey Cktirch of Westminster. 45 
 
 the original work ; and, by his zealous representations to the reverend 
 guardian of the fabric, should point out the absolute necessity of a 
 certain yearly expenditure (beyond common demands) being bestowed 
 to keep in a decent kind of repair the several parts of the building. 
 Such, I presume, are the leading features of an architect, whose 
 exertions to preserve, as much as in him lies, this church to posterity, 
 will be the greatest satisfaction he can ever know in this mortal state, 
 and enriched with the good wishes of those who venerate the works 
 of antiquity. 
 
 In the second arch from the altar, on the north side, is the 
 monument of Aveline, wife to Edward Crouchback, blocked up by 
 the new screen work, and again on the outside by a modern 
 monument, in such a way that no part of it can now be seen. In 
 the same arch is the monument of Aymer de Valence ; and in the 
 first arch is that of Edmund Crouchback. These two last are, 
 beyond all contradiction, the finest examples of the monumental taste 
 of the fourteenth century in this, or perhaps in any other country in 
 Europe. I have already given it as my opinion that the ancient 
 fine arts of this kingdom were in their meridian of splendour when 
 our third Edward reigned ; the glory of England, and the admiration 
 of his contemporaries ! An excess of genius and skill in every 
 branch of decoration is lavished on these inestimable monuments. 
 Here I cannot but be sensible that I betray a weakness in thus 
 giving way to unbounded praise, which, by an unaccountable reverse 
 of opinion in others, is reverberated back on my ill-judging mind, 
 and my adulation turned into a sort of loathing at beholding these 
 monuments entirely shut out from the choir, their appropriate 
 situation, by the new screens also, while their fronts to the aisle are 
 only to be perceived ; and in what a miserable condition, covered 
 with dust and rubbish and some of their most delicate parts de- 
 stroyed, and destroyed within no great distance of time ! Let us turn 
 from these objects while reason so far holds sway over our passions 
 that we may be able to restrain them. — The altar-screen, when it was 
 presented some years back, to ornament this choir, was considered 
 as an acquisition of much magnificence. However, I believe, at 
 present it is pretty generally allowed to be a site as ill-calculated for 
 it as a mitre would be if placed by way of ornament in the centre 
 of a card-table. 
 
 On the first arch from the south side of the altar are some wooden 
 embellishments of compartments, pinnacles, etc., over, as it is said, 
 the tomb of Sebert ; or, as it has been maintained, making part of 
 the priests' stalls on the side of the altar. Be this as it may, the 
 compartments on each side were filled with whole-length paintings 
 of some of our ancient kings, saints, etc., one of which is still visible 
 in the front next the aisle. This curious relic has likewise been 
 excluded from the choir by the new screens, whereby the front on 
 
4 6 
 
 Architectural Innovation. 
 
 that side (which has all its painting complete) is hid from the public 
 eye for ever. There are no memora?ida of what subjects filled the 
 other arch on this side, to correspond with the enrichments on the 
 opposite side of the choir. 
 
 Why are these arches partitioned off from the choir, whereby we 
 lose the sight of those memorials once seen through them? We 
 lose also the original design of the arrangement of the appropriate 
 parts of the choir. We — but I correct myself — " the old battered, 
 old-fashioned, dirty" objects would in no wise have corresponded 
 with the new work of the new choir, appearing so gay, so neat, and 
 trim in the eyes of the multitude. Censure never sits easy in the 
 mind of those who are constrained to require its unpleasant aid \ but 
 when praise is the happy theme, how are our conceptions borne on 
 the wings of sweet delight ! The gratifying view of the fine mosaic 
 pavement before the high altar, the work of Abbot Richard de 
 Ware, almost banishes from our memory the preceding reflections. 
 Our satisfaction must give way in applauses to those who are the 
 protectors of this scarce and invaluable remnant of the taste of 
 those ancient artists, whose department consisted in ornamenting 
 the pavement of our churches. 
 
 [1799, Part If., pp. 858-861.] 
 
 Edward the Confessor's Chapel. 
 
 Even Dart, the historian of this church (in spite of the cant word 
 of modern historians " superstition "), is compelled by an irresistible 
 impulse to sound forth the praises of this chapel, which he declares 
 is " so solemn and venerable that it strikes a greater idea of religious 
 solitude and contemplation than any place perhaps in the world !" 
 We must give him credit for this effusion, as at his day our ancient 
 architecture was so entirely overlooked, that in every corner of the 
 land some innovating disguise in the Roman and Grecian taste was 
 thrown over its most lovely forms. The high-altar screen, through 
 which we have just passed, is a bitter proof of this infatuated pro- 
 pensity, if we may judge from the east front seen in this delightful 
 chapel, for which language has no words that can, like the ethereal fire 
 from heaven, dart into our souls that momentary flash of expression 
 to mark its blaze of perfection. What, then, must have been its front 
 next the choir ? Surely the glory of ancient art must have there 
 appeared more than mortal. I have an innate conviction in my 
 breast that this front is still in existence behind the present modern 
 altar-screen. I expressed my thoughts in this way when I had 
 examined a sort of modern screen, some few years past, at the east 
 end of one of the college chapels in our universities, and which was 
 verified soon after, when the said modern screen was removed, by 
 giving to the astonished seminary an ancient altar-screen, the admira- 
 tion of which was great and universal. 
 
The Abbey Church of Westminster. 
 
 47 
 
 " Feasting, then, our eyes " on the screen before us, let ecstasy, let 
 remorse, each play the conqueror o'er our feelings. Now we explore 
 the multitudinous parts that distract our comprehension in endless 
 gaze ; now we start back with frightful gusts of passion to see this 
 screen, which should only be approached with the most profound 
 veneration, battered, hacked, and deprived of some of its principal 
 parts, and now left to the mercy of mischievous and ignorant 
 visitors,* whose respect and attention are only directed to the wax- 
 work baby-catching resemblances of inanimate life. If we, who are 
 intent on nobler subjects, inquire why this screen is thus abused, we 
 are told, " Oh, it is your coronations that do all the mischief ; for, at 
 that solemnity, a floor is laid over this chapel for the purpose of 
 making it a retired situation and as the architect of the church and 
 the workmen have so much other business on their hands they cannot 
 attend to trifles. — We are answered. 
 
 The first monument on the north side is in memory of Edward I. 
 Its canopy and screen are demolished down to a very poor account 
 indeed of decoration. Let my recollection assist me ; it was in some 
 of my juvenile visits to this church; yes, I am certain now, it was at 
 the funeral of a Lord Bath by torchlight ; the grave was in the aisle 
 below, directly opposite this tomb. I, with many others, stood on 
 the top of it. Near the conclusion of the ceremony the sacrilegious 
 mob broke in on the procession, when a dreadful conflict ensued. 
 Many bystanders, in order to defend themselves from the conse- 
 quences of the general tumult, tore down part of the woodwork of the 
 canopy to convert into weapons of defence. Darkness soon closed 
 the scene. The terror I then endured, and the lapse of time since 
 the event, have obliterated all traces in my memory of its disastrous 
 conclusion. Some years after, this tomb was made the object of 
 great curiosity, not alone of antiquaries, but of those who are not 
 much interested in such studies, from the novelty of the transaction. 
 This tomb, to be brief, was opened in presence of the late pious and 
 learned Dean of this church (whose memory still dwells in the 
 grateful hearts of those who now lament his loss — indeed, who literally 
 live through his beneficent means), and several members of the 
 Society of Antiquaries. The result of this important examination is 
 explicitly and faithfully delivered in the " Archaeologia," vol. iii., 
 p. 380. At the foot of this tomb a breach has been made in the uni- 
 formity of the chapel, which is now the general way that modern 
 visitors enter into it, not to pay their vows to St. Edward's shrine, 
 but to play off their facetious jokes at its cost and the surrounding 
 tombs. 
 
 The tomb of Henry III. Has the recollection that this monarch 
 was the founder of the building given way to the sole consideration of 
 
 * In the entablature are sculptured the principal events in the life of Edward 
 the Confessor. See Carter's " Ancient Sculpture," vol. i. 
 
4 8 
 
 Architectural Innovation. 
 
 the emolument that arises from it? an untold mine of aggrandisement 
 to so many ! Behold how the embellishments are suffered to vanish 
 away, bit after bit ;* no directions given for its repair, or for keeping 
 it in decent order ; no means devised, by way of prevention, to secure 
 it from further curtailment. The royal statue is of brass gilt, a 
 tempting material. Henry, thy great and noble acts lie with thee in 
 thy tomb unheeded and forgot ! 
 
 The tomb of Elizabeth, second daughter to Henry VII. ; which, 
 being a very small and simple design, has (no doubt from its sup- 
 posed insignificance) been battered and maltreated, with a view, one 
 would think, to get rid of it altogether ; however, it still holds its 
 place. 
 
 The tomb of Eleanor, the faithful consort to Edward I. This 
 memorial of connubial attachment has hitherto withheld the " iron 
 hand." The innovators, either in religion or architecture, felt the 
 force of the divine attribute, heaven's best gift to man, female faith ! 
 This tomb has not been mutilated. 
 
 The tomb and monumental chapel of Henry V., conqueror of 
 France, England's glory, Britons' inspiring theme ! While my 
 delighted eye wanders over thy sepulchral trophy of conquest and of 
 ancient art, let me presume to hope, to be prophetic, that Englishmen 
 may again tread in that bright path which led thee on to fame — again 
 may sound to distant realms that France is at their feet ! I am con- 
 fident that this endeared object and England triumphant exist 
 together. It must give pleasure to hear it said that the statue of 
 Henry is of " heart of oak." Some surprise may be raised, as this 
 material is not usually made use of for such purposes. But when we 
 recollect that the statue of John of Eltham, in St. Edmund's Chapel, 
 is of oak covered with enamelled brass-work, we may reasonably 
 conclude that Henry's statue was plated with silver ; as the tradition 
 sets forth, and which especially remarks that the head was of solid 
 silver. Such a circumstance accounts for the present loss of the 
 head of the statue. Every part of this chapel is in a tolerably perfect 
 state. Our satisfaction is heightened when we consider that our 
 countrymen, though their disorganisation of sentiment in other 
 matters may have blinded their reason, so as to commit havoc on the 
 works of antiquity, have, in the instance before us, held sacred the 
 memory of Henry. On each side of the design circular stairs ascend 
 into Henry's chantry. In this sequestered spot we find a sweet 
 repose ; contending passions for a while cease to agitate our thoughts. 
 Our view eastward is closed by a small and rich altar-screen, perfect, 
 except the want of the statue in the centre, infusing a faint gleam of 
 the appearance of the church when in its original perfect state of 
 repair. Nay, our investigating labours are rewarded by a sight of 
 the altar-table, now lying before the site of the altar, and forming 
 * Alluding to the inlaid work on the tomb. 
 
The Abbey Church of Westminster. 
 
 49 
 
 part of the pavement. We also discover on the face of this curious 
 remain its authentic marks, the five crosses. 
 
 For these several years past a number of wood models of churches 
 have been lumbered up in a chamber over the east cloister. They 
 lately have been cleaned, repaired, and removed into this chantry for 
 public inspection. However ill they may accord with this sacred 
 situation, yet, for the opportunity it gives all to participate with us in 
 its beauties, we may look askance at this new sort of furniture. But, 
 what is no small pleasure to the antiquary, the shield and saddle, 
 part of the funeral trophies of our Henry, have been restored, with as 
 much attention as possible, to their original situations, so as to 
 accompany his helmet, which appears to have remained undisturbed 
 since its first setting up. This shield must be particularly dear to the 
 beholder ; who will reflect that, when it graced and defended the arm 
 of Henry, " St. George and conquest !" was the cry ; to victory or 
 death. 
 
 Descending into St. Edward's Chapel, we next in order notice the 
 tomb of Queen Philippa, consort to Edward III. It is scarcely pos- 
 sible not to be sensible of the nice perspicuity, the profound judgment 
 evinced by the excellent disposition of this tomb and the tomb of 
 Eleanor. They in their lives were the patterns of female excellence ; 
 and from their deaths their memorials still live, as bright examples to 
 remind the female world that universal love and universal praise is 
 acquired through the medium of constancy and truth. We, however, 
 cannot, as when speaking of Eleanor's tomb, here exult and say its 
 owner's virtues have hitherto protected it : far otherwise, the canopy, 
 the statue, and the several ornaments have felt the " iron hand." I 
 remember it in a far better state. But to proceed. 
 
 The tomb of Edward III. Surely heroism is its own safeguard, a 
 charm that enervates the ruthless hand of the despoiler. This 
 monarch's praise is a theme in which we have continually indulged 
 our loyal sensations, have ever called to mind his warlike deeds, his 
 patronisation of learning, arts, and laws, his most extraordinary 
 powers in raising this kingdom to a degree of splendour it never 
 knew before. These overflowing dictates must have their source 
 from those comparative causes crowding in my view at the present 
 hour. Thus encircled has Edward's tomb passed through a long 
 succession of years nearly entire ; a moiety of its canopy, the crown 
 and sceptres, and the small statues on the north side, are the 
 principal enrichments which have suffered in such a lapse of 
 time. 
 
 The tomb of Margaret, daughter to Edward IV., damaged, and 
 suffered to go to decay. 
 
 The tomb of Richard II. and his queen. This unfortunate king's 
 destiny pursued him after death ; for, till of late, his relics were the 
 sport of wanton curiosity ; certain openings on the south side of the 
 
 vol. x. 4 
 
5o 
 
 A rchitectural Innovation. 
 
 tomb not only showed the bones, but, by the insertion of the arm, 
 they were frequently taken out for exposure. Highly to the credit 
 of some, revolting at such practices, the openings are now closed up. 
 We find the canopy damaged ; the architectural parts, and the small 
 statues that laid on each side of the royal statues, with their crowns, 
 sceptres, and their arms, etc., have been purloined, no doubt on 
 account of the value of the metal ; but at what time is not 
 known. 
 
 The shrine of Edward the Confessor. Of the many works of art 
 of this kind that gave celebrity to the structures which contained 
 them, both from the name of the saint and from the immensity of 
 jewels and costly ornaments inlaid thereon, this shrine of Edward's is 
 the only work of the kind left us in the kingdom. According to the 
 old adage, the scarcer the commodity the more its value is enhanced ; 
 which, however, is not the case with regard to this shrine ; for a 
 scrutinising examinator may continually add to his memoranda the 
 loss of this part, and the diminution of that. He will soon recount 
 the demolition of the two remaining twisted columns ; vain will be 
 his anxious solicitude for the preservation of the beautiful mosaic 
 work ; and he will have to close his long account of the dilapidation 
 of the shrine with this sad remark : " The shrine of Edward the 
 Confessor having been long neglected, and the fractures at its west 
 end and at other parts daily growing worse for want of repair (which 
 the expense of a few evenings' entertainment of one or more persons 
 either at the opera or the playhouse would have been more than 
 sufficient to defray), yesterday gave way, whereby the whole of the 
 shrine tumbled into a heap of ruins 1" 
 
 As a professional man, I adore its refinement of workmanship, I 
 grieve at its disregarded state, and, if called on, would contribute 
 every assistance in my power to superintend its repair, so as to co- 
 operate with the liberal hand of the wealthy when they hold it out in 
 generous aid. Shall I go farther in my remarks? The chest contain- 
 ing the ashes of this second founder of the Abbey Church of West- 
 minster is suffered to remain exposed to the glare of day, the eye of 
 the irreligious, the reviler, and the infidel ! 
 
 The pavement, where we see its rent and disjointed excellence in 
 many a winding form of varied fancy, must give disquietude while it 
 attracts our notice ; something like horror guides, when we trace our 
 footsteps. Must we give the intruding passion leave to possess our 
 souls ? We cannot believe the violation of the ashes of the dead has 
 caused the discomposure of this once matchless pavement. No 
 record that I have yet met with has told who were the perpetrators. 
 Here is, however, left us one brass, of John de Waltham, Bishop of 
 Salisbury, to assist our ideas in forming a judgment of the perform- 
 ance. The brass of Thomas of Woodstock ; the gravestone that 
 bore its form still lies by the tomb of Queen Philippa. 
 
The Abbey Church of Westminster. 51 
 
 We now turn to the Coronation chair, which we read was 
 brought, with the famous stone within its seat, from Scotland, 
 whose kings used to be crowned therein. Allowing for its great 
 antiquity, we can find but little damage has been done to it; yet 
 (setting aside my turn of thinking as an antiquary) I should be 
 better satisfied to see more respect paid to it than is usually the case; 
 and the more so, as it is the identical chair that our sovereigns have 
 been crowned in ever since its being deposited in this chapel by 
 Edward I. 
 
 The sword and shield of Edward III. My judgment here denies 
 me to give implicit belief to this piece of tradition. The sword is 
 too gigantic, and the shield is not of the form used in Edward's days. 
 The sword I conceive to be what is called the two-handed sword 
 used by foot-soldiers, as we see so excellently represented in the 
 tapestry in the Painted Chamber, Westminster. 
 
 The other Coronation chair and the wax-work exhibition being 
 both modern performances, there will be no necessity to take any 
 notice of them. 
 
 It being impossible to give the praise due to this sublime spot, oui 
 minds alone must enter into the ecstatic vision. Wandering over its 
 endless train of enrichments, we may feel by turns the glory of our 
 ancient royal heroes, and the splendour of the ancient decorations. 
 Brilliant pictures, unnumbered riches in gold, silver, and precious 
 stones, reliques, religious curiosities, the myriads of burning tapers, 
 the heavenly melodies of the minstrels. I almost see brought before 
 my eyes that grand and solemn sight, when Henry III., the founder 
 of this church, with several of his principal lords, bore the remains 
 of St. Edward on their shoulders for re-enshrinement in this chapel. 
 I see the eager enthusiastic multitude filling the aisles and the 
 galleries of the structure ; I hear their pious acclamations, and now I 
 see the shrine in possession of its royal saint ; ascending clouds of 
 incense, gorgeous vestment, glittering insignia, Scriptural banners ! 
 Again, the soft breathings of the harmonious choir, wafting on angels' 
 wings the inspired soul to bliss immortal ! — Too far do I pursue the 
 phantom of antiquarian joys to return at once to the present course 
 of things ; insensibly I left its paths, and insensibly must I regain 
 that even flow of mind which, as guide to my friends, is so entirely 
 necessary. 
 
 [1799, Part IL, pp. 940-943d 
 
 Henry VII.'s Chapel. 
 
 Come then, my friends, and as we draw nigh this chapel, which 
 has obtained here the name of " one of the seven wonders of the 
 world," we will convey our imaginations back to that point of time 
 when the first stone was laid. This kind of architectural ceremony 
 has been in practice from the most remote antiquity to the present 
 
 4—2 
 
52 
 
 A rchitectural Innovation. 
 
 hour, and which we had observed when any structure of consequence 
 is to be erected. As authors class all ceremonial observances under 
 the head of superstition, my brother architects will do well to look 
 about them, as they are getting rid as fast as they can of all 
 superstitious objects in our churches, called by antiquaries " the 
 guides and authentic testimonies of history," to get rid of this high 
 crime and misdemeanour also. We who do not stand in dread of 
 this bugbear, this word " superstition," held out by freethinkers and 
 illuminators, will dare to imagine we see our ancestors of the fifteenth 
 century waiting in crowds to witness the august ceremony. It is not 
 to be doubted but Henry (though the accounts do not mention it), 
 and some of the principal nobility and clergy of the kingdom, were 
 present, it being usual on those occasions for such illustrious person- 
 ages to attend : Abbot Islip and Sir Reginald Bray being the 
 principal names recorded as assisting to begin the new work ; the 
 former as superior of this church, and the latter as the architect.* 
 The memory of Sir Reginald Bray should be held dear to professional 
 men who pretend to admire our ancient architecture. 
 
 As it was customary for each of the dignified assistors at this 
 architectural holiday to lay a stone for themselves in honour of God, 
 the foundation must have made no inconsiderable show on the first 
 day's work. Since we are become (through fancy's aid) part of the 
 rejoicing throng, let the majesty of the day not pass away without 
 portraying the principal objects appearing in our sight. At the east 
 end of the church, behold the king and his court, surrounded by the 
 religious, bearing their several costly officinal and processional badges ; 
 on each side, and filling the space to the palace walls, the military and 
 civil attendants on royalty. Passing our eyes in a circuitous manner 
 above the assembled host, we see the chapter-house, the Abbey 
 Church, St. Margaret's Church, the palace-yard, its gates and 
 buildings, the great hall, St. Stephen's Chapel, and that part of the 
 palace erected by the Confessor uniting with Abbot Littlington's 
 tower, which brings this architectural circle to the chapter-house 
 again. f Hark! how by turns the sounds of joy ascend in loud 
 acclamations, in harmonious canticles ! I feel the invading ecstasy, 
 I see the great and good ! And now all my attentive faculties centre 
 on Sir Reginald ; I see him stand in conscious presumption of the 
 possibility of bringing that design, which his enlightened mind had 
 conceived, to perfection. The inspiration of the moment bids his 
 soul presage that after-ages would adore the wonder he had that 
 day seen so auspiciously begun ! 
 
 Imagination's charm dissolves, its force subsides ; and now let 
 reality, in all the burst of architectural glory, demand that homage 
 
 * See his portrait, whole-length, in Carter's "Ancient Sculpture," vol. ii. 
 f Great part of these objects are yet in being, though disguised and hid by 
 coach-houses, taverns, ale and wine cellars, hovels, etc. 
 
The Abbey Church of Westminster, 53 
 
 and fearful investigation which such a building as Henry VII. 's 
 chapel can alone inspire. 
 
 In the porch of entrance, the ancient architect has well prepared 
 our minds previous to beholding his refulgent scenes. A flight of 
 several steps brings us under its arched ceiling ; and, although every 
 space is filled with compartmented forms, yet the richness given is of 
 that introductory unassuming sort, that it but serves to excite our 
 rising astonishment. The effect bestowed from the uncertainty and 
 small portions of light is most admirably calculated to infuse those 
 sort of impressions so indispensably necessary to us who pant to 
 receive the full force of the refined delights which await us. 
 
 This porch has equally escaped the hand of alteration and of 
 demolition. A door on the left brings us into the north aisle ; its 
 work is an augmentation of what we beheld in the porch, increasing 
 in beauty and infinity of parts. Various monuments, raised since 
 the reign of Henry VIII., fill up the whole of the aisle, from the 
 stone cradle at the east end, and hiding the site of the altar, to the 
 wooden box holding General Monk's tributary effigies at the west 
 end. A door on the right-hand in the porch leads into the south 
 aisle. Here likewise monuments almost prevent the visitor from 
 viewing its various charms, which are nearly correspondent to those 
 on the north side. The site of the altar remains, but the niche over 
 it has lost its statue. The wax-work figure of Charles II. is certainly 
 a fine model ; it shows the real robes worn by that monarch, and 
 well deserves the notice of the curious. This opinion, however, 
 does not accord with those of the Church, or we should not perceive 
 how it is left to go to decay. 
 
 Six ponderous massive brass folding-doors, covered with open 
 ornamental devices, "which on their hinges grate harsh thunder," 
 admit us into the chapel. 
 
 It is not in the power of men, who, like us, have step by step risen 
 from one degree of mental enjoyment to another, found in every part 
 of these sacred buildings, but here to submit to certain impulses, 
 certain regrets, which surely can be no real crime to own. To wish 
 for an instant (only) to see the place as at first, unsullied by dust and 
 accumulating cobwebs ; see the whole in perfect repair ; the stopped- 
 up broken windows shining resplendent with their full assemblage of 
 painted glass ; the pavement covered with brasses and engraved 
 gravestones ; its aisles and small chapels unincumbered by intrusive 
 modern objects : to see its first possessors, their head and the 
 architect, with all the " pomp and circumstance " of the times, 
 enjoying the completion of their wishes and surprising abilities, in 
 having completed a structure which was to hold the ashes of their 
 king, and of succeeding monarchs ; a monument of royal mortality, 
 and of architectural fame ! 
 
 It is easily to be perceived these wishes are purely professional, 
 
54 
 
 A rchitectural Innovation. 
 
 and indulged for the sole purpose of conceiving what such a work of 
 art must appear with all its attendant architectural finishings, and all 
 its requisites of proper repair, cleanliness and order. As it is then, 
 let us, if possible, pursue the myriads of objects presenting them- 
 selves on the stalls, arches, compartments, niches, statues, windows, 
 groins ! Our sight becomes distracted ; our comprehension loses 
 itself in this labyrinth of architectural enrichments ; our senses 
 forsake the clue of reason, and we sink entranced into a state of 
 incomprehensive and unutterable delight ! 
 
 Although I have thus essayed to speak of Henry VII. 's chapel, to 
 tell its glories (for I have seen them), my efforts fall short indeed of 
 that heavenly praise bestowed on it by an author at the beginning of 
 this century, which is so highly applicable that it shall here be 
 introduced : 
 
 " Henry the Seventh's chapel is the admiration of the universe, 
 such inimitable perfections appear in every part of the whole 
 composure, which looks so far exceeding human excellence, that it 
 appears knit together by the fingers of angels, pursuant to the 
 directions of Omnipotence."* 
 
 Six of the windows on the south and one on the north side in the 
 upper tier have been banded, but not with an eye to the symmetry of 
 the work. This circumstance, however, it is useless to premise. 
 The several statues below them remain, excepting one on the south 
 side. Those in the niches at the east end of the stalls are gone. 
 Several of the eastern stalls are modern, put up in addition to the 
 ancient ones, and are tolerable imitations. The screen round 
 Henry's tomb has received much damage ; the tomb in itself is nearly 
 perfect — the grand effort of Torreggiano.f The first small chapel on 
 the north side, east of the stalls, has its west end destroyed by a last- 
 century monument. The site of the altar remains; yet we find a 
 tablet stuck up against it, and its screen has been destroyed in part. 
 The next chapel in continuation has the site of the altar destroyed 
 by a monument of this century. The centre chapel, in which one 
 statue is gone, has no certain determinations to give a positive 
 situation for the site of the altar. The fourth chapel is entire, and 
 retaining the site of its altar. The fifth chapel, which is corre- 
 spondent to the first, and stands opposite to it, has raised up 
 against the site of its altar an obelisk. One of the statues is gone, 
 and a last-century monument has been built up in the centre of it : 
 the screen nearly destroyed. Of the screens to the three inter- 
 mediate chapels there are not the least remains ; and in lieu of the 
 destroyed appropriate open stone compartments to the screens of the 
 first and last chapel just mentioned, are nailed up common deal, 
 unpainted, hedge palisadoes, to prevent, we are to conceive (not to 
 
 * Ward's "London Spy." 
 
 f See Carter's " Ancient Sculpture," vol. . 
 
The Abbey Church of Westminster. 
 
 55 
 
 ornament the chapel), curious persons from picking out the brass- 
 headed nails, and purloining velvet from the coffins of the two un- 
 buried foreign ambassadors. 
 
 Excepting the alterations and damages sustained as here noticed, 
 every other part exists in its original state. We may, however, just 
 put down that some little injury has been done to the space under 
 the west window, caused by erecting there a temporary gallery at 
 funerals, etc. The crowns also over the arms and devices above the 
 niches at the extremity of the stalls are destroyed. Some small 
 portions of the painted arms and devices in the windows are yet 
 visible ; and in particular in the high east window, a good whole- 
 length figure. It is rather surprising, as these paintings continue to 
 be a general mark for stone-throwers, that a particle of them is in 
 being. Here it may be remarked that the collection of statues 
 hitherto preserved represents bishops, saints, etc., etc., and a small 
 one on the stall on the left of the entrance is pointed out as a portrait 
 of Henry himself. 
 
 It will not be wondered at when I declare that I am fond of all 
 ceremonies that partake in any degree of the manners of antiquity ; 
 and, as I was spectator to a very awful one in this chapel at the 
 funeral of the late Princess Amelia, I shall make little apology for re- 
 counting of it here. A gallery was erected over the eastern part of 
 the chapel (usual on such occasions, whereby the screen of Henry's 
 tomb, the screens to the chapels, and adjoining ornaments, receive 
 that damage already hinted, as very little, if any, direction is given to 
 the workmen with regard to their preservation ; the attending profes- 
 sional gentlemen being at such times too generally engaged in 
 securing the perquisites of office, etc.). Clusters of lights depended 
 from the groins ; and in the centre of the chapel the pavement was 
 taken up, leaving sufficient room for receiving the corpse into the 
 vaults underneath ; which is performed by means of machinery, after 
 the manner of a theatrical trap-door. From the adjoining palace a 
 platform ran to the door of the church by Poets' Corner (or the south 
 transept) for the procession, lined with armed soldiers ; and at 
 certain distances stood unarmed soldiers with tapers in their hands. 
 Here ancient custom appears. The procession was met at the said 
 door by the clergy in full numbers, all with lighted tapers, antiquity 
 again ! and in this manner proceeded to the chapel, a solemn 
 anthem being sung during the procession. The corpse was then 
 laid on the false flooring of the machinery, when the funeral service 
 commenced. At its conclusion, another anthem ended this last sad 
 office to departed royalty. The happy unity of the time of the 
 music to the descent of the body was particularly striking, which, as 
 the anthem proceeded, insensibly sunk till it was out of sight ; and 
 what gave the whole a more forcible effect (I speak to those who 
 have "music in themselves") was, that at particular parts of the 
 
56 Architectural Innovation. 
 
 composition were rests (or cessation of sounds), when another happy 
 (if I may so term it) combination was heard, the minute-guns in the 
 Park. 
 
 As this scene was no ideal business, I partook of that sort of 
 melancholy pleasure, which for the time banished all such thoughts 
 as have been the principal features of this paper ; and I only beheld 
 the chapel for its then effect, the procession for its then grand and 
 holy purposes, and listened to the dying falls of sweet harmony 
 for those pious thoughts which it then raised in my participating 
 heart. 
 
 [1799, Part II., pp. 1015-1016.] 
 
 We have ever been used to hear sounded in our ears how cheap 
 men worked in former times, and to hear the architectural efforts of 
 our ancestors familiarized down to the low and ignorant considera- 
 tion that, when they were constructed, a penny a day was the price 
 of each artificer's labour, without once considering the value of a penny 
 six centuries back, and a penny at the present moment. And yet let me 
 recollect, that either this ancient stipend is still continued in the dis- 
 bursements of this church, or that the professional people belonging 
 to it are so fascinated by its architectural charms, or by the high 
 honour redounding from the name of being called an architect, 
 mason, carpenter, plumber, glazier, etc., etc., that, as I was informed 
 by a person the best qualified to decide upon the matter, the mason's 
 bill for work done last year on the various parts of the church, the 
 surrounding buildings, prebendal houses, etc., did not exceed sixty 
 pounds. 
 
 I have long been used likewise to have raised to my view the 
 scene which would take place in this church if all the useless super- 
 stitious objects of former times were swept out of the building. One 
 proposes to carry the screen entering into the choir as far back as the 
 east line of the north and south transepts, and push the choir home 
 to Henry VII. 's chapel ; the royal monuments, etc., to be conse- 
 quently huddled up in some of the obscure parts either in the body 
 or transepts of the church. Another (can we think guided by the 
 new order of things ?) proposes to make a clear stage of the religious 
 arrangements of the church, whereby its whole interior might 
 become one vast receptacle, where fine monuments (modern ones, it 
 is to be presumed) might be seen, and the grand established service 
 of the choir diminished, and removed into the narrow limits of 
 Henry VII. 's chapel. This innovator, perhaps, upon some few occa- 
 sions hath witnessed but one or two singing men, half a dozen 
 singing boys, one or two minor canons, and, perchance, one solitary 
 prebendary, assisting at divine service ; and, therefore, unthinkingly 
 concluded Henry's chapel roomy enough for such an assemblage. 
 
 I have before me a letter, which I received a few years ago, desir- 
 
The Abbey CImrch of Westminster. 
 
 57 
 
 ing me to make a view of this said chapel, with strict charge to leave 
 out all the unnecessary decorations of stalls, Henry's tomb, and the 
 trifling trumpery of the helmets, gauntlets, swords, and banners, of 
 the heroic knights of the Bath, thus ennobled for the warlike deeds 
 they had achieved in defence of their king and country! It is hardly 
 necessary to remark, the only use I ever made of this letter was to 
 keep it as a testimonial of the ideas of architectural innovators, and 
 now to lay its purport before my readers, that they may be sensible 
 how some professional men (this correspondent being one) despise 
 our ancient religious decorations, and how I revere them. 
 
 What strange infatuations at certain times possess the heart and 
 soul of man ! Each in his turn falls into mental snares destructive 
 to worldly happiness. A long, long, and disgusting list might be 
 brought before each man's view ; some with ridiculous items, and 
 some with mournful mementoes, enough to embitter the remaining 
 thread of mortal care. Ever wishing to entertain my readers, I shall 
 confine here my reflections to the more cheerful part of my picture. 
 
 The infatuation I mean now to set up to view is in regard to the 
 adherence to costume both in ancient and modern artists. Our 
 ancient artists, let their subject for representation be of ages that 
 have passed before them, or of whatsoever country, gave the 
 manners of the times they lived in ; as we particularly witness in the 
 Painted Chamber in the adjoining palace, where the subject of the 
 siege of Troy is wrought in tapestry, with the buildings, dresses, and 
 decorations of the fourteenth century. Our modern artists, as it 
 were to turn the flame on their ancient brethren, have introduced the 
 Roman, Grecian, and almost every nation's costumes, to deck out 
 their historical performances both in painting and sculpture. Of the 
 latter art, in no spot in the kingdom has this whimsical infatuation 
 taken such firm root as in this church ; for it is impossible to cast 
 our eyes on one monument but something of this perversion of 
 reason and judgment stares us in the face. This irreconcilable mode, 
 this leveller of all historic evidence, seems to have raised its head 
 soon after the introduction of the Roman and Grecian architecture 
 among us, treading under foot our national style, and, by dressing up 
 the statues of our statesmen, warriors, and scientific men in foreign and 
 fantastic habits, entirely do away the historic costume of this country. 
 
 The cause of this infatuation arises, I conceive, from a presump- 
 tive vanity, which is more or less predominant in us all, that we know 
 better than those who have gone before us ; and we arrogantly say 
 we will improve on our masters. Here take the names of some of the 
 principal monuments that come under this head of sculptural infatua- 
 tion, the offspring of architectural innovation : 
 
 Sir Thomas Hardy. Roman dress. 
 
 Horneck. Ditto, busto. 
 
 Hon. Lieutenant-Colonel Roger Townshend. His death repre- 
 
58 
 
 Architectural Innovation. 
 
 sented after the Roman manner, in a basso-relievo, and yet supported 
 by Indians in the strict costume of their country. 
 
 Sir Cloudesly Shovell. Full-bottomed periwig, coat sleeves, night- 
 gown, Roman covering for the body, and for the decoration of the 
 legs and feet. 
 
 James Craggs, in a sort of a Roman dress, shock hair, etc. 
 
 John Friend. Roman busto. 
 
 Martin Folkes. Roman dress. 
 
 Shakespeare. Fancy dress. 
 
 James Thomson. Roman dress. 
 
 John Duke of Argyll. Ditto dress. 
 
 Sir Thomas Robinson and lady. Roman bustos. 
 
 Garrick. Fancy dress. 
 
 Butler. Roman busto. 
 
 Barton Booth. Ditto busto. 
 
 Francis Holies. Roman warrior. 
 
 Admiral Holmes. Roman dress. 
 
 Admiral Vernon. Ditto dress. 
 
 Admiral Watson. Ditto dress. 
 
 General Guest. Ditto busto. 
 
 Admiral West. Dressed hair, neckcloth, and in armour. A busto. 
 
 General Kirke. Dressed hair, in armour. A busto. 
 
 Earl of Halifax. Dressed hair, in armour. A busto. 
 
 George Holies. A Roman warrior. 
 
 Catharine Walpole. Grecian dress. 
 
 John Duke of Sheffield. Roman ditto. 
 
 Now let us leave this sacred pile, our senses filled with the 
 sublime transports which we have imbibed during our survey. Let 
 us leave these scenes with, perhaps, the last look which some of us 
 may ever take ! Farewell, dear venerated fane ! I quit your 
 hallowed walls. Why do my lingering eyes forget to turn to other 
 objects! What portentous thoughts intrude? Sure, I shall once 
 more tread thy holy aisles ! Again farewell ! and may these essays 
 have some influence over thy future welfare ! Then shall I think my 
 labours well bestowed ; and my happy spirit, when disrobed of 
 mortal clay, will ever dwell a guardian genius to protect and guard 
 thy architectural glories to time immemorial. 
 
 St. Margaret's Church, Westminster. 
 
 [1799, Part II. > pp. 1129-1130.] 
 
 How often do we behold men who are decreed to stand the mark 
 of Heaven's vengeance ! And, although their lives and actions have 
 been as faultless as the weakness of human nature will admit of, yet 
 so it is, some malignant and envious spirits, to gratify the venomed 
 
St. Margaret's Church, Westminster. 59 
 
 purposes of their hearts, notwithstanding their own ruin must inevitably 
 be the consequence, strike and wound the miserable object of their 
 fury, cutting up by the roots all his hopes, and when in the full 
 blossom of every honest pursuit and employment ! Wretched lot ! 
 Pitiable situation ! 
 
 From such an unhappy mortal, doomed to feel, let us contemplate 
 an inanimate subject ; which, as we pass on the north side of the 
 Abbey Church in our way to the neighbouring palace, we cannot but 
 stay a while to comment on. 
 
 St. Margaret's Church appears to be devoted to architectural inno- 
 vation \ the alterations which have taken place, both on its exterior and 
 interior, have not only been of the ridiculous kind, but, I fear, of a 
 serious nature, that is, so far as obliterating the original excellent 
 design of the building. Its walls, windows, arches, etc., have felt 
 the ruthless blows of the artificer's hammer, whose architectural 
 wounds have been seared up with professional fancies, which will, 
 while the fabric exists, be the continued butt of contempt, mingled 
 with regret and sorrow. 
 
 The north side till lately has remained much in its original state, 
 excepting some common garret windows placed over the side aisle. 
 We may observe a new window has just been inserted at the western 
 extremity of the said aisle, as a proof how the old ones are to be con- 
 sidered as deformed, and the work of the present day more refined 
 and elegant ; and yet, what is it we are pretending to imitate ? Why, 
 the old style. Absurd, when I declare I never saw an ancient 
 window after the design which this new one is supposed to represent. 
 
 West front. — The tower at the north-west angle of this front has 
 been, some years back, new-faced ; whereon we find the unaccount- 
 able medley of ancient and modern compartments, and tracery cut 
 everywhere about it. At the same period, we are to imagine, the 
 common house parapet, and the transformation of the mullions of the 
 windows, took place ; which transformation certainly charmed the 
 directors of the present alterations, as the new window already spoken 
 of is correspondent to them. The porch, erected some ten or twelve 
 years back, is a mode of architecture which may be termed unique, 
 notwithstanding it is called by the inhabitants a Druidical design. 
 They, indeed, might as well call it either the production of the 
 Hottentots or the Laplanders, for what affinity it can possibly have 
 with the piles of our ancient Britons. 
 
 South side. — In the first story are already inserted many of the new 
 windows; those not yet altered were, we may again suppose, new- 
 worked when the west front underwent its change above observed ; 
 however, they preserve somewhat of the tracery of the original 
 windows seen on the north side. The new windows in the second 
 story innovate but in a small degree from the old ones. The parapet 
 is modern. 
 
6o 
 
 A rchitectural Innovation. 
 
 East front. — It has been new-faced, and its small parts modernised. 
 
 Inside of the church. — Thirty or forty years ago, when this church 
 was repaired and beautified, its groins, or whatever finishing it then 
 might have had, were destroyed, and an ornamented modern flat 
 ceiling put up in their stead. The east end was decorated in a fancy 
 way, but yet not so as to alter or disfigure the arrangement of the 
 building ; and other changes were made, of less consequence. 
 
 Little judgment can be given of the intended reparations or altera- 
 tions now carrying on. We can only perceive that the last division 
 of the arches to the east, on each side of the body of the church, 
 have in part been filled up with counteracting arches of stone and 
 brickwork, to resist, as we are given to understand, the pressure of 
 the building from the west. This I was not sensible of ; and I still 
 tremble for the fate of the east front, as on its exterior are not any 
 buttresses, nor are any preparations making to repel the new mass of 
 materials in the last division we are speaking of. 
 
 I would advise my professional brethren to read occasionally 
 No. ii. [ante, p. 5] of these pursuits, where they will find by what 
 mode of procedure the west front of Hereford cathedral fell a victim 
 to the ignorance and whim of the people there employed. 
 
 I saw in the vestry a drawing, exhibiting in what manner the east 
 end of this church is to be altered. Its plan circular, a groined 
 dome, with an open skylight at the top ; the whole to be viewed from 
 the west end of the building through a large pointed archway spread- 
 ing across the body of the chancel. 
 
 The effect thus to be produced is certainly not meant to be after 
 the ancient terminations of our religious structures. No ; a bold 
 display of modern inventive genius, not fettered down to the dull 
 trammels of copying the half-conceived designs of our ancestors, is to 
 be the grand effort of this new display of art. Groins in the old way 
 would have been dark, and no other light appeared on the new work 
 that would have come through the dull paintings in the east window, 
 hitherto considered as the principal object at this end of the building. 
 Now, a burst of light from above will render the superstitious 
 paintings but barely visible (a proper consequence, to be sure) ; and 
 the fine show, from the profuse disposition of light and shade, will 
 dazzle and astonish the beholders ; and they will forget that open 
 sunny domes were unknown to our ancient artists, and that solemn 
 " emboyed roofs " are disgusting to our modern ones ! 
 
 The Ancient Palace of the Kings of England at 
 Westminster. 
 
 [1800, Part I., pp. 33-36.] 
 
 It will first be necessary to consult a few prints that show the state of 
 this palace in the sixteenth and seventeenth centuries. The oldest of 
 these is a plan of London in Elizabeth's reign ; where, examining 
 
The Ancient Palace of the Kings at Westminster. 61 
 
 that part laid down for Westminster, we find the mass of buildings 
 constituting the palace much as they have appeared in our times. In 
 the open space before the hall, now called New Palace Yard, was a 
 conduit ; before it to the north a large tower, and at the western 
 extremity of the yard, to the right and left, were gateways. On the 
 river-side are to be made out those erections which occupy the east 
 side of the yard ; the cloisters and buildings belonging to St. Stephen's 
 Chapel, the buildings now called the Court of Requests, and the 
 House of Lords ; but not either St. Stephen's Chapel or the Painted 
 Chamber can be particularised. The hall is very conspicuous ; and 
 we can discover the other open space now called Old Palace Yard, 
 with the east end of the Abbey Church, St. Margaret's Church, and 
 some other buildings ranging on the west side of the hall. 
 
 Thus much for the information which is to be gathered from this 
 valuable print. The other engravings are views of New Palace Yard 
 only ; and (from the dress of the people) appear to have been taken 
 in Charles II.'s reign ; from which, we see, the niches in the front of 
 the hall were filled with statues • and that the buildings on the left 
 of the hall were similar to those we now find on the right, with the 
 great tower and the two gateways, but not the conduit as put down in 
 the plan. 
 
 Thus informed (though not in the most satisfactory manner), we 
 prepare to commence our survey. 
 
 New Palace Yard. — On the west and north sides are ranges of 
 modern buildings only ; and we cannot find any traces of the two 
 gateways or the conduit. The east side shows the range of erections 
 found in the plan. The south side gives the front of the hall, on the 
 left of which are some brick buildings, of the latter end of Charles II.'s 
 reign. The august front of the hall is indeed standing, but how 
 disgraced, mutilated, and hid by paltry huts ! I submit to any 
 unprejudiced mind, not vitiated with the rage to despise our ancient 
 fabrics, if they can resist the rising admiration excited by the rich and 
 noble parts of the tracery and enrichments which arrest our view. 
 The porch, when perfect, must have been of the first class of work- 
 manship ; and barbarous must those minds have been who demolished 
 the groins of which we now lament the loss. The parapet over the 
 porch has likewise been destroyed. In the first story of the tower on 
 the left, two of the six niches are cut away for a modern window ; 
 second story, the window perfect ; third story, the window has had 
 its mullions hacked ; the parapet modern. Tower on the right hand ; 
 first story, niches cut away for a modern despicable window ; second 
 and third stories, mullions of the windows hacked, and a modern 
 parapet. The great window over the porch unaltered. On the point 
 of the roof, the terminating niche has been curtailed of its pinnacles, 
 and a common mason's plinth for a vane substituted in its stead. 
 Not one of the statues that filled the niches is left, which, no doubt, 
 
62 
 
 A rchitectural Innovation. 
 
 were historical, and gave the forms of our kings, warriors, and other 
 ennobled characters. The range of buildings running from the hall 
 to the west side of the yard, where stood one of the gateways entering 
 into Old Palace Yard, were till very lately entire ; when, from a 
 supposed want of room for carriages (ever before thought sufficient) 
 they were taken down to within two windows in breadth, west of the 
 octagon to^-er, projecting from about the centre of this range. 
 Interesting these chambers were, as we have from tradition that one 
 of them was the bed-chamber of Henry VII. 
 
 The west side of the hall is partly perfect, excepting that on its 
 wall a modern brick parapet has been placed, and towards its northern 
 extremity we find some few old chambers left standing ; but the whole 
 line of its side is blocked up by every species of modern erections, so 
 that but little of its design can meet the eye. The south end of the 
 hall likewise comes in for its share of exclusion ; yet we can just 
 perceive the upper part of the great window and finish of the roof. 
 The east side of the hall is much shut out from observation, but 
 the erections there have been raised for necessary attendant pur- 
 poses on St. Stephen's Chapel, such as the cloisters, etc., which we 
 as antiquaries must overlook, when they remain so great a store, 
 so rich a mine, of architectural treasure, to repay our wonder and 
 curiosity. 
 
 We will at present delay making any observations on the exterior of 
 St. Stephen's Chapel, its cloisters, and contiguous buildings, reserving 
 them for a succeeding essay ; and, continuing our course, will com- 
 ment on the state of the Painted Chamber. 
 
 On the north side, the basement story has had some modern altera- 
 tions ; the principal story, two of the windows and buttresses 
 remain. Towards its eastern extremity are the vestiges of adjoining 
 chambers of rich work, and a modern brick parapet has been put as 
 a finish to the wall. The east end presents much of its original 
 work ; and to prevent the consequences of some fracture, a 
 prodigious supporting pier of brickwork has been built up. The 
 upper part of this end has likewise been repaired with modern make- 
 shift masonry, disgracing the sublimity of this most curious, and 
 the least unaltered, part of the palace, and which from its appear- 
 ance must create the greatest attention and veneration. The south 
 side and west end abut against other buildings. That on its south 
 side is the present House of Lords, and that at its west end a part 
 of the Court of Requests. 
 
 The walls of the House of Lords still preserve much of their old 
 work, but are blocked up on both the west and east sides with 
 modern apartments, and houses for the conveniency of the attending 
 lords. The north end abuts against the Painted Chamber, and the south 
 end against the Prince's Chamber. This latter chamber shows its 
 east end and south side in their original state ; but the west end is 
 
The Ancient Palace of the Kings at Westminster. 63 
 
 hid by a modern colonnade, etc., and its north side abuts against the 
 House of Lords. 
 
 From the east end of this chamber, running east, and then turning 
 to the north, taking its direction towards the east end of the Painted 
 Chamber, are certain remains of old walls, with windows stopped up, 
 a hanging buttress, and a projecting tower. These two latter objects 
 fronting the Thames, and being that kind of work seen on the exterior 
 of mansions, or castle walls, against which the waters of surrounding 
 ditches flowed, made me, when speaking of the aqueduct in the 
 cloisters of the Abbey Church, suppose that its direction lay towards 
 these walls, which once, no doubt, the river washed with its tideful 
 stream, notwithstanding there is at present such a plot of ground 
 between them and the water. 
 
 The next building which comes to our observation, and the last 
 that is in being of this once magnificent and extensive palace, is the 
 Court of Requests. The south end is indeed a curiosity, a choice 
 remnant of the first erections of this palace by Edward the Confessor. 
 These pursuits have guided us just in the fortunate moment to catch a 
 look at its design, as a common kitchen, and its appendages are now rais- 
 ing up against it. It may be thus described. From the ground line 
 to the second story the wall is plain, except two simple quarter round 
 brackets. The line marking the commencement of the second story 
 has the diagonals : two large semicircular-headed windows with the 
 diagonals (stopped up) next claim our notice. Above, modern brick- 
 work gives a finish to this end of the building. The west side shows 
 the old wall (plain) to a certain height ; and then modern brickwork 
 gives the finish as at the south end. The first story of the north end 
 shows likewise the old wall ; and its upper story finishes in the 
 modern way, like the forementioned parts. The east side is entirely 
 hid by the Painted Chamber, and a range of modern apartments lead- 
 ing from the House of Commons to the House of Lords, through the 
 Painted Chamber. 
 
 As the fire in the reign of Henry VIII. consumed the principal 
 part of the palace, and judging from the greater hall and other 
 buildings before us, we may naturally conclude the whole pile of 
 edifices was immense and stupendous ! Our conceptions are carried 
 away by comparisons to views of unnumbered scenes of royal 
 splendour; and, when we read of the luxurious banquetings, the 
 heroic exercises of valorous knights, the brilliant and costly 
 entertainments, we must raise to our imaginations the profuse 
 designs of the bowers of the ladies, the chambers of the knights and 
 the great officers of the household, the queen's chamber, the king's 
 chamber, and all the attendant train of offices dependent on kingly 
 state ! Then shall we be enabled to grasp in our " mind's eye" the 
 original grandeur of the ancient Palace at Westminster ! 
 
 Withdrawing our ideas, so deeply imbibed with that just fervour, 
 
6 4 
 
 A rchitectural Innovation. 
 
 caught from the love of former times, we become common spectators 
 of the mean, the despicable, and unheeded state of this remnant of 
 a departing ancient royal palace ! If some minds could partake with 
 us of the felicity in contemplating these relic mansions of our ancient 
 Sovereigns, how soon should we have to rejoice at being happy 
 witnesses of the sweeping command of — Away with these usurping 
 excrescences of sheds, hovels, taverns and alehouses, that blot out and 
 disfigure the walls of old English splendour and old English hospi- 
 tality ! and let them stand while a particle remains to remind us who 
 live, that those historic evidences which we read are not romantic 
 fictions; and that we may emulate those deeds of high renown 
 recorded by the pens of inspired bards, which gave prophetic 
 harmony to the enrapturing harps of the enchanting minstrels : 
 
 " ' What passion cannot Music raise or quell?' 
 Honour, Courage. — Truth, Loyalty. 
 Love, Madness. — Repose, Reason. 
 Religion, Heavenly joys. — Patience, Resignation. 
 And (the last of all human desires) 
 How to die !" 
 
 The Cloisters of St. Stephen's Chapel. 
 
 [Part I., pp. 1 29- 1 3 1.] 
 
 Our approach to them is from the south-east angle of New 
 Palace Yard, through a much smaller courtyard, which yard is made 
 out from part of the east side of the great hall, part of the south 
 side of the Exchequer offices, part of the range of buildings fronting 
 the Thames, and part of the north exterior of the cloisters. On the 
 great hall side (which appears much in its original state) are stables, 
 coach-houses, etc. On the Exchequer side, the ancient windows are 
 either filled up or modernized. On the range of buildings side are 
 two ancient doorways and two or three windows ; but they have been 
 stopped up. Here have been inserted several modern doors and 
 windows ; and, on the cloister side, the whole line is hid by a 
 modern front for common apartments ; and, at that part running 
 towards the hall, is a large square tower, which abuts directly against 
 it. The various windows and parapet of this tower have been 
 modernized. 
 
 Here let me remark that the cloisters and buildings connected 
 with them are parcelled out into the various convenient chambers 
 and offices necessary to accommodate a person of distinction. The 
 late Duke of Newcastle occupied them, when I particularly surveyed 
 some part of these remains, in 1791; and at present they are in- 
 habited by the truly excellent Speaker of the House of Commons. 
 
 Having now access to the east exterior of the cloisters next the 
 Thames, we find but a small portion of the ancient front, which is 
 adjoining the north-east angle of St. Stephen's Chapel ; for the whole 
 
The Ancient Palace of the Kings at Westminster. 65 
 
 range of buildings, quite to those which give the east side of New- 
 Palace Yard, are either destroyed, or have had their walls new faced 
 with brickwork, so as to give them the appearance of modern build- 
 ings. The south exterior of the cloister is a plain wall nearly touching 
 the buttresses of the chapel. The western exterior is indeed part of 
 the eastern wall of the great hall. 
 
 St. Stephen's Chapel, the west front, the principal part of which is 
 hid by modern buildings. One of them, however, shows some 
 windows of Henry VIII. 's time, rising nearly to the top of the chapel, 
 and serving in some degree as a screen to what is left of this most 
 exquisite work. Within this screen and the front is a modern stair- 
 case to the interior of the chapel. The chapel, we find, consists of 
 two stories, the basement story serving as an undercroft, or common 
 chapel, and the second story giving the grand chapel. The front of 
 the basement part is destroyed, and two modern semicircular arches 
 and their piers fill up its place, serving as a communication to the 
 undercroft, etc., and as a support to the front of the second story, 
 which presents a porch, constituting that valuable remain just men- 
 tioned. When we say that Edward III. was the founder of this 
 chapel, our wonder will still serve to impress our judgments with the 
 stronger conviction that his architectural day was all that chaste design, 
 true proportions, and elegant enrichments could produce to the 
 admiring eye of investigating man ! Be this effusion but the prelude 
 to the enchanting displays of art which await us when we shall enter 
 those walls, raised with an idea worthy of a king, that they should 
 contain all the excellence of the most celebrated professional men in 
 the kingdom, and bring to one point every perfection that human 
 genius had planted within its seagirt mound. 
 
 Again, my friends, trace the lines of this captivating design, and 
 let me confess that it has ever been my task of delight to come, at 
 certain periods, to take a look at its matchless beauties, as charming 
 now as when at first they caught my youthful mind. Constancy is 
 held a virtue of the highest price; it may be so to some, yet there 
 are others who, although in full possession of such a seeming good, 
 fall a prey to every misery that envenomed enemies can inflict. 
 Despite of such terrific intrusions on susceptible hearts, still let us 
 admire and still praise, this intrinsic performance before us. The 
 termination of the upper part of this front has been entirely changed 
 into coal-holes, closets, bedrooms, etc., and the octangular buttresses 
 at the angles show a strange finish after a modern idea, 
 
 The South Side. — The basement story contains one of the original 
 windows perfect, majestically grand ! All the others are obliterated 
 or hid by surrounding habitations. The second story meets our 
 sight with increased dignity, but we are miserably tortured at the 
 same time at witnessing the fine buttresses, the lofty windows, and 
 the finish of the walls, cruelly mangled with the work of modern 
 
 vol. x. 5 
 
66 
 
 Architectural Innovation. 
 
 times. The buttresses have been pared down to a poor remnant of 
 their former greatness; the windows unfeelingly filled in with brick- 
 work, wherein are placed oval and semicircular headed windows, 
 and the walls pitifully finished with a common parapet. 
 
 We love to point out the exertions of unwearied labour and 
 arduous imitation ; as such, let us notice one of the buttresses which 
 has in part been rebuilt (the whole business of the last summer). In 
 these buttresses are the vestiges of niches ; in the restored, or new 
 worked one, there is really a most admirable proof of the painstaking 
 of the workmen, and the economy of those who may have had its 
 superintendence : we find the sweeps of the head of the niche have 
 been copied, it is true, but the mouldings and lines dropping down 
 to the base entirely set aside, and a square line just below the 
 springing of the head cut across the front, as much as to say, here is 
 enough of this barbarous style of architecture ; let us have no more 
 of it ! 
 
 I should not have been thus particular on what indeed in itself is 
 but a trifle, did we not hear it rumoured that, in the general design 
 for a new House of Parliament (among the several plans now under 
 consideration), if these old buildings should be preserved, their 
 mutilated parts are to be restored. 
 
 The East Front. — Every change that modern fancy could devise has 
 been wrought on this front. On the basement story, three modern 
 pointed windows have been introduced in lieu of the original ones ; 
 in the principal story, we can make out the general form of the 
 great window which has been stopped up, and at its base-line a kind 
 of hutch or cabin gallery has been stuck out with pigeon-hole 
 windows, etc., and above in the filling-up brickwork, are four semi- 
 circular headed windows. The buttresses on each side are in their 
 original dress, but finish at their tops with modern domes of octangular 
 forms. To the right of these buttresses is some twenty or thirty feet 
 of the old wall of the building in continuation ; but, by the insertion 
 of some modern windows, the antiquity of this small portion is done 
 away. 
 
 While we contemplate this front,* grandeur again stands before us, 
 although mock insulting disfigurements have almost reduced it at 
 present to the tread of insult and contempt. 
 
 The north side has undergone the same innovations as we found on 
 the south side, excepting that, on the basement story, are more 
 remains of the lines of the windows and the compartments around 
 them. 
 
 * See a faint representation of this front, in its original state, now to be met 
 with, sculptured in one of the bosses of the groins of the cloisters to this chapel in 
 vol. ii. of the "Ancient Sculpture and Painting." 
 
The Ancient Palace of the Kings at Westminster, 67 
 
 The Interior of the Great Hall. 
 
 [1800, Part I., pp. 214-217.] 
 
 Accustomed as we are become to all the wanton despoliations of 
 the " iron hand,"* our chagrin and regret at such havoc must now 
 subside for a short interval ! We behold, we wonder, and we adore! 
 Where will our senses hurry us, or to what ray of comprehension can 
 they find a stay to compose the incomplete abilities of us modern 
 professional men, that we may dare to give a name of sufficient 
 force, or a reason of sufficient weight, to mark the magic work of the 
 roof, or to say, thus was it designed, thus was it constructed ! 
 Humbly do we bow the head with conscious shame, that we can 
 only gaze, but can never imitate. 
 
 Our vanity sinking with our eyes, the windows next come under 
 our investigation. How fine ! Below them, our view becomes 
 shocked with the preposterous modern erections at the basement part 
 of the south end, exhibiting architectural taste at its lowest ebb either 
 of invention or execution. 
 
 Animated again with the delightful (not unmixed with pain) task of 
 our survey, let us once more fully take into our minds the magni- 
 tude, the glory of the view : no common command bid these walls 
 arise ; no ! A splendid king said, ' This my intended palace shall sur- 
 pass all the architectural works of my contemporaries ; here shall be 
 seen the world's habitable wonder !' How well this royal resolution was 
 carried into effect, even the callous hearts of the destroyers of our 
 ancient architectural works must allow, if envy of superior excellence 
 would permit them to tell the dictates of their consciences. We who 
 are antiquaries enjoy and feel all the raptures which this remaining 
 memorial of kingly state can possibly inspire. We faintly speak ; 
 but our ecstasies tell it all ! 
 
 The dimensions first demand our notice. The length of the hall 
 from north to south, 236 feet; breadth from east to west, 66 feet; 
 and the height, 87 feet. 
 
 Some sixteen or eighteen years back, the basement part of this hall 
 underwent a repair, or, more properly speaking, an alteration, from 
 which business the height of the building was curtailed some feet, by 
 raising the pavement ; and the walls were faced with new stonework as 
 high as the entablature under the windows, where we find octangular 
 pilasters and other dressings of an entire modern fashion, giving 
 a seeming support to the several divisions of the timber-work of 
 the roof. 
 
 Whoever considers the natural pressure either of the great timbers, 
 or the groins of ancient structures, will be convinced that their force 
 is directed outwards : therefore, our forefathers wisely invented 
 attached or flying buttresses on the exteriors of such works, to resist 
 
 * A late adopted significant term, expressive of architectural innovation. 
 
 5—2 
 
68 
 
 Architectural Innovation. 
 
 every danger which those objects might bring to their supporting 
 walls. Hence where was the necessity for these modern intrusions 
 of grotesque pilasters, and the immensity of square superficial feet of 
 plain Portland stone masonry ? No doubt, this new work is more 
 conspicuous on the inside of the hall than such an accumulation 
 would have been on the outside of its walls. Why, indeed, should a 
 good job be executed in a situation where few would ever be able to 
 admire it, or to envy the good fortune of him who made out a long 
 bill for " stuff and time "? 
 
 The North End. — On the right side of the entrance is an ancient 
 doorway with a modern addition of a pointed arch set over its top. 
 The ancient stairs ascending to the Exchequer offices have been 
 replaced by new ones ; and, when they were destroyed, an ancient 
 statue of a knight was found, rather perfect, which was supposed to 
 have, at one time or other, been placed in some of the niches on the 
 front of the hall.* It was afterwards broken to pieces. At the 
 bottom of these stairs there yet remains an ancient pillar with arms 
 and devices.! On the left side of the entrance are new stairs and a 
 new pillar (it is not remembered if there was at any time an original 
 one) ; a good imitation of the corresponding ancient one. The 
 great window unaltered. 
 
 East Side. — The doorway into the Exchequer offices unaltered, 
 with a curious busto in the centre of the arch.J The doorway in 
 the basement part, near the foregoing one, modernized. The door- 
 way at the south end is square-headed, and has been cut through the 
 thickness of the wall for making a convenient passage to and from 
 that part of the hall ; probably done in Charles I.'s reign, as there is 
 over it a scroll bracket, which, till the late repairs, supported a fine 
 and most valuable bronze busto of Charles. We do not precisely 
 know in whose custody it now remains. Eight of the twelve windows 
 have been stopped up for modern convenience in the adjoining 
 habitations ; therefore, that some light might be admitted on this 
 side, six garret windows have been stuck into the roof, disgracing 
 most shamefully the symmetry of the work. 
 
 South End. — Two of the twelve divisions of the building have been 
 filled up by the courts of King's Bench and Chancery. It is not in 
 our nature to command the indignant scorn which we as antiquaries, 
 and, indeed, those who pretend to admire the arts of any age or 
 country, should conceive at such a pitiful, and such a contemptible 
 introduction as the design of the front of these courts exhibits. 
 The architect, to be sure, styled it, our ancient architecture designed 
 after a new way ! Here all the little fancies of modern art, mixed 
 with some gross imitations of our ancient works, fill the whole of 
 these fronts. What a farrago of pinnacles and pineapples, pointed 
 compartments and ogee arches, buttresses and balusters, a Grecian 
 
 * Engraved in "Ancient Sculpture and Painting," vol. i. t Ibid. % Ibid. 
 
The A ncient Palace of the Kings at Westminster. 69 
 
 entablature and French ornaments ! Why curtail the hall of so much 
 of its fair dimensions by these usurpers of its rightful proportion ? 
 Why not have cut pointed arches in the wall at this end, and built up 
 courts without, which might have been viewed from the hall with 
 every degree of architectural propriety and effect? Why do we ask 
 these presuming questions ? Ah ! why indeed ! Silence alone must 
 here direct our prudence. The six niches in the base part of the 
 wall retain their beautiful work and their fine statues of our ancient 
 kings.* The accompanying decorations, which no doubt rendered 
 this end of the hall a brilliant scene (here being the place for the 
 cross table, where the family of royalty sat), have been entirely cut 
 away. The great window unaltered. 
 
 The West Side. — In the basement part, southwards, is the appear- 
 ance of a square-headed doorway (stopped up) correspondent to the 
 one on the opposite side, with a bracket also, once supporting, it is 
 very probable, the busto of Charles's queen, the lovely Henrietta. 
 The great ogee archway that has been cut through the thickness of 
 the wall, giving admittance into the Court of Common Pleas, is in 
 the same ignorant and vulgar style as the work of the courts, at the 
 south end, and, no doubt, by the same great master. 
 
 I ask, to what ancient example did this ogee pointed arch owe 
 its origin ? Recollection tells me, I may be answered, it is an 
 improvement on our ancient architecture ; and with a witness ; for, 
 can such a sweeping arch be either natural, or give an idea of 
 strength ? This question is almost an insult to common-sense ; 
 therefore, we will proceed. Near the north extremity is a doorway, 
 but it has been modernized ; and the one entering into the Court of 
 Chancery has shared the same fate. Three of the twelve windows 
 have been stopped up, and four garret windows have been stuck into 
 the roof, as on the opposite side. 
 
 In the entablature below the windows, w T hich continues round the 
 hall, we find it entirely filled with arms and devices, most excellently 
 sculptured ; and we may likewise perceive the numberless holes, cut 
 among the ornaments (a ruthful business) for the purpose of insert- 
 ing the scaffold-poles when galleries are erected on public occasions, 
 as at coronation feasts and state trials. We must not fail to observe 
 that the several windows have as yet in no way been altered or 
 damaged ; and likewise to dwell with a degree of delight on the 
 shield-crowned brackets, from which the timbers of the roof take 
 their springings. The lantern in the fourth division of the roof from 
 the south is of an hexangular form, and is an excellent effoit of art in 
 that way. These objects in our ancient halls were for the purpose of 
 letting out the smoke ascending from the fires on the pavements 
 below ; which custom is still kept up in our universities, and other 
 
 * Engraved in "Ancient Sculpture and Painting," vol. i. 
 
7o 
 
 A rchitectural Innovation. 
 
 public buildings, as we find in the college-hall in the deanery of the 
 adjoining abbey. 
 
 [1800, Part L, pp. 300-302.] 
 
 Why do we droop ? Why are our spirits sunk so low ? Must we 
 leave this scene in all the bitterness of regret, imbibed from these 
 our observations and reflections made on its dishonoured state ? 
 How are human affairs parcelled out ! In what a seemingly strange 
 inconsistent way do we receive our share of life's employments ! 
 Here we find this wondrous hall thrown into the power of those who, 
 from being insensible of its grandeur, have left no means unused to 
 render it as contemptible as possible ; while we, who may be said 
 almost to idolize it, are cut out from raising a hand to preserve it 
 from insult, and can only deplore its unfortunate lot. Yet not wholly 
 so, my friends ; for in this survey some satisfaction may fall to our 
 share by catching at the hope that we may have made one convert to 
 venerate and to feel for the suffering majesty of the place. If so, our 
 labour is not in vain ; and, if our mite of preservation should out- 
 weigh that particle which holds its fate, our portion in its welfare is of 
 more importance than we were aware of. Therefore, companions in 
 my researches, my pleasures, and my pains, revive, recall our enthu- 
 siastic phantasies, and let this hall once more resume its wonted state, 
 and, as of old, once more appear in pomp and splendour. 
 
 See hand to hand and cup to cup those warlike knights ; 'tis to 
 friendship, 'tis to loyalty ! — See yon cheerful souls, with thoughts en- 
 riched from traffic's golden tide, ply well your dainty viands ! — The 
 sighing lover and the bashful maid forgetting to feast on other food 
 than sighs ! — Ply, fly your jests, your gibes, ye laughing crew : mirth 
 encircles all your brows ! — Ah ! reverend sire, your tale of former 
 times makes me a listener ; and here I could for ever stand ! — Good 
 Tony, I cannot brook such cutting jeers, reproofs wrapt up in sense- 
 less fooleries ; we are all frail at times ; must feel the lash ; I pray, 
 forbear, good Tony ! — The miser and the spendthrift, the gay and 
 the sad, the wise and the foolish, the gamester and the wittol, all, all 
 crowd the plenteous boards that fill the hall. The monarch takes 
 his share of joy and festivity ; he invites, and he bestows ; he sees his 
 subjects happy, for he in very deed doth make them so. Day after 
 day thousands here bless his name; welcome and good cheer lead 
 on the way. — Hark ! the minstrels come, with lute, cittern, crewth, 
 dulcimer, harp, pipe and tabor, sackbut, regalls, trumpets, captivating 
 sounds ! to animate and to subdue the listening soul with sweetest 
 harmony. I hear, and I resign my every sense to joys immortal ! 
 And now they vault ; then swift they turn in mazy folds of tortured 
 shape. Sweet lovely form, that trippest so lightly as you go, your 
 dancing steps, and twining arms that strike the graceful tambourine, 
 are all enchanting ! Another female form on a proud courser, with 
 
The A ncient Palace of the Kings at Westminster. J i 
 
 every brave accompaniment, comes prancing nigh the monarch's 
 lofty seat. She calls him to the war, reminds him of his honour, 
 dignity, and justice. She then, in courtly guise, dismounts, and, to 
 compose his ruffled mien, she chants, she gaily skims the open space 
 in many a sportive round. Her blandishments of female softness 
 melt the royal host, who, forgetful of his sceptred state, almost holds 
 out his longing arms to clasp her to his melting breast. The martial 
 sports now call on every eye. Each spectator becomes a combatant. 
 Shouts of manly courage, exclamations of feminine tenderness, 
 martial melodies, clank of arms, flying banners, neighing steeds ! 
 Confusion holds one universal sway ; and from the humble yeoman to 
 the mighty king the heroic fervour of all-glorious arms flies round 
 this regal hall. 
 
 Here let imagination resign her pleasing sway, raised by " honest 
 John Stow's" descriptive pen, and my picturesque and antiquarian- 
 struck ideas, to plain, ocular demonstration. 
 
 In an account of the coronation of James II. are many plates 
 illustrative of the various ceremonies attendant thereunto ; one of 
 which gives the plan of this hall, showing the setting forth of the 
 different tables for the royal feast. At the south end of the hall 
 there appeared a large chamber, called the Court of Wards, of which 
 no traces are now to be seen. Passing by the porch of St. Stephen's 
 Chapel, we come into the interior of the Court of Requests, now an 
 entire modern room, erected on an original basement story (as 
 observed in a former number [ante, p. 63]). On the east side, a 
 door admits us into the interior of the Painted Chamber. 
 
 Two correspondents in your vol. lxix. have well prepared your 
 readers for the information I have to convey. The first ("An 
 Englishman," p. 552), by giving the motives for the intended demoli- 
 tion of these buildings ; and the other ("An Artist," p. 661), in 
 calling the attention of all to the antiquity of this chamber, and to 
 the treasure it contains, that is, its invaluable tapestry. I must confess, 
 in behalf of my fellow-investigators and myself, although an accumu- 
 lation of filth and rubbish in this chamber in every part, as it were, 
 pushed us from its survey, yet a peculiar impulse agitated our frames, 
 a certain something that cannot be named led us on to view the very 
 walls, the doors, the windows that our forefathers, age after age, have 
 gazed at before. This sculptured ornament that now engages my 
 eye may, at one time or other, have been a point of attraction to the 
 notice of a Becket, an Edward, a Wickham, a good Duke Humphrey, 
 a tyrant Richard, the sacrilegious monster Henry, the princely 
 Wolsey, the unfortunate Charles, or the usurper Cromwell. What a 
 scene is here for reflection, for admiration, and abhorrence ! In this 
 mood should visitors enter this chamber, which has retained its 
 original finishings for so many centuries ; not with those usual low, 
 narrow-minded expressions made use of in this chamber, such as, 
 
72 
 
 A rchitectural Innovation. 
 
 "What a filthy place!"— "As dark as a dungeon!" — "Quite like a 
 prison !" — " What brutes must they have been formerly to have lived 
 in such a hole !" When it is never considered that the Painted Cham- 
 ber has not been cleaned for these forty years past; that three parts of 
 its windows have been stopped up j and that many similar buildings 
 have been barbarized down into places of confinement for robbers 
 and murderers. In the like way they contemptuously glance at the 
 tapestry, which covers every part of the walls — a sight of disgust to 
 them, of rapture to us, and on which we could for ever dwell. In 
 this tapestry are the finest representations of ancient buildings, 
 dresses, and all kinds of armour; which, in its present state of wanton 
 disfigurement of dirt and rags, to a common observer can hardly 
 claim a moment's notice; while to us Antiquity's fervent votaries are 
 discovered a thousand charms, a thousand beauties, which be it our 
 business to lay before our approving readers for their delight, and, 
 what is of more importance, their historic information. 
 
 Reverting again to the last of the above-mentioned correspondents 
 ("An Artist"), who tells that he had cleared much of the dust from 
 this tapestry, had taken various sketches from it, speaks of its 
 dimensions, and of some of its leading peculiarities, I must thus say of 
 him (he being at work while we were on our survey), that he is more 
 known for his industry and care in copying antiquities with his 
 pencil, and by the truth and boldness of his pen to preserve them 
 from destruction, than for his good fortune in having an opportunity 
 to put in practice the experience of the one, or of being thanked for 
 the good intent of the other. However, I hope his sketches will not 
 be lost to the world, but, by some future publication, they may be in 
 the possession of every lover and encourager of the study of anti- 
 quity. 
 
 [1800, Part /., pp. 422-425.] 
 
 Before we enter on the tapestry, let us examine the state of each side 
 of the chamber. First, the west side, on which we entered through a 
 modern doorway cut out of the thickness of the wall. Above are 
 the vestiges of Saxon arches, being some remains of Edward the 
 Confessor's work, already spoken of on the south side of the Court 
 of Requests. — North side : Here likewise a modern doorway has been 
 cut through the wall (making the communication with the House of 
 Commons). Beyond is a window (stopped up) ; near which appear 
 two more windows, then a chimney-piece of Henry VII. 's day. 
 From this object to the end of the chamber are many irregular 
 recesses, stopped up, on which little judgment can be given to 
 express their original design. — East end : The windows here are 
 perfect. On each side are brackets supported by angels, on which it 
 may be supposed stood large statues. Above, a modern window has 
 been stuck in (before noted) to shock us antiquaries. This termination 
 
The Ancient Palace of the Kings at Westminster. 73 
 
 of the chamber bears a strong appearance as if it had been once used 
 for religious purposes, and that at its first erection it was designed for 
 a chapel, etc. — South side : We first meet a recess (corroborating the 
 surmise just hinted), which is in form like those near altars, to hold 
 the utensils belonging thereunto ; it has been converted into a 
 window. Near this recess is a doorway, now entering into a coalhole. 
 Beyond is a modern doorway cut through the wall, giving admittance 
 to the House of Lords. Farther on we encounter a doorway, which, 
 like the other ancient one, enters into a coalhole also. At the 
 extremity of this side of the chamber is the grand door of entrance, 
 in the true style of the building, which well authenticates history, 
 that it was raised by St. Thomas a Becket, as it certainly is the work of 
 his time. Near the ceiling we perceive a large double window, 
 stopped up. 
 
 Thus we, who are deeply immerged in the traits of former grandeur, 
 see sufficient proofs that this chamber was superb, lightsome, and 
 convenient ; and as it was once worthy to accommodate royalty, so 
 might it now if properly restored : but beware of that attempt if 
 conducted on the system of modern professional superintendents, 
 or their deputy's deputy. The ceiling is a flat one, and still shows 
 much of its panelled compartments. Some, who think that all 
 our ancient chambers were groined, maintain that the present 
 ceiling is not the original finish of it. But let them be told groined 
 arches were in general confined to basement stories, and the 
 interiors of churches and their chapter-houses. This ignorant 
 mistake has so far taken possession of modern architects, that we find 
 in their pretended imitations of ancient mansions, groined arches 
 crowning their saloons, drawing-rooms, galleries and dressing-rooms 
 (we should call them halls, great chambers, avenues, and bowers). 
 But these our enlightened architectural innovators seek not to follow 
 ancient models, but to improve on them. Upon what account this 
 chamber has obtained the name of the Painted Chamber, we are at a 
 loss to ascertain. Stow is silent about it ; and I believe it will be 
 best for us to follow so good an example, otherwise than by saying 
 that certain markings on various parts of the walls appear somewhat 
 like ornamented compartments, but whose colours, we may suppose, 
 are hid by the many coats of whitewash which have been laid over 
 them. 
 
 First Piece of Tapestry. — Of the tapestry we shall attempt to give 
 the following concise and comprehensive account ; and begin by re- 
 marking that the first piece coming to our notice (over the chimney- 
 piece) is an allegorical subject of but little consequence, otherwise 
 than showing the manner of our ancient rural situations. 
 
 The second piece (moving to the right), as well as the other four 
 pieces of tapestry, relate entirely to the siege of Troy ; yet, were it not 
 for the inscriptions, and the names of the several characters worked 
 
74 
 
 Architectural Innovation. 
 
 on the figures, we should instantly believe it to be a striking 
 representation of the manners and customs of the time in which it is 
 supposed to have been executed, the fourteenth or fifteenth centuries; 
 for neither the buildings, dresses, or other appearances, have the least 
 tendency to illustrate Troy's ten years' siege, but the costume of the 
 epochs we have just mentioned. In this light, then, must we view 
 this tapestry, and banishing the heroes of Greece and Rome, con- 
 clude we behold our ancestors in all the splendour and magnificence 
 that heroism and royal munificence could possibly devise. Say it was 
 worked on the Continent, as some have maintained, what then ? Did 
 not our neighbouring States always show the same accommodations in 
 life as ourselves ? All our own as well as their antiquities prove it. 
 And is it not well known, that we and those on the Continent appear 
 abroad at this hour in nearly the same dresses, live in nearly the same 
 habits, and reside in nearly the same kind of dwellings ? On these pre- 
 sumptions, then, let us rivet our eyes, and chain our mind to the subject 
 before us ; and without any more uncertainties of its real historic refer- 
 ence, go on to describe its principal leading features, as if we were de- 
 ciphering the glorious achievements of an Edward III., or a Henry V., 
 England's brightest heroes, and (with only one exception) her best of kings. 
 
 Second Piece of Tapestry. — We first observe the inside of a 
 magnificent chamber, where a king in his royal robes, crown and 
 sceptre, appears giving audience to a prodigious circle of great 
 personages in their civil habiliments. The chair of state, canopy, etc., 
 are particularly to be noticed. Likewise, we cannot but wonder at 
 seeing a monkey sitting on one of the columns supporting the build- 
 ing. The next scene shows several of the foregoing characters on 
 shipboard. They seem as if preparing to land. The third scene 
 exhibits the hero of the story in complete armour, conveying a 
 beauteous dame, attended by her ladies, on board another ship, with 
 a multitude of attendants of knights and soldiers, some of which are 
 carrying all kinds of household furniture, and a whole-length female 
 statue. In the background is a religious edifice of much grandeur. 
 The fourth scene gives the disembarkation of these noble persons, 
 and their reception by royal hands before the walls of a city whose 
 gcite of entrance is directly behind them. The architecture of the 
 various structures is in the Saxon and pointed arched style ; a com- 
 bination which we everywhere still witness remaining in our ancient 
 buildings. The finishings of the upper parts of the churches, 
 mansions, towers, gates, are particularly satisfactory, as but few such 
 objects are to be met with, our public works having been from time 
 to time altered and repaired according to the new modes of archi- 
 tecture arising during their long periods of existence. The forms of 
 the shipping have much claim for observation, as the amazing 
 change such floating castles have undergone makes the present naval 
 architecture almost a new creation. The dresses, either of robes or 
 
The Ancient Palace of the Rings at Westminster. 75 
 
 armour, are profusely rich, and are decorated with splendid ornaments 
 of embroidery, gold and jewels ; and the make of the caps, helmets, 
 swords, lances, battleaxes, etc., etc., is curious in the extreme. The 
 most conspicuous figure, in our eyes, is the lovely female above 
 spoken of. Her dress is in the strict costume of the fourteenth 
 century, and is thus to be particularised. Next her person is a tight 
 vest with long sleeves, over which is a robe without sleeves, and open 
 on the sides, discovering the form of the upper part of the body, 
 and showing the graceful folds of the extremity of the under-vest. 
 On the head is a tasteful cap, from under which the golden tresses 
 fall far below the waist. This elegant dress of the fair ones of 
 antiquity is certainly one of the most enchanting fashions that ever 
 added attractive charms to female loveliness. It is much to be 
 regretted that the bottom of this piece of tapestry has been curtailed 
 of some feet of its breadth, whereby we lose a number of very 
 material objects, such as the lower parts of several of the figures, stair- 
 cases, the hulk of the principal ship, and other no less remarkable 
 features of this national costumic treasure. 
 
 [1800, Part I., pp. 527-529.] 
 
 Third Piece of Tapestry. — Our attention is first directed to three 
 kneeling personages on the left hand, paying their devotions to a 
 statue in complete armour, holding a sword and shield. The scene 
 is the interior of a building, and, no doubt, designed for a religious 
 one. Below are several royal characters, the principal of whom is in 
 an attitude of rage and despair, while the others seem as if giving 
 him comfort. Near the above three kneeling figures are three others ; 
 one is in the vestments of a bishop. In the background to these 
 subjects are some towers and other mansions. The dresses of these 
 figures show them in their civil capacities. 
 
 We next encounter a fleet of ships, one of which has battlements 
 on the edge of its sides ; hence the origin of our present naval term 
 " forecastle." On the top of the masts are circular structures full of 
 archers. 
 
 These ships are full of warriors, many of whom have landed, and 
 are besieging the walls of the city ; some are scaling the walls, and 
 others are attacking the gate of entrance, from which the besieged 
 are making a vigorous sally. We cannot but note one knight, who 
 is mounting a scaling-ladder, and holds his shield to defend himself 
 from a huge stone about to be hurled upon him by a soldier on one 
 of the towers. Another knight is getting over the battlements, assisted 
 by his esquire in a very curious though natural manner. His temerity 
 is excessive, as he is received by a multitude of foes all prepared and 
 ready to destroy him. Here again we must regret the loss of the 
 continuation and the lower part of this piece of tapestry ; the former 
 curtailment leaves the story in the dark, and the latter deprives us of 
 
7 6 
 
 A rchitectural Innovation. 
 
 the principal parts of many of the figures. We can perceive in the 
 foreground vestiges of two trumpeters, who seem the only musical 
 inciters to raise the sounds of war. This circumstance, however, 
 proves that anciently trumpets alone were used in warlike engage- 
 ments. The buildings of this city are grand, and the designs of the 
 towers are much varied. The dresses, both civil and military, are of 
 the most splendid kind ; and the warlike instruments numerous and 
 much diversified in their several forms. A noble banner is set up 
 before the walls, in token of the determination of the assailants to 
 conquer or die. 
 
 Fourth Piece of Tapestry. — We are now to witness a battle on land, 
 wherein many of the combatants are females. The most interesting 
 objects are a knight and a female in the foreground. The conflict 
 between them is fatal, and terminates in the destruction of the latter. 
 The feeble resistance shown by the heroine to the energetic force of 
 her subduer, who is in the act of severing her head from her body, 
 is well expressed ; and as her listless sword falls, so falls the heart in 
 commiserating her untimely fate. Other females are sharing the 
 same destiny from the hands of their ruthless foes, while the greater 
 part of them are leaving the field, and entering into the walls of a 
 city. The next conspicuous character, in point of situation in the 
 tapestry, is a king surrounded by his valiant knights. Doubly armed 
 is that monarch who bears his subjects' love as well as courage to 
 protect him ; they seem as if ready to engage in the general strife. 
 The great point of instruction to be gained from this subject is, the 
 various attitudes of offence and defence shown either by the spear or 
 swordsmen ; they are strongly marked and decisive. In the retinue 
 of the king are two trumpeters, but unaccompanied with any other 
 performers. The several armours are splendid in the extreme ; gold 
 and jewels, disposed in ornamental designs, are everywhere displayed ; 
 and in the dress of the first female (just mentioned) elegance and 
 taste are happily united ; a light delicate armour covers the whole 
 body, over which is worn a flowing drapery, which, by the openings 
 on its sides, discovers the whole form of the dying fair one. The 
 banners borne by each power and their principal leaders are very 
 profuse and costly, and show their several arms and devices. One 
 banner in particular (that belonging to the female host) must claim 
 all our attention from the bearings wrought on it. In a bend is 
 depicted three female royal heads, while the whole field of the banner 
 is hung with small bells. This embellishment of the banner with 
 bells will now prove how nearly connected this tapestry is with the 
 costume of this country, and elucidate a passage in the " Description 
 of the Decorations in the Cathedral Church of Durham before the 
 Change of Religion in the Sixteenth Century;" where, among the 
 inexhaustible religious reliques, was shown, and carried in procession 
 on festival days, St. Cuthbert's banner, made in commemoration of 
 
The Ancient Palace of the Kings at Westminster. 77 
 
 the victory gained over the King of Scots by Queen Philippa, consort 
 to Edward III. After particularizing the many rich ornaments 
 wherewith it was adorned, it is observed that it was " most artfully 
 compiled and framed, being finely fringed about the edges and 
 skirts with fringe of red silk and gold, and several little silver bells 
 fastened to the skirts of the said banner-cloth like sacring bells," etc. 
 This banner was dedicated to St. Cuthbert, to the intent of giving 
 victory in any future battle : and the history observes it never failed 
 "to bring home victory."* The spears appear some straight, and 
 others in sweeping lines. One of the knights on foot has hanging to 
 his side the hand shield, which weapon of defence is observable from 
 the earliest representations down to the sixteenth century ; many of 
 which, both in brass and in iron, continue to be dug up occasionally 
 at this hour, corroborating their historic use. The armour and 
 caparisons on the horses partake of the same species of grandeur as 
 is manifested on the persons of their riders. The gate of entrance 
 into the city is so very familiar to the eye of an antiquary, that we are 
 the more deeply impressed with the idea that the tapestry in question 
 is the work of our forefathers. We are now led into a religious 
 structure, where we find an assemblage of royal characters, constituting 
 a convention, and who are in attitudes of appealing to the Deity to 
 confirm their resolutions. Their robes are highly adorned and varied, 
 and the coverings on their heads show an endless diversity in fancy 
 and true dignity. As we are partial to the desire of assimilating 
 objects in this tapestry to our own remains, the statue seated under 
 the canopied throne comes home to many of our sculptured royal 
 effigies in various parts of the kingdom. Over the city, in the back- 
 ground, are still more royal characters in conference, attended by 
 their guards. Behind them are many tents with ornamental forms 
 worked in the style of our pointed arched modes of architecture. 
 Many fine buildings likewise are seen in this part of the tapestry. 
 
 We next follow two dignified persons who are entering into another 
 religious structure, which is highly enriched with columns, arches, 
 compartments, basso-relievos, and statues. It is divided into two 
 stories, which are open to the view, to the intent of showing the 
 transactions carried on within them. In the upper story are the two 
 persons just noticed ; they are giving money and assisting in some 
 religious ceremonies before an altar. Two bishops are engaged in 
 nearly the like actions. In the lower story is another altar, under 
 which a person is kindling a fire, while a bishop is blowing with a 
 pair of bellows (in make like those in present use) a flame on the 
 top, whereon is lying a slaughtered lamb, whose entrails an eagle is 
 tearing out. A great number of standers-by are expressing their 
 astonishment at the extraordinary event. This piece of tapestry is 
 
 * See the "Antiquities of the Cathedral Church of Durham," published 1769. 
 
78 
 
 A rchitectural [ nnovation. 
 
 in good preservation, and uncurtailed, except in some wanton small 
 tearings off at certain modern conveniences. 
 
 [1800, Part II., pp. 624-629.] 
 
 Fifth Piece of Tapestry. — The subject gives us a grand battle, 
 where all the circumstances attending the warriors, both of horse 
 and foot, in the modes of charging, close encounters, their armours, 
 swords, shields, lances, battle-axes, falchions, bows and arrows, ban- 
 ners, trumpets, the armour and housings for the horses, are here 
 finely and distinctly made out, and give an inexhaustible store of 
 information in what a magnificent and glorious manner the warriors 
 of old met each other in mortal strife, to decide a controversy 
 by force of arms that human reason could not accomplish. The 
 two heroes of the field are the most obtrusive figures in this 
 representation, they being placed nearly in its centre : one of them 
 is unhorsed, but who, however, still maintains the combat. We 
 must not fail to gaze at the device on his shield, which is the 
 portrait of his fair mistress, for whom the bloody scene before 
 us is carried on. To the left, a knight is conveying another 
 wounded knight away on the fore-part of his horse's saddle. 
 Near him is the principal monarch of the royal heroes, who is on full 
 charge to meet his enemies. On the right is an uncommon sight to 
 us at this day, which is the manner of taking a prisoner in former 
 times, who appears disarmed of all his armour and arms, except the 
 lower part of his face. In this guise his victor is conveying him into 
 the gates of a city ; his helmet, of royal make, and the other parts of 
 his armour, being carried before him in triumph. On the walls of 
 this city are male and some royal female spectators, attended by 
 trumpets. Our attention is now directed into the interior of a palace 
 within this city, where we behold columns, open compartments, 
 hangings bordered with jewels ; and on the left is a curious clock, 
 whereon we find the hour twelve in the place of our hour two. Here 
 we see an interview of royal females with certain noble male person- 
 ages in their civil robes. The principal female is that lovely fair one 
 already spoken of in our second piece of tapestry. Her dress is in 
 the same taste as there noticed, but far more delightful, if possible, by 
 means of an airy transparent drapery, depending from her head-dress, 
 and which gives the most graceful employment to the hand that holds 
 it. The right corner of this piece of tapestry has been cut away to 
 accommodate it to its present situation. Description can go but little 
 way in detailing the multitudinous objects that enrich the several 
 figures before us. Imagination in this delineation, it might be con- 
 cluded, would here have been exhausted by our ancient artists, but 
 their genius knew no bounds — it was infinite ! And although certain 
 professed antiquaries among us will not allow them the least degree 
 of merit, yet be it my lot to revive in the minds of the public, that ail 
 
The Ancient Palace of the Kings at Westminster. 79 
 
 excellence is not either confined to the Roman and Grecian schools, 
 or to the presuming dictates of modern art. 
 
 Sixth Piece of Tapestry. — A fourth battle engages our attention. 
 The death-dealing phalanges are here shown in the most furious 
 degrees of action ; direful blows, mortal thrusts, and falling knights, 
 are everywhere attracting our distressed sight. The hurry and tumult 
 incident to the "battle's rage," in this dreadful scene, is surprisingly 
 depicted ; and we almost believe ourselves drawn into this " tug of 
 war," to see the horrors, and to feel its woes. The most conspicuous 
 combatants are, first, two on the left hand : one has brought the other 
 to the ground, and is putting a termination to his existence. The 
 other is an archer, who, while he is enjoying the barbarous emotions 
 of having transfixed his antagonist, is insensible that he has himself 
 received an arrow through his own body. The forcible actions that 
 might here be described are so abundant, that, to enter on their 
 illustration would far exceed the limits of our essays ; therefore, we 
 must confine our notice to those objects that cannot be dispensed 
 with. On the left, in the background, are parties of bowmen engaged 
 with each other. One of them is interestingly remarkable, being 
 armed with a cross-bow. Of all the representations of this weapon 
 that I have ever seen, they have either been drawn so small, or so ill 
 made out, that not much information could be derived from them. 
 But here we see every minutiae belonging to the engine, and the 
 manner of its being charged and shot off. Of the armours, weapons, 
 banners, etc., our mind is at a loss to give a further description ; and 
 what has been said of the foregoing battles must apply to this — they 
 are " infinite." The general background is filled with buildings of all 
 descriptions, that the most eager investigator into ancient architecture's 
 mazes may here find ample examples to enrich his store of knowledge 
 in that noble science. 
 
 Let me recount a circumstance that occurred the morning on which 
 I was making these, my memoranda. The House of Lords had then 
 met for the purpose of adjournment.* The artist who was copying 
 these pieces of tapestry went to the bar of the House, and addressed 
 a noble lord on the subject relative to them, who instantly, with the 
 Lord Chancellor and the other peers, came into this chamber to 
 behold these remnants of antiquity. They did him the honour to 
 attend to his observations, and appeared, by their condescension and 
 their questions, not to be insensible of the importance of the objects 
 of his praise, either of the chamber itself (which public information 
 had made known was to be destroyed), or of this inestimable work, 
 the tapestry. One of the noble lords observed, he remembered in 
 some adjoining chambers a prodigious quantity of the rest, as he 
 conceived, of this tapestry, though it was unknown to what destiny it 
 had been decreed. 
 
 * In the summer of 1799. 
 
So Architectural Innovation. 
 
 On hearing this remark, my opinion of the original use of this 
 tapestry was strengthened in believing that, at its first hanging up in 
 this palace, it covered the walls of the great hall, for on measuring 
 the width of this tapestry, and the height of the space from the 
 pavement to the sills of the windows, I found that it exactly fitted 
 such a situation. It is idle to suppose that it always was in its present 
 place, both from its curtailment, portraying the history it is professed 
 to represent, or that so gorgeous a performance of art should have 
 been cut to pieces at certain parts to accommodate it to the ancient 
 doors, etc., etc., in this chamber. No ; its prior situation was 
 certainly in the great hall ; for Stow, speaking of a royal feast given 
 by Henry VII. in the hall, expressly mentions (among other splendid 
 subjects) that it " was richly hanged with arras "* Do we not read 
 in many of our old plays, f and in particular in Shakespeare's dramas, 
 constant allusions to the siege of Troy ? What was their inducement 
 so to give reference to such a subject? Why, this famous tapestry, 
 shown on the walls of the great hall in their day, ever before their 
 eyes, and of which we have now (by comparison of the hall's magni- 
 tude) so small a part. 
 
 After our survey of this chamber and its tapestry, whatever may be 
 their end, I shall have the exulting satisfaction to know that I have 
 done my part in apprising my countrymen of the historic treasure yet 
 in being (this chamber and its tapestry), which if the one falls, and 
 the other is annihilated, it will be remembered who were the advisers, 
 and that a page will be torn from our national history, which they so 
 satisfactorily explained and illustrated ! 
 
 The Interior of the House of Lords. 
 
 The basement story yet shows much of its original work, such as 
 doors, windows, arches dividing the length of the crypt into two 
 distinct parts, a circular staircase in the north-east angle, and near it 
 a curious necessary convenience, singularly roofed by a number of 
 corbels supporting flat stones for that purpose. This crypt appears 
 never to have had any groins, and the covering overhead is the mere 
 flooring of the chamber of the Lords above. 
 
 Among the many places pointed out for the spot where Guy Vaux 
 was found (as supposed) standing with a light among some barrels of 
 gunpowder, this crypt is maintained to be the right scene where the 
 notorious gunpowder-plot was to have been played off. % This plot is 
 now pretty well understood not to have been hatched by the Papists, 
 
 * A name most probably derived from this kind of furniture having been at first 
 invented or worked at Arras, a town in French Flanders, 
 t Dodsley's " Collection of Old Plays." 
 
 % By way of giving strength to this assertion, a solemn examination is here 
 carried on, the day before the opening of each session of Parliament, for the 
 purpose, no doubt, of discovering new Guy Vaux's and more barrels of gunpowder. 
 
The Ancient Palace of the Kings at Westminster. 81 
 
 but by an inveterate foe of the Catholics of that day, the famous 
 minister to James I., for the purpose of entirely rooting out the rem- 
 nant of the professors of that religion which their ancestors had 
 believed in for so many ages before them.* However, all well- 
 informed minds at present laugh at the whole of this business ; but 
 very few seem to be sensible of the shocking tendency its annual 
 commemoration leads to. It is a day of initiation to thousands of 
 infants into the infernal deeds of unbridled mobs, lawless depreda- 
 tions, drunkenness, swearing, fighting, and that diabolical frenzy of 
 the lower class of Englishmen, bonfire-making. France has her 
 massacresjt England her wide-exterminating fires. I Dreadful com- 
 parison ! 
 
 The principal story (or the chamber of the Lords) now shows a 
 sort of architectural finishing in a mode used some forty or fifty years 
 past, a part of which (the coved ceiling) would ill beseem a common 
 county hall. By a print of this chamber published in James I.'s 
 reign, it appeared then to have preserved much of its original work. 
 The tapestry, indeed (which is not shown in the above print), gives 
 it a consequence which else would but ill accord with the royal state 
 of Britain. This tapestry then presents a faithful representation of 
 the Spanish Armada, and the portraits of those great warriors who 
 contributed by their prowess so much towards its utter destruction. 
 The information it affords of the costume of that era is of the 
 highest consequence to our historic records, and has been well given 
 to the public in several engravings by the celebrated artist Pine ; 
 therefore, any further illustration of its merits in this place would be 
 quite unnecessary. 
 
 Interior of the Prince's Chamber. 
 
 Here again the modernizing hand of makeshift accommodation 
 has bemeaned this royal chamber ; and we might find more decent 
 furniture (excepting the canopy of state) in a rendezvous house 
 either in Wapping or in the purlieus of Tower Hill. From this un- 
 favourable detail of these two remains of the chambers of ancient 
 magnificence, it is no wonder that common observers give in to the 
 general wish to see more modern and more respectable apartments 
 for the reception of majesty and of the peers of the realm. We 
 almost, by some of the objects around us, fall in with the current of 
 alteration ; but our recollection recoils. What shall we not lose by 
 the proposed change ? Why, the walls themselves, which, as already 
 shown, bear the features of historic evidences. We tremble for their 
 annihilation ; and, although professional men may say more room is 
 wanted for the additional attendants on national transactions, yet 
 why must the Painted Chamber and the other ancient parts of this. 
 
 * See Mr. Milner's answer to Dr. Sturges's " Reflection on Popery," p. 170. 
 
 t 1572, 1792. X 1666, 1780. 
 
 VOL. x. • 6 
 
82 
 
 Architectural Innovation. 
 
 palace be destroyed, when the desired space and other conveniences 
 may be acquired, by carrying out the Lords' chamber more eastward, 
 whereby no national antiquity would then be torn from the public 
 eye? But why seek I to stem a torrent? Perchance my efforts 
 already to that purpose may go nigh to overwhelm my honest hopes 
 (it may be presumed) of one time or other being thought worthy of 
 being consulted in matters relative to the repairs or restorations of 
 some one or other of our ancient edifices. My long and dear- 
 bought experience in such studies would then know some moments 
 of recompense for all my labours. To return. As it is, I fearfully 
 bow to high resolves, which cannot look down on my humble repre- 
 sentations ; I am conscious of my error, and therefore now resume 
 the thread of my narration. 
 
 The tapestry here, like that in the adjoining chamber, from its in- 
 trinsic worth adds a grandeur, which, however, must be considered 
 an accidental decoration, as some of its most material parts have been 
 lately cut away for the purpose of introducing doorways, etc. ; and 
 wooden sconces are screwed up, to hide and disfigure many of its 
 chiefest beauties. 
 
 It may be necessary first to premise that the tapestry before us is, from 
 the forms of the buildings, dresses, etc., of the reigns of Henry VII. 
 and Henry VIII. As such, then, let us comment on the first piece 
 of tapestry, on the west side of the chamber. 
 
 First Piece of Tapestry. — On the left, is a delineation of the birth 
 of some royal infant, where we see a grand bed with all its hangings 
 and all the necessary decorations on such an occasion. We see the 
 mother in bed receiving cordials from attending ladies ; while the 
 infant, in one part, is being bathed, and, in another, receiving the 
 breast, more ladies assisting for these purposes. Sweet-smelling herbs 
 are thrown into a fire in a movable furnace, of a curious construction, 
 in the middle of the room, where we find eggs roasting, for the use, 
 no doubt, of the indisposed mother. The centre of this tapestry is 
 cut away for a modern door of entrance. To the right is a king 
 in all his regal state, accompanied by his nobles and guards, giving 
 bis royal mandates on some important subject ; most probably on 
 the above occasion. From the dignified air, and the form of the 
 figure and dress, it greatly resembles the familiar portraits of our 
 eighth Henry. The mixture of the styles of the building, of the 
 pointed-arch work and the then newly introduced parts of the archi- 
 tecture from Greece and Rome, is very richly exhibited. 
 
 Second Piece of Tapestry, on the North Side. — In opposition to the 
 deep-rooted prejudices in favour of the performances of foreign 
 artists, and for subjects of foreign history, I maintain that the design 
 and execution for this work (in point of drawing) is equal to anything 
 they ever produced. It describes a battle in its utmost fury, where 
 the knowledge of the imitative art is manifested either in the dis- 
 
The Ancient Palace of the Kings at Westminster. 83 
 
 position of the principal figures, their contrasted attitudes, or in the 
 natural perspective diminution of them. It is impossible to single 
 out any one group in preference to the other for particular admiration; 
 all are alike pre-eminent in the terrific display of this scene of death. 
 One hero has his enemy under his foot, and is thrusting him through 
 with his lance ; the same fatal end is given to an unhorsed knight by 
 his conquering antagonist, whose foaming steed is trampling him 
 under his feet. Another knight, in all the complete costumic habili- 
 ments of war, is unhorsing his opponent ; and for a moment all our 
 pity is bestowed on the falling courser, who has received a lance in 
 his generous breast. Now we are entranced in beholding the two royal 
 competitors for the victory of the day. Their mortal animosity is so 
 livelily drawn, that words are vain to tell the delineations of their 
 tremendous struggle. Our sight becomes deluded, and we almost 
 see the whole picture animated before us ; we hear the clash of 
 battle-axes, swords and lances ; hear the dying groans of the van- 
 quished, and the triumphant shouts of the conquerors ; see the 
 flying banners become the prize of manual force ; see, indeed, the 
 utmost stretch of human genius. The pencil can do no more j and 
 we here are satisfied at the efforts of its divine art. I now reluctantly 
 remark that a great part of this tapestry, to the left, has likewise been 
 cut away for a modern doorway. 
 
 Third Piece of Tapestry, in Continuation of the North Side. — From 
 what little is left of this piece, after its curtailments and cuttings away 
 for a modern door, we can just make out that it shows the rout of 
 the subdued party of the foregoing described battle. The confusion 
 attendant on such an occasion is well manifested ; the orders given 
 by the commanders seem totally disregarded, and personal safety the 
 only immediate business of each runaway. At a distance are the 
 females belonging to their camp, who are guarded as well as circum- 
 stance will allow. In the extreme distance are flying parties still in 
 the act of destroying each other, and to the right are buildings of a 
 magnificent city. 
 
 fourth Piece of Tapestry. — A rural subject, whose figures appear 
 allegorical, which, being unallied to our present theme of illustration, 
 we need not enter upon. 
 
 I shall now only hint that I read of proposals for publishing copies 
 of the cartoons of Raphael (so often engraved before) ; but I hear of 
 no subscription set on foot for encouraging the bringing before the 
 public engravings of the pieces of tapestry which I have brought to 
 their notice; the former having but one claim to their regard — that 
 is, their fine drawing — while the latter have every tie on their patron- 
 age, their fine drawing, and their historic merit. A society, instituted 
 for the study and protection of the works of antiquity, to be sure, 
 by one or two of its members, had some feeble thoughts that way ; 
 but an artist belonging to their body having been the proposed hand 
 
 6—2 
 
8 4 
 
 Architectural Innovation. 
 
 to perfect such an undertaking, the whole fell to the ground, he 
 unfortunately being a professed admirer and defender of the antiquities 
 of this kingdom. 
 
 The Interior of St. Stephen's Chapel and its Cloisters. 
 [1800, Part 11. , pp. 722-726.] 
 
 In these piles the genius of architectural innovation stands before 
 us in all the callous prejudice of modern art. His wanton and 
 barbarous sway here knows no bounds ; wherever the eye is turned, 
 the most shameful havoc has been made on some of the most 
 inestimable works of architecture that ever adorned this country, 
 and perpetrated in a way that will for ever reflect something more 
 than disgrace on those who first gave the orders for the sacrilegious 
 disfigurement, and for the converting many of their parts into uses 
 the most low and contemptuous. My honest zeal in behalf of our 
 national antiquities would here be excessive, did I not consider the 
 fate that yet awaits them — a fate that can only end in their entire 
 extermination. I have seen the grinning and overbearing joy on the 
 faces of more than one of those who are awaiting the moment of 
 their long-delayed expectations* of raising their "iron hands" to 
 tumble to the earth these venerable emblems of royalty and England's 
 former glory. For them I reserve all the censure of my iron pen. 
 But let me not anticipate the story of the scenes opening to our 
 view j let their present state call on the keen sensations of my accom- 
 panying friends ; they will soon, with me, vent the bitter reproach that 
 such things are, and heave the unavailing sigh that all these insulted 
 glories within a short-lived space will be no more. 
 
 Already [ante, p. 64] have we been made acquainted with the situa- 
 tion of the cloisters, their attached buildings, the general purpose to 
 which they have for some years been appropriated, and of the entrance 
 into them on their north side. Their erection we owe to the en- 
 lightened mind of Dr. J. Chambers, physician to Henry VIII., and, 
 to use the expression of a celebrated antiquary,! "the architect seems 
 to have rivalled himself in the elegance of the designs of the several 
 groins, each of them differing from the other," etc. Could our pen 
 go on to point out the magic beauty of their varying forms, our praise 
 would never be exhausted ; but, as it is, we must be content to 
 observe that the work of the groins is in the same style as those in 
 the chapel of Henry VII., and that their several centres are enriched 
 with religious basso-relievos, arms, and devices, { the whole of the 
 
 * Ever since the year 1789, when the idea was first hatched of this palace falling a 
 sacrifice to modern art. See the list of the architects who subscribed their opinions 
 on the business in the public prints of the time. Point me out that " architect " 
 who would refuse a good job for the sake of preserving any one of our ancient 
 structures. 
 
 t See " Ancient Sculpture and Painting," vol. ii., p. 28. 
 
 X Many of which are engraved in the second volume of the work last cited. 
 
 4 
 
The Ancient Palace of the Kings at Westminster. 85 
 
 most delicate and pure workmanship ; indeed, a perfect school for 
 the refinement of our ancient architecture. 
 
 I now experience a most severe struggle of the mind, in joining 
 with the silken wreaths of praise the thorny bands of harsh invective 
 and severe reprehension. Well, be it so ; and now speak of the north 
 side of these cloisters, half of which we find unmolested, the other 
 half rilled with menial apartments. 
 
 The east side is entirely free from all innovations, being, happily for 
 us antiquaries, wanted as a passage to some principal rooms in this 
 residence. Here we may, for an interval of antiquarian delight, 
 behold, uncontaminated by any modern intrusion, one entire range of 
 ancient splendour. How exquisite ! 
 
 South Side. — The whole line partitioned off into offices of the first 
 requisition, from the larder down to that sequestered cell where Nature 
 tells the proudest of us all we are but common mortals. 
 
 West Side. — Its southern extremity is parted off to give a passage 
 from the great hall into Old Palace Yard ; while in the rest of this 
 range we find staircases, coal and rubbish holes, the servants' hall, and 
 their kitchen. 
 
 The exterior fronts next the area of these cloisters show a richness 
 of design unusual to such attendant parts of a religious structure, 
 and we notice over them a continued gallery, the whole work remain- 
 ing nearly in its first order. The interior of the gallery has under- 
 gone (excepting the windows) an entire modern change, bare walls 
 and a covered ceiling being the poor apology for (we may naturally 
 conclude) elaborate wainscoted panelling, and the open or compart- 
 mented timber ceilings usual in the upper stories of ancient apart- 
 ments. 
 
 In this area, and projecting from the west cloister, is one of thosf 
 rare and delicate morsels of art which appear to have been the crown 
 to the fame of our ancient architects, a private chapel or oratory ; 
 which, whether intended for religious purposes only, or annexed to a 
 monumental design, were usually carried to an excess of workman- 
 ship that knew no bounds but what elegance and true taste restrained. 
 The plan of this chapel is oblong, with three cants of an octagon 
 eastwards. Standing at its west end, we are entirely carried away 
 (while our eyes are raised above the capitals of the columns) by 
 that enthusiastic delight to which we have so often in these 
 pursuits had occasion to give way. Shall we tell of its minute parts, 
 its diversity of interwoven compartments, its ornamental devices ? 
 Or shall we enjoy this mental feast in silent ecstasies ? It must not be 
 so. Far otherwise be now our thoughts ; for, to all the parts below, 
 sacrilegious frenzy has nearly done its worst. Here, where the 
 altar stood, a door has been knocked out, to give a view into the 
 kitchen of the master, placed in the centre of the area of the 
 cloisters. The windows to the right and left give place to two 
 
86 
 
 Architectural Innovation. 
 
 coppers ; of the two windows in continuation on each side, one 
 makes way for an oven, and the other is decorated with a stone 
 cistern placed against it. The rich compartments, filling up the 
 divisions of the north and west sides, have been cut away for doors, 
 shelves, the hanging up of wicker bottles, skewers and pudding-cloths. 
 The west side is an entire blank, all the parts having been demolished. 
 Indignant inquiry is confronted with being told this place is the 
 scullery ! Since I drew a view of this chapel in 1791, its fate has been 
 much aggravated. After the demise of the late Duke of Newcastle, 
 some assurances were given in a certain society of men, many of 
 whom are fond of the study of antiquities, that a proper attention 
 should be paid to so precious a remain ; but conveniency — 
 
 " I love to line my belly planks ; 
 Care I for F. A. S.'s thanks ?"* 
 
 On the story over this chapel is another of the same style, which, 
 before the ceiling was destroyed, appears to have exceeded it in 
 grandeur, by far more numerous decorations of niches for statues, etc. 
 It is now a sleeping-room for servants ! 
 
 St. Stephen's Chapel appears to owe its foundations to William 
 Rufus, to have been in part rebuilt by Edward I., and brought to the 
 summit of all magnificence by that illustrious patron of the arts, 
 Edward III. The rolls containing the whole business relative to the 
 erection of this chapel are still preserved in the Exchequer. How 
 dear and valuable a mine of instruction this account would be, if 
 published to professional men, who might wish to be made acquainted 
 which way to construct their edifices so that they might stand the 
 blast of time for at least fifty years to come ! In this structure 
 Edward left no means unused to collect all the skill and science in 
 his kingdom ; and so eager was his desire to fix architectural perfec- 
 tion on this spot, that many of the counties in England were 
 ransacked for the most celebrated artists to effect this purpose. I 
 must own that, being prepared with this information, my expectation 
 was raised to the highest pitch; and, as far as what is left of this 
 acme of human art to enable me to judge, I solemnly declare, 
 correcting my opinion by years of experience in the study of our 
 ancient architecture, that this chapel, before the sacrilegious days of 
 the sixteenth century, must have been the first of all the architectural 
 works in the land, where sublimity of design, grandeur of arrange- 
 ment, richness of ornaments, where sculpture, painting, and gilding, 
 dazzled the rays of vision to receive an emanation of those realms of 
 light which await the blessed. No common praise is now my theme ; 
 had I the eternal-catching comprehension of the inspired Milton, I 
 could but faintly tell the wonders of this place. I may, indeed, con- 
 
 * Lines from a Hudibrastic MS. called "The Pursuits of Antiquaries from the 
 Year 1791 to the Year 1799," now (we are given to understand) under considera- 
 tion to be laid before the public. 
 
The Ancient Palace of the Kings at Westminster. 87 
 
 ceive in some degree their refulgence ; but the effusions from my pen 
 must fall far below their most distant rays ; yet not so low, but some 
 few sparks may awake insensibility to regret that something more 
 than a cold introductory narration of facts had not preceded the 
 engravings of the plans, elevations, sections, ornaments, etc., 
 of this chapel, published by the Society of Antiquaries, and which 
 thus concludes : " The Chapel of St. Stephen was soon after- 
 wards (the first year of Edward VI.) fitted up for the meeting 
 of the House of Commons, which had before usually assembled in 
 the Chapter-house of the Abbey of Westminster, and has since con- 
 tinued to be appropriated to the same use to the present time," 
 without one word in commendation of the edifice which was to 
 be illustrated. That we may not deprive the indefatigible hand who 
 made the drawings of the said plans, elevations, etc. (where we find 
 he has, from the existing authorities, attempted a restoration of the 
 elevations of some of the works, and particularly in his restoration of 
 the interior of the small chapel in the area of the cloisters), of one half 
 of the reward of his labours, be it understood, that it was he who 
 wrote the description of the several plates, where, like a true 
 antiquary, in particularising the minutiae of the ornament on the 
 columns, entablatures, etc., he exclaims : 
 
 " But the artist (the architect of the building) designed that the 
 whole of the work should have the same attention paid it ; and 
 that one universal blaze of magnificence and splendour should shine 
 around, making this chapel the ne plus ultra of the art, worthy of the 
 saint whose name it bears, and of its founder, Edward III., the great 
 patron of ancient architecture." 
 
 Lest I should be thought singular in selecting this sentence, I 
 believe the pages of this magazine, the professed repository for 
 subjects relating to our antiquities, have already borne them, and 
 ushered in by the legitimate father of antiquarian studies, the very 
 learned Director of a Society which he formerly thought worthy his 
 presence. 
 
 The undercroft, or basement chapel, consists of five divisions, made 
 by clusters of columns supporting the groins (in which are bosses with 
 rich religious basso-relievos*) of simple and massy forms, well calcu- 
 lated to sustain, and give a pleasing introduction to, the light and 
 refined elegance of the profuse enrichments in the chapel above. In 
 the first division westwards, on the right and left are doorways ; one 
 an entrance to and from the great hall, in the avenue of which are 
 still the original stairs ascending to the above chapel, now turned into 
 a lamplighter's lumber-hole. The second and third divisions have 
 on each side windows of a very noble fashion ; the fourth and fifth 
 divisions, their sides plain. No traces are visible of the remains of 
 the altar, modern pointed windows usurping its situation. The 
 * Engraved in " Ancient Sculpture and Painting," vol. ii. 
 
88 
 
 Architectural Innovation. 
 
 innovations made here are as follows : the first division is a common 
 thoroughfare from Old Palace Yard to the great hall ; second 
 division, a store-room for all the rubbish of a low mechanic and his 
 necessary receptacles, with the Westminster pillory, and, till within 
 these few years, the Westminster ducking-stool ; third division, 
 boarded off into apartments for the said mechanic ; fourth and fifth 
 divisions converted into the principal eating-room of the adjoining 
 habitation in the cloisters, etc. 
 
 " Surloins of beef and drinking glasses 
 Are here the only sight that passes, 
 Where erst in solemn pomp took post 
 The silver chalice, wafer'd host." * 
 
 The original stairs of ascent to the porch being now turned to 
 other purposes, new staircases have been constructed to give admit- 
 tance to it ; and, for the sake of putting a guinea or two into the 
 pocket of some hedge carpenter, a common fence has been put up, 
 for no other purpose, one would think, than a pretence to mutilate 
 the screen of this much-admired porch. I have in this survey before 
 dwelt with rapture on this screen, and could again and again repeat 
 the delightful task ; but our observation is now led to the interior of 
 the porch, where we discover the original ceiling is wanting, all the 
 other parts remaining unmolested except the lower range of compart- 
 ments of the screen, where the said hutch like carpenter has made 
 certain accommodations for servants and loungers to annoy the 
 passers-by below. 
 
 Could I but convey one glimpse of the excellence of this little spot 
 to the eyes of him who could preserve it, those hovering phalanges of 
 architectural innovation would soon be driven into the distance of 
 disappointment, their hopes of demolition would then be no more ! 
 
 We are now in St. Stephen's Chapel, where not the least particle 
 of antiquity can meet our attention ; the fitting-up for the meeting of 
 the House of Commons has so completely shut out from the face of 
 day St. Stephen's " holy scene." 
 
 " Here stools and benches, sconces, matting, 
 Take place of stalls, missals, copes of satin ; 
 Here ink-horns, maces, speaker's chair, 
 Take place of altars, crosses rare ; 
 For shining paintings, gold and silver, 
 Here's wainscot boards, ye cannot pilfer ; 
 Here's everything which was not then : 
 Here's, No ! Yes ! for Oremus, Amen .'" f 
 
 Therefore, in order to empower me to go through my investigations, 
 I, like another Guy Vaux, with candle and lantern, leading my 
 
 * Hudibrastic MS. before hinted at. 
 f Ibid. 
 
The Ancient Palace of the Kings at Westminster. 89 
 
 accompanying friends, was compelled to crawl under and behind the 
 benches and wainscoting out of the fitting-up, and afterwards to 
 ascend over its ceiling ; from which painful attempt I have been 
 enabled to form some idea of the original design of the interior of 
 this chapel, as so much of the work in these shut-out parts is left to 
 tell a tale, which, one time or other, will make the patrons of ancient 
 art brand the names of those who, by the said fitting-up, have 
 deprived the public of one of the first specimens of ancient art in this 
 or any other kingdom. 
 
 [1800, Part II., pp. 837-840.] 
 
 The height of this chapel, in conformity with the plan below, is 
 made out by five divisions. A marble seat of continuation supports 
 clusters of columns, which fill the piers between the windows ; they 
 rise to the springing of the arches of the windows, where, from their 
 capitals, are elevated large compartments. The imposts under the 
 windows are divided by columns, which in an uncommon way strike 
 through the sills of the windows, forming, it may justly be concluded, 
 the mullions of the windows, though now lost in the modern brick- 
 work filling in their openings. The spandrels of the arches of the 
 windows show many compartments ; and the ornaments of the 
 entablature are inexhaustible. In the fifth division on each side, 
 towards the east end, are small doorways, once entering into adjoin- 
 ing chambers. Of the west end there are not any decorations left ; 
 but the east end in many places has yet the lines of the grand window, 
 the site of the altar, and part of its table. By the continued entab- 
 lature over the windows, the ceiling must either have been a flat- 
 panelled one or an open-worked timber roof ; but that demon who 
 first guided the disfigurement of this chapel, from some prejudiced 
 cause or other, has entirely consigned it to oblivion. The detail of 
 the various ornaments, their painting and gilding, which everywhere 
 enriches the building, are beyond the reach of description ; and we 
 refer our readers to the engravings of this chapel, for them to judge 
 of their extraordinary parts, though, it must be confessed, those 
 copies are but as the glimmerings of a sickly taper to the dazzling 
 beams of the glorious sun. 
 
 In my explorations round, I perceived the columns, their capitals, 
 etc., had been hacked and cut away in all directions, to accelerate 
 the fixing of the timbers of the " fitting-up," with the same uncon- 
 cern as we find every day done on common walls ; and I was at a 
 loss to account from which of the two manias the works of ancient 
 art are the greatest sufferers ; one, because they are the works of 
 those who lived in the enlightened ages of undivided Christianity, or, 
 the other, that they stood in the way of the invading compilations of 
 the architecture of Greece and Rome. Who can define taste, when 
 
90 
 
 Architectural Innovation. 
 
 we look at the clumsy carpentry that ennobles the "fitting-up"? Who 
 can talk of refinement when we behold over the present ceiling air- 
 engines, barbers' blocks, knife-boards, coal-holes, maids' garrets, and 
 men's leaking-holes, mixing their accommodations with the beauties 
 of art in all their burst of scientific perfection ? Here the royal arms, 
 there the plebeian brush and black-ball, coal-scuttles, salt-boxes, and 
 washing-stands, crowd up before the forms of lions, fleurs-de-lis, roses, 
 stars, and crowns ! I can no more; these dishonoured scenes I wish 
 were but the phantasies of the brain, the workings of a mind dis- 
 turbed, the idle images of a dream of air, or anything but what I see. 
 Who are the most distant from " insanity," those who cause and 
 defend this spoliation, or he that has dared to dart the light of truth 
 into such dark recesses ? I then arouse you from your skulking 
 holes ! Fly to low-raised roofs, ye household hordes, where all your 
 kitchen scum, your filth, and rags may lie unseen ! 
 
 It may now be thought necessary that I should make some remarks 
 upon the intended demolition of the remnant of this palace. I shall, 
 therefore, revert once more to that list of architects, where, at their 
 head, we find the name of a man (since deceased) who, not content 
 with having with the rest declared his hostility against these edifices, 
 delivered in (as I have been given to understand) as hi's own serious 
 judgment that Westminster Hall, which till his presence darkened 
 the hemisphere of ancient art, was looked upon as one of the wonders 
 of the universe, "was a disgrace to the nation." Eternal self-reproof 
 may those patrons feel who sent abroad our youth for architectural 
 improvement, where, sucking in the poison of foreign prejudice, they 
 disgorge its venom on our native architecture at home ! In the 
 bleak regions of the North, where Nature's fires are half extinct, and 
 where antiquarian treasures are never found, absorbed ideas, nurtured 
 in the shaggy outlets of some dreary cave, may not be thought out 
 of Reason's grasp ; but when we meet with men bred in the cheer- 
 ing climes of Albion's happy land, where every noble sentiment is 
 bred, where every generous feeling of the heart is owned, where 
 science, laws, and arms have chosen their seats amidst the throng of 
 worlds, now following in the train of a Northern Architectural Inno- 
 vator, to wait the hour of despoliation ! I own I cannot reconcile so 
 monstrous a contradiction. Remember, these pages will endure, 
 while your scarcely cemented walls will soon pass away into airy 
 nothing; the former, preserved by the spirits of our great ancestors; 
 the latter, raised on the spoils of their scientific glories. I own, poor 
 as I am in worldly means, I would not, for all the hoards ye boast 
 of, change this cheering reflection, that I have done my duty as an 
 Englishman to save this palace, to brood over with remorse the sting 
 of conscience that I had done my utmost to destroy it. 
 
 Professional people of medium employments tell me that a clear 
 sweep is to be made from Abingdon Street to Westminster Bridge ; 
 
The A ncient Palace of the Kings at Westminster. 9 1 
 
 other orders of men say that the Painted Chamber, House of Lords, 
 and Prince's Chamber are alone to fall ; while some tag-in St. 
 Stephen's Chapel and its cloisters, declaring that to take down West- 
 minster Hall would be such an outrageous attack on the love, duty, 
 and veneration which Britons feel for former greatness, that it is 
 almost the thought of a lunatic to suppose such a thing to be pos- 
 sible. No one informs me who will sweep away the surrounding 
 hovels ; they, it is true, form no part of the emblems of our happy 
 constitution or of our kingly state. Ominous business of new- 
 coining this palace at this mad hour of democracy, when every atom 
 of sovereignty should be held with the most sacred zeal ; nay, almost 
 to idolatry, as a sight pleasing in the eye of heaven ! My own truth 
 and loyalty urge me to these strong admonitions ; I feel, and I obey. 
 The design for a new Parliament House, in a late exhibition, clearly 
 evinces to what extent the innovation will spread. In short, men 
 do not disguise this matter ; they indeed scruple not to say, we will 
 add new honours to our country by our new creations in the sublime 
 art of architecture. No doubt encouragement and confidence drive 
 them on ; or else (here I speak of myself as in their situations) my 
 presumption would recoil, and drive me to some dreary waste to 
 hide my abashed head for ever. 
 
 Here, my dear accompanying friends, let us part, after having 
 trod these religious and royal mounds together, which to the ancient 
 city of Westminster give a fame that for ages past has told so many 
 deeds of high renown. I hailed your attendance on the north 
 exterior of St. Peter's walls, and now in St. Stephen's porch I bid 
 farewell ; I loose those bands which united our inclinations in this 
 survey. We have been instructed, charmed, and delighted ; and we 
 have been shocked, disgusted, and tortured. But, as it is, who will 
 be convinced, retractive, and determined to preserve and repair the 
 neglected abbey church of Westminster, and the ancient palace of 
 the kings at Westminster ? And who is the man that will restore 
 with a religious attention their mutilated parts, which ignorance 
 and prejudice, not time, have wrought on their most enchanting 
 beauties ? 
 
 Scarcely had I finished these Westminster innovations, when my 
 anticipating fears began to be realized : for, having received informa- 
 tion that the interior of St. Stephen's Chapel was actually giving way 
 to the general plan for the entire extermination of the ancient 
 palace, I hastened to the spot, where I found that great part of 
 the wainscoting of the House of Commons, hiding the original work 
 on the walls, had been taken down, whereby those parts that had 
 not before been disfigured were then open to the sight. Much of 
 the entablature and compartments under the windows had before my 
 arrival been cut away ; and, as I stood confounded at the havoc, 
 and astonished at the extraordinary beauty of those objects not yet 
 
92 
 
 A rch it edit ral In novation. 
 
 struck at, my attention was called away by a person who told me 
 that he had orders from the Surveyor of the Board of Works, that 
 no one was to be permitted to make any memorandum or drawings 
 from the chapel ; that whatever was pickaxed down into rubbish was 
 to be carefully preserved, etc., with other strange, contradictory, 
 and unaccountable reasons ; and, by way of giving a finishing stroke 
 to his refusal, " Sir," says he, " I have just got rid of the artist who 
 some time back made, by order of the Society of Antiquaries, plans, 
 elevations, etc., of this chapel, and which they afterwards published. 
 He came, he said, to complete those parts of that work which he 
 could not make out when the wainscoting was up. I told him my 
 orders — bid him be gone — so you see, sir, that I am deputy-master 
 here." I was permitted, however, to gaze with admiration unmolested 
 for an hour or two ; when I made such observations as will, I trust, 
 be of the utmost satisfaction to my readers, and render the above 
 description more complete.* 
 
 On the north side I noticed in compartments, between the columns 
 on the piers of the windows, small whole-length paintings of knights 
 in armour, with their names under them. The frieze of the entabla- 
 ture was filled with shields, and the arms on them were in raised 
 work of a peculiar taste. Between the shields were paintings of 
 grotesque animals and foliage. The whole of the wainscoting on this 
 side not having been taken down, I could not pursue my observations 
 any farther. 
 
 On the south side all was exposed to view, where, in the com- 
 partments in the piers, were other small whole-lengths of knights in 
 armour, and inscriptions ; and in the compartments made by the 
 columns under the sills of the windows, the forms of angels were 
 most admirably pencilled. On their heads were the usual golden circles 
 surmounted with a cross. They were holding before them draperies 
 whereon were ornamental decorations. The division next the east 
 end gave the three seats for the officiating priests ; and adjoining 
 them a small and delicate doorway, with an enriched arch of such 
 refined execution that I did violence to my feelings when I tore 
 myself from its charms. In the fourth division, in one of the com- 
 partments under the window, was a small ambury for the utensils of 
 the altar, which was bricked up. It was owing to this circumstance, 
 I have reason to believe, that my attendant's civility was excited ; for 
 I had told him in a whisper that in such places it was no uncommon 
 business to find hid some ancient and valuable articles ; and his 
 
 * The ridiculous and absurd accounts in the daily prints of the discoveries made 
 in St. Stephen's Chapel are designedly introduced to mislead the public, that the 
 loss of such inestimable remains of ancient art may be the less regretted, so that, 
 if a more forcible reason, the cause of antiquity, did not induce me to the dis- 
 closure, the insult offered my countrymen by such lying tales were sufficient cause 
 for me to come forward to confute the same. 
 
The Ancient Palace of the Kings at Westminster. 93 
 
 fierceness of denial was soon softened into something like curiosity, 
 though not, I believe, much like that known in antiquarian re- 
 searches. 
 
 Above the sills of the windows I perceive the whole of the work 
 to the ceiling of the House had been formerly made bare to the 
 very walls, for the means of getting as much room as possible for 
 the " fitting up." Thus, what was then left undestroyed, modern in- 
 novators are now putting a final termination to, for the convenience 
 of setting up a few more benches for the accommodation of the 
 additional members from Ireland. 
 
 Will my countrymen, for the sake of grovelling at the feet of 
 fashion, folly, and fanatical architectural innovation, be so credulous 
 as to believe that the enrichments of St. Stephen's Chapel were only 
 worthy of annihilation, because they were the work of Englishmen ? 
 No ; let me, however humble in my station, incline them to believe, 
 from the judgment of an artist long used to the notice of every 
 species of art, ancient or modern, once more to declare that the 
 paintings, sculpture, and masonry of the interior of this chapel is (I 
 must now say was) of the highest and most perfect design among us 
 that the hand of art ever produced. I stake my credit on this 
 avowal. Thus have I (it may be) all to lose, but much more to gain, 
 the honour and dignity of the ancient arts of my own country. 
 
 [1800, Part IL,pp. 1051-1053.] 
 
 As it has long been held necessary that all literary productions 
 should pass the ordeal of criticism, whereby true knowledge and taste 
 may be recognised, at once correcting the errors and improving the 
 minds of men, so is it of no less importance that an architectural 
 standard of criticism should be set up, to guard, in the first place, 
 the dignity and consequence of our national history in its concomitant 
 parts, its illustration, its proofs of authenticity, its time-surviving pro- 
 tectors, exemplified in our public structures ; and, in the second place, 
 to defend them against those audacious modern erections thrust on 
 the public as correct copies of their several forms. Shall criticism 
 be withheld, when we are constrained to blush at viewing them ushered 
 in with the effrontery of being told that, by additional characters, 
 they have diffused numberless improvements on our ancient manner 
 by the introduction of such fanciful creations? And to what extreme 
 depths of regret and lamentation are all our hoards of antiquarian 
 experience dashed, to see a system of architectural disorganization 
 spread abroad to hide from our sight the long-admired wonders of 
 ancient art, to banish from our memories the piety of former times, 
 and to root out from our land all traces of a style of architecture 
 which knew no bounds to its labours or end to its embellishments ! 
 Hardy must that man be who may go about to do away these truths 
 upon the broad basis of fair and open discussion, however sordid 
 
94 
 
 Architectural Innovation. 
 
 views may make him whisper to the contrary ; or, like some spiritless 
 soul, skulking to defend himself from a public demand behind the 
 back of a needy hireling, seek to destroy the fair fame of those who 
 step forward as Antiquity's champions to maintain her dearest rights, 
 and who, armed in all the bright array of antiquarian lore, stand 
 ready to maintain the same. 
 
 Following in humble distance in the train of these defenders of 
 ancient art, be it my part to erect a pile of architectural criticism 
 which, although it may partake of aerial and mental materials, yet 
 may have some weight in Reason's scale so as to direct impartial 
 minds to judge for themselves, and stem the innovating torrent which 
 thus threatens all our ancient structures. 
 
 Conscious of the uprightness of these essays, and believing that 
 many of my readers participate with me in my task, I shall go on 
 with these pursuits. Tremble not, my hand ! Spirits of those great 
 names whose remaining works of art I essay to bring, with all their 
 dazzling rays of light, before the too-long diverted eyes of a public, 
 many of whom have been tutored into a prejudiced hatred against 
 them, protect me ! Why need I invoke your hovering shades ? Have 
 I not, from the first hour of my antiquarian researches to the present 
 moment, stood unhurt, when in your man-destroyed walls ? — where, 
 while the tottering vaults or mouldering pillars shook round my head, 
 while lightning pierced your unroofed aisles, or thunder rent your 
 undermined towers,* have I not still remained safe and free from 
 harm ? With awful reverence I own your guardian care ! Then let 
 those who sound the alarm to professional havoc, to innovation and 
 destruction, shrink from the call of honour — I tremble not ! 
 
 The ensuing remarks were taken from some of our public edifices, 
 in a tour which I made this summer on purpose for the illustration 
 of these essays, and are given in the order in which they attracted 
 my attention. Hence the reader will judge of the propriety of archi- 
 tectural as well as literary criticism. 
 
 Dunstable. 
 
 The priory church of this place presents on its west front many of 
 the most remarkable features of the several styles of our ancient 
 architecture, from the Saxon era down to the reign of Henry VIII. 
 It may almost be said to be a school, in one view of that noble 
 science, and it is certainly a national treasure of antiquarian informa- 
 tion. Did the noble owner of the estate on which the church stands 
 but occasionally turn aside from some of the pursuits which occupy 
 his hours, and reflect on this ancient object in its deserved light, he 
 might be induced to believe it would redound to his praise to give 
 
 * Hereford Cathedral, Chelmsford Church, etc. 
 
Stony Stratford. 
 
 95 
 
 immediate orders for its repair, and not suffer a few griping inhabitants 
 (by setting aside a trifling expense) to pull down at pleasure the 
 decaying (or damaged) parts of this building, as has been lately 
 evinced in the demolition of the turret which stood at the north-west 
 angle. 
 
 Stony Stratford. 
 
 Many patrons of our ancient architecture (who, from a desire that 
 their mansions might assimilate in some degree with those of former 
 times, have put up with the ridiculous odds and ends invented by 
 masons and carpenters as resemblances of our pointed styles, stuck 
 about the same) have often in my hearing been loud in the praise of 
 that architect who rebuilt the church at Tetbury, Gloucestershire, and 
 the present one before us ; but, from my memoranda of its design, it 
 will be seen whether such patrons had that knowledge of our ancient 
 architecture which was requisite to stamp an applauding name, or lead a 
 mode of building so dissimilar to the style they affected to admire. 
 
 The tower at the west end appears to be the only remaining part 
 of the old church ; and we may begin our observations by noting 
 that the west ends of the aisles, and the north and south sides, have 
 nothing to distinguish them from a modern church, but the doors of 
 entrance (each into the said aisles), and the windows, which are made 
 to finish with painted heads, the former having modern panelled 
 doors, and the latter set up without any mullions or tracery; no 
 parapets or battlements to the walls, and a common modern dripping- 
 eaves roof crowns the whole. The east front next the High Street, 
 indeed, seems to have been a laboured business with this our architect ; 
 for, by way of showing his improving skill, he has, instead of giving 
 his church the characteristic square termination, run up an octangular 
 finish, where we find simple plain buttresses and still ruder battle- 
 ments, out of every degree of proportion, or without any of their real 
 dressiness, instead of which we find clapped on their tops modern 
 squared copings. The windows have the pointed sweep, it is true, 
 but then they are of such narrow dimensions, and are filled in with 
 mullions and tracery of such slender and minute work, that, at first 
 sight, I was inclined to suppose the architect had begun his erection 
 by first displaying these windows to show what his design was to have 
 been when perfected, that is, one of the most enriched structures 
 that he could give form to; but his plan fell short in the other parts, 
 as already shown. Prying into the minutiae of the mouldings, etc., 
 I found them under the predominating furor, that we moderns must 
 improve on the ancient orders of workmanship. 
 
 In the interior, the architect's improving hand has gone great 
 lengths. The groins of the side-aisles, and the body of the church, 
 are of the same heights, which occasions a strange disproportionate 
 appearance (giving at the same time a new arrangement to a religious 
 
9 6 
 
 A rch itectu ral Innovation . 
 
 structure) ; for, the side-aisles being narrower than the centre one, 
 the arches to each are of different spans, all crowding upon the eye 
 in a most unpleasing manner. The mouldings of the ribs of the 
 groins in the octangular east end (to say nothing of those in 
 the aisles) are overlaid with the ornament called husks, introduced 
 from Roman and Grecian edifices into our modern houses about 
 thirty years past. The altar-table is in the French taste of some 
 sixty years' date ; and I noticed pews and galleries penning up the 
 whole space of the erection. French glass sconces I likewise found 
 stuck into the several clusters of columns ; and I further beheld 
 with disgust a Roman, Grecian, and Pointed styled melange pulpit, 
 not alone for the wretched attempt at something, but more so from 
 its being placed in the modern irreverent and indecent situation, 
 directly in the middle of the body of the church, so that, when the 
 clergyman is discoursing on heavenly subjects, he is necessitated to 
 turn his back on that sacred spot where the Communion service is 
 administered. 
 
 To enter into the detail of the incorrectness of the smaller objects, 
 such as the various mouldings, ornaments, etc., the white painting 
 and whitewashing, would be to descend to a meanness of reprehension 
 far below the intent of these essays. Suffice it to say, the whole of 
 the work looks as if under the influence of prejudiced professional 
 habits, as hostile to a true revival of our ancient architecture as the 
 dire frenzy of political innovation is at this day to true peace and 
 regal authority. 
 
 Questions to the Architect answered. 
 
 "P. Q.," page 712, is respectfully informed that the reason why, 
 in the account of the tapestry in the Painted Chamber, I did not 
 particularize the inscriptions on the borders belonging to them was 
 that I unfortunately had delayed that necessary part of my examination 
 till a future opportunity. This business I designed to have entered 
 on this summer, when I went to Westminster for the purpose of see- 
 ing the discovered paintings in St. Stephen's Chapel ; but my exclu- 
 sion there at the same time put an entire stop to this my intent also. 
 
 " A. Z.," page 920, asks where I got my information of its now 
 being well understood that the Gunpowder Plot was invented by a 
 Protestant, an enemy of the Papists ? Had he looked at the note 
 accompanying my assertion, he might have spared himself the 
 trouble. He likewise wishes to know my reasons for saying that all 
 well-informed persons laugh at the story. By well-informed persons 
 I mean those who are not led away by vulgar prejudice, party zeal, 
 blind bigotry, and worldly interest ; and as, I hope, there are now 
 but few of this description, I conceive I may well be warranted in 
 such an opinion. 
 
The Church at Daventry. 
 
 97 
 
 [ 1 800, Part Il.tpp. 1 1 46- 1 1 49. ] 
 
 The Church at Daventry 
 
 has been entirely rebuilt, but not in any sort after the first design ; 
 the Roman and Grecian styles, in heathenish triumph, here give form 
 to a Christian church. Yet, that we may not lose sight of past times, 
 some remains of the priory buildings are yet standing near the fabric, 
 where in a crypt may be found many specimens of our early pointed- 
 arch style of architecture. 
 
 The Church at Dunchurch. 
 
 As I drew near this work of ancient art, my late mortification, at 
 viewing pretended pointed-arch imitations and Roman innovations, 
 gradually gave way to antiquarian pleasure : and I with unusual 
 celerity began my memoranda of the curious west door of entrance, 
 the window over it, the north door of the chancel, and the east 
 window. This last work is a charming combination of tracery and 
 the most delicate masonry. In the interior of the church I was not 
 less busily employed on its architectural parts, where my greatest 
 attention was directed to the ornaments and tracery on the sides of 
 the seats ranging along the aisles of the building, inexhaustible in 
 their varying forms. While thus engaged, I received a visit from the 
 clergyman and the clerk ; and I was not a little confounded which to 
 wonder at most, the apathy of the former, who could not possibly 
 conceive what in his church was worth my notice, or the insensibility 
 of the latter, who said that they were burning off (as occasion per- 
 mitted) the old rummaging oak seats, to make way for fine new deal 
 pews ; which, I assure my readers, from those already set up, were 
 very little better, in point of carpentry, than a Smithfield Bartholomew 
 show-booth. They then left me with much seeming contempt for 
 passing my time in such an useless employ as poring over mouldy 
 walls, broken pavements, noiseless figures, and worm-eaten boards. 
 
 To some it may seem strange when they hear me say my pencil 
 was now guided by the lightning's ray, and my attention to the 
 religious objects around directed by the thunder's awful sounds. 
 Thus environed by Heaven's warning messengers, I continued to 
 collect such materials for professional uses as I supposed might, one 
 time or other, be of service to the public when the originals were no 
 more. 
 
 Coventry. 
 
 Hail ! thou mine of antiquarian treasures ! Your cloud-indenting 
 spires, your remnant walls, which yet in broken fragments stand 
 the mark for needy power ; your civil, your religious structures, 
 hail ! 
 
 Let me take this opportunity to communicate to my friends that I 
 vol. x. 7 
 
9 8 
 
 Architectural Innovation. 
 
 am from indubitable authority (just imparted to me) enabled to 
 declare that in some two or three of our principal cities, ennobled 
 like this of Coventry by its antiquities, certain admirers of such 
 studies, united into societies, have made a noble stand against 
 interested individuals intent on architectural innovation, and have 
 been the happy means to save of late many a precious morsel of 
 historic evidence. Go on, enlightened souls, and with your strong 
 remonstrative arms push back these foes to ancient art ! Still 
 pursue your just resolves, till your generous examples raise in every 
 corner of the land, where but a vestige of antiquity remains, such 
 patrons as yourselves. Then shall these ruthless " iron hands " recoil 
 with terror on themselves, to feel, when fallen from their heights of 
 architectural despoliation, in some shunned retreat, all the direful 
 blows of neglect, desertion, and contempt. 
 
 St. Mary Hall. 
 
 Eager to renew the pleasure of once more viewing this building, 
 and dreading that, in the lapse of twenty years since I first entered 
 its walls, some innovating change might have taken place, I hastened 
 to this spot, and found that all was still the same. Man here had 
 made no alteration ; and I forgot for a short interval to muse over 
 that chain of events which I had passed between the years 1780 and 
 1800 : renovation of the love for our ancient architecture (vulgarly 
 named Gothic) ; ridiculous pretended imitations of its undefined 
 charms ; empires dissolved ; acquisition of antiquarian patronage and 
 its honours ; architectural innovation on our ancient cathedrals en- 
 couraged ; resistance to its fatal effects condemned (by a certain 
 society who should have been the first 1 to come forward for their pro- 
 tection) ; rewards for such perseverance, loss of property, some noble 
 friends, and some public encouragement ; and I forgot also those 
 disasters which have, and still continue to outrage the trembling 
 world. Thus, in a delusive state of mind, reverting to happier days, 
 I prepared for my intended survey, once more free from obligation's 
 chains, which a grateful heart at times is proud to wear. 
 
 On the exterior of this edifice are many excellent parts for observa- 
 tion. The great north window is particularly striking, having the 
 lower half of its height filled with exceeding rich niches, occupying 
 the spaces between the several mullions. The gate of entrance, the 
 windows to the building in continuation on the left, and the adjoining 
 habitations on the right side of the hall, are alike deserving of praise. 
 In the porch, the ribs of the arch and groins, with the basso-relievo 
 in their centre, claim also our regard ; the subject of which basso- 
 relievo is God on His heavenly throne receiving St. Mary.* We now 
 advance into the courtyard, where on the right rises the east side of 
 * Engraved in Carter's " Ancient Sculpture," vol. i. 
 
Coventry. 
 
 99 
 
 the hall, and on the left are seen stairs ascending into an open gallery, 
 which leads directly into the hall. These communications demand 
 great attention for their singularity of construction. Before we enter 
 into the hall, let us view the kitchen, admittance to which is by a 
 door under the said gallery. This design is truly consistent with the 
 grandeur of the pile, where we find on the north side lofty arches 
 supported by octangular columns, and enriched with bustos, arms, 
 and devices. The east and south sides present four chimneys with 
 communicating arches between them ; and the four windows over 
 these chimneys are in the finest style of architecture, as indeed the 
 whole of the work of this appendage to ancient hospitality evinces. 
 Hence we enter into the basement story of the hall, where, notwith- 
 standing it might never have known any other service than what it 
 owns at present, store-vaults for wine, etc., yet that unabating fervour 
 which characterized the architects of former times is here found in 
 every direction ; and doorways, windows, columns, groins, and 
 sculptures prove their exalted ideas, and my assertions in favour of 
 their superior talents. 
 
 We are now within the portal of the hall, when, if our Westminster 
 Hall did not stand in my recollection with all its stupendous glories, 
 I should here have been inclined to have bestowed applause little 
 short of that which I have ever given to my native antiquarian zeal- 
 inspiring theme. The south end has the minstrel's gallery, where, 
 above, are hung several suits of armour of the seventeenth century 
 make. The east and west sides contain superb windows, with much 
 of their historic treasure, though greatly damaged ; and the clusters 
 of columns on their piers are supported by religious and royal bustos. 
 The oriel window on the west side, with a doorway into a room for 
 keeping the uneaten viands of the feasts here holden, are highly 
 pleasing to the sight. North end : The great window retains its store 
 of royal paintings ; yet, like those in the other windows, it has not 
 escaped the wanton havoc of lawless depredators. Below this 
 window, and filling in the space from the seat of continuation to its 
 sill, is that intrinsic supporter of Coventry's highest honours, its com- 
 memorator of a splendid event, when royalty and its attendant pomp 
 honoured this hall with their presence : it is, then, that exquisite 
 tapestry which is held so dear by all who prize the smiles of sovereign 
 power. The dimensions of the tapestry are 30 feet in length and 
 10 feet in height, and divided into six compartments, three in the 
 first tier, and three in the upper tier. In the first compartment 
 (beginning from the left hand) we behold Henry VI. with several of 
 the principal nobility of his court. Henry is on his knees in an 
 ecstasy of devotion ; before him is a covered table, whereon lie his 
 crown and a missal. Behind Henry is the holy Cardinal Beaufort in 
 the same attitude. The rest of the personages are standing, among 
 whom we may readily point out the good Duke Humphrey, and the 
 
 7—2 
 
IOO 
 
 Architectural Innovation. 
 
 other names that aggrandized this monarch's high-born train. The 
 dresses principally show a vestment next the body depending below 
 the knees, and a robe with large sleeves worn over it. The shoes are 
 long-quartered, a mode never entirely set aside to this hour, as being 
 unquestionably the most becoming covering to the foot. The caps 
 are small and flat, with their brims notched. The king and the 
 figure near him (Duke Humphrey) have in their caps large jewels, 
 and their necks are decorated with gold chains. The cut of the hair 
 of the several portraits is much varied ; and the beards of Duke 
 Humphrey and another principal character are left to flow to an 
 unusual length. Each figure has his neck bare ; and it may be worth 
 observation, that just above the collar of the under-garment something 
 like linen appears. However, it must be confessed, we who are 
 studious in ancient dresses have very little to say in confirmation 
 when such an agreeable covering as a shirt first made part of the 
 wardrobe of our ancestors. 
 
 Here let us particularly attend to Henry's crown, whence are 
 diverging those bows with globe and cross, which were first introduced 
 in his reign.* Taking in our eyes the whole group, we find the 
 major part of them deeply impressed with the religious objects in 
 their view ; and it may seem rather remarkable that a very small part 
 of their number appear without caps on their heads ; which, however, 
 demonstrates that in the religious ceremonies of Henry's day such 
 coverings were circumstances unheeded and indifferent. In the 
 background are rich hangings, part of which being drawn aside (near 
 Henry), present a distant view of the country. In the compartment 
 above are several of the Apostles, as St. John the Baptist, St. Simon, 
 St. Andrew, St. Bartholomew, St. Peter, St. Paul, St. Thomas, and 
 St. John the Evangelist. Here are likewise two Christian knights, 
 one bearing a banner of the cross, and the other a sword and an anvil, 
 emblematic of courage and fortitude. In the background are hangings 
 and a view of the country also. 
 
 In the second compartment (in the first tier) is St. Mary in glory 
 surrounded by angels, with the moon under her feet, which is sup- 
 ported by an angel also. The attitude of this divine representation 
 is chaste and elegant, and the robes are such as the most beatific 
 mind would devise, so as to combine worldly garb with heavenly 
 array. On each side of this ascending mother of God are the twelve 
 Apostles in devotional positions. The background shows hills and 
 vales, etc., etc. In the compartment above, the scene is continued ; 
 where we see the heavens opened and filled with angels arranged 
 round the eternal throne. Four of them bear the instruments of the 
 Passion ; and we have here to lament (the antiquary's constant 
 portion) that the subject in the centre has been cut out, and a poor 
 effort of the loom showed in its place the figure of Justice. No 
 
 * See his portrait on glass in King's College Chapel, Cambridge. 
 
Coventry. 
 
 101 
 
 doubt the sacrilegious despoiler thought his transposition justice / 
 Men who are in constant practice of calling past times dark and 
 barbarous, let them hear my exclamation. Dark were those days, 
 and barbarous were those hands, when our ancient works of art fell 
 sacrifices to avaricious impiety and ignorant fanaticism ! — To return, 
 we are yet able to discern the steps and sides of the throne, with the 
 characters ihs on the top of the work. Beyond a doubt, the destroyed 
 part of the tapestry gave the representation of the Creator, bearing 
 on the cross our Lord Jesus, and the dove between them, which was 
 no more than the usual display of the sign of the Trinity, still common 
 in our ancient sculptures and paintings. 
 
 Third compartment on the first tier. — Here let antiquaries pause 
 awhile and gaze on the lovely semblances of the fifteenth century. 
 Religion beams in the beauteous circle ; bended knees, hands raised 
 in prayer, adoring eyes, are here the pious charms to draw the soul 
 to follow virtue in a train like this. Forbear intruding thoughts, 
 charged with comparative ideas of modern female portrayed situations ; 
 let me weave on my silken thread, and present to notice Margaret, 
 Henry's consort. She has before her a covered table with a missal 
 thereon. Her crown is on her head; and we perceive in her 
 countenance all those attractions which so adorn the female mind, as 
 affability, modesty, tenderness, and meekness. Has the artist in this 
 portrait belied his feelings ? or is it to hireling historians we owe 
 those unmanly epithets, when they call her proud, unchaste, cruel, 
 and tyrannical ? The lady near the queen is called by the name of 
 Duchess of Buckingham. The rest of this assemblage are wholly 
 unknown, and we must, as in the former instance with regard to the 
 male characters (excepting Henry and the Cardinal), use conjecture 
 to assign names to satisfy our historic curiosity. The dresses of 
 these ladies are a robe, tight on the body, with wide flowing sleeves, 
 their necks bare, and on those of the queen, the duchess, and three 
 others, are gold chains. The covering to their heads is peculiarly 
 graceful ; the queen's more so from the rich addition of her crown. 
 Among the number are two nuns in the full habit of their order. In 
 the background are hangings, and by the side of the queen is a 
 distant view of the country, with a variety of buildings. The tier 
 above shows many female saints, who, we may conclude, with the 
 corresponding male saints on the other side of the tapestry, were the 
 heavenly patrons of the principal persons in the compartments below 
 them. The draperies that adorn these sainted females are in a taste 
 the most refined that can be imagined, so as to distinguish such a 
 celestial company. We may particularly note among them St. 
 Catharine, St. Barbara, St. Dorothea, St. Mary Magdalene, St. 
 Margaret, St. Agnes, St. Anne, St. Apolonia, and a saint in the vest- 
 ments of an abbess. The background to this subject is likewise 
 filled with hangings. 
 
102 
 
 Architectural Innovation. 
 
 [1800, Part II., pp. 1227-1229.] 
 
 Few, I believe, know how smoothly the moments fly over the 
 head of an antiquary. Lost to the common occurrences of life, he 
 im merges deep into the stream of remote ages ; and every subject 
 dating its origin from such sources emits a charm that never fades : 
 with rapture he beholds, he comments, or he copies by his pencil's 
 aid. Insensible of private concerns, he hears no discordant sounds, 
 feels no piercing cold, nor sees no lowering skies. Yet, should the 
 " pealing" organ's strains wind gently round his soul while musing in 
 the cloistered aisle or kneeling in the stalled choir, when sweet-tuned 
 voices join in choral harmony, he then forgets his mortal coil and 
 all his thoughts expand to heaven. Confessing a frame of mind open 
 to a sense like this, I, on a Sunday afternoon, while engaged in 
 examining St. Mary's tapestry, the psalmody from the neighbouring 
 St. Michael's Church wafted its long-drawn notes, to turn awhile my 
 reflections from the scene before me to own their more impressive 
 power. And ever as the melody died on the yielding air, the heavy 
 toll from far-off Babelake's* passing-bell filled up the vacant hymn. 
 True picture of man's chequered life ! 
 
 " One while bright scenes abound, 
 And all is hope and joy ; 
 Anon the knell of death 
 
 Doth all life's sweets destroy. 
 Thus light and shade, thus bliss and woe, 
 Make up our little hour — Fate wills it so. 
 
 Quitting this sweet dominion of the soul, I return to my survey. 
 The next object in our sight is a chair of state placed at the south 
 end of the hall. It is full of ornaments and tracery, among which is 
 St. Mary with the infant Jesus. The arms of the city have likewise 
 been placed thereon. f On the boarded spaces between the floor 
 and the window-sills, on each side of the hall, are paintings of the 
 arms and devices of Elizabeth. The Earl of Leicester's honours are 
 set forth in the same way ; and many lines of praise inform the 
 visitant of the deserts of those memorable persons. Here are several 
 paintings hung up ; as the half-length of Elizabeth, with the whole- 
 lengths of James I., Charles I., Charles II., James II., William and 
 Mary, George I. and his queen, and his present Majesty. There 
 are also above the minstrels' gallery some ordinary portraits, among 
 which is one of Godiva on horseback. In the timber-work of the 
 roof we find most admirable whole-length carvings of angels playing 
 on musical instruments, which nothing but the most consummate 
 ignorance and stupidity will ever decree their being consigned to 
 oblivion. The instruments they bear are a crewth, trumpet, cittern, 
 
 * St. John's Church. 
 
 f Engraved in " Ancient Sculpture," vol. i. 
 
Coventry. 
 
 103 
 
 harp, and a bass flute. The attitude of the performer on the harp is 
 truly divine. This musical selection must convince us (although 
 modern professors in that science, through vulgar prejudice, assert 
 directly to the contrary) that our ancestors' minstrelsy was directed 
 in their performances by parts in score. A doorway on the east side 
 of the hall enters into a chamber called the mayoress's parlour. I 
 have to entreat my reader's indulgence for asserting, in the first part 
 of this survey, that no alteration had taken place in these buildings, 
 my eagerness of research at first rendering me unmindful of the 
 change wrought in this chamber, a mean lath and plaster finishing 
 now obliterating all the original decorations of this " bower for ladies 
 fair." As it is, we pass through it into another chamber of much 
 interest ; and no small satisfaction accrues in finding that the fiend 
 Alteration has not yet set his teeth in these latter boards. Let us 
 still look on the light and airy workmanship of the several parts, 
 which from neglect and want of repair are hastening to that termina- 
 tion so much dreaded by all true and zealous antiquaries. Return 
 into the hall, where, on its south-east angle, is a circular staircase for 
 the ascent into the minstrels' gallery, and at the same time leading 
 into a chamber on a second story, called at present the armoury — 
 much grandeur appearing in its view. From this chamber there is 
 communication with two others, each presenting some enrichments 
 worthy of observation. Descending into the hall, we next find, at 
 the south end, a doorway for admittance into the kitchen (before 
 described) by means of a flight of steps. On the right of this door- 
 way is another modernized chamber (excuse me for my impatience 
 again), and on its left is the old council-chamber. In this place the 
 whole consequence of the magistracy of antiquity rose before me. It 
 was rendered truly valuable from the many particulars with which I 
 was surrounded : as the large table for the books of accounts and 
 other transactions ; the mayor's throne-like seat, and many other 
 seats with stall embellishments ; the hangings, whereon are the arms 
 of Elizabeth ; the massive double doors ; the elaborate carved en- 
 tablature round the chamber ; and its panelled flat ceiling, where, 
 among the carvings, are the effigies of the Almighty on His throne, 
 St. Mary, St. John, St. George, and St. Margarite, and the symbols 
 of the four Evangelists. As I sat on the lowermost bench, I con- 
 sidered that this unique chamber was a rare example to one who, like 
 me, was collecting every ancient material to form his judgment to 
 that strength of determination, so as to decide with an unquestion- 
 able precision on the merits and demerits of all pretenders to a 
 knowledge in the theoretic and practical study of our ancient 
 architecture. 
 
 Should it be my fortune ever to tread these piles again, still may I 
 meet, as before, their forms unchanged ! And may their guardians 
 continue to preserve that respect for their acknowledged worth which 
 
104 
 
 Architectural Innovation. 
 
 they for so long a period have made known, by permitting them to 
 stand safe from the rage of modern improvement ! 
 
 St. Michael's Church. 
 
 Leaving the porch of St. Mary Hall, I, in casting my eyes up 
 to the tower of this church, encountered a new sum of sublime 
 perfection, where, tier over tier, each filled with columns, arches, 
 and statues, I imbibed at every stretch of sight a more refined 
 degree of enjoyment, exceeding the impulse caught before. Again 
 let me name the statues on this tower, in number great, but in 
 point of beauty vying with the sculpture of the heathen school. 
 Sorry I am continually to witness the headstrong adoration paid to 
 the last-named efforts of the chisel by men who would start back 
 with horror if compelled to bestow a breath in commendation of 
 our national sculpture. The truth is they love extremes ; they are 
 on their knees to the representations of Pagan mythology ; but to 
 resemblances of the constellations of the Christian Church they raise 
 their hands to destroy, and their feet to trample on, the attributes of 
 that faith which brings contentment to their roofs, and loyalty to 
 their breasts ; happiness in this world, and joy hereafter. How 
 scientific, how just, is the principle on which the octangular root of 
 the spire is constructed ! remark sedulously the expanding double 
 flying - buttresses ; then dwell on the air-drawn spire, sweetly 
 diminishing line after line into the very atmosphere ; we lose our 
 dazzled sight in its extremest point, and the azure vault of heaven 
 alone ends our visual search. The body of this church, though of 
 prodigious dimensions, though enrichments in excess everywhere 
 appear before us, yet its taste is not of that pure and majestic kind 
 that pervades the tower and spire. Need I say these latter objects 
 owe their formation to the genius and skill of Edward III.'s day? 
 Indeed, the space between two centuries has widely estranged the 
 architectural symmetry of the edifiee. Here let me laud those worthy 
 men who, by their unremitting care and solicitation, have contributed 
 so much to the reparation of this idolized tower and spire, and who 
 have likewise most wisely confined the bells of the structure to an 
 independent frame of timber within the touch of the walls of the said 
 tower, preventing, as far as may be, future harm to any of its time- 
 worn parts. Yet, so much I prize its future safety, that I would be 
 the first to give up the bells, which merrily ring or gravely toll to 
 thought of other times, sooner than the smallest doubt should be 
 abroad, that they by tremulation or concussion might shake Coventry's 
 prize of art into a decrepitude of existence, or into an uncertain 
 prolongation of its fate. 
 
 In the interior, all arrangement, unity of parts, effect of light and 
 shade, and every circumstance appertaining to such a building, all are 
 
Coventry. 
 
 lost in the jumble of pews, brass sconces, and theatric galleries, aided 
 in this deprivation of ancient sublimity by that leviathan of obstruc- 
 tion to everything that could entrance the eye, the hideous organ- 
 case. Did this monstrous birth, this gloomy prison-house of harmony, 
 receive its conception in the heathenish school ye wot of? I do not 
 confine this question to St. Michael's Church. Some shudderings, 
 repugnant to an antiquary's joys, possessed me at seeing a model for 
 a new covering or ceiling set in the way to catch subscribing hands. 
 The design of St. Michael's Church is of a nature that could never 
 admit of groin- work ; therefore, the ancient architect, with great 
 ingenuity, laid on the walls an open-worked timber roof, in unison of 
 taste, and common to edifices of the date of this sacred fane. Now, 
 our Coventry modeller, to make known his improving skill, exhibits 
 me for a height of some four or five feet, and thirty odd feet in breadth, 
 groined arches ; whereby their sweeping lines are stretched out to 
 such an excessive flatness of arch that, as the nature of groins are for 
 their appearing (by their acute altitude) to have an ascending direc- 
 tion, so here, by this said modeller's refinement, his groins act directly 
 contrariwise, by indicating an inclination to tumble on our heads. 
 
 St. Trinity Church. 
 
 [1801, Part I., pp. 31-33.] 
 
 St. Trinity Church stands not many feet from St. Michael's Church, 
 and not many degrees short in point of dimensions or grandeur of 
 design ; indeed, a twin star, though not entirely so bright in form. 
 The body of this church is less enriched than St. Michael's on its 
 exterior, though I discover much more architectural correctness in 
 the interior ; but when I come to compare its tower, which seems to 
 emerge from the roof, while the basement elevation is lost in the con- 
 struction of the body of the building, with St. Michael's revealed and 
 aspiring pride of art, I crouch in humble adoration, and lay aside the 
 vain-glorious trial. The spire, indeed, may boast its near affinity 
 with St. Michael's other soaring gem ; then on each structure let us 
 bestow equal regard and equal commendation. As the erection of 
 this building bears a remote date, it no doubt needed repair; in 
 consequence, great havoc, alteration, and modern i??iprovements have 
 taken place of late on its external parts, particularly in the north and 
 south windows, by the subversion of their tracery, and the west and 
 east fronts have been in a manner rebuilt. Cruel innovation — un- 
 happy proof of modern scientific perversion ! The mind sinks into 
 the nothingness of living skill in viewing askance the decline of 
 geometrical order, of just appropriation, of professional precision, so 
 ruefully set up to glare upon us in these two most conspicuous parts 
 of the edifice. Did the architect, the mason, or whatsoever was the 
 designation attached to his consequence, when he knocked out the 
 
io6 
 
 A rchitectural Innovation. 
 
 original mullions, broke down the battlements, and unshaped the 
 buttresses, turn his perverted eyes from the levelled fragments, and 
 from the dazzling beauties of St. Michael's window enrichments, and 
 disdainfully say, "I will now show my just contempt of such old 
 superstitious work, made up by spells and charms, and of which there 
 is not either beginning or end that I can discover, and here bring in 
 my improving embellishments " ? Did he triumphantly announce and 
 cry out, " My pointed arches shall find new centres ; my mullions, 
 new mouldings, tracery, new sweeps and battlements, entablature 
 and buttresses, such details that no sight ever kenned in dark 
 antiquity. The Roman and Grecian styles gave me the taste I 
 have; then here shall rise their columns, capitals, pateras, and all 
 the architectural gleanings which I have culled from off the beauties 
 of Somerset Place, the Pantheon, Carleton House, the Bank, and 
 the south front of Guildhall, Salisbury and Lichfield Cathedrals, and 
 New College Chapel, Oxford, in their new-invented architectural 
 dress " ? Still more I ask, What other passions agitated his frame ? 
 Did he, when perceiving some of the masonry of the west window 
 fall nigh his person, call to mind the destiny of that man who pulled 
 down the west window of Netley Abbey? — who, persevering in his 
 sacrilegious labour, though warned from the pursuit by repeated 
 admonitions in his dreams, fell a sacrifice to his avaricious pro- 
 pensities, by a great part of the stonework falling on his head, and 
 which crushed him to atoms ? 
 
 The interior of the church exists in its original state, and still, like 
 its gemmel neighbour, is crammed with the organ-case, pews, and 
 galleries, all in promiscuous deformity, standing up before the sym- 
 metry and unassuming harmony of the native pile. 
 
 The Priory Church. 
 
 The Cathedral, or Priory Church, which was situated at about an 
 equal distance from St. Trinity, as St. Trinity is erected nigh unto 
 St. Michael's Church ; each one, as it were, within the precincts of 
 the other. Of the great and famous monastery, originally called 
 u The Priory of Coventry," little now remains but the north front of 
 the north transept of the church and some walls of the attendant 
 buildings. " Behold the instability of these perishable things ; what 
 the pious founder and all other its worthy benefactors had, with great 
 zeal to God's glory, so cheerfully given and bestowed on the structure, 
 endowment, and adorning of this some time famous monastery ; and 
 that with such heavy imprecations and curses upon any that should 
 take away or diminish aught thereof, as the charters before cited do 
 manifest; against which violators of the church, its patrimony, the 
 representative body of this realm had also so often, in terrorem, 
 
Coventry. 
 
 107 
 
 pronounced solemn curses in open Parliament, as whosoever shall 
 cast his eye upon our statutes and public histories may discern, was 
 subverted, torn away, and scattered, in 30 of Hen. VIII. 's reign, 
 after it had stood near 500 years [founded 1043], tne gl° r y of au * 
 these parts. At which time the very church itself, though a most 
 beautiful cathedral and the mother-church of the city, escaped not 
 the rude hands of the destroyers, but was pulled in pieces and 
 reduced to rubbish." Thus exclaims Sir William Dugdale in his 
 illustration of the antiquities of Coventry. What fate attended these 
 particular violators I am not altogether informed ; but, if we consult a 
 very scarce and valuable book, called " The History of Sacrilege," I 
 make not the least doubt some direful circumstances marked their de- 
 parture for another world, there to render an account for their actions 
 in this. The above-quoted history is a collection of public events, 
 brought into one view, of matters relating to the fatal tendency, as 
 so feelingly described by our Coventry historian, and which we find 
 so dreadfully corroborated by our national records ; and on none 
 so miserably have the "imprecations and curses" fallen as on the 
 progeny of the prime mover of all, to the third, fourth, and fifth 
 generation ; and doth not the last living remnant of this unfortunate 
 stock (who least of all merited such a destiny) now drag a wretched 
 existence, which, but for the timely assistance of a most gracious 
 hand, deputed by a heavenly sympathy, had long ere this been left 
 to perish in want and misery ? 
 
 Arcnitectural innovators, con over this awful lesson ; and think 
 not, by a flimsy pretence of preserving, with a mock show of venera- 
 tion, a few of the pickaxed ornaments of any religious building ye 
 are destroying, though echoed round by " needy hirelings " as acts 
 deserving of public thanks, to elude the vigilant eyes of a discerning 
 few, or the influenza of the "imprecations and curses," though 
 "pronounced by the representative body of the realm in open 
 Parliament" near 800 years ago; and, however some of its stings 
 may be blunted by the tooth of time, many are still sharp enough to 
 pierce ye to the quick ! I, who advance to give some light to develop 
 antiquity's charms, and stretch forth my arms to turn aside the future 
 professional hazard of participating in the " imprecations and curses," 
 am not without my share of that punishment which such heavy 
 inflictions have more or less cast upon us all \ for is regret, or the 
 most poignant sorrow, to be put by, when, from the precious remains 
 of the north transept now before my reflecting sight, I must be so 
 truly sensible of the wonder of the whole structure when in its perfect 
 state ? The minutiae of the parts lead me to Wells's yet unaltered 
 cathedral,* where I find the greatest similitude of style. With me 
 
 * We have been made acquainted with a proposed repair, and of course altera- 
 tion, which is soon to take place in this edifice. 
 
io8 Architectural Innovation. 
 
 all may participate in the knowledge of that one of our nation's 
 wonders ; quick let our conceptions hurry back to this spot, where 
 for an instant, ere reality awakens our antiquarian dream, let the 
 buried splendour of the Priory church arise ! We behold, we judge, 
 
 and we but all is lost again, and this poor relict transept leaves 
 
 but a thought behind ! Then let that thought be turned into action. 
 Drive out those filthy swine; clear off those surrounding sties 
 and hovels ; purify the stagnate air ; and make clean and decent 
 every vestige that marks this hallowed mound. Then henceforth let 
 each son of Coventry's fair city, ever as they pass by this first cause 
 which gave to them a name, bow the head in admiration of its former 
 wealth and fame, and shake the hand as repugnant of its present 
 diminished and setting sun. Those ruined walls in a line of con- 
 tinuation, which I have already hinted as making part of the 
 monastery buildings, I comment on as having much call for regard ; 
 the style of their parts are not common, and bespeak the highest 
 antiquity. 
 
 Treading on in my constant direction, a few more paces brought 
 me to the site of the episcopal palace of the heretofore bishops of 
 this diocese, where those silent and ideal creations so familiar to those 
 who follow in the track of departed lustre was all that remained to 
 partake of in this dissolved scene. I quit these mind-drawn abodes, 
 and, retiring to the space between the west end of St. Michael's 
 Church and the east end of St. Trinity, I shall there uncontrolled 
 give free scope to all my collected sweets of antiquarian intuition ; 
 at will let them wander out at every pore, where playing awhile in 
 circuitous rays, I take in St. Mary's Hall, St. Michael's and St. Trinity 
 Churches, and still farther, in my " mind's eye," as in their wonted 
 pomp, the Priory church and the Palace. 
 
 Questions from the Architect. 
 
 As correspondents have honoured me by their questions, I in 
 return wish to know in what part of the kingdom is there an example 
 of an ancient triangular tower, as much boast has been made ot a 
 modern imitation of such an object in the Duke of Norfolk's park at 
 Arundel ? 
 
 At what time previous to the literary productions of Sir C. Wren 
 do we read of the term Gothic as being applied to stigmatize our 
 ancient and national architecture? 
 
 If these questions are not satisfactorily answered, I shall enter into 
 an explanation of the word imitation as far as it relates to archi- 
 tectural labours, and make proposals for a general distinctive appella- 
 tion to be affixed to a science which at present is degraded by the 
 low and barbarous name of Gothic architecture ! 
 
Coventry. 
 
 109 
 
 St. John's Church. 
 [1801, Partly pp. 117-119-] 
 
 St. John's Church, commonly called Babelake Church, is rich in 
 many of the architectural characters of the Edwardian era. The 
 tracery of the windows is exceeding fine, and the buttresses are 
 superior to the usual forms, being finished with niches and pinnacles. 
 No time will obliterate the memory of the satisfaction I experienced 
 while I noted the workmanship of the west front. It has every 
 grace that art can give ; but our attendant alloy, neglect, and 
 mutilation cast a loathsome mist before me, and I retrospective saw, 
 through their hazy mediums, modern repair and improvement stalk- 
 ing on with annihilating frenzy to perform the same sad part as has 
 been perpetrated on the tower of this church. In the interior my 
 antiquarian alarm beats loud again to animation and to praise. The 
 body of the building, the aisles, chancel, and all their architectural 
 decorations are still in the same unmolested state as when at first 
 they inspired that holy awe to all who entered within their portals. 
 A few there are who still keep alive that solemn glow ; I own I feel 
 it here. From the clean and decent manner in which this church is 
 kept (an uncommon phenomenon in ecclesiastical accommodation, 
 and which by some is considered as bordering too near the verge of 
 superstitious times), I almost excuse the usual lumber of pews and 
 galleries, and the coal-hole filling up the east end of the north aisle. 
 
 Clearing my way through those very obstructions which were the 
 ostensible reason why the object, whose loss I regret, was demolished 
 — hucksters and dealers in small wares — I arrived on the spot where, 
 some few years past, stood the cross. Which, I pray, of your city's 
 recording trophies is next to fall ? Let some better pretence give 
 consistency to the tearings-out from your historic page than what 
 signed the downfall of such a symbol, to remind the hand of trade 
 that Christianity has among its various attributes justice and honesty. 
 
 Peeping Tom ! thou patron of merry knaves ! thou who ever 
 charmest the witty and the curious in bands of jest and song ! thou 
 harbinger of Godiva's triumphs ! thou bringer-back of time, to tell 
 who first raised up this city to form an epoch in the life of England's 
 civic mounds ! Constant to your post, still maintain your empire 
 and your fame, notwithstanding some imported friends, from mistaken 
 notions of your wooden frame, have been betrayed into an obsequious 
 ceremonial, as supposing you of mortal mould, which, when they 
 kenned you right, had vowed revenge by seeking to drag you from 
 your lofty seat, to end at once in effectual fire your silent gibes, and 
 Coventry in thee its guardian sprite ! 
 
 Habituated as I am to frequent disputations with professional 
 men, common observers — nay, indeed, with very many antiquaries — 
 in defence of the accommodations and conveniences of the habita- 
 
no Architechtral Innovation. 
 
 tions of the middle ranks of society in former days against their 
 positive assertions that our ancestors poured through their darkened 
 days in cold, unfurnished, hovelled abodes, and that the "vast" 
 heaps of masonry and the " unmeaning " embellishments composing 
 the edifices of the " barbarous " lords or the " superstitious " religious 
 were the only architectural works that ever presented their " useless " 
 and " deformed congestions " to the " savage " multitude who first 
 beheld them,* I now bring, in proof against such uninformed anti- 
 nationalists, and for the credit of the defensive part I take, that in 
 this city are to be found a prodigious number of houses which in 
 date show as far back as the reigns of Henry VI. and VII. In them 
 may be observed the simplicity of the humble artificer's dwelling, the 
 fitting-up of the tradesman's shop, and the opulent erections, dis- 
 tinguishing the merchant or the magistrate. A professional vade 
 mecum may likewise be made out from the single moulding arch to 
 the ceaseless varying forms of window tracery, compartments, and 
 pinnacles. In short, in this city any caviller, willing to be convinced 
 of the wrong system he has followed, held up by antiquity scoffers, 
 may find the most abundant and unequivocal documents to make 
 him in future respect that era of social comfort which he had before 
 derided. 
 
 The Free School. 
 
 This building appears to me to have been the chapel of St. 
 John's Hospital. It consists of a body, windows on the sides and 
 at the west and east ends, with a pointed single-arched vaulting. 
 The east window in its tracery is most beautiful. What attractions 
 beamed from the west front I arrived too late to witness, for 
 modern wry-necked prejudice had been beforehand with me; and 
 I found a new front run up, with such a rebellious rout of anti- 
 pointed arch objects, against all that was true and congenial to the 
 pile itself, that my antiquarian enthusiasm oft raised my arm (poor 
 delusive force) to strike with indignant zeal the bloated excrescences 
 and tumble them into dust and rubbish ! But they mocked my idle rage, 
 and proudly thrust out their purloinings of modern architectural patch- 
 work, cribbed from the no mouldings [sic] of the Rochester screen,t 
 the cupolas of Kent and Ware, J the mural monuments of country 
 masons, the dial compartments from village schoolmasters' cots, and 
 from that self-assuming source of innovating still licked up from the 
 thresholds of the "heathen schools." Then, while the professors of 
 such smuggled principles have, for more than two centuries, held 
 contemptuous sway over our Christian structures, let me now take up 
 
 * These epithets likewise occur in Wren's " Parentalia," and in most of our 
 tourist's works since his innovating hour. 
 
 t See No. 1 1 of these Pursuits, vol. lxviii., p. 825 [ante, p. 6]. 
 % Architects some forty or fifty years back. 
 
Coventry. 
 
 1 1 1 
 
 the theme of derision and protest my hatred and scorn for this 
 architect's infidel plunge into the heaven-born system of our ancient 
 art, where, being denied its celestial participations, he has blindly 
 patched up the mass which I now hide my eyes from — that is, this 
 new front of the Free School. 
 
 Babelake Hospital. 
 
 As I drew near this pile of silent and retired age the bright- 
 ness of day began to submit to dusky twilight, and I passed under 
 the gateway with all that devotional resignation of which my 
 pilgrim-like excursions so naturally moulded my frame to partake. 
 The south side of the hospital gave a long range of those orna- 
 ments which are so conspicuous in the civil erections already 
 spoken of, and, though viewed over in a doubtful light, yet sufficient 
 to inspect the many meanderings of the ancient carpenter and carver 
 in the ingenious and tasteful trials of their never-failing skill. I 
 entered the common-room or refectory of the poor brethren. Their 
 pittances were very small, and, like their declining age, were daily 
 losing ground in life's fleeting comforts. A piteous tale of bare 
 existence sounded responsive to my sighs as I trod the aisle within 
 the dormitory. 
 
 Ford's Hospital. 
 [1801, Part I., pp. 221-223.] 
 
 Returning day renewed my investigating labours, and my course 
 led me towards the Grey Friars Monastery. In my way I en- 
 countered that cabinet of ancient genius — that jewel in the crown of 
 architectural sovereignty, the all-elegant west front of Ford's Hospital, 
 in whose given space lies the whole mine of mansion adornments, 
 indefinite tracery, inexhaustibly varied pinnacled buttresses, pedi- 
 mented, flowing, and still changing foliage. All is fascination, as in 
 some pleasing dream we taste such scientific joys, which, waking, we 
 could never know but in a sight like this. Entering the court of 
 this precious treasure, saved from innovation's maw, I found the 
 richness of the front was still carried on here with the same ideas of 
 profuse design. That professional men may not think this last- 
 recited wonder as bordering on the improbable, let them be told 
 that the extreme care constantly bestowed on this building, whereby 
 its state is almost as perfect as at the first hour of its erection, will 
 show that in Coventry there are men whose minds are open to 
 perfect taste and real excellence, so highly manifested by their 
 protection of this phenomenon of ancient mansions. 
 
 The Grey Friars.' 
 
 Of this convent there yet is to be met with, in some sort of 
 dignity, the tower and spire of the church. The style of the parts 
 
112 
 
 A rchitectural Innovation. 
 
 is Edwardian j and it is with true judgment that the inhabitants 
 pay all that devotion for its remains which they on every occasion 
 point out as one of their city's noblest objects. And yet, dropping 
 our eyes from the spire down to the base of the tower, how is 
 this affected admiration to be accounted for, when we notice 
 every kind of garden lumber permitted to hide the no less in- 
 trinsic work than what marks the unmolested spire? How often 
 interest sways our passions, however insignificant the lure, by banish- 
 ing from our bosoms the half-matured impulse of public spirit and 
 applause ! 
 
 Retiring from this leaving of Henry's creatures, I, with pondering 
 steps and slow, sought out the fragmented monastery of the White 
 Friars. The first item of its fallen state is a gate of entrance from 
 Much Park Street, the upper part of which is hovelled up for hiding 
 the head of some poor family. I now entered into the precincts, 
 where, at a short distance, I came to the gate of entrance, leading 
 directly into the principal part of the undemolished buildings. This 
 design is now what is termed a study for the artist's pencil and 
 a memento for the antiquary of suffering grandeur, already bowed 
 down to meet the premeditated blow which will soon level it with 
 the earth. I entered the court. Where are the melancholy, 
 dilapidated residences of the first possessors, afterwards the habita- 
 tion of one of their dispossessor's griping courtiers, and now the 
 dwelling of a herd of miserable beings, whose poverty and the 
 havocked horrors of the place seem to wait in sullen grief for that 
 next move of " needy power," which is to put an end to all their 
 sufferings ! An avenue with a rich doorway guided me into the area 
 of the cloisters. The south and west interior walls are left standing, 
 the north one is destroyed, but the east cloister is in being, owing its 
 preservation by forming the support, in part, of the dormitory which 
 ranges above it. , However this may be, an uncommon example is 
 left us of cloister designment ; and its openings for admittance of 
 light, its groined work, arches, columns, and mouldings have all 
 those perfections which still swell our list of the architectural fame of 
 the Edwardian era. From the centre of this east cloister extend 
 some few feet of the chapter-house, where are likewise many groined 
 chambers and avenues. At the north extremity of the dormitory is 
 a bold flight of steps ascending thereunto. It is roofed with stone 
 and lighted by two windows, which, as we mounted to survey the 
 bounds of once monastic repose, gave a delightful view of the city's 
 three majestic spires. The first in beauty is second, the last in 
 beauty is first, the second in beauty is last — in distance from our 
 eyes. As I proceeded, the torus cornice, winding into varied shape 
 at every step, delayed my course to gaze on so uncommon an 
 enrichment. The dormitory then shrouded me round — soft ejacula- 
 tions, calm slumbers, and peaceful walls are here no more ; loud 
 
Coventry. 
 
 curses, distracted dreams, and noisy loomworks fill up the dreary 
 round. Darkened windows, polluted cells, with all their broods of 
 stupid ignorance and callous indifference to the first necessary use 
 that bids these walls arise, drove me from this gloomy scene, once 
 sacred to piety, now infuriated to modern infidelity ! No vestige of 
 the church was left ; an useless waste alone made me insensibly 
 meditate for some time on the "instability of terrestrial things"! 
 "The curses and imprecations," too, flew round me; but, shielded 
 by my antiquarian zeal, I did not experience any of their baleful 
 effects. How doth the present possessor of those architectural 
 relics answer to all this ? He, no doubt, can with me in this instance 
 unshaken stand. I hope the " iron arm " may never shake its terrors 
 over these hallowed forms ; and so doth he, by letting them remain. 
 Goad on, ye mental stings, till the wished-for hour arrives, when 
 renovating admiration bids one universal hand protect our national 
 antiquities until time shall be no more ! 
 
 Dugdale in his illustration comes to our aid once more : 
 " Coventry being thus grown to such a height of splendour by 
 those strong and high walls, with so many beautiful gates, stately 
 turrets," etc. 
 
 How are the mighty fallen from height of pomp down to a low 
 account of two poor postern gates, and the pickaxed remnants of the 
 walls on part of the east and south sides of the city ! Where is 
 Hill Gate, West Street Gate, Bishop's Gate, Cook Street Gate, 
 Priory Gate, Sponne Gate, Broad Gate, New Gate, Little Park 
 Gate, Grey Fryers' Gate ? Is the pointed-out site whereon they 
 stood to serve as a compensatory offering for the savage sacrifice of 
 all their "splendour"? Well might Dugdale distinguish them by 
 such a blaze, as, from two drawings in the cabinets of the curious 
 here of Sponne Gate and Broad Gate, they well deserved his so 
 zealous praise. 
 
 Is it convenience or interest that dictates the demolition of our 
 public works? Is it that hoodwinked partiality for foreign art that 
 renders Englishmen blind to the architectural " splendour " of their 
 native soil? How unbounded is the applause ever lavished on those 
 cities on the Continent who preserve their heathen triumphal arches, 
 gates, and walls ! But on our devoted historic piles no eye ever 
 turns, but to calculate the value of their materials, or to harden the 
 heart, to doom them to oblivion, or a new-fangling oblation to that 
 " iron-armed " prodigy which at present darkens the hemisphere of 
 all antiquarian studies. And must all the "splendour" of York's 
 royal city, in its gates (each of itself a castle), its towers and walls, 
 and every defensive circumstance that could make its name illuminate 
 the roll of fame, likewise fall a hecatomb to swell the black catalogue 
 of devastations, and which your correspondent [see note 2] so loyally 
 and so Briton-like deplores in his information to the public of their 
 
 vol. x. 8 
 
ii4 
 
 Architectural Innovation. 
 
 own and unnatural sons' conspiracy against their farther existence ? 
 Doth he not likewise unfold to us that they have begun their madden- 
 ing purposes by proclaiming to the world that their fostering gates, 
 towers, and walls are " nuisances " ?* Take warning, O ye "Yorkists " ! 
 Dugdale considered Coventry at its height of "splendour" when all 
 its encircling mounds stood undiminished. I shall make no com- 
 parisons ; Coventry herself can but too well tell her own sum of 
 consequence. Then, York, beware S Cast not away your recording 
 substances for an airy nothing, a fleeting phantom, present opinion. 
 Architectural innovation hangs over your head, frightful in its power 
 and ominous in its immediate consequences ! 
 
 Coventry, as you are, you have many gratifications. Your historic 
 treats have joyed me much, and numberless will be the hours (if 
 Heaven permit the same) that I shall still know, in bringing to my 
 recollection all your architectural memorials of departed ancestry, 
 all your handed-down old English hospitality and friendship, which it 
 will ever be my pride to own I, with your antiquities, partook of in 
 the most sensible degree. 
 
 [1801, Part L, pp. 309-313.] 
 
 As neither literary nor professional men have deigned to attend to 
 my interrogatories in p. 33, I shall endeavour to explain, in the first 
 instance, "imitation," according to an architectural sense, when 
 applying my position to our ancient edifices. I define imitation to 
 be the copying of any of those objects, so as to be enabled to realize 
 their forms in some projected pile about to be erected, and we follow 
 the arrangement, imitate the doorways, windows, buttresses, and every 
 other peculiarity that distinguishes the original under our survey; 
 then will our rising walls meet the comparative eye, the work will 
 become of consequence from its historic reference, and continue 
 an example of genuine taste and true imitation. Thus alone can the 
 word " imitation " be properly understood by the real admirers of our 
 ancient architecture. But, of those who fervently desire to restore 
 that noble science, I know but few ; and I can bring to my recollec- 
 tion only one man, whose high birth and state still receive additional 
 lustre from his noble nature,t that has begun the business by a real 
 imitation of the characteristics of antiquity's charms. Yet of those 
 patrons who deceive themselves and the world by their false imita- 
 tions, they are most abundant. Their ideas of imitation are to sub- 
 stitute fancy designs for true copies ; their restorations of decaying 
 or mutilated structures is destroying them in part, and disguising 
 their remaining lines with strange decorations that can in nowise suit 
 
 * A petition for what is styled the " Improvement of York " was presented to 
 the House of Commons, March 11, whilst this sheet was printing. 
 
 t His Royal Highness the Duke of York ; and, following in his train, I shall 
 set down the name of Henry Holland, Esq., the celebrated architect. 
 
Lichfield. 
 
 U5 
 
 but with theatric boards or convivial domes. This false imitation 
 has sprung out of the spawn of innovation, both having for their end 
 the extirpation or the transformation of all our ancient architectural 
 majesty. A maddening zeal drives their adorers on with unabatihg 
 fury, as if they knew their usurped power was soon to have an end ; 
 and, notwithstanding they may see that retribution is at hand, how- 
 ever slow its steps, yet still they dare. Sordid interest lords this 
 universal spell whose acts almost want a name. Then haste some 
 giant resolution, with legislative force, and rally round the remaining 
 unaltered edifices of our forefathers' glory ! crush into atoms the 
 suggestors, the designers, and the executors of this architectural 
 massacre ! The heroes of antiquity call you to arms ; the pious wave 
 you to the field ; and the scientific, with trembling expectation, wait 
 your conquering force ; their combined labours from your mandates 
 must stand or fall. . . . 
 
 On a memorable re-balloting night it was pronounced that our 
 cathedrals were the sole property of those who held them in their 
 power • that they at pleasure might despoil or destroy them ; and 
 that, however the society were associated for the defence and study 
 of antiquity, yet that they had no manner of concern with such 
 cathedral transactions or the determinations of their possessors ! 
 How, then, shall I, an individual, with only this literary repository 
 and truth as my protectors, presume to vent the slightest breath of 
 reprehension against, or set down the smallest jot of those inno- 
 vations, which have been wrought on the fabric now awaiting my 
 approach ? But my duty to the public bids me on, and I obey. 
 
 Lichfield. 
 
 The changes which the cathedral has undergone since I visited 
 it in 1782 the following memorandum will in part elucidate. The 
 first object that arrested my attention on the exterior was the roof in 
 its new appearance. Lead coverings, it must be allowed, give an air 
 of dignity ; they form a part of the great whole of ancient edifices, 
 but are now wanting, having been removed, and common house- 
 slating made to supply their place. It might be no unprofitable 
 question to know the net value of the leadwork that belonged to this 
 or any other cathedral to those who are fond of indulging themselves 
 in the science of calculation. I missed also the several parapets, 
 battlements, and pinnacles ; but, in return, I too plainly witnessed 
 that the roof is now reduced to a dripping eave's finishing, like the 
 coverings of a barn, or any other outhouse repository. The south 
 transept has lost much of its high enrichments by the shoring-up 
 buttresses at the angles of its front, where we perceive more cube 
 feet of masonry than correspondent work, to convince the world that 
 the original parts were thought worth attending to. The north 
 
 8—2 
 
n6 
 
 Architectural Innovation. 
 
 transept has been masoned, but in no sort to excite praise from 
 me, who am intent solely on the minutiae of our ancient architecture. 
 With many of the windows in their mullions some liberty has been 
 taken in displaying more the art of invention than the pride of being 
 thought good copyists. 
 
 The Interior. — Imprimis^ the new mode of the south and north 
 transept doors. Ancient doors always show their foliaging iron- 
 work or their panelled tracery on their outer face, while their inner 
 face remained unadorned. In the present instance we have the 
 panels within and a plain face without, not any way set forth to rank 
 with the rich sculptures around them, as the former method so emi- 
 nently contributed. For the sake of rendering the names of two 
 late characters* conspicuous, whose bones and monuments are 
 remaining elsewhere, the transept east windows have been blocked 
 up ; thus the very idea of the arrangement of this part of the church 
 is lost in the modern mural obtrusions of innovating taste. 
 
 The entrance into the choir, taking in its general space from the 
 pavement line to the point of the groins, is entirely shut out from 
 the nave by the new screen and the glaziers work. Much of this 
 screen is of fresh manufacture, and the rest is made up from the 
 remnants of the demolished high altar-screen, as a communicative 
 person who thought fit to attend my steps informed me. Indeed, I 
 but too well remembered the divine beauties of that superb decora- 
 tion, which I had classed with those of Winchester and St. Albans 
 in their affinity of design and luxuriousness of enrichments. Here 
 it will be no great difficulty to conceive in what sense I commented 
 on this national loss. Yet, as my attendant observed, " This altar- 
 screen is still in being, as there is no morsel of it but what has been 
 preserved by being stuck up in one place or other. Here is a niche, 
 there a buttress ; observe that cornice, that pinnacle, and those orna- 
 ments. But come with me — I will show you all the rest of them as 
 we look about. Now, sir, we are under the organ-loft ; here on each 
 side are more of the high altar niches. Ah ! you need not doubt but 
 your notes shall have each particle that you are in quest of." Willing 
 to listen to every intelligence in this scene of transformation, by way 
 of bringing back my astonishment to some sort of accountable point, 
 I still remained silent ; which my attendant, no doubt, conceived was 
 the effect of unutterable delight at beholding something new. "Now, 
 sir," he went on, " we are in the choir, where you see all its beauties 
 at once from one end unto the other ; not, as when the altar-screen 
 was up, to trouble strangers in their inquiries about other sights, 
 still lengthening out their charms, as they called it, by peeping over 
 the screen, or prying behind it for founders' chapels, chantries, 
 monuments, and I know not what, as they said were to be found 
 in other un-un-improved [ah ! that was the word] cathedrals. Do 
 * Johnson and Garrick. 
 
Lichfield. 
 
 117 
 
 not mind those stalls ; we have not got new ones yet — all in good 
 time. But look at the fine painted east window, which, to give an 
 effect like some exhibition transparency, we have darkened all the 
 surrounding ones. I observe your eyes are not very clear, therefore 
 you must come quite close to see our new pretty little altar-piece. 
 It is rather in obscurity, to be sure ; but this part of our show is not 
 of much consequence. Now turn round. There you shall behold 
 all and everything in pomp and state, as the organ, its screen, the 
 stalls before it, and the glass window behind : this is our grand 
 display, which from this shadowed spot is seen to the finest advantage 
 of light and shade." Recovering at last my speech, I begged to 
 know what could possibly be the cause why the arches above the 
 stalls, and those in continuation opening into the side-aisle, had been 
 stopped up, whereby those diversity of lines given by intervening 
 windows, columns, and groins were hid from the inquiring sight, 
 ever most pleased at such diversifying objects. " Ah ! sir," my 
 attendant answered, " did you but consider the strict service of this 
 choir twice a day, and how desirable a thing it is to be snug and 
 warm, although little more than half an hour does the business, you 
 would not be surprised at this stopping-up, as you are pleased to 
 call it, to keep out the cold ; whereby we are rendered as comfort- 
 able as any public room in the kingdom could make us." "Very 
 good," I rejoined; "now show me into the side-aisles." "This way, 
 sir. And pray how do you like this closet doorway opening into the 
 aisles ? Quite handy. Take care ; we are somewhat at a loss for 
 want of light in these aisles, but they are of no use now ; so give me 
 your hand, and I will lead you to the chapter-house. Here again 
 we are made comfortable ; good wainscoting keeping the chills and 
 damps from the walls and the columns which are hid behind it. All 
 is improvement in this cathedral ; everything is so smart, with white- 
 washing, painting, and glazing. Ladies and gentlemen can now 
 attend without the fear of taking cold, or the dread of seeing any- 
 thing to make them think about dying and all that." Thus was I 
 entertained by this kind friend as we were returning along the aisles 
 into the choir, when certain deplorable children in dirty ragged stuff 
 gowns flitted by me. At first I was rather startled at appearances, 
 which I took, in these dim aisles, from a momentary error of the 
 mind (common with me in such situations), as supernatural beings ; 
 but their stations in the choir soon dispelled all doubt but what hung 
 on the cause why some little savings from the late expenditure on all 
 these improvements might not have robed them in decent surplices, 
 as is the custom in other cathedrals. 
 
 Compressing my opinions from all that I had noted of the present 
 state of this cathedral, I found that architectural innovation had here 
 taken its full swing, by disarrangement, demolition, and moderniza- 
 tion, with some tolerable attempts at the minutiae of ancient workman- 
 
n8 
 
 Architectural Innovation. 
 
 ship, but crippled and chained to professional ideas of improvement 
 after the "heathen school" taste. I discovered, also, that more 
 partiality had been shown for modern accommodation than for 
 ancient grandeur ; and whether earthly sweets or heavenly joys were 
 here meant to be the order of the day (previous to the commence- 
 ment of the service), I, or a greater stranger, would find it difficult 
 to determine. On leaving this once-favourite scene of antiquarian 
 delight I bore away this impression, that if I hoped to continue 
 on my practice of Christian duties, innovation should never lead 
 the way. 
 
 Gothic. 
 
 [1801, Part I., pp. 413-418.] 
 
 A term of reproach, a barbarous appellation, an invidious desig- 
 nation, a vulgar epithet, an ignorant by-word, a low nickname, given 
 to hold up to shame and ignominy our ancient English architecture, the 
 pride of human art, and the excellence of all earthly scientific labours. 
 
 At length the opportunity is arrived to tear down this rag of pre- 
 judice, this scum of innovation, this word " Gothic," which for a cen- 
 tury past has branded with ignominy all our national works. I have 
 already openly called in the face of the world, for its primaeval 
 or authoritative appropriation, but in vain ; silence points to that 
 gloomy cell where falsehood and detraction sit brooding in the damps 
 of perverted genius. See, they rear their poisoned web, whereon is 
 blazoned in infectious stains Wren's " Parentalia" ! Discordant com- 
 bination of opposing memoirs, where filial recitals of fraternal 
 honours, and " heathen-schooled " stigmas on our national science, 
 swell the heterogeneous page ! Say, ye green-eyed spectres, as ye back- 
 ward fly, what is my crime, that thus has doomed me to this loathed trial, 
 this odious durance on my every sense, to read each line, pore over 
 every sentence that fills this " Parentalia," till my tortured mind is on 
 the verge of mental disorganization? Say, I conjure you, why am I 
 tortured thus ? Calm reflection aids me in this rage of thought ; and 
 I am reminded that out of evil often rises much good. This record 
 of the Wrens shall, then, henceforth become the memento of their 
 architectural sins, and the beacon to warn all antiquity-followers to 
 shun the hidden rocks and savage shores of innovating taste and 
 Gothic defamation ! 
 
 Wren's " Parentalia " stands at present triumphant, by an unnatural 
 power, over that inestimable jewel, that moment-caught treasure, the 
 best behest of that learned and real antiquary, his country's glorifier, 
 Sir William Dugdale, in his " History of St. Paul's Cathedral," as does 
 the proud usurper Sir Christopher's heathenized prodigy on the site 
 where once appeared in holy pomp London's first St. Paul's, whose 
 aisles and towers dazzled all the surrounding nations. But, by the 
 memory of the revered name who told your dying fate, and in justice 
 to all your violated glories, I will, from the merciless " iron-armed " 
 
 ■ 
 
Gothic. 
 
 119 
 
 foe's memoirs, bring him to the judgment of the times, for setting 
 up the standard of revolt against our national architecture, on whose 
 ruins he established the " heathen-school " practice of building ; from 
 whose innovating day to the present hour the infidel name of 
 " Gothic " has been affixed to our ancient piles, casting such a con- 
 tagious mist before the eyes of most men, that contempt and obloquy 
 has been their constant portion, to doom them to disfigurement and 
 destruction. 
 
 Before I note down my observations from this " Parentalia," let me 
 once more turn to Sir W. Dugdale's " History of St. Paul's," where, 
 with a melancholy delight, I hang on his patriotic ardour, when he 
 exclaims, " This church of St. Paul's (meaning old St. Paul's) is one 
 of the most eminent structures of that kind in the Christian world." 
 I look with inexpressible astonishment at its dimensions, which he 
 has set down. Length, 699 feet ; breadth, 130 feet ; height of roof, 
 102 feet; height of tower, 260 feet; height of ditto and spire, 520 
 feet — exceeding by more than one-third the capaciousness of any 
 other of our religious buildings. Again, he cries out, " This church 
 is the principal ornament of the realm, and the principal orna- 
 ment of the city of London." In contrast to his high regard 
 to this church, he brings in the words of Lord Brooke, which 
 will for ever fix an indelible stain on his name, that, when he and 
 three other lords were passing on by the Thames, 1649, he said, 
 "he hoped that one of them should live to see no one stone left 
 upon another of that building."* Bewailing with Sir William, in his 
 concluding lines, that the then visible intent of the demolition of this 
 church was most apparent, I here transcribe them, " That so glorious 
 a structure, thus raised, enriched, and beautified, by the piety of our 
 ancestors, should be utterly destroyed, and become a woeful spectacle 
 of ruin !" I catch a look at those " shadows," as Sir William so 
 aptly terms the engravings of the several views and monuments of 
 this departed wonder; where I behold the cloisters and chapter- 
 house (magnificent !) ; south front of the cathedral (noble, though 
 contaminated with the improvements of Inigo Jones !) ; general plan 
 of the cathedral (immense !) ; west front (wholly contaminated by I. 
 Jones !) ; north front (more contamination !) ; east front (remaining 
 pure and undefiled !) ; interior view in the nave (sublime !) ; entrance 
 into the choir (majestic !) ; view in the choir (enchanting !) ; view of 
 the eastern part of the building (a continuation of enchantment !) ; 
 view in the undercroft, or St. Faith's Chapel (solemn and impressive !). 
 I also earnestly look over the monuments, and the tombs, brasses, 
 etc. ; all of which appear to me as combining a mass of historic 
 evidence and scientific perfection, the loss of which but the more 
 widens that professional breach between the love of my country's 
 
 * This Lord Brooke was shot before Lichfield Cathedral while making his sacri- 
 legious assault thereon. 
 
120 
 
 A rchitectural Innovation. 
 
 ancient works and that hostility declared against them by modern 
 taste and innovating frenzy. 
 
 Some of the principal circumstances and ideas relating to the 
 ancient architecture of this kingdom, extracted from Wren's " Paren- 
 talia," pp. 269 et seq. : 
 
 " Toward the end of James the First's reign, and in the beginning 
 of his son's, taste in architecture made a bold step from Italy to 
 England at once, and scarcely staid a moment to visit France by the 
 way. From the most profound ignorance in architecture, the most 
 consummate night of knowledge, Inigo Jones started up a prodigy 
 of art/' etc. — " Wren was the next genius that arose," etc. — " Inigo 
 Jones cased great part of the outside with Portland stone " (speaking 
 of old St. Paul's), " had rebuilt the west front with a Corinthian 
 portico." — " The great tower was to be new cased inside and outside " 
 — "the whole inside from the choir to the west door to be new 
 cased," and "reformed in some measure." — "He (Sir C. Wren) was 
 astonished to find how negligent the first builders had been ; they 
 seemed Normans, and to have used the Roman foot. But they 
 valued not exactness ; some intercolumns (distance between column 
 and column) were one inch and a half too large, others as much or 
 more too little; nor were they true in their levels." — " They made 
 great pillars without any graceful manner, and thick walls without 
 judgment. They had not as yet fallen into the Gothic pointed arch, 
 but kept to the circular arch ; so much they had retained of the 
 Roman manner, but nothing else. Cornices they could not have, 
 for want of large stones.* In short, it was a vast but heavy build- 
 ing." Next follow some " particulars relating to the architecture, the 
 original defects (of the church), the design for the repairs, and for 
 erecting a cupola in the place of the tower," etc., in a proposal made 
 by Sir Christopher to that effect. Take some of the most remark- 
 able thoughts, as thus : " He would (Sir Christopher) give to it an 
 uniform beauty." Sneers at the "zeal of our ancestors " for erecting 
 large buildings. Says the work was " ill-designed and ill-built from the 
 beginning " — uprights " six inches " out of their perpendiculars. 
 Derides the construction of the walls and their materials ; would 
 repair them " after a good Roman manner, as to follow the Gothic 
 rudeness of the old design " — that the roof was too heavy for its 
 supporting walls, the tower " defective both in beauty and firmness." 
 — "The excessive length of the building " discommended. "De- 
 formity of the tower " and other parts. Intercolumniations unequal. 
 The decorations on the outside of the church " a heap of deformities," 
 and only worthy "to be taken down." Proposes to reduce the 
 middle part to a " spacious rotunda with a cupola " not so lofty as 
 that "unnecessary height of the former spire" — "and this with in- 
 comparable more grace" — "than the lean shaft of a spire to afford." 
 * Cornices make but an inconsiderable part of our ancient architecture. 
 
Gothic. 
 
 121 
 
 A professional trick is next proposed by this great genius, to pass on 
 those who at that hour might " bewail the loss of old St. Paul's 
 steeple," to keep it still up (making it at the same time a support to 
 scaffold-pole) till the new work was completed, etc., etc. 
 
 It appears to me from what follows, after this said " proposal," of 
 the state of this church both before and after the Great Fire of London, 
 that a settled plan was on foot to annhilate the whole fabric, in 
 compliment to the favourite and fashionable architect of the day, 
 Sir Christopher Wren ;* and that, had not the roof been burnt down, 
 and some consequent injury done to the upper parts of the walls, yet 
 the fate of the church was cast, Sir Christopher's " new design " in 
 the Corinthian state being then thought to " exceed the splendour 
 and magnificence of the old cathedral when in its best state." 
 
 Of the business of taking down the old church, I declare, from the 
 accounts in this " Parentalia," were acts so wanton and barbarous, 
 that my mind recoils with disgust but to recite a few particulars. 
 The difficulty and labour of the workmen, it appears, was so inces- 
 sant, and the danger so eminent in demolishing the walls, that very 
 many of them lost their lives in consequence. So mighty a resist- 
 ance the great tower presented, that mines of gunpowder, and the 
 force of huge battering-rams, were resorted to, to effect its cruel 
 downfall. The methods then used to construct the foundations of 
 the present erection will, some years hence, or to futurity, as it may 
 be, show whether they were laid on just principles ; and, although 
 Sir Christopher is adulated by saying, " His endeavours were to 
 build to eternity," I much question the same, as will be hinted at in 
 its proper place. 
 
 In Sir Christopher's account of the state of the abbey church at 
 Westminster, we find among his representations these sentiments : 
 " This we now call the Gothic manner of architecture," etc. — " The 
 vaultings covering the choir is the worst performed of all done before." 
 Passes many slurs on the ancient architect, on the south side of the 
 church, and on the cloisters, and affirms that his repairs had made 
 the work " much stronger than the first builders had left it." He 
 then discourses on our cathedrals and other ancient edifices in 
 general. Contemns buttresses ; " pinnacles are of no use and orna- 
 ment derides the materials ; calls the builders of Westminster 
 Hall "senseless artificers," because they formed the roof of chestnut ; 
 the roof of the abbey church, for being of chestnut, is also termed 
 after the "bad Norman manner." He proposes some additions to 
 this church, as the carrying up the western towers to a certain height, 
 and a spire " still in the Gothic form, and of a style with the rest of 
 
 * Sir Christopher was superseded at last in his high office of " Surveyor of the 
 Royal Board of Works j" and was left to reflect on the fated list of those persons, 
 who before him had been any way active in the demolition of our ancient 
 structures. 
 
122 
 
 Architectural Innovation. 
 
 the structure; which I (Sir Christopher) would strictly adhere to 
 throughout the whole intention. To deviate from the old form 
 would be to run into a disagreeable mixture, which no person of a 
 good taste could relish." And yet we see what a barbarous " mix- 
 ture " of embellishments he has introduced on those parts of the 
 tower, and on the north side of the church which he has worked 
 upon. 
 
 Sir Christopher next surveys Salisbury Cathedral, where he makes 
 the cause of its decayed state to arise " partly from the want of true 
 judgment in the first architect."" The repairs he made to the spire 
 are trumpeted forth as rendering it " stronger than at the first 
 erection." We next hear of his " enumerating the fundamental 
 errors, defects," etc., of the church. He then condemns the con- 
 struction of the whole for the incomprehensible sustainment of the 
 various parts, which, he observes, although they have not any visible 
 principle to account for their resistance to time and their own weight, 
 yet show the astonishing and consummate skill of the ancient archi- 
 tect. This he calls error in them, for not following the " better and 
 Roman art of architecture." 
 
 Sir Christopher's thoughts on the rise and progress of what is 
 judged proper to be called the " Gothic mode " then ensues, where 
 are these memorable words : " He was of opinion that what we now 
 vulgarly call the Gothic," etc. Pretends to account for the erections 
 in the said mode from the efforts of strolling companies of mendi- 
 cant builders and artificers. He then makes invidious comparisons 
 between the " Roman way " and the " Gothic way," adoring the 
 former work, and ridiculing that of the latter. These conceptions 
 are wound up by this sentence : " Architects, ashamed of the modern 
 (or Gothic) barbarity of building, began to examine carefully the 
 ruins of old Rome and Italy, to search into the orders and propor- 
 tions, and to establish them by inviolable rules. So to their labours 
 and industry we owe, in a great degree, the restoration of architec- 
 ture." To follow up this creed, we have then a quotation from 
 Evelyn's " Parallel," to show, as he says, " the majestic symmetry of 
 the one (the Roman), and the absurd system of the other " (the 
 Gothic). Among his preposterous words are these: "A certain 
 fantastical and licentious manner of building, which we have since 
 called modern or Gothic. Congestions of heavy, dark, melancholy, 
 and monkish piles, without any just proportion, use, or beauty," etc. 
 After this, in the most daring and consummate defiance to all justice 
 and propriety, he vents amid his other abusive strains these slanders : 
 " Slender and other misshapen pillars, or rather bundles of staves, 
 and other incongruous props " — "trite and busy carvings as glut the 
 eye," etc. He then refers his readers to Henry the Seventh's Chapel, 
 
 * This lack of true judgment in the first architect has been realized in the late 
 innovations made in this church, and which will be fully shown in a future number. 
 
Gothic. 
 
 123 
 
 Westminster, as a proof of all this deformity, and degrades the whole 
 by contemptuously bidding them note "its sharp angles, jetties, 
 narrow lights, lame statues, and other cutwork and crinkle-crankle,"* 
 etc., etc. Then adverting to these our fabrics in general, he says, 
 the "unreasonable thickness of the walls, and apertures without 
 proportion ; nonsensical insertions of various marbles impertinently 
 placed ; turrets and pinnacles thick-set with monkeys and chimeras, 
 and abundance of busy work and other incongruities," etc., etc. — 
 that the ancient structures (Gothic by him called) "are mountains 
 of stone ; vast and gigantic buildings indeed, but not worthy the 
 name of architecture !" 
 
 Thus have I traced this architectural malady near to its contamin- 
 ated source, this name " Gothic," a name unknown to old St. Paul's 
 historian, but maliciously sported off by its destroyer and his 
 followers, to seduce the then public to adore his new temple, and to 
 forget their old church. Was it not enough with him to level all its 
 glories with the dust, but he must brand the memory of its ancient 
 architects with professional infamy ? Among some of his charges 
 are these : an inequality in the distances of one inch and an half 
 (the intercolumniations) ; and that their levels were untrue, as 
 already cited. Wherein is Sir Christopher superior to them, but in 
 presumption and defamation? His distances (in the present St. 
 Paul's) are more irregular than were those of his fallen hecatomb; 
 as, for instance, the distances between the columns of the west 
 portico, distances between column and column, pier and pier, in the 
 several parts of the interior of this his church, from half an inch to 
 three and four inches. His levels, likewise, will not bear the 
 scrutinizing eye of any professional man, for they are "untrue." 
 
 Old St. Paul's did, and all those religious piles which Sir 
 Christopher condemns for being ill-constructed have braved the 
 blasts of time ; centuries have still told their names. Go and view 
 his disuniting columns (of the present church), bursting joints ; let us 
 inquire of the uncertain state of the south transept, which has more 
 than once gone through a long repair within these few years. Did 
 the limits of these essays grant more space, I could bring back on his 
 own memory all his black calumnies hurled on the names of our 
 great architectural ancestors ; but it must suffice at present to show 
 it is to Sir Christopher and his "needy hirelings " we owe the name 
 of Gothic architecture; which in a distorted line has fallen down to 
 us, dishonouring our recording pages, and those transcendent works 
 at which it was at first directed, to pave the way for their universal 
 destruction, and the universal establishment of the Roman and 
 Grecian styles on all their ruins, so fatally evinced wherever we turn 
 our eyes, either on our castellated or religious structures. True it is a 
 half-begotten, misshapen "congestion," called "Gothic architecture 
 * See our description of this chapel, vol. lxix., p. 941. [See ante, pp. 27, 51-58.] 
 
124 
 
 A rch itectural Innovation. 
 
 revived," has within these few years been banded about the kingdom, 
 and some of its dregs we find foisted on our sight, as the fronts of the 
 courts in Westminster Hall, the choir in Westminster Abbey, the 
 south front of Guildhall, St. Margaret's Church, Westminster,* and 
 on an infinite number of other ancient buildings. Our villas, snug 
 boxes, summer-houses, and theatres, glare with this mania of mock 
 science, and all its symptoms are aggravated by the models of the 
 Roman and Grecian schools — models which have been laid down in 
 such plain terms, and in such voluminous illustrations, that " appren- 
 tices " to masons, bricklayers, or carpenters, are fully competent to 
 judge of their merits, and may presume to erect buildings in those 
 styles, so as to render any proposed " dissertations" wholly superfluous 
 and unnecessary^ This "half-and-half," this "fire-and- water" mixture, 
 this Gothic and Roman compound of all that is new and strange, may 
 still further be pursued ; and we, looking through comparisons per- 
 spective, may just take a glimpse at Strawberry Hill. And if a cor- 
 respondent is to be believed in his account of the abbey at Fonthill, 
 p. 297 [see note 3] (which I am rather inclined to discredit, from the 
 knowledge I have of the possessor's ardent attachment to the ancient 
 works of this country), we may also there see this unaccountable com- 
 bination carried to the utmost pitch of human gratification ; where 
 we find " a noble Gothic arch " (if we are to judge from the annexed 
 view) is but a " hole in the wall," an " abbey " without an abbot, or 
 anyone willing to accept the title, a " groined Gothic hall," when all 
 our ancient halls are uniformly distinguished by open-work timber- 
 roofs, a " cardinal's parlour," whence we may expect shortly to hear 
 of the Pope's drawing-room ; " ebony chairs " (these sort of ebony 
 conveniences were not known before the reign of Henry VIII.), and 
 other the like decorations, set down for "monastic ornaments." A 
 dinner served up in the " substantial costume of the ancient abbeys." 
 It would be a curious matter of information to hear a few of the 
 " pittances " enumerated. In a " mysterious " way we hear of the 
 semblances of monastic characters officiating as so many torch- 
 bearers. A " library " too ! No such arrangement in our ancient 
 religious seclusions ; books there being merely deposited in chests, 
 no particular place being assigned for them, and resorted to as 
 occasion required. A "gallery" (a modern term for any long and 
 splendid apartment in the Roman taste) with a "shrine" "wax- 
 lights," "candelabras," "ebony stands," "plate-glass," etc. " Suggested 
 ideas of a religious service to recall the ceremonies of Catholic times " 
 is to be the property of this " magic " library. A " collation " then is 
 really tasted, not "suggested," and the whole scene is theatrically 
 
 * We do not allude to the improvements carrying on at this moment (they being 
 reserved for a future number), but the decorations of the west front, done about 
 fifty or sixty years back. 
 
 t See p. 325. 
 
Gothic. 
 
 125 
 
 concluded by a representation of Agrippa bearing the ashes of 
 Germanicus, etc. The writer, indeed, doubts his entertainment 
 being otherwise than the " visionary coinage of fancy ;" and so do I ; 
 or else, in this long-announced mansion of " imitation," we should 
 never have found at last the Gothic and the Roman "ways," hand-in- 
 hand, running the continued round of the modern " way" of reviving 
 our ancient customs and our ancient architecture. 
 
 My countrymen being thus prepared through the medium of this 
 miscellany, I shall now bring forward my " Proposed distinctive 
 appellation to be affixed to that style of architecture among us 
 whose principal feature is the pointed arch," to be drawn from the 
 result of the following questions : 
 
 I. Is not that mode of architecture, which was used by the ancient 
 Britons, known by the name of " British architecture " ? 
 
 II. Is not that mode of architecture, which was followed here 
 during the Roman era, known by the name of " Roman architec- 
 ture " ? 
 
 III. Is not that mode of architecture, which was practised here 
 during the Saxon era, known by the name of "Saxon architecture"? 
 
 IV. Then why should not that mode of architecture which emerged 
 from the Saxon art, of which the pointed arch is the grand character- 
 istic during the Norman era, be called " Norman Architecture " ? 
 
 I submit these questions to the public for their impartial and 
 mature judgment, being ready to subscribe to a more comprehensive 
 and expressive appellation, to revive our credit as a nation which has 
 given birth to a style of architecture all its own, and to banish into 
 oblivion a savage name which for so long a period has been its 
 greatest foe. 
 
 [1801, Part I., pp. 524, 528.] 
 
 Again, as public defender of our antiquities, my impartiality 
 compels me to say that to such an extreme height has prejudice 
 worked up the odium which professional men have imbibed from the 
 " Parentalia " system, and from the travelled conceptions of taste and 
 science against our ancient structures, that we find a fresh stigma 
 cast upon their insulted glories. One of the rival candidates for 
 raising a new House of Lords on the devoted palace of our kings at 
 Westminster has set forth among his modern designs, by drawings 
 for the said purpose, that he had originally intended to have made 
 his plans after the modes of our ancient architecture, and that he had 
 proceeded far in such studies ; but " the idea was relinquished 
 chiefly in consideration of the unfitness of that manner of building to 
 the purposes of public speaking." He then brings, as a farther pre- 
 vention from resorting to our ancient architectural specimens to 
 construct the intended house, that the expense would be " enormous," 
 etc. These public assertions demand a public explanation. On 
 
Architechiral Innovation. 
 
 my own part, I desire my countrymen to recollect how " unfit " the 
 interior of St. Paul's Cathedral and (till within this last year) the 
 Court of Requests, Westminster (modern erections), are for public 
 speaking or musical performances, where all sounds are lost in 
 babble, discords, and confusion.* I could on this occasion bring in 
 charge of such " unfitness " an innumerable list of late-constructed 
 works to remind the ingenious architect of his error in this respect. 
 I likewise must declare I know of no one of our ancient piles where 
 Echo and her hundred tongues ever told their falsehoods or their 
 sarcastic tales in reverberating motions of the undulating air. And 
 let me just remind the architect of the pure, unadulterated effect of 
 sound, either in Westminster Abbey Church or the neighbouring 
 great hall. In the first building, music's sweet notes f and oratorical 
 discussions have each their delightful dominion over our attentive 
 faculties ; and for the distinctive and unanswerable decrees in the 
 second building, they are intelligible from one end unto the other of 
 its mighty space, that many, very many, never forget their purport 
 even to their dying day. Here I could go the circle of all our 
 ancient piles to convince the world that their modes of constructure 
 are the most fit of all others either for the uses of " public speaking " 
 or musical performances. 
 
 Tamworth. 
 
 After having enumerated by the mass the labours past of de- 
 molition, alteration, and improvement, it becomes an insignificant 
 part of our task to be constrained to note down the pickings of the 
 little dabbler in the above three points of architectural belief. 
 Lichfield's universal stretch of disorganization has spread its rage to 
 the church of this place, for they have been " at it " hand and 
 hammer with the mullions of the windows. "Something new," 
 however absurd and fantastical in many eyes, is too often mistaken 
 for the effusions of genius ; on this presumption, therefore, we see 
 the most despicable window tracery has been set up in the place of 
 the original work, which is here held out as beautiful in the extreme. 
 Let me drive from my recollection this flash of architectural " toad- 
 eating," and seek out an object that, on a former visit to this church, 
 had no small share in rendering me so partial to the skill of our 
 ancient architects — the curious double-circular staircase, bound in a 
 diameter of five feet eight inches, in the south-west angle of the 
 tower of the building. Though the immediate purpose of this 
 masonic combination is at present not well accounted for, yet the 
 effect produced is very sensibly felt by the unexpected meeting 
 which I had with my guide at the top of the tower, whom I had 
 supposed was waiting for me below, he having during my ascent 
 
 * Festival for the Sons of the Clergy. f Commemoration of Handel. 
 
Tamworth. 
 
 127 
 
 taken the other circular route. Double staircases, according to this 
 plan, my brother professors tell you, is one of the efforts of modern 
 art, and reference is made to Italy, France, and other nations for 
 examples of this sort ; and yet we find our countrymen in the " dark 
 ages " had anticipated somewhat of this ! 
 
 To the castle, set on ; day hastens to end his measured space, 
 gloom leads the way ! I have passed by a fragment of the gate of 
 entrance from the town, and now I mount up the ascent to the keep. 
 How the hinges creak as the time-eaten doors give way to my force 
 of arms ! What, all untenanted ! Is this court the only harbinger 
 within these mounds to bid me welcome ? Silence reigns : I dare 
 its terrors. Look round this hall, darkling. Where are the storied 
 paintings of famed Sir Torquin and Sir Lancelot du Lake ? their 
 mighty combat, and all the glorious circumstances of renowned 
 chivalry? And are bare walls, whereon once beamed this pencilled 
 semblance, the only memorial of their mighty deeds ? Yet stay ; 
 methinks I discover, overhung with dust and cobwebs, some warrior's 
 spoils — a remnant of that decorative show that erst was wont to fill 
 each trophied hall — one sword, one morrion, one shield ! Are all 
 your bright habiliments, O Tamworth Castle, in thy warlike state, 
 reduced to these three corroded mementoes of departed greatness ? 
 Thy boast of ancestry, of castellated hospitality, all is lost in the 
 present dank and deserted pile, which in other times sent forth, to 
 join the train of glory, the hero and the Christian knight ! But 
 no more of this. Good, sir guide, restrain me not; this solemn 
 hour well suits my investigating intents. The light will yet serve to 
 give me insight to the several chambers. I beg you to wait my 
 quick return. This place appears the principal room in the building: 
 its finishing is of Elizabeth's day, when the extravaganza mixture of 
 our ancient architectural styles and the usurping modes of Greece 
 and Rome were running their frenzied course. I would have sat 
 me down awhile, but the unfurnished region denied me that comfort. 
 I looked then from the casement on the wide expanse of country. 
 I thought, as the rising moon gave its silvered light to show the 
 greensward plain below, I beheld the holiday sports of old English 
 manners pass before me. I fancied that I was other than the 
 architect of these essays ; that I was a retainer of the mighty lord 
 who then gave life to the surrounding scenes ; my place to super- 
 intend the additions and necessary repairs of the castle, etc. While 
 thus indulging in my " dreams of past glories," I gave way to the 
 impulse of sounds, as I had to the rays of vision, and I thought that 
 I distinctly heard the following words from that part of the chamber 
 where heretofore the most honourable seat was placed : " A day will 
 come, in some future age, when one who stays the hour of inherit- 
 ance shall here repair — shall here revive the splendour of these 
 scenes, and dwell these bowers among. He will be called to protect 
 
128 
 
 Architectural Innovation. 
 
 antiquity's rights ; and, with many pretended and real admirers of its 
 charms, will tell a name high-sounding in heraldic pomp ! Therefore 
 return, thou man of antiquarian fire, return to thine own existing 
 moment, and, ere ye cry ' conclusion,' search round the land those 
 other subjects which demand your pencil or your pen, to imitate, to 
 praise, to expose, or to condemn !" 
 
 Ashby-de-la-Zouch. 
 
 On visiting the church my attention was so immediately engaged 
 with its interior that I paid but little regard to the outward state of 
 the building. From my notes, however, of the condition of the 
 former part, the appearance of the latter could not possibly be very 
 perfect. Preparing to make my observations on some curious and 
 superb monuments, I was under the necessity to combat with all 
 that accumulation of rubbish which renders so many of our religious 
 piles scenes to raise aversion and disgust, not that piety and 
 reverential awe which should ever possess our souls when in so 
 sacred a place as a Christian church. In what way, then, can this 
 culpable inattention be accounted for ? Is cleanliness thought 
 necessary in every other building than in the Lord's house ? Must 
 His holy walls alone be held unworthy of a decent care ? Is it thus 
 "our languid piety" is to be reanimated? Far other aids are 
 necessary to draw our half-religious minds to assemble in fervent 
 prayer, to comment on Him who is all majesty, and who sits en- 
 throned in realms of endless light ! Filled with these impressions, 
 it was some time before I could attend to the duties of my profession, 
 either as an artist or the literary defender of our antiquities. I first 
 took under consideration an object at the west end of the church, 
 called "a finger pillory" — a remarkable contrivance to detain 
 irreligious persons by the finger, so as to become the mark for 
 reprehension and scorn — a situation not so degrading as the stocks, 
 exposed to unrestrained insult and the inclemency of the elements, 
 supposing their crime not so heinous as to have deserved this latter 
 punishment. 
 
 I next attended to a monument in the north wall of the body of 
 the church, where was the statue of a pilgrim, deserving of much 
 regard from the information which it conveyed of such a character's 
 dress, etc. The broad hat with cockle-shells, the hair of a peculiar 
 cut, a vest covering the body with large and open, sleeves, on the feet 
 short boots that laced ; and I noticed the staff, scrip, beads, and 
 round the neck a collar of SS., denoting that this person was of high 
 consequence. Near this piece of antiquity was a mural monument 
 of the year 1623, a date which is not quite so attractive to an 
 antiquary as those of elder times ; yet, from the dress of the lady 
 whose sculptured half-length is placed therein, the unaffected 
 
A sh by-de-la- Zonch. 
 
 129 
 
 attitude, and the engaging delicacy of the countenance, I could not 
 but essay to catch a semblance of so artless a fair one. 
 
 I came now to the chapel on the south side of the body of the 
 church, wherein is placed a magnificent tomb to the memory of 
 Francis, Earl of Huntingdon, who died in 1561, and his Countess, 
 the Lady Catherine, who died in 1576. This chapel appears to have 
 been a second time fitted-up about the latter end of the seventeenth 
 century by the mode of the repairs, which are in the Roman and 
 Grecian styles ; and, however ill they may accord with the ancient 
 work, yet it certainly was a most praiseworthy act in those who 
 thought it an incumbent duty in them to make this place a decent 
 and respectable repository, which contained the ashes of so illustrious 
 a family as the Huntingdons, and so fine a sculptural memorial of 
 one of its noblest names. Since which fitting-up a century has 
 passed away, and we behold a sad reverse indeed! In 1693 here 
 was seen a chapel in perfect order, with costly sepulchral erections, 
 with armorial banners, and the armour of some of the deceased 
 disposed about the walls in all the circumstances of funeral honours. 
 This was a sight for the ennobled and the virtuous, to inspire in them 
 a laudable emulation to achieve heroic deeds, and for their due 
 observance of pious offices ; a sight that instigated the low and the 
 needy to pay due reverence to high birth and true honour, making 
 them at the same time reconcile their thoughts to that humble 
 station unto which it had pleased Heaven to call them. In 1800 we 
 who live must tell another tale. The wainscoting is falling into 
 pieces, the monuments are mutilated, the banners torn, and the few 
 remaining pieces of armour strewing the pavement. Nay, this 
 chapel — shame to our eyes ! — has become one of the " rubbish- 
 holes" of the church, where the coffin-bier, grave-boards, ropes, 
 pickaxes, spades — where broken carved stones and glass — where 
 billet-wood, dried mortar, ladders, disjointed stools, and benches 
 spread a sacrilegious scene around, and that canopy which was 
 hung over Earl Francis's tomb, to preserve it from dust and common 
 view, tied up in ragged folds ! Where now is our emulation, our 
 pious fervour, our humble and duteous respect, or our contentment 
 in the lot of fate? Example is here no more. Let the chilling 
 blasts pierce through the shattered casements — let falling showers 
 steal through the decaying roof — let the walls, sapped by surrounding 
 matter, shake their mouldering forms. Nought shall deter me from 
 my task of public benefit. Then to proceed : 
 
 The tomb before us is in that mixed style of architecture which 
 prevailed at the time of its date, 1576 ; showing much of our ancient 
 modes of design, and much of the Roman and Grecian compilations, 
 which were then gaining such an ascendancy in all our works of art. 
 However, our ancient tomb arrangement here still predominates ; for 
 we particularly notice, among the foreign usurpations, pointed shields 
 
 vol. x. q 
 
130 
 
 Architectural Innovation. 
 
 and small statues on its sides, the letter of the old character on the 
 ledge of the tomb, and on its top the recumbent statues of the per- 
 sonages here meant to be commemorated. That of the earl is 
 shown in rich armour, over which is the robe of the Order of the 
 Garter with the collar belonging thereunto. On his head is a coronet 
 supported by his helm and crest, and his feet rest on a lion. The 
 vestments of the countess are of an older taste than either the fashion 
 of the earl's armour or the date of the tomb lead us to expect. On 
 her person is a loose garment brought into folds by her girdle. Hair 
 appears on the forehead, and the chin is covered by the wimple, 
 under which a loose robe, fastened on the breasts by a cordon, flows 
 to the feet. On the top of her head is also a coronet, and her feet 
 are supported by a griffin. 
 
 Of the workmanship of this tomb, notwithstanding the contempt 
 held by the generality of people for our ancient artists, I shall re- 
 mark, that the mouldings are sharply cut, the ornaments delicately 
 made out, the forms of the statues well imitated from the life, 
 and that the armours and draperies are finely studied from the real 
 objects. As such, then, I view this excellent performance, where 
 much satisfaction is received, and much information obtained of the 
 progress of the arts and of the costume of this kingdom. 
 
 Whatever damage may have been done to this tomb and the 
 chapel wherein it stands, I must conclude that it was perpetrated 
 since their reparation in 1698, as the yet visible care of that time 
 must convince us of their then perfect state. We must impute the 
 cause to have arisen from the entire neglect and desertion of these 
 important memorials of a noble family by those in whom it certainly 
 was a religious duty to have shown, by their example, how much 
 they venerated and protected the names and ashes of their great 
 predecessors, demonstrating at the same time their lineal descent, 
 and their right to enjoy their transmitted honours and their wide 
 domains. 
 
 Not intending at present to enter into the causes which have 
 reduced the castle of this place to its present state of ruin and cur- 
 tailment, I shall only observe that its dimensions seem to have 
 known no bounds, either in the lines of arrangement or in the altitude 
 of the several stories. The great hall in particular can be traced out, 
 as well as the kitchen and many chambers of state, etc. : wherein are 
 to be found, in good preservation, rich doorways, chimney-pieces, 
 arms, devices, and other ornamental accompaniments, which serve to 
 confirm that this pile must have vied with any of its castellated com- 
 petitors for architectural fame that this country has produced. And 
 yet do not these sentiments take possession of our imaginations 
 when engaged in the like survey of any other of our ancient lordly 
 abodes ? How is it possible then to affix the meed of praise, since 
 all these towering objects of renown have alike claims for wonder 
 
Hinckley. 
 
 and commendation ? If journeying round the land in former times, 
 how endless must the track have been that brought to the rising view- 
 such sights as these in all their triumph of array and pride of generous 
 reception ! 
 
 Hinckley. 
 
 [1801, Part ff., pp. 607-609.] 
 
 As for the church here, we have to remark that it is a good struc- 
 ture, but has had its share of modernization, by garret windows, a 
 common brick porch, dilapidated parapets, and by bricking up in 
 part the compartments of the west window, which are all too manifest 
 to call down our censure for such disfigurements. The interior is 
 simply grand, and is for the most part standing unaltered. This is 
 praiseworthy ; but the unpleasant part of my office obliges me to con- 
 demn the incumbrances of pews and galleries; the decoration of 
 pending buckets, the childish modern font, and the trim of the altar- 
 piece, etc., etc. In justice to the art of sculpture in the seventeenth 
 century, and to the due veneration paid to ancestral names, let me 
 point out the monument of John Oneby, on the north side of the 
 chancel, as meriting much attention and regard. 
 
 Kenilworth Castle. 
 
 I here look on the agreeable side of my investigating labours, in 
 having the extreme satisfaction to bestow commendation, being so 
 much constrained to utter unwelcome truths. These important ruins 
 are now in those guardian hands which, from the anxious solicitation 
 for their preservation everywhere made known on the walls, seems to 
 ensure their future safety from wanton disfigurement. This example 
 of protection to suffering antiquity, if generally followed, would 
 answer one great end of these essays, and might hereafter be the 
 means of creating a more universal association of ideas in English- 
 men, to pronounce that our ancient architectural remains are deserv- 
 ing of the care of the kingdom at large. 
 
 Warwick. 
 
 The gateway entering into this town from Coventry has lately been 
 " new-cased " and "reformed," as Wren has it;* and this with a 
 witness ; not made out by the Roman and Grecian pickings, but the 
 purblind copyings from our national art under the paroxysm of 
 modern improvement. And, in order that this metamorphosed gate- 
 way might not come under the sentence of being declared (at any 
 future period) " in the way," a road has been made on one side for 
 this purpose. Yet, had this object been a pure and magnificent 
 ancient erection, like those gateways at York which have been pro- 
 claimed by some of its unnatural sons "nuisances," and "only 
 * See Wren's " Parentalia." 
 
 9—2 
 
132 
 
 A rchitectural Innovation. 
 
 woithy to be taken down," we should not have had so much atten- 
 tion paid to its welfare. But here some one or other has had the 
 opportunity to show his contempt for ancient workmanship, by his 
 vanity in " improving " on their remains. The other gateway, lead- 
 ing to Stratford-upon-Avon, waits, no doubt, the like innovating 
 hour : at present it is a valuable relic, as appearing in its own native 
 guise. The great church has teen rebuilt in the Roman and 
 Grecian styles in part ; and surprise is the more excited to find the 
 eastern chapels and their beautiful tombs unaltered, than at viewing 
 the models of the Roman and Grecian schools at the west end. The 
 castle has the next demand on my antiquarian opinions. Advancing, 
 therefore, I saw on my left a church, whereon is set forth another 
 cut-and-hacked attempt at improving on our national works. With- 
 out entering into particulars, I passed on to the gate of entrance into 
 the castle ; a modern work, culled from the weeds that grow without 
 the fences of our remote architecture. Within its walls are some 
 curious pieces of armour, not altogether undeserving of notice. 
 Pacing along some new-cut road trenches, I came within ken of the 
 castle itself. , On the left is a tower, whose plan is made out by 
 several parts of circles in a most uncommon way. In the centre is a 
 noble gateway leading into the great court ; and on the right is a 
 tower formed by twelve sides. These, with the various turrets, walls 
 (excluding from my notice the modern offices ranging from the gate- 
 way to the left tower) rushed into my presence in all their ancient 
 sort, grand, terrific, and unperishable. Bending my course through 
 the double ward of the gateway — a fearful pass ! — I entered into the 
 great court, where, looking to every tower, nook, and wall (turning 
 my back on the modernized front of the mansion occupying one 
 side of the court), the romantic days of Warwick's famous earl 
 returned to call before me the prancing steeds, the badged yeomen, 
 the squires, knights, and Sir Guy himself, to march the listed court 
 around, where glittering armour, banners, lances, swords, and shields, 
 made up the splendid preparation for the martial sports or the 
 hostile field, in friendly joust or deadly combat. As for the face of 
 the habitable part of the mansion, it has been so accommodated to 
 modern ideas of supposed superior taste to the former lords of this 
 castle, that I not only forbore to delay a moment to note down any 
 of its improvements, or, from a new sort of porch in the innovating 
 style, to enter within the portals, where, from such specimens of the 
 revival of our ancient architecture, I could not expect to find either 
 the great hall, the lord's or the lady's arrased chambers, the fretted 
 roofed bowers, or the like witnesses of its original arrangement. As 
 for porters' halls, lobbies, saloons, dining-parlours, smoking-rooms, 
 billiard-rooms, card-rooms, dressing-rooms, powdering-rooms, and all 
 the other long et cetera dragged in from the precedents of French 
 and Italian villas, I own, my eyes are so familiarized to such dis- 
 
Woodstock. 
 
 133 
 
 tinguishments, and such appellations are so rung in my ears in all 
 corners of the kingdom, from the princely dome to the tradesman's 
 snug box, that the sounds pall on my sense, and their forms sicken in 
 my sight : therefore, I returned at leisure through the embattled 
 limits, to behold the front of the castle overhanging the river. Con- 
 demning in some degree the demolition of the old bridge in the 
 foreground of this enchanting picture, yet it still remains to contribute 
 its mite of record to this Warwick tale, marvellous and strange ! 
 
 Rollright Stones. 
 
 [1801, Part II., pp. 700-703.] 
 
 In my progress towards Oxford I stopped to examine the Rollwright 
 stones. Certainly the hand of Architecture was put forth at their 
 first setting-up to guide their circular arrangement ; and, notwith- 
 standing their regular lines and terminating finishings are lost 
 through the lapse of ages, yet we are not to suppose but that once 
 they stood the habitable or the religious mounds to man. Say 
 Innovation's sons have not been here with architectural vengeance ; 
 still his power has swayed the husbandman to dig and delve the 
 mystic round, and to raise his hedge-row fence, to hide these worn- 
 down tenants of the moors from their superiors' ken ; who, standing 
 at his given space of sullen control, now maintains his post and 
 bleak domains alone. 
 
 Woodstock. 
 
 The fate of the church is remarkable, being divided between the 
 work of the modern builder and the remnants of the ancient 
 architect. The former master with his art has re-built the major part 
 of the edifice, while the spirit of the latter professor hangs over its 
 southern side; which, under such influence, awaits to arrest the 
 antiquary's eye by many a scientific spell of columns, in their 
 sculptured capitals, arches, and such-like sights as these. But soon, 
 very soon, your charms will be no more ; the living voice will sound 
 your doom to fall, and in your place the modern pile will lord it over 
 all your honours. I now hastened to the site of the palace of our 
 second Henry, to draw the circle with mine eyes where architectural 
 innovation had taken such a merciless sweep, without thinking on a 
 theme to wreath the " iron arm " that heaved the fatal blow. 
 
 Oxford. 
 
 I entered this city on a Sunday afternoon, and towards evening 
 repaired to Christchurch, to be present at the service in the cathedral, 
 but was rudely put back, and told that no stranger was to be admitted. 
 
134 
 
 Architectural Innovation. 
 
 My astonishment was great, as I had always understood that the 
 " Rites and Ceremonies of the Church of England " were free for all 
 to partake of when celebrated in a public edifice. This ordinance 
 I likewise was taught to believe extended to places of worship of all 
 persuasions. Unwilling to put aside my religious impulse, I sought 
 out New College, where I arrived in time to hear this seminary's bell 
 tolling for evening prayer. Following others who were entering into 
 the chapel (they being, I suppose, well known by the porters), I was 
 instantly pushed back (in like manner as at Christchurch) from 
 the sacred portals, indeed, in a more brutal way than at the first 
 structure, and with the same unchristian and unclerical reasons. It 
 here becomes a question, and, I think, of some moment at this day 
 of such general relaxation in devotional fervour : Are religious duties 
 henceforth to be discouraged by this shutting up of the church doors 
 in this city and in the city of Westminster? Or are they to be 
 confined to certain classes of men, who, through mistaken notions of 
 their discretionary power to turn all others out, and right to transform 
 or despoil those piles they may presume to call their own property, 
 arrogate to themselves this primary good of addressing the Lord, 
 unassociating with the stranger, or the poor and humble artizan? 
 I expect, nay, all have an imperious demand, to hear this answered. 
 Is not now each eye bent to notice, and each hand raised to set 
 down, the questionable acts of the priestly function ? Attend then, 
 I humbly pray, reverend sirs, to the remonstrances of one who can 
 truly affirm, that he has ever held your sacred characters in the most 
 perfect apostolic light that a sinful layman is capable to comprehend 
 or give way to. Laying aside this kind of reasoning, I proceed with 
 my account. I found this church mandate of refusal to participate 
 in prayer not so absolute but that a trifling douceur, properly applied, 
 let me pass on ; when, unminded, I placed myself in an obscure 
 corner of the anti-chapel to hear the melody, and behold the 
 " improvements " made here of late, consonant with present clerical 
 taste and accommodation. The members of the College now began 
 to enter, not in any manner of order or procession, but in a promiscuous 
 sort, one carelessly after another, some with surplices on, and some 
 with this necessary robe dangling on their arms, as though they came, 
 Compulsion's slaves, to drag through an hour of foundation cere- 
 mony, whose fetters were forged when ignorance and superstition 
 held mankind in awe. I may, perhaps too often for the subjects of 
 these essays, have owned a natural weakness (incurable in me), an over- 
 charged susceptibility to the effects of sweetest harmony ; yet I may 
 meet with the indulgence I wish for, all remembering the divine 
 Shakespeare's precepts : 
 
 " The man that has not music in his soul 
 Is fit for treason," etc. 
 
 However, thus prepared, I waited to hear the heavenly strain. 
 
Oxford. 
 
 '35 
 
 Indifference still held on his gentle sway, and I resigned the expecta- 
 tion of feeling the pleasures of the melting note, to gaze round and 
 round at the new order of architectural things; which, from the 
 prescribed moments of service, were commented on but in a general 
 manner. Some other opportunity will the better enable me to 
 be the more particular in the " improvements," and do the proper 
 office to that genius who has bid them thus appear, in giving due 
 praise or otherwise. 
 
 Imprimis. The west window. Part of the mullions cut away, and 
 tracery stopped up, to assimilate itself to a modern conceived repre- 
 sentation of the Nativity; indeed, well calculated to draw the attention 
 from the vestiges of the old sort at the east end. The chef-d'oeuvre 
 here " to glut the eye," as Evelyn has it, is the organ and gallery. 
 Profusion, in this performance, with his fellow, Confusion, seem 
 to have united to defy the sting of criticism. But of this anon. — 
 "And the chancels (or choirs) shall remain as they have done in 
 times past ;" to save the order for Morning and Evening Prayers in 
 the Book of Common Prayer. — On each side of the entrance to the 
 choir the screen backing the stalls has been changed to an open 
 panelled fence, framed and glazed, to show, no doubt, the devotional 
 attitudes through them of the dignitaries thus accommodated. The 
 carvings under the stall seats (many of which are of the indecorous kind, 
 and introduced there for certain historical reasons) have been cut from 
 their secluded situations, and are now stuck up on each side of the 
 fronts of the pews, ranging the approach to the altar. Are they thus 
 exhibited to aid the devout Christian in his conceptions of beatific 
 glory? or set to engage the young students' eyes, to prevent their 
 falling into the errors of drowsiness, or to make them shun the like 
 emblems of frail mortality? Much of the embellishments now 
 adorning the east end of the chapel, if I mistake not, are original, 
 they having, for many years, been hid from the general eye. I call 
 to mind that, previous to the laying this work open by the alterations 
 to be made in the chapel, I more than once directed the attention of 
 some of the dignitaries to particles of these precious morsels, they 
 just appearing from behind the disguising, or, it may be, the protecting 
 wall, that had shut them out from iconoclasts, or the like barbarous 
 foes to ancient art. 
 
 William of Wykeham, the great light of the Edwardian era, who 
 shone alike as the learned divine, the patriotic statesman, and the 
 ingenious architect, first gave being to these walls ; therefore its 
 contour was of that style so peculiar to the age he lived in. This reflec- 
 tion seems to have had very little weight in the present "improvements," 
 as the principal objects in the new work are evidently culled from the 
 modes of architecture known first in the reigns of Henry VI. and 
 Henry VII., and the rest of the business is made out agreeable to 
 the Roman and Grecian prejudices, interlarded with much whim and 
 
136 Architectural Innovation. 
 
 fancy, at once evincing an inferior choice of selection, and a disregard 
 to the founder's first designs, his name, and his extraordinary 
 abilities. 
 
 Magdalen College. 
 
 " Improvement " — used by professional men as the watchword 
 to begin their devastations on our ancient works, and held up to 
 beguile the senses of those who give them their " orders " so to do. 
 This is most strongly marked in the late exhibition, where we find 
 "designs proposed for the 'improvement'" of this College; by 
 which we are given to understand, among the other depredations 
 recommended, that the very curious and the only existing cloister in 
 either of our Universities is to be a principal sufferer. I refer the 
 heads of this College to p. 114, wherein they will find my address to 
 the good people of the city of York, intent on the demolition 
 of their ancient historic gates, towers, and walls ; which, having 
 perused, let me inform them, such my " warning voice " has not been 
 without effect ; for a gentleman of the first consequence in that part 
 of the country has been with me a short time since, with the agree- 
 able intelligence, that the wreck of their architectural renown is for the 
 present deferred. Magdalen College! to thy guardians I now call with 
 another "warning voice." Do ye wish to build, lack ye more 
 habitations, sigh ye for modern halls, saloons, drawing-rooms ? Your 
 premises give every space that such erections require. Then forbear 
 your plan of " improvement " and destruction to be wrought on your 
 mounds, which, in their pristine state, prove your right to all your 
 honours, emoluments, and ranks, among the virtues of an University 
 establishment, where gratitude to the memories of the founders of 
 colleges is (or ought to be) held one of the first obligations to 
 be complied with in such princely and useful institutions. Well, ye 
 assure us that your intended pile is to be entirely unconnected with, 
 and in no way trenching on any one stone of, your present buildings; 
 yet forbear to begin the same without well considering the propriety of 
 the plans and elevations, in their pretences to be correct "imitations" 
 of those architectural parts you may now call your own. Trust not 
 professional men in this respect, nursed in the prejudices of the 
 " heathen school " of constructing edifices ; their bigotry for foreign 
 modes will not let them, of their own wills, be true to the ancient 
 architecture of their native land. Thus advised, reverend sirs, you 
 hold the destiny of those walls you are bound to save, or the cease- 
 less regrets for pursuing other persuasions will for ever be held up by 
 your own convictions for having despised my " warning voice." 
 
 [1801, Part I., pp. 813-816.] 
 
 By that part of the community who are ever' waiting in expectation to 
 catch the opinions of authors, either to receive information or entertain- 
 
Monmouth, 
 
 137 
 
 ment, it is to be wished such literary labourers in the vineyards of lux- 
 uriant science, where every species of knowledge rises spontaneous at 
 the calls of these sons of mental powers, would each confine himself to 
 that portion of his culture which his studious onsets had first directed 
 him to. I am but too sensible that I often step out of my given 
 space of professional allotment, perhaps inadvertently ; or my subject, 
 which has so many sinews verging from its swollen body, may of 
 necessity wander to those remote recesses in the dark wilds of 
 recollected ills, where the causes for why I write were first engendered. 
 Indeed I ever, to the stretch of my frail ability, strive to tread my 
 purposed way. Thus much I presume ; I touch no note in the scale 
 of these essays of which I am not well acquainted with its true sound, 
 from the simple unison, thirds, and fifths, to the half tones, semi- 
 tones, discords, fiats, and sharps. However, these particles of sense, 
 each in their touch of introduction, may, it is not impossible, have 
 their due effects on the feelings of my readers ; for this I chaunt my 
 strain of intelligence and reprehension, as connected with the present 
 state and the late alterations or dilapidations perpetrated on our 
 national antiquities. Readers, I say, are perpetually thrown into the 
 most violent distractions at finding at every turn the composers of 
 the pages they are perusing running counter to their own professed 
 subject, and beyond which they can have no more pretence to be 
 acquainted with than I, were I to set about to decide on the merits 
 of a Greek MS. or a Welsh pedigree, both of which branches of 
 polite education I am totally unacquainted with. It would be an 
 easy task to set forth a thousand instances in this way from the 
 major part of the productions of the overloaded press ; but let it 
 suffice for me to remonstrate with those scribes who enter the 
 expanded fields of antiquity, where they set up as professors of 
 incontrovertible determinations, which are to decide the beauties 
 of our national architecture, its deformities, or its professional 
 distinguishments, when they, from their several avocations, are 
 rendered wholly unqualified so to do. 
 
 Is it possible for the gentleman farmer, whose whole time is 
 occupied in the improvement of his land, employing the humble 
 labourer, and relieving the wants of his distressed neighbours, to be 
 competent to determine the data of an unlegended coin, or prefix 
 the British, Roman, or Saxon name to a tumulus or an entrenchment ? 
 Can we believe the sportsman, who, only mindful how to start the 
 hare or rouse the stag, will be accurate, should he enter on the 
 illustration of an illuminated missal, by explaining its readings, and 
 its historical, allegorical, and religious references? Or suppose the 
 jovial companion, whose nights are run out in libations to the god of 
 drunkenness, and his days lost in soporiferous inactivity, equal to the 
 office of pointing out to our free and easy reliance on present things 
 the solitary mounds of the former religions of this land; draw out 
 
•38 
 
 A rchitectural hinovation. 
 
 the lines of their refectories, their dormitories ; number out the hours 
 they spent in prayer, in useful exercises, in charities ; their frugality 
 in their pittances j and the short moments they resigned themselves 
 to peaceful slumbers? The soldier: shall we listen to hear him 
 recount how daily he perambulates the cloister's endless aisle, to 
 aid his pensive mind to muse on heavenly joys, enumerate the 
 monumental tale, and how the noble forms which lie recumbent on 
 their shield-surrounded tombs hold up their hands in suppliant 
 attitudes ; or dwell with raptures on those angel semblances guarding 
 the heads of these sculptured relics of our renowned ancestors ? 
 Must the gamester, too, pretend among this motley throng to give in 
 his quota of communication, by telling over the names of those 
 whose pious donations founded almshouses, colleges, monasteries, or 
 laid their foundation-stones, which drew on them those myriads of 
 objects that make our ancient structures the wonders of the world ? 
 Yet more claimants stand up for credit. Are we to rely on the 
 lawyer, who promises to lead us to those iron-ribbed chests, those 
 treble-keyed treasuries, still abounding in our sacred piles, to decipher 
 the mouldy record, make clear the doubtful instrument of ecclesiastical 
 acquisition, whereby holy office may have its dues, and the badged 
 mendicant his daily dole ? Or are we to bow with implicit confidence 
 to the academic character, who, descending from his hourly practice 
 of every religious duty, his high superiority in his knowledge of the 
 Latin, Greek, and Hebrew languages, his talent for disputation, 
 theology, and logic, to hear him, with all the pretended geometrical 
 precision of an architect, the subtlety of an artificer, or the low 
 cunning of their labourer, enumerate every particular that composes 
 the professional list, from the foundation-stone of ancient architecture, 
 to the very pinnacle of all her sublime perfections ? He instructs us 
 that such a building is "Gothic," the workmanship "rude," the 
 sculptures of statues "very well for the time," the ornaments 
 "barbarous," their general proportions "incorrect," and their 
 materials of constructure wholly destitute of those necessary qualities 
 either to give them strength or durability. Hear him descant on the 
 lateral pressure of a buttress, or the geometrical elevation of an arch, 
 of groins, feather-edged mouldings, squares, hollows, rounds, angles, 
 equilateral triangles, tenons, and mortice-holes, soffits and returns, 
 sand, lime, and mortar ! — Parallel. — I ken a Greek MS. from the 
 peculiarity of its letters; there my knowledge rests, never having 
 been schooled to understand farther so noble a language. Just so it 
 is with your collegiate expositor, who, by poring over technical terms 
 common to architectural men, knows only that they are used by such 
 practitioners for the mere uses of building. Thus far the comparison 
 holds ; but, losing sight of the plain inference, he retails the catalogue 
 of hard words on every occasion, as though he had sucked in their 
 real meanings with those preparatory studies which qualified him for 
 
Monmouth. 
 
 139 
 
 those pursuits in life to whose service he was alone intended. " Let 
 every man abide by his trade," however homely the idea, not the less 
 true. I have my lesson. Reverting, therefore, to my present in- 
 tents, I make known I mean to give in the following numbers the 
 result of a professional tour, in which I am still pursuing my marked 
 route, having ever in sight my constant object, the protection of our 
 ancient works, and an unconquerable desire to instil into the breasts 
 of my countrymen that emulation to admire them with an ardour, to 
 which they, above all other mortal endeavours, in scientific ac- 
 ceptance so wonderfully deserve. 
 
 To me it is a circumstance of extreme surprise to see stuck on or 
 near the portals of religious worship advertisements for gentlemen to 
 associate for " the preservation of game," with every alluring invitation, 
 as if it were the first of all moral obligations. Ah ! had I so strong 
 and powerful a device to draw at my announcement the willing hosts, 
 I would sound them to another game, the preservation of the works 
 of antiquity. In such an association let the high-born, the affluent, 
 and the brave, unite to shield those time-descending memorials of all 
 their honours, in an age like this of general innovation, from the 
 shafts of demolition : by them their names are glorified ; and if they 
 fall 3 so does bright honour in the desert wastes of ignorance and 
 barbarism ! True, there is a chartered assemblage associated for the 
 " study of antiquity," but not for the preservation of antiquity ; no 
 instances are in remembrance of their having offered rewards for the 
 apprehending of offenders taken in the act of knocking down, under- 
 mining, or new-fangling, any of our ancient piles ; we read of no 
 punishments inflicted on the avaricious dilapidator, or the sacrilegious 
 innovator — no rewards and honours await such antiquity " poachers," 
 "unqualified" as they are to stand within the verge of so sublime a 
 precinct as that which should guard the true sons of antiquity. An 
 ardent fire, caught from the remnants of ancient splendour, animates 
 the real antiquary : he, when in his peregrinations, sees and feels the 
 intellectual flame which can never fade. How exquisite then the 
 labour ! Englishmen, combine in one common cause, that of the 
 cause of the interests of the arts of your own country, so universally 
 diffused over all our castles, cathedrals, etc., etc. Let foreign 
 partiality subside, weekly held up by interested individuals in a few 
 extraneous models, smuggled from the models of the heathen schools, 
 as presumptuous competitors for fame with our national works. 
 Englishmen, I say, come forward, and judge for yourselves. Thus 
 determined, it is not out of the bounds of reason to surmise that ere 
 long the preservation of antiquities will become as popular a cause of 
 national concern as the preservation of "game," whose guardians are 
 so intent on the destruction of unlawful night-rangers and unlicensed 
 sportsmen. 
 
 As it is become a sort of rage for gentlemen of rank and fortune 
 
140 
 
 Architectural Innovation. 
 
 to make pedestrian excursions into the country, more especially 
 through the Welsh regions, I may unblushingly own that, being 
 desirous to enjoy so superlative a good as that bestowed by kind 
 Nature, an ability to tread the teeming earth, which at every step 
 gives such renovating vigour, I shaped my progress towards the 
 Cambrian hemisphere, intent on contributing my share of antiquarian 
 sentiments with those who on so many occasions have interested the 
 public before me. While such their lucubrations are squared by 
 one-sided historical authorities, half-drawn observations, obsequious- 
 ness to general opinion, and braced up by that preventative powder 
 of prejudice, to secure them from sinking into the errors of praising 
 too much the manners of old times, made up by the ingredients 
 sifted from the dust of the " dark ages, blind zeal, ignorance, and 
 superstition," that showed forth the manners of our ancestors, I shall 
 follow no other impulse than an independence of opinion strictly 
 conformable to the rules of true description and the experience of 
 my profession. I haste then to present my travelled stores for 
 public approbation or dispraise, even as they may so deserve. 
 
 Monmouth. 
 
 Improvement has made its way in this town, celebrated for the 
 birthplace of the renowned and warlike Henry V. and the residence 
 of that extraordinary historian Geoffry of Monmouth, by some 
 accredited, and by others (of supposed enlightened minds) wholly 
 scouted as a legendary dreamer, and a fabricator of idle tales. I 
 could discover but small remnants of the walls, only one gate 
 standing on a bridge leading towards Abergavenny; a chaste and 
 simple design, of much effect, and in tolerable repair, thanks to its 
 own intrinsic worth of construction ; from which cause, I conceive, 
 it might exist to a distant period. People here with significant nods 
 remark it cannot stand much longer. Of the castle a poor diminished 
 spot remains, a part of the walls of a chamber, where the hero of 
 Agincourt, the conqueror of France, first drew his breath. The 
 proportions of this chamber show an air of grandeur, and the 
 decorations (from one perfect window yet in view) of the first degree 
 of refined taste. This precious morsel, one of our historic honours, 
 is as a pearl cast into the possession of swine, wholly indifferent to 
 them, and considered as a place the most contemptible; for a part 
 of its interior is fenced off into stalls for asses, and the rest of the 
 space filled up with ricks, dung, and offal ! There are some of the 
 buildings of the priory to be met with, among which a room is 
 shown where Geoffry took up his abode. Be this as it may, the 
 mode of architecture is of Henry the Sixth's reign, captivating from 
 the appearance of a delicate and elaborate bower window. The other 
 particulars are not very remarkable. Indeed, some fifty or sixty years 
 back, these walls might have had more claims to notice, as now 
 
Monmouth. 
 
 141 
 
 modern plasterer's work, sash-windows, square-headed doors, disguise 
 the major part of the old work. As the beforementioned appendage 
 to royalty is consigned to the vilest uses, so this monastic wreck is 
 now become a receptacle to shelter certain objects of distress and 
 poverty, with all their attendant ills of disease and loathsomeness. 
 
 St. Thomas's church, on the Abergavenny side of the river, is of 
 Saxon origin, with additions in the pointed-arch style of workman- 
 ship ; the whole well worthy to be visited : yet the unclean and 
 unwholesome state of the building is really beastly and disgusting. 
 Again I inquire, why is the Lord's house to be held beneath the 
 thought of cleanliness, while in the meanest abode of man we in 
 general find some attention at times bestowed to have it swept and 
 aired? St. Mary's Church is situated in the Eastern part of the 
 town, and gives no more of the old building than a tower and spire : 
 the body has been entirely rebuilt in the modern church way. The 
 exterior has its parts compiled after the models of the Doric and 
 Ionic orders, that is, as far as their architraves, entablatures, scrolls, 
 etc. ; while the interior, instead of carrying on these systems of 
 embellishments by progressive enrichments, presents me a complete 
 ordonnance of the Tuscan order with all its appropriate attributes. 
 This design can never evince either professional judgment or common 
 skill as an artist. In such a house of prayer I can overlook the 
 "incumbrances" of pews and galleries filling up the aisles and body 
 of the edifice, as truly consistent with such a specimen of modern 
 art ; but I can never consent to the indecent and unpicturesque 
 allotment of the pulpit set directly before the altar (another modern 
 refinement), or the surrounding so sanctified a place by the lowest 
 and most irreverent part of the congregation, nutcracking hinds, and 
 profligate Sunday-school boys. In this way is the taste of the age 
 exemplified, by novelty and confusion in architectural order, and by 
 irreligious and profane inattention in a pile consecrated to the service 
 of Protestant devotion. 
 
 Ragland Castle. 
 
 [1801, Part II, pp. 908-910.] 
 
 The cannon of Fairfax's besieging army made havoc of the 
 greater part of the citadel, or keep, the grand gate of entrance, the 
 buildings on the western side of the castle, great hall, chapel, etc. ; 
 yet, if some late publications are correct, more ruthless despoliations 
 and defacements have been perpetrated on this pile, of late years, for 
 common uses, as mending roads, repairing hovels, etc., than ever was 
 done under the force of a furious Oliverian commander; and winked 
 at by those who least of all should be unconcerned, when the 
 brightest gem in their ancestral line of fame can only emit a blaze, 
 while it is reflected on from this silent memorial of all their past 
 honours ! 
 
142 
 
 A rchitectural Innovation, 
 
 The grand gate of entrance is most eminent for architectural skill ; 
 the avenue from which, leading into the great court, is excellent; 
 and when the exploring visitor has entered therein, he is immediately 
 astonished with the rich and uncommon front of the gallery-range 
 backing the said gate of entrance. On the right, while yet opposing 
 himself to the gallery-range, he sees the exterior of the great hall, its 
 porch, oriel window, gallery door, and on the left one of the towers 
 of the gate of entrance, all rushing upon his notice, to fill up one of the 
 most interesting castellated court scenes, perhaps, to be witnessed in the 
 kingdom. On the other sides of the court are to be found the curious- 
 constructed oven, kitchen, and other domestic offices. The interior of 
 the hall evinces, in various fine objects, the grandeur of its original 
 finishings, and of every other apartment within this once splendid 
 residence. Some vestiges of the chapel create attention, as does 
 the site of the fountain court; and all our antiquarian pleasure 
 is brought to its limits of observation by passing through another 
 remnant gate of entrance on to the terrace, which, at this day, 
 retains its smooth enamelled surface, insensibly withdrawing our 
 notice from the sublime efforts of human art, to dwell, with unspeakable 
 sensations, on Nature's never-changing works. Abergavenny's tremen- 
 dous mountains called me to their cloud-topped summits. I then 
 returned, and while re-passing all the suffering and neglected beauties 
 of the place, I vented a wish that he, their present owner, might, 
 in some hour of pensive recollection, receive an emotion (known 
 only to emulating minds) in giving way to consider how Ragland 
 would appear if once more restored to all its former powers. Walls 
 may be made good, decorations renewed, and roofs, ceilings, floors, 
 wainscoting, and every mansion adornment re-constructed, combining 
 ancient magnificence with modern accommodation. This might 
 easily be brought to pass, if real restoration should be the order from 
 him who alone can give life to this suggested plan. Delusion ! so fly 
 my thoughts as I onward go. Let me feast on this ideal banquet ; 
 how transporting ! 
 
 Clytha House. 
 
 [1801, Part II., pp. 1 005-1008. J 
 
 Well, I gained the ascent of that hill ; where, looking in the vale 
 below, I saw the modern seat of Clytha, and the adjoining grounds. 
 Then, looking in a horizontal direction, the sublime mountains round 
 Abergavenny appeared before me : to the left, the dark Blorenge, 
 whose naked height ever braves the eastern blasts; then come in 
 view those chains of mountains inviting the curious traveller to 
 traverse Cambria's distant climes, where antiquities are inexhaustible; to 
 the right rises, in the most perfect degree of form, that mountain 
 called the Sugar-loaf; and still more bearing to the right, the 
 mountain termed St. Michael's Mount, or the Great Skyrrid. Its 
 
Clytha House. 
 
 H3 
 
 craggy and red-tinged front has a remarkable chasm, which, as we are 
 informed here, was made when our Saviour was crucified. Hence 
 may be accounted the third name this mountain owns, viz., the Holy 
 Mountain. Somewhat below the Sugar-loaf mountain the Little 
 Skyrrid is very conspicuous : and, in the extremest point of sight, 
 between the Sugar-loaf and St. Michael's Mount, the vanishing lines 
 of the Black Mountains, inclosing the famous remains of Lanthony 
 Abbey, conclude this delightful picture. Two gateways of the 
 fantastic order give admittance into the paths leading to Clytha House. 
 The first gateway I encountered was of such trifling dimensions and 
 aspect that it was altogether below notice. Not so with regard 
 to the other gateway; that stood before me, as who should say, 
 I demand the tribute of praise ; my " elegance " of design must be 
 your pass-word, or else forbear to tread the approach to yon mansion 
 of hospitality and social converse. My pencil ; so — The cubic and 
 superficial feet of masonry tells to account, a reasonable large piece 
 of business ; good. The design of this gateway gave the outlines of 
 an Edwardian ogee pedimented monument, independent of any- 
 attached walls, with an immense pointed arch in the centre, and two 
 smaller arches, one on each side. To decorate which, are Saxon 
 columns without bases, and capitals without astrigils or abacuses; 
 pinnacles rising from cornices instead of buttresses ; mouldings in 
 the architraves, and entablatures in the Roman and Grecian "ways"; 
 a modern honeysuckle parapet ; the ground between the great arch 
 and its ogee pediment u perforated," and modern iron-railing fancied 
 doors. Its thickness of wall, or return, is not more than two feet, 
 and the back front a repetition of the particulars just specified. 
 After what system of " improvement " this " Gothic " gateway derives 
 its formation I cannot in any way devise, as all gateways to ancient 
 edifices are either plain or enriched arches in their encircling walls, 
 or erections with square or round towers, containing rooms for various 
 uses, with a groined avenue between them, and posterns for the 
 passing of men and carriages. I entreat information on this head ; 
 or shall I refer me to the documents of the new Order already made 
 known? It must be so. Being about to continue on my way, I 
 chanced to look to an eminence nigh the road, and directly in view 
 of Clytha House, where was another modern display of skill, in the 
 trial of rearing up a structure to entrap the wonder of gaping 
 travellers. This effort, an intelligent person told me, was called 
 a castle, set up in memory of a person deceased. So, so; a memorial 
 in a new way ; and as for this castle, from its general cast, and 
 several parts, those I noted down were in a new way also, and directly 
 cla-sed them under the fantastic order's dominion. Some park 
 lodges at Coldbrook showed, on their fronts, somewhat of this 
 whimsical combination, though too mean in appearance to need 
 illustration. 
 
144 
 
 Architectural Innovation. 
 
 Abergavenny. 
 
 Once high in praise for its stone-girt honours, in mighty walls and 
 death-defying gates, now, only a few scattered portions of the walls 
 and one poor gate are left. Yet, in spite (bearing in mind Sir 
 William Dugdale's stamp of a town's wealth and prosperity, by its 
 proud display of all its ancient defending bulwarks*) of the stagnated 
 state of trade here, and the low ebb to which the historic consequence 
 of the place is reduced, this last-devoted gateway is destined to 
 be taken down ; and the sentence was passed in my hearing with that 
 sort of hilarity which, I grieve to observe, is so general with those who 
 are in possession of ancient structures, and who, while they vent the 
 anti-national doom, tell out their long roll of ancestral fame, making 
 thus their modern folly and their ancient pride, by such ungrateful 
 deeds and useless jargon, mar the bearings on those shields which 
 they presume to call their own. This gateway, then, in question, I 
 own, by its just proportion, engaging simplicity, its perfect condition, 
 excepting those parts damaged by man (not Time), make the greatest 
 impression on my regard : it was long before I could cease to 
 comment on its general outline. I left it, and instantly my attention 
 was alike engaged by the lower story of an ancient house (now a 
 blacksmith's shop). Here my investigating sensations begat the 
 theme of merriment in the standers-by ; and, as I expressed my 
 admiration, they let loose their sneering gibes. I was a studious 
 antiquary ; they lounging men of Abergavenny. 
 
 The castle,t although in the last stage of a dilapidated decline, 
 still has strength to call on Antiquity's sons to witness its last pangs, 
 and to do its memory justice. Abergavenny Castle, I then, for a short 
 space, will abide by your agonizing remains, and administer what 
 good I may. Believe, I grieve for your too cruel destiny. I will 
 straight examine your disastrous state, and report accordingly. I 
 first rounded the outer walls, where, at the north-west angle, I passed 
 through a pickaxed aperture made therein, into a court, in the centre 
 of which was a vast mound. Here, till of late, stood the keep, 
 whose materials have been dragged away to mend the roads. At the 
 said angle are vestiges of various chambers; and some of the 
 ponderous walls on the third story overhang their curtailed supports 
 in such a surprising manner, that my inadequate professional abilities 
 could not, competently, engage to judge of the incomprehensive 
 commixture of those component parts which cemented together the 
 whole of such terrific masses. The ground-line of this court is 
 preserved ; but the walls on the west side are nearly gone. Here 
 was an uninterrupted view of the valley under the castle, and the 
 
 * See Dugdale's "History of Warwickshire," in relation to Coventry ; and 
 p. 222 of these Essays {ante, p. 113]. 
 t Built before the Conquest . 
 
Abergavenny. 
 
 H5 
 
 Blorenge rising beyond it. A river winds along the meadows, 
 directing its course through an ancient bridge of many pointed arches. 
 From the situation I then stood in, each surrounding great object 
 might be well seen and well discriminated ; and, sure, never was a 
 site better chosen (allowing for the " savage " nature of our " blind " 
 ancestors) for mortal man to enjoy and contemplate on the wonderful 
 works of the creation. The Blorenge, the chain of mountains, the 
 Sugar-loaf Mountain, Great Skyrrid, Little Skyrrid, other remnants of 
 the castle, the priory church, etc., etc. Such a combination of 
 marvellous appearances like these, beheld from one point, cannot 
 easily be paralleled in this, or, perhaps, any other kingdom. I next 
 proceeded to the great gate of entrance into the castle, simple, 
 yet commanding. Much destruction has been done over the arch- 
 way, and the groins to the long avenue through it utterly demolished. 
 Entering the great court, I at first could perceive little more than 
 undistinguished walls ; yet, familiarized as I am to enumerate the 
 arrangement of castles, I soon discovered the features of the great 
 hall, kitchens, and other attendant chambers, all showing the deplorable 
 marks of those unfeeling minds who hold such fine, ancient subjects 
 under their " iron arms." 
 
 Thus have I made out the piteous tale of Abergavenny's castle ; 
 and, however reduced to so low an estate of decay, a sullen dignity 
 prevails, a warning aspect is apparent. 
 
 [1801, Part II., pp. 1 102, 1 103.] 
 
 The priory church, of the pointed-arch style of architecture, has 
 on its west front some peculiarities. In the centre of the design, a 
 buttress, decorated with a very elaborate niche, is run up nearly to 
 the pitch of the roof ; on the right side of which is a porch, and on 
 the left is a small chapel, or, as it is called, the vestry. Above, still 
 on each side of this buttress, are two beautiful windows ; and, still 
 higher, keeping on the same station, are two more windows, though 
 of exceeding small dimension. The south side of the church 
 continues the same mode of work, but has no objects but what are 
 useful in church arrangement. In some fenced-off corners by the west 
 and north porches are thrown human bones ; which are open to any 
 eye that, by chance, may glance into such unhallowed mortuaries. 
 The plan of the church comprises a body divided into two aisles, the 
 area of the great tower, north and south transepts, a choir, and side 
 aisles. Various correspondents have, of late, in this Miscellany, argued 
 pro and con about the propriety or impropriety of retaining pews in 
 our churches for the comfort of certain portions of the congregations. 
 These writers seem to me all to run wide of the subject. Our 
 churches anciently were erected with an intent that their architectural 
 lines, either of columns, recesses, monuments, etc., might meet the 
 notice of the pious in a clear, unobstructed manner, to make due 
 
 vol. x. 10 
 
146 
 
 Architechiral Innovation. 
 
 impression on their sights, and to prepare their souls to receive 
 devotional sensations. Stalls in a choir, and some ranges of enriched 
 benches, and correspondent reading-desks, in other stations of the 
 building (such as are yet to be found in many churches), were generally 
 so devised as to hide very little of the principal embellishments 
 therein, rendering each person conspicuous, whereby all were under 
 the necessity of preserving a decent observation of the duties of 
 religious worship. To the point : pews in our ancient churches 
 (which churches by some people, whom I call Goths and Vandals, 
 and living in the "dark age" of their own prejudices, are held 
 to be no better than mere barns) are as so many rubbish-holes to 
 collect the filth of years, they being but in a partial manner ever 
 cleaned or repaired; a sort of piece-patch hedge-carpentry promis- 
 cuously huddled up, spoiling the architectural effect of the edifices, 
 and combining, by their height and numbers, to obstruct that free 
 circulation of air so necessary in a confine not properly aired, and 
 where the pavement is never made good over the graves continually 
 dug therein. In a church which will soon come under our 
 investigation, it was declared to me that it had not been " cleaned 
 out " for ten years past ; and, in addition, I found, in one of the aisles, 
 the pavement in such a state, that, to passers over it, danger waylaid 
 them, both in the hazard of breaking their necks and imbibing 
 pestiferous infections. These are serious considerations ; and hence 
 it might be thought that this pew property, and pew breastworks for 
 sleeping drones, giggling youth, and tittle-tattle midway age, would 
 soon be banished, and movable forms and other seats placed in 
 their stead, the pavement relaid, and neatness, cleanliness, and 
 sweet-smeiling odours take their turn in a place raised for no less a 
 purpose than bowing down ourselves in the presence of our Creator. 
 
 The order of Abergavenny Church is most certainly chargeable 
 under this stigma of defilement ; and the admirers of our ancient arts 
 (must I exclude all others from the chosen few ?) are distressed to 
 see some of the finest choir-carvings and most inestimable monuments 
 covered and surrounded with dust and broken pieces of torn-up 
 pavement — works which, for their historic and intrinsic worth, should 
 be universally protected. 
 
 In a stopped-up window of the north aisle of the choir is a 
 colossal statue of St. Christopher carved in oak ; and in an adjoining 
 window, stopped up also, is a recumbent statue of a knight, cross- 
 legged, wrought out of the like material. Viewing our antiquities 
 with such general regard, every subject comes before me with some 
 tie on my attachment. I may, therefore, often be too lavish in my 
 praise ; but of this last performance no description or encomium can 
 do adequate justice. I can only declare it as my firm opinion that, 
 were such a statue to be consigned from abroad by some artful 
 dealer (after a sacrilegious conveyance of it from some one of our 
 
Abergavenny. 
 
 147 
 
 churches to the Continent), our statue-collectors would know no end 
 to their adorating plaudits, or no price too exorbitant to be hailed as 
 the possessors of such a rare antique. Deluded man ! how I forget 
 the foresight of others in my own national predilections ! This statue 
 is stark naught, its legs are crossed, its hands raised in prayer, and 
 its eyes and whole attitude in the last stage of Christian existence. 
 It has neither the muscular concupiscence of Hercules, the unabashed 
 virility of Pan, or the mad symbols of lascivious heathen priests and 
 priestesses. 
 
 Another tomb bears two females; one of them holds a heart 
 between her hands, alluding, it may be, to her open-heartedness, her 
 truth, and lack of all deceit or unfaithfulness. 
 
 The rest of the tombs or monuments are many, and of the first 
 degree of "excellence," for their rich armours, vestments, and 
 elegant execution, still making an apology for their devotional 
 attitudes, and for many of them representing angels, martyrs, and 
 other scriptural characters. And let me entreat those, who may be 
 hereafter attracted to witness the credit of my assertions, to place 
 themselves at the west end of the south aisle of the choir, or the 
 Herbert Chapel, and give way to a momentary weakness (love of 
 our ancient arts), and confess that they have before them a something 
 that has a claim to rapture, excited by the building itself, and a 
 group of no less than six historical and magnificent tombs and 
 monuments. I will not, however, answer for the consequences, 
 either of their becoming converts to antiquity or, what is of no less 
 good, impartiality in thinking as Englishmen ought to think, and it 
 is not impossible they may exclaim, " We will henceforth be hostile 
 to architectural innovators, and protect the labours of our remote 
 men of science even unto the last !" The choir-work of stalls and 
 their appendages is of that varied and high-finished work, that a 
 real, or, what is more, a particular attention bestowed on them by 
 an investigator, he must be constrained to become their panegyrist, 
 supposing in him a predetermination to have set about to become 
 their detractor. How men and manners change in a course of 
 years ! In this choir and in these stalls, where the most sacred 
 offices and the most dignified and revered personages were wont to 
 be, I saw rotten rails, a rummaging table, and old disused mats, 
 crowding up each nook and cranny ; and I saw inattentive hinds and 
 licentious soldiery lolling about in heedless disrespect to the service 
 of the church, at that time going on in the western part, or body of 
 the fabric, where the more devout number of the congregation were 
 assembled — a part now held the most fit for the better sort, not alone 
 here, but in many other parish churches in the kingdom. 
 
 10 — 2 
 
148 
 
 Architectural Innovation. 
 
 Lantony Abbey. 
 
 [1801, Part 7/., pp. 1 169, 1 170.] 
 
 I have under my reading Sir Henry Spelman's "History and 
 Fate of Sacrilege," where I find that those who have laid violent 
 hands on, disfigured, or pulled down the buildings consecrated' to 
 religion, in all ages have, either in their own persons or their progeny, 
 suffered mental derangement or corporeal ills, loss of property, 
 or their lives at last terminated in some untimely end. A 
 dreadful warning this his book ! I believe in it most devoutly, 
 not being wholly without proof of this sacrilegious fatality under 
 my own observation ; but of this in due time. Men born to 
 taste misfortunes, no admonitions, no presages, can withhold their 
 destiny. Thus ill-fortune is ever courted; or else why is all this 
 fury levelled at our national structures, which have been used for 
 holy purposes ? Have they, then, no unseen power to stem the 
 threatened vengeance? no ghastly sights to unnerve the uplifted 
 arm ? no voice of death to cry "Destroy no more"?. . . 
 
 The west front, the greater part of which is in the pointed-arch 
 manner, may be set down as retaining nearly all its original objects ; 
 and for those coming under the head of superior "excellence," I 
 shall only point out the great west window, the rest of the accom- 
 paniments still keeping their degree of affinity, so as to combine 
 taste and symmetry together. The south side of the church has lost 
 its side-aisle. The eastern front is reduced to an inconsiderable 
 portion of work. The great tower standing in the centre of the nave, 
 the choir, and the transepts, has been rent in twain, the western half 
 being the remains left standing. The transepts give little more than 
 confused heaps of demolished walls. The north side of the nave is 
 rather entire, having its side-aisle with groins, windows, etc. All other 
 groinings to the several parts of the edifice are totally gone; and 
 the nave, as far as its columns, arches, architraves, windows, etc., can 
 show, is in the best preservation. The choir is a fallen hecatomb 
 indeed, though not so levelled but some particles of its former con- 
 sequence are yet visible. The cloisters may be traced by some 
 scattered walls, where, on the eastern side, the greater part of the 
 chapter-house still maintains its station; and between it and the 
 line of the south transept is a groined apartment, extremely well 
 designed, and in very good repair. 
 
 These remains of Lantony Abbey have, for these few years past, 
 been the meed of praise to the tourist, and a picturesque study to 
 the artist;* each, by the force of panegyric and delineatory skill, 
 hath added a new fascination to the scene. They have made known 
 the abbey's situation amid mountains that seem to forbid the approach 
 
 * See in particular Mr. Coxe's " History of Monmouthshire." 
 
Crick HoweL 
 
 149 
 
 of anyone but those who come to render unfeigned homage to its 
 solemn aspect. They have revived its history, so full of royal devo- 
 tion and monastic mortification ; and they have inspired an ardent 
 zeal in the curious traveller, to examine in the abbey's present hour 
 those antiquarian delights so closely wound round each stone-girt 
 spirit (guardians of these aisles), standing in undefaced security, or 
 laid low in pickaxed ruin ! 
 
 Crick Howel. 
 
 [1802, Part I. , pp. 22-24.] 
 
 The castle, the left half of the gateway, and some unintelligible 
 parts of walls of this building, are all that are to be met with; though 
 the mound whereon stood the keep is in being, and the general out- 
 lines of the works may be easily made out. If we may form an 
 opinion of the design of the castle itself from the remnant gateway, 
 it must have been on a very grand scale ; and it was impossible to 
 overlook the excellent quality of the masonry in its composure of 
 materials, and that just principle by which the whole of the parts are 
 combined ; these, like Abergavenny's defensive relics, appearing to 
 bid Time keep aloof if man forbear his force. Standing in the area 
 of these ruins, I, as I turned, still beheld encircling mountains, many 
 of which showed themselves in shapes most strange and marvellous. 
 
 The Church. — Being desirous to see some monuments of the 
 Herberts, which I had been given to understand were in the chancel, 
 I first observed one which stands on the north side, where, on the 
 tomb part, or pedestal, is a reclining statue of Sir John Herbert. He 
 rests on his left side, and a statue of Joan his wife lies in the usual 
 recumbent attitude. There are likewise two half-length figures at 
 the east end of the pedestal. Sir John is in armour, which, with the 
 dresses of the other figures, show the fashion to be Oliverian, as the 
 date in the inscription (1666) evinces that he died not long after the 
 termination of the usurper's existence. I cannot precisely determine 
 as I now write whether at this regicide hour of change in political 
 and religious affairs, sepulchral statues began to be put up in our 
 churches in that indecent way we are constrained to witness, of their 
 either turning their heads from, or their backs against, the altar, or 
 Communion-table ; but so it is. In the instance before us, Sir John 
 is in the action of quitting his appeal to so holy a spot ; and his 
 lady reposes with her head to the east and her feet to the west, her 
 arms remaining in careless unemploy, instead of that reverential 
 raising of the hands we in ancient statues are wont to behold. Here, 
 no doubt, some enlightened readers will smile at my weakness in 
 leaning (by this remark) so near the verge of that dreadful gulf, super- 
 stition. I beg them to be merciful to me, a frail mortal, in their 
 stern conclusions on this point, and impute error as the cause of so 
 manifest a transgression. 
 
Architectural Innovation. 
 
 Not being satisfied with the sight of such a memorial as I have 
 described, I searched about for those monumental works which so 
 admirably combine ancient devotion and sculpture together ; and it 
 was some time before I could satisfy my curiosity, this part of the 
 fabric being so filled up with pew-lumber, and the other usual ob- 
 structions of ragged mats and hassocks. On each side of this 
 chancel then I perceived, under arched recesses, statues of a lady 
 on the north, and a knight on the south side ; but they were covered 
 with all kinds of rubbish, and it was not until the sexton had cleared 
 out the recesses that I could have a proper view of them; and before 
 I was enabled to pass any opinion on their merits, I was obliged to 
 reinstate the mutilated parts, by fixing on the lady's head, and put- 
 ting together the several extremities of the knight. How was I 
 grieved and charmed at the same time, in witnessing such neglect 
 and havoc — such elegance and grace ! Yet, in this abuse of these 
 statues, I obtained much information, as they had not been thought 
 worthy by churchwarden authority of being whitewashed, to decipher 
 out many a rare embellishment, either of the raiment of the softer 
 sex, or the maily guise of manhood. By the arms on the surcoat of 
 the knight he was a Herbert. In this way I added store to my 
 antiquarian hoard, a stock which I have but few opportunities to lay 
 out to use, or to benefit our pretenders to antiquities, who in general, 
 and the more so if professional men, presume too much on their own 
 notions of improving on ancient lore than taking up upon credit 
 from my firm of selections worked out of the mine of science known 
 among us in older times. Well, another age may think less of them- 
 selves, and more of their ancestors ; less of the "new fantastic order 
 of architecture," and more of the old English order of architecture ; 
 less of " capricious fancy," and more of refined taste. 
 
 White Castle. 
 
 When we are in a disposition to be morose, society does not 
 always drive away so ungracious a passion ; therefore we are best 
 left to ourselves till this phlegmatic propensity has subsided, and a 
 return of our natural gaiety inclines us to think all we find addressed 
 to our senses pleasant and agreeable. In this mood of sullen restraint 
 I have trod many a weary step : I welcome now the other operation 
 of the mind, a disposition to be happy. Quick flew the moments, 
 and lightly tripped our feet, as forth we walked towards this warlike 
 structure. A guide led the way, a worthy soul, an open and a 
 cheerful heart, a learned too, and one who venerated in truth our 
 ancient works ; now the merry tale, anon the serious record ; com- 
 bining thus the entertaining and instructive ways of men to keep 
 alive that genial flow of spirits so necessary to bear us out in life's 
 
White Castle. 
 
 151 
 
 pilgrimage, with due fortitude and resignation, towards that "bourne 
 from whence no traveller returns." 
 
 This castle is now far removed from all resort of men, save a few 
 cottages, which with their humble roofs were hid by their insignifi- 
 cance from standing in any seeming before its mighty front. Around 
 we went the strong enduring circle ; told every tower, wall, and 
 loophole — an arduous task it was, the circuit being of such a pro- 
 digious girth. The works are divided into three distinct courts ; 
 one of which has little to mark its order but the base line of demo 
 lished masonry. The other courts stand almost entire in their 
 exterior design, simple in architectural forms, but sublime in effect. 
 The grand entrance into the centre or principal court is romantic to a 
 degree ; and, as I essayed to gain its rugged ascent, seeing on either 
 hand no objects but wild underwood and a deep-cut foss, and before 
 me two tremendous towers and an arched entrance, which seemed 
 to grin destruction, I wholly gave in to the impulse of the moment, 
 that I was an adventurous being of old times, about to achieve some 
 perilous exploit. ... In our way back to Abergavenny we were induced 
 to look at Lanvethrin Church, the tower of which, forming the west 
 front, is remarkable, as are many other particulars, both on the 
 exterior as well as the interior of the church. We were most 
 attracted by a very ancient monumental statue of a religious, placed 
 in a silly way on its edge against the south exterior or wall of the 
 building. There are some readings on it, which have exercised the 
 learning as well as the wit of many literary men. Here Sir H. 
 Spelman's "History and Fate of Sacrilege " reminds me to follow 
 his example, by repeating a circumstance which the clerk of the 
 church acquainted me with, relative to this statue. About a hundred 
 years ago, a grave was dug at the east end within the fabric, when, 
 coming to a certain depth, the statue before us was discovered. Four 
 men employed themselves to raise it up, who afterwards cast it out 
 into the churchyard, and otherwise sacrilegiously used it. Some 
 time after this transaction, these four persons all met with violent 
 deaths : one was lost at sea, another was drowned in Lincolnshire, 
 a third drowned himself in an adjoining brook, and the fourth hanged 
 himself. Whether from these warnings, or from whatever cause it 
 may be, this statue has a show of much veneration paid to it ; which 
 is sufficiently made appear by the very perfect state it is in at present, 
 although placed in the way above specified. 
 
 [1802, Part I., pp. 126, 127.] 
 
 I now made my entrance into Monmouth ; whence I repaired to 
 Goodrich Castle, a short distance, and full of picturesque scenery, 
 varying at every tread from pleasing to terrific, and from terrific 
 again to pleasing. 
 
Architectural Innovation. 
 
 Goodrich Castle. 
 
 The architecture of these remains is simple, and the lines of the 
 plan are regular. The towers, which are circular, introduced a new 
 feature to my attention ; they rising from square basements, whose 
 diminishing angles, unwilling as it were to quit their changeful 
 bodies, still cling about them, until they become edge-drawn into 
 very nothing. The situation of this castle is on the point of a rocky 
 eminence, and appears to have had its materials dug out on the 
 exterior of the plan ; by which ingenious labour a very deep foss 
 was gained, and the construction itself received a ready and constant 
 supply from that quarry whose excavation served to secure the 
 approach of a defence it had thus contributed to render so durable 
 and so stately. The east front, near its north-east angle, has the 
 entrance, with a bridge of two arches leading directly into it. The 
 second arch, or, to speak more properly, a masonic chasm, is imme- 
 diately before the gateway ; and, from its present look, it may be 
 inferred here was some military false covering to deceive assailants, 
 who, on their gaining this part of the bridge, were precipitated into 
 the fatal opening, and instantly hurled by the stream through a com- 
 municating passage in the centre pier to the first arch, down a rugged 
 cliff, to unavoidable destruction. These were my conceptions, which 
 did not much embolden me to step along a narrow nook of wall 
 flanking the sides of the above stratagem, barely leaving room for 
 my feet to enable me to make good my passage into the castle ; the 
 chasm on my left, and the precipitous foss on the right. Certainly, 
 in this trial, an uneven pace must have doomed me to the fate of 
 many a foregone victim, whose temerity had got the ascendant of his 
 better judgment. They followed bright Fame in arms ; I, baleful 
 innovation in antiquities. 
 
 I, however, arrived safe under the gateway, though not without 
 feeling at the instant that sort of tremor ever attending a " dread 
 of something," we know not what. Solitude, silence, and objects 
 strange, which, from their dark and hagged semblances, added to my 
 suspicion and mistrust, increased this same nervous " superstition." 
 Resolute as I am in going through an achievement of this kind, I 
 stopped short, to consider the avenue before me, extending from the 
 entrance to the great court, a pass of not less than sixty or seventy 
 feet, headed over with ponderous arches and ribs, in rueful variety. 
 I then proceeded, with much caution and little noise. With hesi- 
 tating eye I counted two grooves, wherein had been a portcullis to 
 each, and a door on the right leading to small winding chambers. 
 Uncertain light, and more uncertain footing, prevented my researches 
 here ; I therefore continued my slow march of observation along the 
 avenue, until I came out into the great court. After a short interval 
 of due reflection, I regained some of my usual confidence, forgot my 
 
Goodrich Castle. 
 
 153 
 
 fears, and, after looking with an awed respect around, made the 
 circuit of the area wherein I then stood. I enumerated on 
 the left, adjoining the entrance avenue, the remains of a large and 
 stately chapel, telling divers windows with their stone seats, 
 almeries, holy-water niches, the site of the altar, etc. Hence pro- 
 ceeding to the right, I examined a variety of apartments. These 
 arrangements occupied the east side of the court. I then turned the 
 angle to the south side, and ascended a grand flight of steps, which 
 gave me the opportunity to look into that space where had been the 
 principal chambers of the castle. Next I encountered the keep, 
 a fine piece of Saxon architecture, possessing many parts deserving 
 of nice discrimination. West side of the court : mostly taken up by 
 the great hall, butteries, great kitchen, and a remnant of some excel- 
 lent co'umns and arches, showing forth as a superior porch or avenue, 
 leading to the range of chambers which must have run along the 
 north side of the court, although not any of their lines are in being, 
 excepting the windows in the wall, standing over the foss on this side. 
 In one of the stone seats of these windows I sat down to rest myself, 
 and partake of some refreshments which I had brought with me. 
 Now I ate my biscuit, then I sipped my cup (much satisfaction 
 sparkling on the brim) to the memory of those artists' hands who had 
 shaped all the interesting objects before me into notice. And ever 
 as I turned to look over the extended vale below, I saw the church 
 and spire of Ross, the pleasant Wye, and that point of the horizon 
 where lay my distant home. 
 
 Chepstow. 
 
 [1802, Part I., pp. 206-209.] 
 
 The Castle. — This vast pile is erected on a height made by the 
 association of many rocks, as one eternal support to such an aggran- 
 dized work of defence. The north side of this height rises perpen- 
 dicular from the Wye, presenting a natural basement wall ; while the 
 other three sides show the excavated labours of man, which, as at 
 Goodrich Castle, not only gave the foss, but supplied the materials 
 for the edifice above — an undertaking of the greatest concern to the 
 architect, who, by the expanse here allowed him, had an opportunity 
 to exercise the utmost of his skill. As for the expense incurred on 
 works like these, that must have been but a negative thought; 
 extent, grandeur, and security, were, beyond a doubt, the emulating 
 causes which directed the formation of Chepstow Castle. The 
 general plan is divided into four large courts, having two entrances, 
 one to the east, and one to the west. Their south sides run along 
 the foss, and their north sides overhang the river. This latter range 
 being inaccessible to any force, the line of the great kitchen, great 
 hall, grand chambers, and bowers, here present themselves, in every 
 mark of rich decoration, in their windows, etc., etc., whereas the 
 
154 Architectural Innovation. 
 
 former flanks of the works, liable to constant attacks, are masoned in 
 the simplest and most defensible manner, with no other apertures 
 than loopholes, in small square openings, and long and narrow, and 
 cross ditto. In taking the out-round of these walls, I obtained an 
 instructive lesson of the first use, in a progressive train of architectural 
 forms, from plain design, to that of the most elaborate composition, 
 and set forth in the various modes of workmanship from the earliest 
 times down to the sixteenth century. 
 
 The west entrance, which is a large square tower with an archway 
 in the centre, has before it a portion of a centrical pier to a two- 
 arched bridge crossing the foss into the entrance here specified. As 
 on the right of this remnant bridge the foss is keen, so on the left is 
 descried a headlong declivity preparing the hollow course for its ter- 
 mination in the sometimes agitated and whirlpooled stream below. 
 This ancient military consignment to a double death in raging 
 cataracts (adverting to the time when the foss was full of water), and 
 rending precipices, refers us again to Goodrich Castle in the like 
 method of fortification, followed more immediately at the entrance 
 into either. A chasm here is also to be met with, but it is con- 
 structed directly within the entrance, that at Goodrich being wholly 
 without the work. From the demolished and hazardous access 
 into the castle by this pass, I found it not either safe or practicable 
 to explore its particular parts, which, it is not impossible, ere long, 
 may be past the curious determinations of anyone, as there has been 
 built near it lately a kiln, which receives at discretion the stones to be 
 burnt for lime, either from the adjoining rocks or the basement 
 of this entrance tower, already much undermined by this sort of 
 depredation. Surely, when the tower falls, will anyone have the 
 effrontery to lay the blame on Time, the usual stalking-horse with 
 our antiquity dilapidators ? Repairing to the east front of the castle, 
 I found the approach extremely easy, being along a gentle rise ; 
 indeed, it is now the common entrance for all visitants into this noble 
 place. I perceived this entrance was well defended by three circular 
 towers, one at an adjoining angle, and one on each side of the gate- 
 way ; and as I passed under its arches I saw the portcullis groove, 
 and the perforated perpendiculars in their soffits, for casting down 
 missive weapons, or to accelerate the letting down or drawing up of 
 the portcullis. Finding myself in the first court, I instantly was 
 made susceptible to the noble appearance of the erections around ; 
 and, notwithstanding much disfigurement was discernible on every 
 part, the principal arrangement of the court was very intelligible. On 
 the left is the court front of that round tower (faced with a square 
 wall) which, we have already hinted, was at an angle of the walls ; on 
 the right are the great kitchen and great hall, with intermediate apart- 
 ments between them; and directly before my position of view a 
 circular tower securing the gateway to the second court. Before I 
 
Chepstow. 
 
 155 
 
 survey the interior of the tower at the angle aforesaid, it will be 
 proper to say that it has obtained the appellation of " Martin's 
 Tower," from the detestable regicide of that name,* who was confined 
 here till his death after the Restoration of Charles II. The door- 
 way, of primitive and remarkable form, to this tower being opened by 
 my conductor, admission was had to the first story, where the most 
 prominent features showed three loopholes, which, in their exten- 
 sions, gave sufficient room for several men at a time to discharge 
 their arrows, one holding his bow above another's, by means of the 
 narrow openings being made adequate in height for that purpose. 
 Under this story is a cavity called " The Dungeon " to give an insight 
 into which the floor has in most parts been torn up. Much gloom 
 pervaded the whole scene ; and I, as my usual impulse directed, was 
 soon conveyed back to remote times, and to that time when the first 
 defenders of this castle flourished. In an instant I found myself 
 hemmed in with the archers who maintained this point of the walls. 
 I saw their energetic attitudes, heard their twang of bows, their hum 
 of security, and the dying cries of the besiegers. Yet, in this historic 
 lapse, I could not be informed by my comrades if the dark cell 
 beneath was to contain their prisoners ; their tongues were silent, 
 but their fiery eyes, scowling from beneath their iron brows, frowned 
 out, " Forbear your ill-timed inquiries." And one of them being about 
 to centre his bow directly against my ruffled breast, my true ray 
 of vision returned ; and I found my conductor then holding me from 
 precipitating myself into the very abyss that had at my first entrance 
 caused me so much terror. I next ascended a circular staircase to the 
 second story, consisting of one large chamber and a small retiring 
 closet. This was the confine for Martin (his domestics dwelling on 
 the floor above), having two bower-windows, the largest of which 
 looked into the court ; the other, with two loophole windows, had a 
 view of the river and town of Chepstow. Two compartmented 
 chimney-pieces also had their share of decoration, and on the whole 
 gave a very good specimen of ancient accommodation, meaning long 
 before the regicide had contaminated it. Half-way up the stairs 
 leading to the third story is a small but elegant oratory, with three 
 windows, a chimney-piece, holy-water niche, and site of the altar. 
 The roof and floor were destroyed ; when looking through the latter 
 part, a sensible insight, not unmixed with some degree of affright, was 
 had to a portcullised avenue (a particular new to me in a station like 
 this) leading on to the battlements of the walls below me. It was 
 with some difficulty that I got on the leads of this Martin's Tower, to 
 look at the statues sculptured on the battlements around it ; as the 
 whole work of this part in particular, and indeed the tower itself, 
 was in a very decaying state, for want of some necessary repairs 
 
 * Gentleman's Magazine, vol. lxxi., p. 204. [Quotation from Coxe's "Historical 
 Tour in Monmouthshire," p. 193.] 
 
156 Architectural Innovation. 
 
 to a building truly meriting preservation. Descending the tower, I 
 crossed the court, and went into the great kitchen, a remnant of 
 a large and rich construction. The apartments between this place 
 and great hall are rather entire, and are occupied by the people who 
 show the castle. The most remarkable subjects therein were a 
 bower groined, retaining its window, etc., and a curious avenue 
 with arches and groins, descending to an extensive vault, showed 
 under the title of "The Cellar." Due consideration is requisite 
 to note over the corbels, groins, and the opening, or door hanging 
 over the river, which at high tide flows into a cleft in the rock under 
 this cellar, arched and groined in a very singular way. The great 
 hall is a complete ruin — that is, a dilapidated reproach to the owner, 
 who suffers by neglect such architectural innovation. The second 
 court contains an insignificant portion of remnant buildings. The 
 third court is merely taken up by a sumptuous assemblage of archi- 
 tectural relics on three stories, and although the floors, groins, and 
 ceilings have been carried off, yet there exists such a multifarious 
 display of windows, columns, arched recesses, chimney-pieces, etc., 
 etc., that participating minds, intent to give ancient merit its rightful 
 degree of attention, may with a ready hand particularize out the 
 finest combinations of art constituting a lordly, nay a princely, abode, 
 that can anywhere be encountered. The fourth court shows one 
 continued rage of innovation, convulsed in chasms, tumbled walls, 
 inverted arches, opened vaults, rocks rent, and earth uptorn ! In 
 real dismay at these sacrifices to human power, I withdrew entirely 
 out of the castle, without one flattering hope that what I had beheld 
 of its prostrate horrors was either a delusion, or the effects of a heated 
 imagination. 
 
 The remains of the walls of Chepstow town are only to be met 
 with on the north and west sides thereof, in whose line are two 
 circular towers and one gateway. This gateway enters the walls 
 at the junction of the roads from Monmouth and Newport ; in its 
 form simplicity prevails, and the proportions of the archway are very 
 correct. One or two ancient buildings stand on each side of the 
 High Street ; but they are either converted into stables or store- 
 houses, the usual lot of such-like structures out of habitable use, or 
 religious worship — structures endeared to us antiquity-lovers by 
 their historic inference and their rare specimens of arches, columns, 
 groins, etc. 
 
 The Church. — This edifice owes its origin to the Saxon style ; 
 a large archway at the west front, a smaller one in the north porch, 
 and the upright in the interior, sufficiently convince us that high 
 taste directed its first completion. Ages passing on have introduced 
 other modes on the various parts of the fabric ; and the last alteration 
 (a few years back) on the west front has made a vile mockery of all 
 the preceding attempts, in a ridiculous farrago patched on by some 
 
Tintern Abbey. 
 
 157 
 
 conceited country mason, whose habits as an architect seem to have 
 been squared by the theoretical dreamings of amateur scribes, who 
 may have at times presumed to set in competition unpractical propo- 
 sitions with the actual surveys of those who hold up to England's 
 sons the architectural glory of their ancestors. 
 
 Tintern Abbey. 
 
 [1802, Part I. , pp. 301-303.] 
 
 Firmly believing that in our monastic seclusions there were men 
 pious, charitable and humane, learned, and skilled in the fine arts 
 (see their sumptuous edifices, one incontestable proof at least), in- 
 dustrious in the common transactions of the world, cheerful of heart, 
 content of mind, and free from dissimulation, fear or guile — think- 
 ing on these things as possible some ages gone, I gave in to their 
 impressions ; and as I passed the rock-divided avenue leading 
 towards this distinguished pile, I looked with a sort of second-sight 
 at every moss-browed cave or aged oak, as though I saw beneath 
 their gloom the white-robed brethren's retiring shadows yet fleeting 
 before my descending tread. They seemed to wave me on to the 
 haunted fane, where round each relict doorway, window, arch or 
 tower, in airy windings or earthly prostrations, they still showed me 
 what remained of all that once was glorious. Those voids where 
 erst had stood the cloisters, domestic buildings, the north aisle of the 
 nave of the church, the groins, monuments and altars, these 
 visionary forms to aid me in my strict survey filled up the lines in 
 attitudes most intelligible, whereby I found that here a chapel once 
 was situated, there a tomb, a brass, or shrine was placed in awful 
 state ; in short, no circumstance was wanting to render me a true 
 insight into their most flourishing day. As reveries must give way to 
 certainty, as day must submit to night, so I saw insensibly fade on 
 my memoranda all the accumulated stores on which I had so much 
 counted. 
 
 In reality, then, and in sober mood, I began to sketch my several 
 views, and note my general remarks ; and it was now I perceived real 
 beings that thronged the vestiges of St. Mary's hallowed aisles. 
 Without the portals, poor hovelled creatures demanded charity from 
 casual visitations, which once was doled to their forefathers in daily 
 gifts in order, lacking neither prayers nor holy orifices. Within the 
 sanctified space, touristical perambulators, full of refined notions and 
 high taste, sported off their several opinions by way of giving hints 
 for the improvement of the natural defects and present condition of 
 the edifice. One was for " using the hammer to advantage " in de- 
 molishing the pedimental finish at the west front, as presenting an 
 appearance extremely ungraceful, although he could not but own it 
 bespoke the strong character of all such terminations. The mullions 
 of the west window, he also maintained, required a few judicious 
 
158 
 
 A rchitectural Innovation . 
 
 strokes ; its tracery was too perfect and formal, and wanted variety. 
 Another remarked what a good effect resulted from the north aisle of 
 the nave having been taken down ; and he gave his vote for a like 
 look-out on the south side of this part of the church. As for the 
 four grand arches in the centre, between the nave, transept and 
 choir, a grave and wise-looking personage declared u that it was 
 his unqualified sentiments, that as four principal objects in one 
 view are not consonant with picturesque disposition, and that three 
 particularities gave the precise definition of true composition, he 
 would recommend the arch next the choir to be destroyed imme- 
 diately." Then a pert, assuming gentleman, full of learned quota- 
 tions from Latin and Greek MSS., and from those volumes which 
 have inundated the world in praise and elucidation of Roman and 
 Grecian architecture, and who, by his rapturous recitals of Italian 
 masters and Italian schools, I kenned was some professionalist fraught 
 with contempt for his own country's arts, and adoration for those 
 climes whose natives laugh at the dupes they make to fabricated 
 antiques and desolated heaps of masonry that cannot be discriminated. 
 This accomplished squire thus said: "That as the various arches 
 within his view partook of the pointed manner, they had not either 
 elegance in their sweeps or truth in their centerings ; and as an 
 entire neglect of iron cramps to hold their materials together was 
 most glaring, and that some 'superstitious charm' alone sustained 
 the whole fabric, a good knock-down blow from a 16-pounder should 
 settle the whole business. Here," says he, " I would point my 
 cannon, whose ball, glancing at the north aisle of the choir, must 
 soon level that reprehensible upright ; then smack take me out the 
 famous column, as it is idly termed, in the middle of the east window, 
 yet standing in defiance of time or its perilous situation. This 
 would I do in contempt of your ' Gothic ' workmanship, your ' bar- 
 barous ' founders, or the flights of modern panegyrists in vindication 
 of false taste and those ' dark ages ' which gave such ' rude '* con- 
 structions birth." A hearty-looking man, after peering round the 
 limits of the church, proposed that all the rubbish he there saw 
 lying about of — of— (I must help him in the enumeration) ribs, of 
 groins, their bosses charged with foliage, shields of arms, basso- 
 relievos, etc., tops of stone coffins, a statue of a knight with "six" 
 fingers on each hand, as authors set down, though, allowing for the 
 folds of the ring-armour, there are no more than the usual number 
 man owns to ; part of a statue of a religious, and another of the 
 Virgin and Child. He (his own phrase again) would cart away to 
 Piercefield, as helps to strengthen the new encircling park wall there, 
 which by such assistance may stand till the whole demesne acknow- 
 ledges some new master. Though different conclusions in point of 
 picturesque beauty had thus divided my select company, yet they 
 * Cant words with the common herd of scribes who write on our antiquities. 
 
Tintern Abbey. 
 
 159 
 
 concurred to unite in admiration of the green mantling ivy covering 
 the major part of the whole pile, as constituting Tintern's chief 
 delight ; notwithstanding each eye plainly saw its sapping devasta- 
 tions carrying on into the very core of each wall whereon it had in- 
 corporated and entailed its destructive vegetation. 
 
 Not so thinks every one ; for a certain person had got from Bristol 
 men and scaffolding to cut down this ivy, that he, having most right 
 so to do, might behold those architectural features which had so long 
 been hid under the leafy guise. Doubt, however, arising that the 
 remedy might be worse than the malady — it being hinted to him that 
 labourers are not very tender in such desperate cases, and that the 
 curtailments might prepare the way for the downfall of the edifice — 
 he very properly laid aside his intended purpose. 
 
 The result of my survey. There is very little more remaining of 
 the cloisters than the mere site ; however, on the north side are 
 remains of some grand vaulted stories. The west front of the church 
 regular, full of rich work, and in a good state of preservation, having 
 suffered but superficially in the wreck of dilapidation. We cannot 
 say much of the south and east fronts, as they are entirely covered 
 with ivy. The north front nearly destroyed. The remnant south 
 side of the nave, transepts, and choir bear their honours undimin- 
 ished, except the groins, which, it must be confessed, comprised one- 
 third of their general design. The style of the architecture is in the 
 Pointed manner, perfect in its several degrees, and sublime in appro- 
 priate embellishments. 
 
 This abbey-church, to artists who are skilled in taking views of 
 our antiquities, is considered by them as the chief model in the land 
 for enriching their scenic knowledge, and ensuring pecuniary rewards 
 from their well-selected imitations of its various parts. 
 
 I cannot but call to mind a recent instance of mortality, and its 
 connection with handed-down events for more than two centuries 
 past. It appears that the title of the Bedford family was never 
 enjoyed by the immediate heir, or by immediate descent from father 
 to son ; and that some premature conclusion or other was ever 
 attached to the noble name. 
 
 Caldicot Castle. 
 
 [1802, Part I., pp. 416, 417.] 
 
 Accustomed to behold defensive structures placed on eminences, 
 I in the present instance found this castle raised on a low marshy 
 ground, at no more than a mile distance from the Bristol Channel. 
 All its former importance must, therefore, have resulted from the 
 grandeur of its design alone, unaided in regard to scenic effect, by 
 hanging woods, romantic rocks, or distant mountains, appearances 
 which so distinguish other the like works. The lines of this castle at 
 present are nearly reduced to the encircling walls, wherein is presented 
 
i6o 
 
 Architectural Innovation. 
 
 one large court. It is worthy of remark that I found three distinct 
 entrances, one in the principal front, one in a round, and one in a 
 square tower on the other fronts. The principal or grand entrance 
 is a noble elevation, and regular in all its parts ; the gateway 
 capacious, the windows of a desirable size, the entablature and open- 
 work battlements appropriate, and the sides of the erection flanked 
 with lofty square towers, which upon the whole well disposes us to 
 conceive the dignity of the other arrangements of the several buildings 
 when in their pride of perfect order and full occupation. On the 
 right of this entrance is a range of fine windows of the largest 
 dimensions, and which no doubt point out that they made a part of 
 the great hall of the castle. It is common, in these kind of structures, 
 to witness the walls composed of rough, irregular courses of masonry, 
 excepting the coin-stones, the jambs of doors, windows, cornices, etc., 
 which we always find perfectly wrought ; yet, in the example before 
 us, the finishing of every particular has been alike attended to. The 
 courses are of large and equal-sized stones, truly squared and nicely 
 jointed, whose faces are so smooth (that is, where the destroying 
 mattock has not been employed), and so " un-honeycombed," that 
 they are well enabled to belie the assertions of those adulators of 
 Grecian artificers, that such men alone knew how to give uniformity 
 to their labours, or durability to their constructions. However our 
 modern professionalists stick up such ideal superior merit over our 
 traduced ancient art in this respect, yet I consider they know only 
 their own presumption in favour of Continental architecture, and but 
 little of research for perfection in modes of building in such an out- 
 of-the-way and deserted spot, as shows to us, who come forth in 
 honour of our ancient brethren, Caldicot Castle. . . . 
 
 I passed under the avenue of the gateway ; nothing of affright or 
 terror, as heretofore, from view of arches in sullen order, stretching 
 over my head ; no, light and elegant groins, pleasing recesses, doors, 
 and other properties, presented each their several inducements to call 
 me on to do their deserts justice. On each hand were doors entering 
 into dilapidated chambers where innumerable traits of chimney-pieces, 
 bower-windows, etc., corroborated my above suggestions of this castle's 
 original splendid state, judging from this grand gate of entrance. 
 Within the court all was a waste, a mere architectural shadow for the 
 fancy of such an one as me to catch at in aid of resolution, my 
 purposes lacking fire from every vestige to cry, Go on. In the 
 remnant towers at the several angles of the walls I encountered 
 many things worthy drawing from ; my experience was increased, was 
 confirmed. 
 
 Caerwent. 
 
 [1802, Part L, p. 417.] 
 
 Among the few Roman buildings in this country, that have withstood 
 the rage of time, or mortal despoliators, as escaping a universal 
 
Caerwent. 
 
 161 
 
 extirpation, this military station appears to be the most considerable ; 
 the lines of the whole exterior form are very visible, being of an 
 oblong figure, and measure rather more than a mile in circumference. 
 On the east side are parts of the general wall, with a moiety of the 
 gateway entering into the area. The west side shows alike some 
 wall, and a corresponding particle of a gateway also. The north side 
 of the station has but small traces of the wall ; but on the south side 
 it is rather entire, and flanked with projecting octangular towers 
 rising to a height not less than 20 feet. From facings of the 
 masonry, and the breaches in the wall at different points, much 
 information is derived of the mode made use of in its construction • 
 and as a proof of the extraordinary qualities of the materials in their 
 combination, a large mass of the wall on this side, 12 feet in 
 height and 22 feet in length, has fallen from its position, and now 
 lies in one body, as though it were part of a huge rock rent in 
 twain by some convulsive shock in Nature. Towards the south-east 
 angle of the area are the remnants of a tessellated pavement, which, 
 from its exposed position, is open to the inclemency of the elements, 
 and the pilferings of curious visitors. I could not make out much of 
 its first-intended form, or any particular shapes, except a Guillochi 
 or the like. This is the only sample of the building to be met with 
 within the wall (excepting the modern village, houses, etc.), whatever 
 may in time to come be discovered under the present level of the 
 ground. To those amateur artists who are engaged in such explora- 
 tions, and who, no doubt, may carry on their exer'iions here^ I 
 submit this advice to attend them in their several efforts : let them 
 pay more attention in their copies to what is really existing of such 
 remains, than to futile suppositions in setting forth by demonstration 
 that such and such embellishments once filled up this and that 
 hiatus ; and, instead of giving remnants which meet their notice and 
 come under their sketching, an ideal restoration (through the 
 assistance of professional artists, eminent in drawing the human 
 figure, ornaments, etc.), present to the world faithful facsimiles of 
 subjects which they, as miners in antique lore, so pretend to admire 
 and imitate. 
 
 Bristol. 
 
 [1802, Part I., pp. 516-518.] 
 
 In my passage over Aust Ferry, my attention was wholly taken 
 up to catch the various views that Chapel Rock afforded ; and I 
 essayed at something like a sketch of the ruined chapel on it ; but 
 the still changing course of the vessel wherein I was still changed the 
 aspect of the building, so that my attempt became in a manner fruit- 
 less. Thus, in this momentary struggle to gain a desired purpose, I 
 brought into a small compass the moral of human life. 
 
 I made good my landing on the Gloucestershire shores ; thence 
 journeying through Bristol, as I there noted two or three churches, I 
 
 vol. x. 11 
 
162 
 
 Architectural Innovation. 
 
 could not but perceive that they had undergone a thorough architec- 
 tural innovation, the work of which showed that it ranked them under 
 the standard of the " Fantastic Order of Architecture," whose institu- 
 tution we have set forth — vol. lxxi., p. 1005. [Ante, p. 143.] 
 
 Bath. 
 
 Bath has so diminished itself of its ancient architectural conse- 
 quence, by constructing of modern parades, places, squares, cres- 
 cents, circuses, and promenades ; and the last record to convince 
 incredulous minds that history sometimes may tell the truth, the 
 Abbey Church, yet permitted to rear up its sacred towers, is so sur- 
 rounded and encroached upon by hovels even thrust into its very 
 walls, its interior so filled with mortuary lie-traps, theatric galleries, 
 and boxes for fashion, folly, and religious inattention, that the head 
 and the heart of an antiquary are distracted and torn when aiming to 
 make out his bill of commodities taken up to traffic with, whereby his 
 ventures may turn to some account. 
 
 Heat intense, vapours obnoxious, waters that freeze and boil, con- 
 fusion, riot, and dissipation, Bath's health-restoring blessings had now 
 no lures for me. Some eight or nine years past, to partake of a 
 sovereign benefit, in making plans, elevations, and sections, of the 
 Abbey Church, I bore through a three-weeks regimen of daily taking 
 in an unpleasant mixture, composed of a few square feet of right old 
 English pointed-arch solid masonry, and an untold number of feet of 
 your modern Roman and Grecian superficial ditto ; the first ingre- 
 dients to act as an astringent to brace up my nerves, to remain stanch 
 to my architectural principles, and the latter to pass off as a purgative 
 to clear my habit of the new and false impressions wormed into the 
 noble science I so much admire. 
 
 Turning my back on Bath at this time in haste, I got on my way, 
 pondering that I was soon to enjoy a sight high in the praise of 
 antiquarian fame, a sight more fraught with the majesty of our ancient 
 architecture that any I had partook of in this my present tour. Do I 
 then ken the important post, where I am to try my utmost power, the 
 force of all my life's experience, to surround, to enter at every avenue, 
 to take each out-work, inner mansion — yea, the great fane itself? I 
 am prepared. 
 
 Malmesbury. 
 
 From the remnant walls in many parts of the town, it is evident 
 that they when perfect must have been of a superior order ; and, at 
 the entrance into the place from Farringdon, their height, winding 
 direction, and fine masonry, establish this position in a noble, or 
 rather a romantic, degree. Not any of the gates are left ; the last of 
 which, guarding the above approach, was pulled down within these 
 ten or twelve years, upon no other consideration than that the 
 
Malmesbury, 
 
 163 
 
 materials were handy to mend the road with. On the outside of the 
 western wall, near the west front of the Abbey Church, is a small 
 oratory, said to be built on tne site where the first religious of Malmes- 
 bury took up their abode ; and, notwithstanding its mutilations and 
 defilements, shows much of delicate and elaborate design. There are 
 also, at the extremity of the town, leading to Chippenham, some 
 vestiges of rich architecture, to which mean almshouses have been 
 attached ; other almshouses, of regular though simple workmanships 
 are to be met with within the town. On the premises of an inhabi- 
 tant is part of a Saxon font, enriched with a profusion of sculptures, 
 both of statues and ornaments. Adjoining the market-place are 
 remains of a small religious building (now the principal inn) — such as 
 the gateway, cloister, and some chambers, with many original decora- 
 tions, as a holy-water basin within the gateway, painted glass in the 
 kitchen, etc. 
 
 The Market Cross. — It is of an octangular figure, and much 
 enriched ; on the turret in the centre, supported by the eight oct- 
 angular flying buttresses, is a crucifix and several statues. This relic, 
 considering the few designs of this sort in being among us, owes its 
 preservation to a noble personage of the neighbourhood, who, by a 
 liberal expenditure, has put it into a good state of repair. Yet 
 though the workmen employed were peremptorily ordered to adhere 
 to the original finishings, they have in a careless manner (let me say 
 they were under the mania of improving our ancient architecture) 
 attended to the perfect parts of the cross, and to antiquarian judg- 
 ment rendered this object a theme for much dispraise and censure. 
 However, the motive of the right honourable protector must not 
 suffer from the wilful inaccuracies of perverse artificers. His example 
 is of the first commendation, to instigate his compeers to go forth and 
 do likewise. Near the west front of the Abbey Church is the gable end 
 of an edifice which, tradition tells us, is a moiety of the castle which 
 once dignified the town ; there are beneath its walls some vaults 
 remaining. 
 
 The Abbey House. — Its erections are considerable, and exhibit 
 three distinct periods of architecture. The approach from the 
 eastern end of the church is through a simple Saxon doorway. The 
 basement story of the house is in the early pointed-arch manner, of 
 much importance in the construction and detail of the several charac- 
 ters. The upper stories are of the Henry VII. and VIII. dates ; 
 indeed, no other way interesting than that they help our contempla- 
 tion on persons and on circumstances previous to that change which 
 first made way to reduce the renown of Malmesbury's ancient abbey 
 to its present condition, the church of which we shall now proceed to 
 survey, with pain it must be, from such thoughts, and pleasure, which 
 cannot be restrained, that there is still visible so much of it to gratify 
 our curiosity and research. 
 
164 
 
 Architectural Innovation. 
 
 [1802, Part II., pp. 627-630.] 
 
 The Abbey Church. — Upon tracing the lines of its plan, I found 
 the walls reduced to the nave, a few portions of the north and south 
 transepts, and the south-east angle of the cloisters. If the information 
 which I have received is correct, the three western divisions of 
 the nave and the choir were in a ruinous state some time previous to 
 the demise of Henry VIII. A west front, therefore, was run up at 
 that time in the third or easternmost of the three divisions aforesaid ; 
 and an eastern wall in the last division of the nave, or entrance under 
 the great tower which divides the two transepts. These repairs 
 bespeak the architecture of the period alluded to ; an indifferent, 
 makeshift mode of work, as if the pious brotherhood had more than 
 a bare surmise in concluding that to rebuild the western and eastern 
 extremities of the church in their former magnificent manner would 
 be an ineffectual and useless undertaking. Anticipation whispered 
 to them that their pride of art was near its fatal termination ; general 
 reverence, so long its fervent adorer, was turning to behold the Roman 
 and Grecian styles that were advancing forward to begin the change 
 which was so soon to take place in their national architecture. 
 In this way must we account for the present appearance of the west 
 and east fronts, so unworthy the rest of the building, which we find 
 was designed in the Saxon mode, when so many instances of 
 the grand characteristic of this order, the semicircular arch, and that 
 refined feature the pointed arch, seemed to maintain so powerful a 
 contest which should gain the mastery of science : the latter species 
 we know triumphed, and burst into an order constituted purely on its 
 native excellence, which, in the fourteenth century, stood confessed 
 the glory of this land. The upper story of the building (that is, in 
 the remains before us) evidently shows it was reconstructed in 
 the reign of Edward III., as every particular of the work is in 
 the most beauteous and perfect degree of the pointed-arch manner. 
 Some dressings in the like method have also been inserted into the 
 windows, and other decorations, of the first story. 
 
 The west front is literally cut in twain, and the right-hand half 
 stands in the best state of preservation, excepting its upper finishings. 
 Hence our scrutinizing eyes may take the most exact copies of every 
 moulding and ornament, some of which are so sharp in their parts, 
 and so intelligible to minds leaning this way for instruction, that 
 we must still give new praise to infuse delight, and new admonition 
 to warn dilapidation. The upright is made out by five or more 
 heights, in which are windows, arched recesses, single, or subdivided 
 into three compartments. The pilasters, architraves, and cornices 
 are covered with ornamental devices, diamonded or diagonaled ; and 
 the moiety of the grand door of entrance in the centre is full 
 of foliage and small basso-relievos of the most exquisite sculpture. 
 Behind this inestimable morgeau is seen the present fagade, or, 
 to speak more in truth, the walled-up west end of the church. 
 
Malmesbury, 
 
 165 
 
 The south side of the church. We are first attracted by the 
 partial return of the enriched work of the west front. The three first 
 divisions on this side are in ruins. The porch is complete, which in 
 its outer face is of simple work ; but to tell of its interior embellish- 
 ments, the task were too infinite for the limits of these essays. Suffice 
 to say that its second archway is composed of many columns and 
 arches, sculptured on every part with ornaments and basso-relievos, 
 the latter illustrative of the principal subjects in the Old and New 
 Testament. Many of these objects are yet undisfigured ; and their 
 merit, as specimens of our ancient sculpture, emboldens me to assert 
 that their design, disposure, and drawing are no way inferior to the 
 most dear-purchased and highly-adulated marbles that have yet been 
 imported into this kingdom, either from Greece or Rome. At the 
 interior extremity of the porch is a third archway, of less dimensions 
 than the former, yet having still its share of rich embellishments. 
 On each side of this interior are large basso-relievos, of many figures, 
 peculiar in their attitudes and their several draperies. In leaving this 
 porch, I must declare that it is one of the most capacious and nobly 
 adorned works of the kind I have ever witnessed. Continuing on 
 the line of the first story, we are to look at the original design of the 
 edifice, and the pointed-arch work there inserted. The second story 
 truly marks the Edwardian style, lofty in its uprights, charming in its 
 proportions, and elegant in its arrangement and decorations. This 
 part remains in its original order. To the left we next behold the 
 sad leavings of sacrilegious dilapidation • for I cannot lay the ruinous 
 state of the north arch of the great tower to that decay which awaits 
 all things, as the parts untouched by the mattock, such as the 
 columns, arches, and the facings of the walls, are as true in their 
 perpendiculars, and as perfect in their mouldings and sweeps, as when 
 first left by those who raised them. There are some remnants of the 
 work of the choir hanging to the pier of the great arch here noticed. 
 
 The east end of the pile presents an entire rain, yet those parts 
 unhavocked, as observed above, are all in the best state that can be 
 imagined. These uprights make out the interior of the west side of 
 the south transept, the west arch of the great tower (walled up as the 
 east end of the church before hinted), east end of the north aisle of 
 the nave, and the residue of the exterior wall of the east cloister. 
 
 The north side of the church takes in the north aspect of the great 
 tower (a ruin in like manner as the other parts specified), and the 
 nave, which in its construction is similar to the south side of the 
 church, excepting that here is no porch; and within the fourth 
 division for the windows to the first story there is a window of a 
 magnificent turn introduced, in the style with the Edwardian work, 
 constituting the upper story, which story is in unison with what has 
 been done on the south side of the building. 
 
 In the interior of the church, on each side, the elevation comprises 
 
1 66 Architectural Innovation. 
 
 the first story, the galleries over it, and a second story containing the 
 windows and groins, etc. To the first story are massive single 
 columns supporting arches of a pointed form, and in the galleries 
 the same sort of single columns support semicircular arches. Not- 
 withstanding we may be struck with the appearance of the pointed- 
 arch thus combined with the Saxon design, yet the minute parts of 
 mouldings and ornaments are all in the characteristic taste of the latter 
 order. This one circumstance, it is to be hoped, will convince the 
 real English antiquary that the pointed-arch manner was no purloining 
 from Gothic or Saracenic lands, bat the casual alteration of one 
 geometrical figure to another ; which, from its novel indication to our 
 ancient architects, its high scientific demonstration, and its superior 
 powers to resist weight and all collateral pressures, than what could 
 be found in the semicircular arch, beyond a doubt duly weighed on 
 their considerations ; and in process of time they struck out that 
 sublime order which has for a century past been stigmatized by the 
 name of Gothic. From the perseverance of some of the faithful 
 advocates for the pointed manner as of English creation, the odious 
 epithet Gothic is about to be cut off from its invidious usurpation. 
 At the same time, they solicit their fellow-labourers in the study of 
 antiquity to adopt some more consistent and honourable term, at 
 once to give merit its just due, and restrain the malign attempts of 
 those who would consign its glories to dark oblivion by a total disuse 
 of any of its divine properties. In one of the divisions of the galleries 
 on the south side is a small projecting enclosed seat. This ac- 
 commodation, we may infer, was for the pious use of the abbot, after 
 this part of the edifice was fitted up to celebrate the service in ; he 
 having, on the removal of the choir, lost so necessary a seclusion used 
 by him on certain religious occasions. This seat is masoned after the 
 same manner as seen in the present west window. As the second 
 story displays the Edwardian style, we need only remark, as on the 
 exterior, that so proud a period of art lost nothing of its majesty by 
 what we here behold of lofty windows and ascending groins ; light, 
 airy, and enchanting. 
 
 The church of Malmesbury (recollecting what I had premised : vol. 
 Ixxi., p. 1 102) is, then, that place of worship which had not been 
 cleaned out, as was reported to me, for ten years before this, my 
 survey. The accumulation of rubbish in the aisles and pews was not 
 only great, but offensive. The paving in the south aisle was open to 
 the graves ; but in that division to the east in the said aisle, where the 
 tomb and statue of King Athelstan, the founder and patron of the 
 church and town is set up, was all kind of lumber, and a fire-engine. 
 In short, so much of disregard to common decency in point of 
 cleanliness in a Protestant church I never before was obligated to bear 
 witness to. Why do those who now fatten on the good things which 
 the royal founder left for charitable and holy purposes so far forget 
 
Malmesbury. 
 
 167 
 
 the source from whence they spring ? Has gratitude lost its meaning 
 at Malmesbury? Else, surely, Athelstan, thy pile and sepulchral 
 memorials would claim something the reverse of neglect and defile- 
 ment. I may be told the exteriors of the first stories to the south and 
 north aisles in certain degrees have been lately new-faced at a very con- 
 siderable expense : I allow it ; I allow, also, that the work is the best 
 performance I have anywhere noted, when a faithful adherence was 
 ordered to be made to the original design. But has attention been 
 paid to the walls themselves, the fractures in the groins, and to the 
 state of the roof? How is this to be answered? Without is given 
 a show of repair ; and within all is inattention and decay. 
 
 On the south side of the churchyard, there has been erected a small 
 gateway after the plan of the person who so praiseworthily super- 
 intended the partial restorations of the church ; yet, in this instance 
 of the gateway, he has dared architectural symmetry, or the features 
 of the ancient walls he had been working on, for he has given 
 a circular arch to the gate, with pointed windows of the smallest 
 dimensions, and battlements of a proportion fitting one of the largest 
 buildings that could be constructed. The minutiae of parts are 
 entirely in the modern way of common house-finishing. I mention 
 this last object (in itself a paltry effort of art) to corroborate my 
 various assertions, how adverse professional men are to follow our 
 ancient styles of architecture with any degree of correctness, when 
 left to their own enlightened genius to produce a new something, or to 
 innovate on those structures which are so unfortunate as to be 
 resigned to their discretion and fantastical improvements. 
 
 Laycock Nunnery. 
 
 [1802, Part II, pp. 728-730.] 
 
 At some twelve or fourteen miles to the south of Malmesbury are the 
 remains of this seclusion, consisting of the greater part of those 
 buildings which were for the accommodation of the sisterhood and 
 others appertaining to the service of the church. Very faint vestiges 
 of the church are to be discerned. These particulars will be spoken 
 of in due order. A.s this nunnery was converted soon after the 
 suppression into a residence far other than for religious uses, of 
 course many alterations were made in its walls agreeable to the 
 change it had undergone ; and in several instances we see decorations 
 stuck about in the styles of architecture prevailing in the reigns 
 of Elizabeth, James, and Charles I. These innovations are 
 trifling when we come to view what has been effected both in the 
 internal as well as the external parts of the pile, by the larding on of 
 those devices which mark the first dawnings of the fantastic order 
 of architecture, stolen in among us some fifty or sixty years back 
 
i68 
 
 Architectural Innovation. 
 
 through the connivance of one Batty Langley* ; since which time it 
 has been crawling over many parts of the kingdom, sometimes rearing 
 up its brazen head, and then sinking into darkness ; then issuing forth 
 again, and then again lost in contempt and disuse. In our day this 
 order has revived once more, stretching out its bloated neck to that 
 extreme height of architectural innovation, and to that enormous bulk 
 of defiance to Antiquity, that we who are her champions trembling 
 wait for the direful event that bids her live or die, us to triumph or 
 fall and be no more. 
 
 Preparatory to our near approach to the nunnery a simple (other- 
 wise rude) cross attracts our sight. Well, next the outbuildings of 
 granaries, other storehouses, and the first gate of entrance into the 
 confines, are before us. Here I took a considerable time to indulge 
 my "mind's eye" in composing an historical scene for some future 
 drawing. A fair devotee appears, attended by her relatives ; they 
 knock at the ring ; the huge gates open, and close on her who never 
 shall return. My sketch finished, I proceeded, but took the modern 
 way towards the habitations. On my left I recognised an early 
 friend ; two Corinthian columns with their ordonnance, supporting a 
 sphinx. (Ye wot of this). A modern gateway (raised some fifty or 
 sixty years ago) next conducts us to the west front, or present 
 entrance to the mansion. In no instance did I ever note the 
 burlesque show its motley garb more ridiculously than on this gate, 
 which consists of a pointed archway arrayed over with the French 
 papier-mache style of pilasters, architraves, foliage, urns, and I know 
 not what. The greater part of the west front of the mansion has 
 been altered and patched out (of late years) on the villa plan, giving 
 double flights of steps, Chinese doors and windows, and all the rest 
 of such frippery. Whether this improvement gave pattern to fit up 
 the orchestra, boxes, etc., at Vauxhall, or Vauxhall showed this 
 structure what it was to be fantastical, depraved taste alone can 
 unravel. On the north side of this mansion is a large court, two 
 sides of which show many ancient offices. The south side of the 
 mansion is the filling-in of the north wall of the north aisle of the 
 church, as is evident from the lines of windows, groins, their 
 springers, etc. On the height of this wall is run a gallery, in the 
 Inigo Jones manner (much of this sort of work appears in many 
 parts of the pile). This particular would, if common-sense did not, 
 convince to the contrary, what an improbable and pitiful tale is taken 
 up here, about a nun jumping from this gallery into the arms of her 
 lover. And for grave personages to scribble down by retail this 
 contemptible endeavour to scandalize former times! The east side of 
 the mansion may be properly called the " gutted " side of an edifice ; 
 for the vestry, chapter-house, and other distinguished arrangements 
 belonging to the church, are laid open to view ; wind, rain and the 
 * See his " Gothic Architecture Improved." 
 
Lay cock Nunnery. 169 
 
 feathered tribe, have their occasional entrance at will \ and summer 
 retreats, green-houses, and fuel-houses are their present appropriation. 
 
 This is my twentieth sketch ; the others are from views taken 
 in every situation, the ornaments, decorations, etc. So much of 
 the grand, the elegant and what antiquaries are constantly in 
 search of, the uncommon, in regard to the disposure of the 
 allotments for this nunnery's accommodation, highly disposed me 
 to bestow so much of my labour here. I entered from the large 
 court into the great hall; it is attached to the north side of the 
 cloisters. (These cloisters are, as it were, the interior or principal 
 arrangement of the seclusion, round which the other buildings are 
 raised.) This hall is capacious, with its characteristic finish over- 
 head of open-worked timbers and so forth (Westminster-Hall-like ): 
 its space is entirely built up into modern passages, staircases, servants' 
 rooms, etc. These encumbrances, however, do not entirely hide 
 from sight many of the corbels, arches, timbers, and other of the hall's 
 peculiarities. On the east side of the cloisters are the vestry and 
 chapter-house as aforesaid ; over them are long chambers or galleries; 
 and above these latter arrangements the dormitory is erected — a place 
 airy, commodious, and most healthful. On the two sides of its 
 line are the cells for peaceful repose, with a bower window to each, 
 perfectly fitting the sisterhood which once occupied this noble 
 monastery. Let me whisper in the ear of the reverend tourist, pray- 
 ing him to recollect that in this dormitory is the rummage of a large 
 house, as fashion has changed hands for more than a century past, 
 viz., rusty pieces of armour, velvet, Turkey-worked worsted, and 
 stuff furniture, old chests, broken tables, legless chairs, and all the 
 accumulation of cobwebs, mice-holes, sparrow's nests, and nests for 
 bats and owls. Did females in ancient time lie thus accompanied ? 
 Fie ! fie ! On the west side of the cloisters (comprising the entrance 
 front) is a range of apartments, as the kitchen, refectory, etc. The 
 kitchen is partly in its original order. The refectory (under 
 which is a fine groined crypt) is metamorphosed into a modern 
 hall bedecked with every specimen of the fantastic order when 
 in its maddest guise. No one of the period of its decorations but 
 Batty Langley himself could have so far forgot his rudiments from 
 Palladio and others, or the perfection of our ancient architecture, as 
 to have done all this ; nay, the very room he was degrading, and the 
 many perfect objects around, as the cloisters, chapter-houses, etc., 
 must have upbraided him for his savage taste. But architectural 
 innovators are blind, callous, and inexorable. The design of this 
 hall may be, then, considered as an epitome of all the professional 
 publications by England, Italy, and France, for these 150 years past, 
 alluding for the most part to those which come under the title of 
 the " Grotesque." It gives a sort of architectural masquerade, where, 
 if the doors, windows, chimney-pieces, compartments, niches, and the 
 
170 
 
 Architectural Innovation. 
 
 coved ceiling, excite our smiles, how are we to refrain from the ex- 
 cessive risibility which overwhelms us, on seeing bustos and statues of 
 all ages, sexes, and dimensions, dressed in fancy habits, uniting in a 
 grand ballet composed in honour of false taste and modern decora- 
 tion ? I deny that these statues in any degree have either that 
 " ingenuity " or " spirit " recorded, unless folly may be understood by 
 the one, and madness from the other. Shocked at this departure 
 from sober science, I passed into the cloisters. It is now I am 
 myself again. All I behold is the perfect remain of that sacred pale 
 which once echoed to the gentle tread of the chaste society, happy in 
 hearing no sounds but songs of prayer, in seeing no sights but 
 heavenly symbols ; wherever they turned, all was sweet content ; 
 wherever they rested, all was pious contemplation. The design of 
 these cloisters is of the elaborate kind, in a medium style between the 
 Edwardian and the Henry IV. modes of work ; they are in the best 
 preservation, every moulding, piece of foliage, arms, or devices, true, 
 and well to be understood. Exulting in the pleasure received from 
 this fine work, I went on to the ancient rooms on the east side of the 
 cloisters as before mentioned. 
 
 I entered first into the room which stands to the north ; it is 
 divided by columns into two aisles; the groins springing from them 
 have the best proportion, and are on the best construction; the 
 windows are cut out into arches leading to the terrace. On the side 
 opposite to these windows is a large chimney-piece. The masonry 
 of the parts is of the simple degree, yet grand in effect; some of 
 the capitals have sculptures of pleasing foliage. In this room is a 
 large oblong basin, 11 feet 2 inches by 4 feet 3 inches, and 2 feet 3 inches 
 in height, cut out of one stone. Conjecture tells many tales about 
 this relic. May I presume also ? I suppose it was made use of as 
 a bath by the females of the nunnery. I next entered into the 
 chapter-house ; the windows are cut out into open arches ; the 
 columns dividing the space into two aisles, and supporting the groins, 
 are clustered ; these columns and groins have an increase of mould- 
 ings, and the capitals belonging to them are more enriched than those 
 in the preceding room. Here remains a plain tomb, and a pavement 
 ditto. The third room (continuing the line) is the vestry ; the work 
 is still higher charged than what I found in the two rooms already 
 described. The mouldings are more profuse, as are the ornaments 
 to the capitals of the columns dividing this room, like the others, 
 into two aisles. Among these ornaments are many bustos of noble 
 and royal personages. The windows are cut out, as of the rest. On 
 one side is a large arched recess in the wall ; on the opposite side, 
 bearing against the north remnant of the church, is a doorway, and 
 two holy-water niches. There are many paintings, in the architraves 
 and groins, of foliage, stars, and other forms. These paintings have 
 been retouched, and the whole of the masonry and sculpture in these 
 
Charleton Church. 
 
 171 
 
 three rooms repaired with the utmost care and attention of late years, 
 but by whom, or when, I could not receive any satisfactory account. 
 The styles manifested in these rooms are of the early pointed-arch 
 manner, and have as many pretensions to be called " florid " as the 
 work of those buildings assigned to the reigns of Henry VI. and VIL, 
 they being by some (who have little or no professional experience in 
 such affairs) supposed to excel the magnificence of the former in the 
 most superabundant degree. 
 
 Lanthony Abbey. 
 
 In addition to this essay, let me unfold to those who have an 
 interest in our antiquities the following circumstance, which was 
 communicated to me at a friend's house where I had been this day 
 to look over a curious missal. He declared that he had just heard it 
 as a certain fact, that the fine west front of Lanthony Abbey, one of 
 the most interesting remains in the kingdom, had in great part been 
 destroyed. Dear friends, turn to vol. lxxi., p. 1169. [Ante, p. 148.] 
 Did I augur without just cause? I wish, indeed, this information 
 was no more than a visionary ill, to play awhile on the enthusiastic 
 phantasy of one like me, in punishment of such a weakness. 
 
 Charleton Church, near Malmesbury, 
 
 [1802, Part ff, pp. 825-827.] 
 is an exceeding small edifice, and has many decorations worthy 
 observation, particularly the columns and arches dividing the church 
 into two aisles ; they possess much elegance. The font likewise is to 
 be noted from the sportive diversity and semicircular and hexagonal 
 lines seen in its plan, etc. Architectural innovation in this church 
 may be said to be a plague unknown, as every part remains nearly in 
 its pristine order ; not one receptacle for filth or rubbish to be met 
 with, the utmost neatness prevailed, and devotion, as of old times, 
 had nothing unseemly or unhallowed to draw attention from the song 
 of praise. We are not always used to speak thus of our religious piles, 
 I think. 
 
 Tetbury. 
 
 It has been a custom, and I believe it is not yet done away, with 
 professional men, to cry out "anything is Gothic" (that is, our 
 ancient styles of architecture) ; and certainly nothing can be more 
 conducive towards fulfilling this " vulgar error," or give greater 
 energy to the dominion of the fantastic order, than the general 
 appearance of the new building called the church of this town. The 
 architect in this his design convinces us, along with the many who 
 have publicly described its walls, that he had King's College Chapel, 
 Cambridge, in his eye ; but how has he departed from the refined 
 original ? or, to speak more the language of our amateur illustrators, 
 how has he improved upon its imperfect features ? King's College 
 
172 
 
 Architectural Innovation. 
 
 Chapel we define to be one entire room, with doors and windows on 
 each side and at each end ; between the windows columns at a certain 
 height support the groins, which compose the finish overhead ; and 
 on the exterior of the structure, north and south, are a succession of 
 small chapels intended as sepulchral repositories for great and illus- 
 trious characters. Now let us compare Tetbury's present ecclesi- 
 astical arrangement (as triumphant over the late church which bore 
 its name). We find the plan laid down into three aisles, a large one in 
 the centre, and a smaller one on each side ; clustered columns divide 
 these aisles, and from their capitals spring the several groinings. 
 
 That scientific charm pervading our ancient religious buildings, in 
 all situations and in all directions, manifested in every decoration and 
 in every enrichment, the incomprehensible Three in One, is in no 
 instance more impressively brought forward to our sight than in the 
 disposure of the three aisles of a church ; Westminster Abbey, for 
 
 instance, as at A, their proportions governed by a given pointed arch 
 within a triangle as circumscribing the exterior of their walls. 
 Tetbury, in the first instance, swerving from the single aisle of 
 King's College Chapel, has adopted three aisles ; as at B. An 
 oblong boundary gives their section. Certainly by this mode 
 there is a reform, but from what ? Why, perfect geometrical 
 figure, profound reason, and sound judgment. We see the 
 side-aisles with the regular pointed arch, while the centre one, to 
 keep pace in height with the others, is spun out to such an 
 extreme flatness of sweep that surely nothing but prepossessions in 
 favour of the fantastic order could have bent the architect's mind 
 from the rules of true taste, by ancient example. Bursting from one 
 established maxim, we must not be surprised at seeing the enlightened 
 professionalist converting the uses of his exterior chapels, by copy 
 from King's College Chapel, into long avenues or passages for the 
 
 A 
 
Tetbtiry. 
 
 173 
 
 convenience of getting into the pews within the church. Tetbury's 
 doorways, cornices, battlements, are poor and mean in their lines, 
 while in the buttresses and window-tracery, particularly this latter 
 enrichment, attempts are made to render them monstrous elaborate, 
 in a redundancy of wire-drawn mouldings without end or meaning. 
 King's College Chapel, in its exterior decorations, possesses a regular 
 combination of objects, no one trenching by its obtrusiveness on the 
 other's right in chaste appropriation and fine effect. The interior of 
 this exalted chapel increases as in order due, by each enrichment 
 still bearing additional lustre, carried on to that degree of just excess, 
 which our imagination (from view of what had already met our sight 
 without the chapel) had taught us to expect ; we are gratified beyond 
 our wishes, and, to crown this felicity of art, we find no disorganized 
 parts to reduce our admiration from that point to which it had been 
 elevated. This architectural criterion will scarce allow us to make 
 farther comparisons ; yet, as our subject must be set forth, however 
 unpleasant the task, we shall pursue the thread of our narration. 
 Tetbury's interior, then, has columns without ornaments, or the 
 proper turns to constitute capitals; groins without the least pre- 
 tensions to tracery or any devices, and compartments on each side of 
 the building under the windows drawn out with a few mouldings 
 only, of size so enormous that reference to example would be alto- 
 gether vain and useless. At the western extremity of the church we 
 see a gallery, placed against a " dead wall," decorated after the 
 manner of the fantastic order. In the middle of the central aisle the 
 pulpit is set up (modern usage), and before it, to partake of the new 
 disposure of things, the font meets the eye ; they both are strongly 
 shaped after the style of the said fantastic order. I must confess 
 that I can give but a very imperfect account Of the altar, as being so 
 very inconsiderable in formation as barely to attract the least notice ; 
 a common table and a few plain panels behind, with rails before it, 
 being as much or more than comes to its share of appropriation. As 
 for the detail of mouldings, and what small number of ornaments 
 have their place on the walls, they are entirely distinct from our 
 ancient architecture ; a mere collection of modern common house 
 plinths, dados, architraves, cornices and foliage, both in the Chinese 
 and fantastic filigree mode of carving, more fit for the trim of a 
 cheese-cake house than to be used in the reconstruction of this, 
 so spacious an edifice, as the dimensions of its lines sufficiently 
 demonstrate. 
 
 My opinion of the merits of this new church is given, not from 
 memory, or a few trifling memoranda, but from those sure guides, in 
 a business of this nature, in addition to the sentiments imbibed at the 
 time of survey, sketches taken of the several particulars above 
 described. Here, then, is no deception ; therefore, from such docu- 
 ments, and from those presumptions which a man assumes who speaks 
 
174 
 
 Architectural Innovation. 
 
 within the pale of his own profession, I inquire upon what grounds, 
 knowledge or capability do some writers announce that the present 
 church at Tetbury is a beautiful edifice of the first taste, and com- 
 posed after the finest examples of our ancient edifices by imitations 
 the most chaste and the most correct ? 
 
 The tower and spire of the church are the remnants of the 
 original building. 
 
 Cirencester Church. 
 
 Had the several sums of money expended in the employ of tearing 
 out, from the various windows of this edifice, the religious and his- 
 torical paintings, for the unmeaning purpose of cramming them all 
 into the west and east great windows, been applied to the necessary 
 repair of the front of the superb south porch, what celebrity would 
 have attended the names of those who might have brought about so 
 desirable an end ! A hasty stare at a jumble of figures, arms, etc., 
 which so lately illustrated their original and appropriate situations, 
 and now bound in the limits of two windows, will never make amends 
 to, or satisfy the eager attention of, the curious traveller for the loss 
 of the aforesaid porch, which, from its dangerous state, so fearfully 
 indicates a speedy downfall. 
 
 The Church at Bibury. 
 
 [1802, Part II, pp. 924-928.J 
 
 I should not have noticed this edifice but for the neatness shown 
 in every part, particularly the churchyard (an instance rarely to be met 
 with), and for a very perfect Saxon doorway on the north side, well 
 meriting the attention of the curious. 
 
 Burford. 
 
 I do not know a town in this kingdom that has so well escaped 
 the general sweep of alteration, and where so many ancient stone 
 buildings (mansions) are to be found, as at this place. Some of 
 them have their fronts highly enriched ; which, upon mature deliber- 
 ation, well convinces me, and I presume must others, that all splen- 
 dour was not confined to castellated and religious structures (as many 
 tourists, whether antiquaries or otherwise, maintain was the case, and 
 that the habitations of the merchant and trader, etc., were mere holes 
 and cabins) ; but that the same desire to render inferior orders of 
 buildings bear a tendency towards the splendid, manifested itself 
 over every part of the land, from the cathedral to the small-planned 
 parish church ; from the palace to the narrowed confine of an artisan 
 in some city or hamlet. The church is on a magnificent scale ; and 
 the south porch is one of the most beautiful works of the kind any- 
 where to be met with. Its extreme richness of parts is governed by 
 
Oxford. 
 
 175 
 
 that happy taste wherein no one part is in an unappropriate opposi- 
 tion to the other, as monstrosity to littleness, fantastical improvement 
 to ridiculous imitation, such as lard over the erections of our moderns, 
 when run up in a way so as to stare Antiquity in the face, as who 
 should say, " Our glories are equal to thine !" 
 
 Oxford. 
 
 My purpose is now to particularize the architectural innovations 
 that have been made on the exteriors of the several churches and 
 colleges within these 150 years; whereby those who may not be 
 thoroughly versed in architectural styles and their dates may be 
 made sensible how and when many of the heterogeneous objects were 
 stuck over their various fronts. That they render such magnificent 
 edifices ridiculous and contemptible at those particular lines where 
 they are so imposed, surely none will deny. How they have usurped 
 such situations is one question ; and how they are permitted still to 
 hold their order is another. It is perhaps from the want of genius 
 or taste in the first instance, and a want of sensibility and due respect 
 to founders' names in the latter. However, we are prepared to do 
 our office, and therefore continue our survey. 
 
 The titles of the innovatory subjects will be distinguished by being 
 printed in italics. 
 
 St. Mary's Church. — The most remarkable innovation is the 
 grotesque porch, set up against the original one on the south side of 
 the building (some of its original beautiful groinwork still appearing) 
 in the reign of Charles I. We except the statues of the Virgin and 
 the Infant Jesus from our censure, as appropriate to be introduced, 
 being so illustrative of the designation of the building. However, 
 the act proved in some measure fatal to him who placed them there. 
 It will admit of some doubt, whether the destruction of the original 
 porch will subject the author of it to be brought in to swell Sir 
 Henry Spelman's " History and Fate of Sacrilege." 
 
 All Saints' Church appears to have been erected about a century 
 back, with a material new in our architectural history — Portland 
 stone, or a species of the same nature. Hence we cannot but 
 observe the scarifying faces of the whole building — a circumstance 
 barely seen in our remote buildings, many of which stand as far back 
 in their foundations as the time of our Saxon ancestors j presenting 
 in many instances the exterior walls as smooth on their surfaces 
 as when at first masoned. It is a fact that the quality of the stone 
 now in use for our public buildings is of a perishable nature, liable to 
 continual decay; and the particles from 6 to 12 inches fly out 
 from the body of the squared courses, in all situations and in all 
 directions, their superficies likewise peeling off, as though having 
 suffered from fire, or any other inflammable cause. I leave it to the 
 
Architectural Innovation. 
 
 impartial decision of my readers to declare if they ever saw one of 
 the exteriors of our ancient buildings bear so lamentable an appear- 
 ance as that on which we are now descanting. Though present 
 custom has established Portland stone as the grand specific whereby 
 to construct edifices, yet, as we are presuming to revive our 
 ancient styles, why not revive the use of those freestones which com- 
 posed the walls distinguishing such grand and durable examples of 
 architectural skill ? 
 
 All Souls' College south front has modern sash and garret windows 
 introduced. Pass through an Ionic colonnade into the second court, 
 on the west side of which is a Doric colonnade. On the south side of 
 the hall is an improved or fantastic doorway : on the north side of the 
 chapel a ditto doorway. 
 
 Nezv College. — The first court shows, by its battlements, the 
 original walls, though the windows in form and dressings tell out the 
 mode of 100 years past. In the grand court of the chapel, the square- 
 fashioned windows of Henry VIII. 's day are all besashed in the 
 modern way, with Venetian blinds, and all that. The doorway under 
 the chapel, as well as those to the several lodgings, are pitiful imita- 
 tions of our ancient architecture. 
 
 Magdalen College. — Not yet improved. The futile erections set up 
 on the eastern side of the college show the despicable littleness of the 
 fantastic order. They are mere appendages, of but common use, 
 and, with the line of chambers in the north distance of the confines 
 and the gate of entrance into the college, are all, we fervently hope, 
 the only architectural contaminations so noble an edifice will ever 
 endure. 
 
 Jesus College. — The east facade, where entrance is had, is entirely 
 altered in the modern house-finishing way. The east window of the 
 chapel remains pure. Entrances on south side, and the west side of 
 the said chapel, have facings of the fantastic order. Batty Langley, 
 no doubt, was the architect. — Second court. Some modern sash 
 windows, one or two ditto doorways, and some interstices by way of 
 battlements, have been here introduced. 
 
 lincoln College. — Two or three modern sash windows put in on 
 the west facade. In the court the hall has modern sash and garret 
 windows. 
 
 Oriel College does not bear any particular marks of architectural 
 change. 
 
 Corpus Christi College. — Not any thing by way of improvement oc- 
 curs, except some late dialed sort of columns and arches, etc., reared up 
 by way of an apology for a cloister. 
 
 Merton College. — Additions have been made about the hall in the 
 first court, the decorations of which are far from being despicable. 
 We see, in looking round, many modern garret windows. —Second 
 court. A faficiful facade, or frontispiece, has been introduced, com- 
 
Oxford. 1 77 
 
 prising a whimsical association of the Doric, Ionic, and Corinthian 
 orders, with a sprinkling here and there of compartments in our 
 ancient styles ; in short, one of those intermezzos which tell the 
 architecture of Elizabeth's reign. 
 
 University College. — In the first court, work is going on, intended 
 as improvements on the original parts ; which will prove an unac 
 countable mixture of the old massive lines, and the new wire-drawn 
 detail of mouldings, etc. The second porch has had many vile inter- 
 polations crammed on the original beautiful groins. — Second court. 
 Its north side has received an unassimilating facade, or decorated 
 wall. 
 
 St. John's College. — Sash windows over the west entrance. Every 
 other surrounding feature remains in order. — First court. Many 
 modern sash windows, and two scroll-headed doorways, of the mode 
 of some sixty years past, make up the changes here. — Second court ; 
 on the side of which is introduced a frontispiece of two orders, the 
 Doric and the Ionic. In a niche is a statue of one of the Henrys. 
 The rest of this side of the court still presents many of its original 
 characters. A Doric colonnade has also a share on this side to make up 
 the general view. On the east side of the said court much of the 
 above sort of display is repeated, and the statue of Charles L is here 
 set up, evincing that these improvements were done in his reign. 
 On the east front of this college next the garden is another melange 
 of Charles I.'s architecture, and among their discordant dress- 
 ings we find some late bow windows of the fantastic order. 
 
 Brazen-nose College. — Two modern sash windows over the east 
 entrance, and many others of the like sort in the first court. In the 
 second court, a good reparation of a tower, sash windows ; and an 
 Ionic entrance to the chapel, with a sort of cloister in the same style. 
 The west window and the whole of this end of the chapel have been 
 repaired, but in a doubtful style ; the buttresses have had set on 
 their tops Corinthian capitals, supporting an entablature in the same 
 taste. Vases also are placed on the parapets which run over this 
 oddly-introduced Corinthian olio. 
 
 Trinity College. — The hall and the east side of the first court 
 original; the rest of the buildings, as the chapel, chambers, etc., entirely 
 modern. 
 
 The Schools. — East side of the court, a frontispiece of Elizabeth's 
 and James I.'s time, with the several ordinances of the five orders ; 
 these are larded over the primitive design of the edifice ; notwith- 
 standing which depravity of introduction, we here and there find 
 much of the original enrichments peeping out from among these said 
 patchings-on. 
 
 Baliol College. — East and part of the south side of the court 
 sprinkled over with some whimseys in the Doric block-manner, with 
 modern sash and garret windows, etc. 
 
 VOL. X. 12 
 
1 7 8 
 
 A rchitectural Innovation. 
 
 Exeter College. — The first entrance is now in the Ionic manner ; 
 the porch, or saloon, in the like mode. The entrance to the hall in 
 the court is of the Doric order. On the east side of this court 
 adjoining the chapel appear some new imitations after our ancient 
 styles, well selected indeed in their masses ; but the minute parts 
 show too plain the slovenly adherence that professionalists pay to 
 those ancient specimens to which, it may be inferred, they had 
 received direct orders strictly to attend. 
 
 Christ Church College. — It might have been thought, when the 
 balustrade running round the entire pile, masoned about some eighty 
 or ninety years past, was taken down as entirely decayed, appropriate 
 battlements would have been restored. Not so. These egregious 
 finishings have been reworked and reinstated in their former usurped 
 order. In the great court is to be found one insipid new fantastic 
 doorway ; the rest of such entrances are of the common house cast. 
 We can never suppose the person who has lately been superintend- 
 ing the works done in the great porch of the hall had any concern 
 in the aforesaid repair, as in the latter respect some of the new em- 
 bellishments seem tolerable copies from the old parts remaining. 
 Yet when it is considered that Wolsey's porch, one of the most 
 celebrated designs of this nature to be encountered in the kingdom, 
 or perhaps in the universe, is deprived of its appropriate arrange- 
 ment, and one of its chiefest beauties partly hid by the new masonry 
 shored up against it, our ready praise for the least cause that gives 
 credit to a faithful copy of our old masters is entirely withheld, and 
 our just reprehension must supersede every other consideration, to 
 protect the cause of antiquity. Thus I enter on the merits of the 
 question. The boundary line of this hall is a square, in the centre 
 of which rises a cluster of columns to a due height ; when, from 
 their capitals, the groins full of the most elaborate tracery emerge 
 into circular directions, and descend again as it were to corbels, at 
 the four angles and other parts of the walls. A grand flight of steps, 
 ascending by the left (or south) side of the porch, lead on to the 
 upper demi-porch, passing directly into the hall. It was the delight 
 of all travellers to view this porch. Antiquaries dwelt with raptures 
 on its perfect design ; nay, those very architects, who for a century 
 past have been in open hostility to all our national structures, still 
 yielded unconditionally to this triumphant specimen of that art 
 against which they had so long rebelled. They acknowledged it to 
 be the excellence of all scientific labours ; nay, more, they almost 
 forgot their unnatural predilections for foreign architecture, and were 
 on the point of returning to that professional obedience to which 
 they owed all their duty. Their very knees were bent to hail the 
 mighty principles woven round the construction of our religious piles. 
 But, alas ! Fate had decreed otherwise, and once more turned them 
 into those habits which it is but too obvious they will never relin- 
 
Oxford. 
 
 179 
 
 quish. Thus each hand was raised in admiration of this porch, as 
 comprehending every architectural charm, all convenience, and each 
 picturesque effect that could possibly interest the coldest heart in its 
 protection. It is at this moment I call to remembrance the senti- 
 ments of a late right honourable admirer of our ancient architecture 
 on this very subject. Thus I heard him exclaim : " That man who 
 could advance it as his opinion that this porch wanted either altera- 
 tion or improvement was a foe to true design and an irreconcilable 
 enemy to that mode of building which immortalizes our cathedrals 
 and other ancient structures." 
 
 Notwithstanding the several evidences in favour of poor Wolsey's 
 mortal pride, some have been found to take exceptions at its par- 
 ticular characters by observing that its clustered columns in the 
 centre were in the way, the enrichments too excessive, the stairs in a 
 situation not laid down according to the rules established by Sir 
 John Vanbrugh, Batty Langley, the Adamses and others ; the door- 
 ways not in their proper places; and' the way to and from the 
 kitchen, the buttery, and the hall, obstructed in a manner altogether 
 impeding the ready connection between culinary duties and collegiate 
 repletion. These little architectural sparrings among amateur judges 
 passed on in heedless cavils, till one enlightened genius arose, who 
 gave it as his firm opinion that, to render this porch complete in all 
 its parts, and to show the strength of his knowledge as well as the 
 strength of the groins, he proposed to take away the clustered 
 columns in the centre, and then see, to the astonishment of the 
 world, and to the universal admiration of his conception of this 
 mighty thought, how long the said groins would retain their altitude 
 without the aid of what he maintained was an unnecessary prop. 
 This proposition was caught at with avidity, and would certainly 
 have been adopted ; but, for some reason or other, it has been for 
 the present laid aside. Yet, that all these wise and mature sugges- 
 tions should not pass without some attention, we find the ancient 
 stairs have been removed, and a modern double flight of steps set up 
 in their stead. The ascent is to the right and left half-way, and then 
 meeting together in one flight, admittance is gained to the landing 
 above, just as we see done at assembly-rooms, theatres, villas, and 
 town houses ; a common practice, under the idea of elegance and 
 the like, and that it gives a centrical object, ever to be sought after 
 by those who aspire to be great architects. But has this been 
 entirely effected with regard to our porch ? No ; the cluster of 
 columns, or " prop," supporting the groins has maliciously prevented 
 so desirable an end. What, then, has been gained by this extrava- 
 gant attempt ? The just ridicule of those who, while they live, re- 
 member the former state of this improved hall with a witness. In 
 commenting on the new detail of parts, if we say the mason was 
 faithful to his orders as a good copyist, the carver was not so ; his 
 
i8o 
 
 A rchitectural Innovation . 
 
 shields, mitres, wheatsheaves, pineapples, foliage, etc., all betray 
 his inattention to this sort of business, or his incapacity to follow the 
 characters of that style he was employed to imitate. Allowing we 
 have found the mason correct in certain instances in the porch, we 
 find him tripping in the small or demiporch, entering into the hall. 
 A new doorway to the left, in the battlements and other lines, shows 
 the cloven foot of masonic improvement, there thrust out most 
 glaringly. We should have specified in the above transposition of 
 the decorations, that doors have given place to windows, and win- 
 dows to doors ; that the hall's wooden screen of entrance has given 
 place to a stone wall of entrance ; and — I shall proceed no further 
 at present, recollecting that, in this my Oxford term, I only stipu- 
 lated to enter on the description of the exterior alterations these 
 superb edifices had undergone ; and it is not improbable I may, at a 
 proper season, continue this sort of memoranda of the state of their 
 interiors, not less important to be laid before the public than what 
 has already been brought forward to their consideration. 
 
 It now remains for me to ask for my largess. I work through 
 interested motives. Here, then, is my demand — I will say request. 
 Learned and reverend guardians of this great and royal seminary, 
 condescend to compare this my survey with those walls over which 
 you preside. If they are just and true, as I trust they are, you will 
 subscribe to the motives which influenced me to the task ; you will 
 not be displeased at attempts to draw the veil which has hid from 
 your observations the unpleasant tract of architectural innovation, 
 spread so wide over the honours of those patrons and founders who, 
 while you ponder on their memories, must likewise comment on 
 what their monuments have endured, and on those blessings handed 
 down to your present enjoyments, first raised through their noble 
 natures, and now continued by emulating minds no less great and 
 generous. 
 
 Basingstoke. 
 
 [1802, Part II., pp. 1022-1024.] 
 
 Holy-Ghost Chapel. — It is situated on an eminence at the ex- 
 tremity of the town, overlooking the road leading to Newbury. The 
 style of the architecture appears to be of the day of Edward IV. The 
 design, though small, is much enriched ; and among the ornaments 
 are many of the Roman and Grecian turn, which shows that 
 examples of this sort had been earlier introduced among us than is 
 generally understood. However, it is not impossible but that many 
 of the carvings, with some shields of arms, were added in the reign 
 of Henry VIII., in consequence of repairs or alterations then taking 
 place. Another feature, new at this time in the method of construc- 
 tion, is also to be met with ; that is, the walls are of brickwork, and 
 
Basingstoke. 
 
 181 
 
 faced with stone. The dimensions of the brick part i foot 9 inches, 
 or two bricks and a half; the stone itself measuring 6 inches. As 
 it is the received opinion of antiquaries that the use of brickwork 
 was introduced, or revived, in the above king's reign, we may fairly 
 date this building one of the first trials of the kind : which, though 
 here used as a subservient material to the stonework, yet it was very 
 soon afterwards thought of sufficient importance to compose the 
 major part of many large and magnificent edifices, and to this day, 
 under various textures and colours, remains the principal article in 
 the building branch in most parts of the kingdom. 
 
 Holy-Ghost Chapel, in its plan, gives one aisle, with three windows 
 at the eastern end, and four windows on the south side. The north 
 side is wholly destroyed. At the west end of the south wall is an 
 hexangular tower. The elevation of the exterior of the south side 
 has, on the piers between the windows, long narrow pedestals, on 
 which rise niches. These decorations take their place also at the 
 angles of the tower. If we look for complete proofs of delicate 
 workmanship, either in carving or masonry, it is to be met with here. 
 Most certain it is, so much of that which we call worthy of notice 
 awaits the curious on this chapel, that it should never be passed by 
 without a certain degree of attention bestowed on it. Its merit has 
 made us descant thus much in its behalf. To think the inhabitants 
 of this town will be interested from our recommendation to pay due 
 respect for its ruins, would be as idle a supposition as to depend on 
 the promises of a surveyor who has told his employer, after having 
 received orders to erect a new mansion by selections from such and 
 such ancient piles, that his copies shall be faithfully made, and his 
 work so put out of hand as to be the very counterpart of that model 
 on which his patron had set his admiration — they, these professional 
 prototypes, so adore our ancient pointed styles of architecture! 
 Some few feet more to the westward of this chapel is an erection 
 which once, no doubt, was the body of that church to which the 
 chapel was attached, constituting the chancel or choir. The masonry 
 is very simple, and of a much older date than the pleasing design 
 we have been describing as above. 
 
 A sort of retrograde impulse now induced me to turn from my 
 western direction, Salisbury at the distant point. It may be asked, 
 For what reason? In truth, my "nerves" were not sufficiently strong 
 at this time to adventure on so arduous a trial " on my peace of 
 mind." I rather thought that if I went step by step from one rage 
 of innovation to another I might imbibe fire by fire, to instil into my 
 mind that due essence of recital which it appears so celebrated a 
 place as Sarurn now demands. 
 
182 
 
 Architectural Innovation. 
 
 Odiham. 
 
 I searched in vain here for the vestiges of that palace which once 
 made the name of Odiham rank in the minds of men as of high 
 renown. Each bulwark, gate, and tower is now no more. Odiham, 
 thy name also fades in recollection ; remote as is thy situation, so in 
 memory is all thy departed pomp — an empty marvel, signifying nothing. 
 Barren is that soil which brings forth nought either good or bad. 
 Hence it is incumbent on me to notice (as it were aside), that at the 
 angles of a mansion (some hundred years old) in the town, a remnant 
 of a larger pile, are wooden figures as large as life, serving as 
 caryatides. I shall not debase my theme by distinguishing them 
 under any style of architecture : notwithstanding the Pans and 
 Priapuses of the heathen school may have been the appropriate model 
 when they were set up. Men of Odiham, where are your blushes ? 
 Are they buried with the remnants of your royal walls, which piece 
 by piece within these late years you have torn down and trodden 
 under foot ? 
 
 Passing from this place, a mile the distance, I came to Warm- 
 borough. Here, by chance, I saw a prodigious octangular tower or 
 keep. The walls and windows had their heads circular ; some 
 chimney openings showed likewise the same turns. As the entire 
 facing-stones of the work were gone, and the rubble, or interior of 
 the wall itself, the only portions left to judge of dates or styles, we 
 must waive all conclusions on the subject ; suffice it that it bore the 
 marks of distant ages on its lines, and did not fail to give that effect 
 which such objects usually produce. That watery grave to modern 
 infatuation, canal-cutting, has drawn its ruinous course close by the 
 fosse of the above ancient work. Two of the men engaged in the 
 digging part of the undertaking one night made up their rest within 
 the castle. We will call it so for distinction, as I was given to 
 understand on the spot that King John here had held his court. 
 (This king, who, by tradition, had as many palaces in his king- 
 dom as villages, little thought, while living, how much futurity 
 would honour him thus by mention of his architectural patron- 
 age.) These two sleepers, then, awaking in a terrible fright, saw, 
 as they maintained by their Bible oaths (and ale-house oaths), 
 their tears witnessing for them also, there and then, the very person 
 of King John himself ; described his features and dress, and repeated 
 the exact words which he then delivered to them, as follows : 
 " Good men and true, hear, mark, and remember. Haste, and tell 
 your masters, mistresses, and townsfolk, as they have despoiled and 
 overthrown my palaces here and at Odiham, and have almost forgot 
 my very name, your two towns shall further dwindle, waste, and 
 pine; and this new stream, smuggled from out my pleasant Stour, 
 shall soon become as useless and dry as are the pockets of the 
 
Farnham. 
 
 183 
 
 subscribers and encouragers to such a mad undertaking." "Here," 
 cried my guide and informant, his terror renewing from his tale thus 
 told, so full of supernatural eloquence and information, " here is the 
 spot where the two men lay ; and here is the stone whereon the king 
 stood," pointing at the same time to each ominous particular : then, 
 casting his eyes on me, he saw me pointing in a circuitous direction 
 to the two towns, the castle, and the stagnant trench before our feet ! 
 
 Farnham. 
 
 [1802, Part II, pp. 1113-1116.] 
 
 The Castle. — The remains are still considerable, and many of the 
 walls appear in their primaeval state. Those alterations which have 
 taken place on the principal range of apartments (such as casing the 
 walls, and putting modern doorways, windows, etc.) appear as done 
 in Charles II. 's reign. As such it is foreign to our purpose to par 
 ticularize them at this time. Our survey leads us to note that th t 
 fosse still surrounds the major part of the outworks, which bear on our 
 sight, and are extremely romantic. The great gateway of entrance 
 has retained some of its characters, the rest being lost in the new 
 dressings and plasterers' work. The entrance tower, to the castle- 
 ward itself, is of that mode of brickwork brought into use in Edward 
 IV/s reign. It certainly adds much effect to this front of the edifice. 
 Passing through this tower (leaving on our right the great hall, and 
 the communications to the state-rooms, chapel, etc., as having little, in 
 their present modern dress, to excite the attention of an antiquary), 
 we enter into the great court, where, casting the eye directly in 
 the centre of our course, the keep of noble aspect mounts before us. 
 All prepossession in favour of antiquity apart, surely there is 
 not one visitant but must feel something more than a bare satis- 
 faction in the view of this scene ; an inbred conviction of the force 
 of simple grandeur must awaken his utmost admiration. That this 
 affection is not hyperbolically brought forward is most certain, as it 
 has had sway over the minds of some men, or we should not now 
 have occasion to ruminate thus. The ascent to the keep is truly 
 impressive. Entering within the doorway of massive and plain 
 masonry, our steps are still continued upward through a lengthened 
 avenue, whose walls have several arches and recesses to diversify the 
 pass. When arriving at the summit a second doorway brings us into 
 the area of the keep. Here is little more than the exterior wall of 
 the work to recompense the labour of gaining so vast a height ; 
 however, in the descent, our notice is a second time entertained with 
 the view of the several architectural peculiars appertaining to the 
 avenue, evincing how well they are wrought, and how well they have 
 endured. On the east side of the great court of the castle, in the 
 basement story, is an avenue leading down to the spot where once 
 
184 
 
 Architectural Innovation. 
 
 stood the sallyport. Not much of the way is passable, as at some 
 20 or 30 feet the descent has been walled up. Even in this dark- 
 ened place there is some excellent arch-work, with architraves of 
 many mouldings. On the south side of the great court are two or three 
 Saxon columns " supporting " pointed arches. Within the building 
 the other side of these columns and arches is seen ; above them is 
 a plain, pointed arched vault : some niches and recesses appear in 
 the walls. This remnant is of much import, as presenting a 
 good specimen of the original magnificence of the interior of this 
 castellated mansion. 
 
 Ludlams Cave. 
 
 In my walk from Farnham to Waverley Abbey, before I had pro- 
 ceeded the three miles which mark their distance from each other, I 
 stopped to behold that natural curiosity, Ludlam's Cave. It shows 
 a large kind of arched opening in the perpendicular side of a ridge 
 of rocks. Within its concavity, both on the sides and overhead, all 
 the intelligible parts appear as the united and sportive efforts of 
 nature and of art. At the distance of about 20 or 30 feet the cave 
 rapidly declines in height to not more than 3 feet, its width diminish- 
 ing also to 5 or 6 feet. The eye, in tracing round this wild and 
 dreary retreat, hunts out many strange figures of imaginary beings 
 and things. Several stone seats invite repose ; a gentle rill, issuing 
 from out the inmost recesses of the rock, winds along a masoned 
 groove cut in the centre of the ground. 
 
 Waverley Abbey. 
 
 This monastic seclusion is but little known, and barely ever 
 mentioned, owing, no doubt, to its remote situation, or to the 
 indifference shown by possessors in regard to their entering into the 
 concerns of antiquity. So it is that, previous to the present visit, I 
 had never seen any drawings made from the ruins, or heard one 
 antiquary tells of its remains. Chance in a manner, more than from 
 information, conducted me hither. Much gratification fell to my 
 share, though not unconnected with some mortifications, as in the 
 sequel. 
 
 On a general survey I found this abbey not much other than 
 detached ranges of ruined walls, yet not so dilapidated but that I 
 could ascertain the principal arrangements. The site of the cloisters 
 is discernible ; they are on the south side of the nave of the church, 
 the wall of which nave, in small portions, gives the line very exact. 
 At the south-west angle of the cloisters is a building rather in a 
 perfect state. This, I presume, was the dormitory. The basement 
 story, or crypt, belonging to it is the part best preserved, and exhibits 
 
Waver ley Abbey. 
 
 185 
 
 a double aisle, with windows, columns and groins of a superior taste. 
 We, however, regret the disregarded state of the northern end, which, 
 from some caprice or other, has been thrown open to afford what is 
 termed a " prospect f a cruel stroke indeed, and aimed against the 
 entire extermination of this most complete part of the whole remains. 
 It is true I have taken sketches of its design, which with some may 
 be held sufficient, as it is become the humour with many antiquaries 
 to be quite passive as to the destruction of a piece of antiquity so 
 long as a sketch has been taken from it, though of the slightest 
 kind ; they preferring thus a " shadow " to the substance — a few 
 indefinite strokes given by a pencil or a pen to the ancient and 
 historical object itself, whose features convey into our bosoms all 
 that " enthusiasm " only known to those who can despise the 
 ridicule endeavoured to be cast on them for such their envied 
 enjoyments. 
 
 Continuing on with a wall running parallel to the west front of the 
 last-mentioned work, we find an erection bearing evident signs of 
 having been the refectory, its west front entire. Having thus par- 
 ticularized the remnants of the once domesticated part of the abbey, 
 we come to the site of the church. At the west end the right side of 
 the door of entrance is visible ; the south wall of the nave, as before 
 cited, is to be made out, but the northern wall, saving a few feet to 
 the east, is wholly gone. The walls marking the transepts and the 
 great tower between them show many considerable portions. The 
 choir likewise carries on the traces of side and east walls. At the 
 west entrance of the church, and at the beginning of the choir, are 
 sepulchral stones and a stone coffin. At the south side of the south 
 transept are the walls of the chapter-house, to which is attached a 
 semicircular-headed avenue. 
 
 Thus much for the church and its attendant buildings. It is to be 
 understood that, except the crypt of the dormitory and the avenue, 
 the other parts of the pile are no more than remnant walls, despoiled 
 of all their mouldings and other characteristics. Despoiled did I 
 say ? Yes. Two centuries have afforded opportunities enough for 
 the exercise. What the date is when the last recreation of this sort 
 took place I am uncertain ; however, a newly-erected mansion just 
 above, looking so neat, so trim, may have derived some of its stone 
 materials worked over again into flutes, husks and paterae, from this 
 religious quarry. . . . 
 
 At my leaving Waverley, the present owner (a new inhabitant) did 
 me the honour of a visit ; went with me over the ruins, listened with 
 the utmost condescension to my detail of each curious particular, 
 and when we were in the crypt of the dormitory vied with me in 
 commendation of its intrinsic worth ; but how short a date is unison 
 of sentiment when a discordant sense breaks in upon discussion ! 
 From an unfortunate and perverse animosity which I bear against 
 
i86 
 
 Architectural Innovation. 
 
 the cultivation of ivy in certain places, I could not refrain from 
 observing how much it militated against the durability of the walls 
 wherein we then stood ; I advised, with the most earnest entreaty, the 
 taking away the greater part of thus vegetation, not only to rescue the 
 walls from ruin, but to restore to sight those several decorations 
 hidden by it. " Sir," answered my accompanier, "I value my ivy 
 more than this my ancient building, and had rather behold this 
 luxuriant state of nature's beauteous foliage than all those archi- 
 tectural features which you seem to hold as possessing the greater 
 charm. So, good sir, a pleasant evening to you." Convinced at 
 this time of a rebuke -so strictly just and unanswerable, I, rather 
 abashed, took my leave, being fully sensible I was quite repre- y 
 hensible, and that my sentiments were without either point or 
 reference ; so on I went, reproved, not justified. 
 
 Midhurst, Sussex. 
 
 [1802, Part II., pp. 1 197, 1 198.] 
 
 Cowdry House. — Twenty-eight years have elapsed since I first 
 visited this ancient mansion, then eminent for a long race of illustri- 
 ous possessors ; rich in every species of adornment, both of the taste 
 of the age of its construction and of the fashions of modern times. 
 I remember well the noble gate of entrance, its elevated towers ; 
 and when I entered into the great court, noted the lodgings on 
 either hand, the great hall before me, particularized each turret, 
 battlement, window, and doorway. In the porch of the hall I found 
 groins sweetly turned, and charged with delicate tracery. Passing 
 into the interior of the edifice, the hall displayed, as of yore, the 
 smoking board, and on the walls were hung the trophies of the 
 chase. The parlour exhibited the celebrated paintings of the 
 exploits of our eighth Henry, even as fresh as when first placed there 
 in his day. The chapel told each original arrangement, although 
 bearing a show, in point of carvings, gildings, and religious dresses, 
 to the handiwork of modern times. Through every chamber, 
 closet, bower, I took my admiring way, still some varied subject, 
 either of sculpture or painting, bearing on my notice. How much 
 of the line of ancestry was there in preservation ! The masters 
 of the imitative art had done their utmost to perpetuate the memory 
 of each renowned name there put forth for just emulation. With 
 me a hope remained that I might also at some future period con- 
 tribute my mite in handing down to futurity the " shadows " of 
 objects pre-eminent and glorious, even the ancient structures of this 
 land. . . . 
 
 The whole of the walls, except the range on the north side of the 
 court, are in tolerable order ; the roofs, ceilings, floors, and all kind of 
 timber works, with the glazing to the windows entirely gone. The 
 
 \ 
 
Midhurst, Sussex. 
 
 187 
 
 range where sjtands the gate of entrance has suffered the least. The 
 porch of the hall presents still its curious groins, though much 
 scorched. In this place were two of the remaining carved stags that 
 had decorated the hall ; which hall, with regard to its stone and other 
 work forming its shell, has been but little damaged. Such, likewise, 
 is the condition of the parlour. Here I could discern some of the 
 paintings on the walls, though in small and detached particles. In 
 the chapel (I beg the protection of friends against the censurers and 
 vilifiers of ancient customs for the recital) I found the altar, and 
 its several embellishments of the table, figures of saints and other 
 subjects, according to ancient religious usage, had not sustained the 
 least harm. The grand staircase, excepting the flight of steps, has 
 not received much detriment. Noticing thus some of the most 
 prominent parts of the mansion, the architecture of which gave the 
 Tudor era, I may remark that whenever a legal inheritor takes pos- 
 session of Cowdry, I think it very possible that the whole of the 
 buildings are capable of being restored, with due attention, so as to 
 realize in some measure its pristine appearance. This mansion, was, 
 with regard to design and arrangement of offices, chambers, etc., one 
 of the most complete specimens of the residence of our ancient 
 nobility, and the least altered, improved, or otherwise, that can be 
 sought out in the kingdom. 
 
 Chichester. 
 
 [1803, Part I., pp. 22-25.] "~" 
 
 My first item taken was the prodigious remnants of the city walls, 
 
 standing to the north ; they form the promenade for the good people 
 
 here. 
 
 The Market Cross. — A kind of rivalry between two great names in 
 the neighbourhood prevailing, as who should endeavour most to gain 
 the good opinions of the many, this large and magnificent cross has 
 fared the better for it. The name of the noble repairer is rendered 
 conspicuous on one of the fronts to gratitude and commendation. 
 May the like exalted care be ever continued ! for should it prove 
 neglectful or be lost, soon would start up those men, who ready wait 
 in official ambush to doom this cross to a premature downfall ; these 
 subalterns in architectural innovations whispering on all hands, 
 " This cross is a nuisance, blocking up the centre of four streets ; 
 we will vote it to be taken down." I reply to such insinuators, 
 "Why do you advance on with your hovelled dwellings so near this 
 transcendent object, one of your city's glories ? Must such a treasure 
 fall because your souls cannot know a higher elevation than the level 
 of plebeian conception ?" 
 
 The plan of the cross is an octagon ; eight arches enter within the 
 lines, where in the centre is a large column "supporting" groins, 
 
i88 
 
 A rchitectu ral Innovation . 
 
 which groins have their counter rise from smaller columns at the 
 several angles. The exterior of the arches is surrounded with rich 
 compartments ; and the finials above their points support rich niches. 
 The eight intervening buttresses finish in the like manner with 
 corresponding niches. At the back, and near the top of these 
 buttresses, spring as many flying arched supports, to bear up an 
 elegant turret, which, as a centrical object, crowns the whole work. 
 The columns, springings of the arches, and their spandrils, niches, 
 and parapets, are embellished with their appropriate ornaments, 
 shields of arms, etc. As the work of the cross compels me thus to 
 enlarge on its merits, it glads me also to be a happy witness of the 
 due care that has been bestowed on it. The innovations made I 
 must not censure, as they in no material sense interfere with the 
 general outline of the performance ; one being of the utmost use to 
 regulate the townspeople's affairs, and the other to keep alive their 
 sentiments of loyalty — a large clock, and a fine bust of Charles I. 
 
 The Cathedral ; the close has several gateways, but their upper 
 parts have been converted into habitations for the lower order 
 of people ; of course their original finishings are obliterated. This 
 is to be regretted — as well as to see the north side of this close 
 defiled by hovels filled with the lowest and most profligate part of 
 the community, while on the southern side stand the bishop's palace, 
 deanery, and other buildings occupied by the clergy. How these 
 two opposite degrees of people can accord in situations so neighbourly 
 seated I cannot possibly divine. At the north-west angle of the 
 close is a large and lofty square tower, terminating in an octangular 
 finish, which work is supported by four turrets and flying buttresses, 
 emerging from the four angles of the tower. This design is extremely 
 simple ; yet, from the vast dimensions and symmetry of parts, much 
 consequence is derived thereby. This cathedral is said to be in 
 miniature what Salisbury's fane gives in the large. I cannot acquiesce 
 in this. Chichester's religious walls show the constructures of divers 
 periods ; Salisbury, that of one entire and uniform mode (meaning 
 prior to the late alteration). In the edifice before us are many 
 remarkable characters peculiar to itself, equally curious and desirable 
 to behold ; and amongst the internal parts are to be seen semicircular 
 or Saxon arches, with their several details, serving to prove the 
 existence of this church prior to Salisbury's pile. A circumstance 
 highly to the credit of the architect who raised up the spire here 
 must be brought into general notice, the interior of which is left 
 clear of all timber-framing or other supports ; while Salisbury's spire 
 is entirely sustained by such-like aids from the very base to the cap- 
 stone at top whereon the weathercock is elevated. We waive farther 
 comparison between the two structures until the latter comes under 
 our particular survey. Returning to our present concern, we find 
 that the great window in the west front of the cathedral has a short 
 
Chichester. 
 
 189 
 
 time back had its mullions and other work knocked out, and your 
 common masoned "muntings" (mullions) and transoms stuck up in 
 their room, without any tracery sweeps or turns of the second and 
 third degrees ; which work may before long be construed by some 
 shallow dabblers in architectural matters into the classical and chaste 
 productions of our old workmen. On the north and south sides of 
 the church are buttresses, with rare and uncommon octangular- 
 columned terminations; but they have likewise, to save a trifling 
 expense in reparation, been deprived of their principal embellish- 
 ments, and are now capped with vulgar house-coping. The east 
 window of Our Lady's Chapel, judging from those in being on each 
 side, full of elaborate and elegant traceries, must have borne a 
 corresponding show — has been stopped up with mortar, etc. Per- 
 chance these decorations are entirely cut out. How insensible are 
 some to the jewels they possess ! Speaking of these windows, let 
 me advert to the great south window of the south transept. Its 
 situation is in the area of the cloisters, which window and site 
 altogether still retain the name of "Paradise." Admiring age and 
 wondering infancy, each repeat the hallowed name, with the like 
 inbred conviction that something divine appertains to the sacred 
 place. It is not possible, when considering the essentials of this 
 window, as height, width, tracery of manifold parts, to refrain from 
 subscribing to each praise that can be given ; steering at the same 
 time clear of "superstition," though not of "enthusiasm." It may 
 be well to speak of the west porch as an excellent performance ; and 
 the statue over the double entrance is remarkably so, although it is 
 not on record that a foreign artist was the sculptor. As an apology, 
 I may presume that it so chanced upon a certain time an Englishman 
 was found who had eyes as clear, and hands as apt, to form a model 
 of man in the likeness of his Creator as though he had made his way 
 into the land under the guise of a treacherous or an hypocritical 
 foreigner. That this idea may be properly understood, it is well 
 known that our architects, sculptors, and painters have a received 
 opinion (a strange compliment to their own capacities !) that anciently 
 there were no Englishmen adequate to the task of constructing grand 
 edifices, or executing their sculptures ; and that we are solely 
 indebted to Frenchmen and Italians for such works. This they 
 argue, when in the mood to commend any the like performances. 
 
 In the interior of this cathedral few innovations have been 
 effected. We pass over the "pew lumber," filling up the nave, but 
 cannot overlook a new sort of church decoration, occupying the west 
 and last division of the north aisle of the nave. This division has 
 been walled up into what is termed a "vault"; entrance is had from 
 the south, when consequently the attention is directed to the north, 
 where, instead of beholding any Christian attribute to inspire the hope 
 of a future state, you are instantly struck with the misanthropic 
 
190 Architectural Innovation. 
 
 demeanour and scowling eyes of an almost naked figure, under the 
 character of an heathen admonisher — so triumphs the Roman and 
 Grecian school over Apostolic example ! .Here the statue of a cynic 
 philosopher takes place of the effigies of a saint or martyr. So much 
 for modern refinement in our national taste ! Another alteration 
 (none, sure, will maintain that it is an "improvement") has been 
 brought about ; that is, converting Our Lady's Chapel into a depot 
 for books, stationers' almanacks/ and other the like furniture, to 
 constitute a reading-room. If my memory is correct (as I took no 
 note of this circumstance), a chimney is made to fill up the site of the 
 original altar — which, indeed, may account why the beautiful east 
 window, before spoken of, is blocked up. Here I wish to be 
 corrected if in an error. I had now come to one spot of the church, 
 the contour of which fully repaid me for each innovating pang I had 
 undergone in my present survey — that is, the view had from the 
 south-east angle of the south transept The whole scene was so 
 entirely original, replete with every picturesque adornment and effect, 
 that/for awhile I was lost to the occupation of the day ; those artists 
 who had contributed towards the delight I enjoyed being the 
 characters I wished to have in memory, and render to them my 
 gratitude, though expressed in silent ecstasies. My transport over, 
 before I proceeded to sum up the particulars of the view, I listened 
 to the morning service, which had a particular tie on my attention ; 
 the office of the Litany being more devoutly and solemnly delivered, 
 and the responses from the choir more harmoniously and sweetly 
 chanted, than I had ever before heard ; and so devoutly and 
 deliberately was the whole of the service gone through, that I heard 
 one of the attending dignitaries observe, after consulting his watch, 
 " that the morning's duty was longer at this time, by half an hour, 
 than was the usual custom." 
 
 Against the east and west walls of the said transept are affixed 
 historic paintings ; those on the west side (the figures as large as life) 
 relate to the founding of the church and its re-edification in Henry 
 VIII. 's time. Among the various portraits is that of Henry VIII. 
 himself. Here are also, in separate circular compartments, the 
 quarter portraits of "our kings, from William the Conqueror to Henry 
 VIII. (and, since his day, in continuation to George I.). On the east 
 side is the entire collection of the ancient bishops of the see (quarter 
 lengths, and in circular compartments). A short time back the 
 faces of the several portraits were touched upon by some unskilful 
 hand; however, we have before us most curious specimens of the 
 costume of Henry's day, when the whole of these paintings were 
 done (excepting those of subsequent dates), in dresses, warlike 
 habiliments, buildings, etc. 
 
 Looking towards the north, on the outside of the choir, is the 
 monumental chapel and tomb of St. Richard. The groins above are 
 
5- 
 
 embellished with paintings of foliage, arms, etc., conveying the eye 
 over the choir; thence into the north transept, intercepted in the way 
 by the galleries over the side-aisles, when the general combination of 
 objects is terminated by the north transept window, which, though 
 inferior to the southern window, still has its own peculiar attractions. 
 
 Arundel. 
 
 [1803, Part I., pp. 130-132.] 
 
 This town is situated on an ascent, the summit of which is occupied 
 by the castle. Vestiges of surrounding walls and gates are to be 
 traced. I did not meet with the remains of any ancient houses, 
 notwithstanding the look of the place j that is, the disposure of the 
 habitations bore on the original ground-lines. However, I formed a 
 tolerable idea in what manner so grand a pile as the castle was 
 accompanied by the neighbouring buildings when in their pristine 
 order. Although no old mansions met my sight, I encountered some 
 edifices of an entire new . mode of architecture. Thus, as each 
 invention that comes out fresh from that court where the arts preside 
 arrests at least some sort of attention (an attention not always necessary 
 to explain), my search was not entirely without entertainment. This 
 new mode then in question, no doubt, merits the name of the 
 Arundelian order of architecture ; but I leave its definition to amateur 
 judges in modern science, and enter on the proper office of .my 
 surveyorship, by describing 
 
 The Castle. — The grand gateway of entrance is to the west. Grand 
 in design it most certainly is, while its detail of parts is simple to a 
 degree. Many professional people have well explained this seeming 
 problem, by observing that a building is not always grand because 
 overcharged with minute embellishments, but from that just appropri- 
 ation of a few well-chosen decorations disposed by a tasteful hand on 
 a particular structure. This is the true criterion of what constitutes 
 the grand ; to which may be added the sublime. On a line ranging 
 to the left of the gateway is the keep ; the approach is up a noble 
 flight of steps, wherein is to be found little more than the exterior 
 walls. After devoting a considerable time on the examination of 
 these two masonic performances, I entered into the great court of the 
 castle. To the western extremity of the north side of the court are 
 some 68 or 80 feet of the ancient line of chambers remaining, the rest 
 of them having been taken down, and on their site a new suite of rooms 
 is forming. The entire west side of the court has also given place 
 to a new architectural display, the style of which, with what has been 
 done on the north side, need not be elucidated, as modern improve- 
 ments in this way can have little or no connection with my present 
 description. The south side of the court is original, though in ruins; 
 that is, in a certain degree. Here I dwelt with much satisfaction on 
 the view of a porch which appertained, it may be imagined, to the 
 
192 
 
 Aixhitectural Innovation. 
 
 great hall, or some such spacious edifice. Many other architectural 
 particulars carrying on the line of this side of the court I treasured 
 deep in memory, towards some future occasion to bring them into 
 practice or illustration. The abstract of my survey is this : Arundel 
 Castle in former times must have held out to the hardy assailant an 
 aspect of stern defiance, and to the courtly visitant the smile of 
 friendly reception. While its lofty walls and mound rendered it 
 impregnable, yet to those who trod each bower or hall delight and 
 pleasure became stationary from perpetual review of ravishing scenes 
 in distant lands, old ocean's wave, or the interior decorations apper- 
 taining to warlike toils or festive recreations. 
 
 On repassing the great gate of entrance, as I made way towards 
 the collegiate church, I had the present noble possessor of the 
 castle much in my thoughts ; and I bore these proud qualities of his 
 soul full in recollection. He is a man disdaining all servile depend- 
 ence on another's caprice ; a constant friend to those who may have 
 deserved his hand ; a defender of the humble man when standing 
 between the shock of overbearing power and hired calumny. Distress 
 and poverty to him never told their tale in vain — affable in his con- 
 versation, modest in his manner, and dignified in his demeanour. In 
 short, Honour, bright Honour, has him in her starry train. Such a 
 picture as this is but the true portrait of an English peer, the inherent 
 birthright of elevated rank. These, my effusions, have nought of 
 flattery in them ; I, ever on this as on all other occasions, give my 
 sentiments even as I feel, sometimes pleasurable, sometimes not 
 quite so happy ! 
 
 The Collegiate Church. — Many ancient buildings are still found 
 ranging on the east and south sides of the cloisters. They have been 
 repaired, and are respectfully tenanted. At the north-east angle of 
 the said site of cloisters one division of its architecture is to be 
 seen. The church is on the grand scale ; the plan, a cross. On the 
 north side are some windows with sweeping cornices, crotchets, and 
 finials, after a method that I never saw made use of before. The 
 body of the church shows columns, arches, with the disposure of 
 the aisles, after the best style. Against the south-west cluster of 
 columns, supporting the tower, in the centre of the edifice, is placed 
 a beautiful stone stall, now used as a pulpit. The work is in the 
 Edwardian manner, and deserves the utmost regard. In the choir, 
 on either hand, are the characteristic decorations of stalls ; they are 
 well executed. The groins, which were of wood, have of late years 
 been taken away, and a modern frame of timber placed on the walls, 
 to serve as a roof, etc. The mullions and tracery in the windows 
 have many pleasing forms to attract the eye. The stone altar exists 
 in good condition ; but the screen, rising at its back, appears to have 
 lost the whole of the ornamental parts. Behind this screen is a 
 small revestry, where is a flight of steps communicating to the ancient 
 
Arundel. 193 
 
 lodgings on the north-east angle of the cloisters before mentioned. 
 But what renders this church the wonder and admiration of strangers 
 is the magnificent series of brasses, tombs, and monumental chapels 
 in the above choir. I, it must be confessed, was no way wanting in 
 my plaudits ; and notwithstanding those stores which I have accu- 
 mulated from the like association of sepulchral objects, yet I here 
 still obtained another prize exceeding those already past : another 
 and another, in splendid change, breaking on my astonished sight ; 
 never to be cloyed ! Soft, soft, man ; thou art an enthusiast. 
 
 The stalls take up nearly half of the length of the choir; the other 
 half (to the east) contains the several tombs and monumental chapels. 
 The pavement is diversified with brasses of the effigies of knights and 
 ladies, priests, etc., accompanied with architectural decorations. On 
 the north side of the choir, I first ascended to a tomb bearing on its 
 slab an armed knight, in the usual prostrate attitude ; and in the 
 tomb, open on each side, is the figure of this knight, in the state he 
 is supposed to be in after his decease. This emblematic memorial 
 of man's life and death is finely wrought; and I was told by my 
 conductor that one of our eminent painters had acknowledged this 
 specimen of ancient art "had some merit in it." The next decora- 
 tion (continuing on the line of the north side of the choir) is a large 
 monumental chapel, charged with a profusion of enrichments, but of 
 that taste which prevailed about, or soon after, the close of the reign 
 of Henry VIII. ; an uncouth and strange mixture of our native archi- 
 tectural modes, and the then new importation of ornamental devices 
 from the Roman and Grecian schools ; the tooling, or sculptured 
 parts, betraying the like departure from that true taste and exquisite 
 workmanship which is so demonstrable in all our national edifices 
 prior to the above era. Opposite, on the south side of the choir, is 
 another large monumental chapel, covered over likewise with an un- 
 bounded display of embellishments — embellishments as far exceeding 
 the former show as the lustre of the diamond doth the factitious pro- 
 duction of some crystal-glass gewgaw. Permit me to observe, this 
 chapel presents a chaste and unadulterated proof to what a height 
 of perfection our ancient sculpture and masonry had arrived in the 
 formation of everything that was excellent and charming. Here is 
 much originality in the parts, particularly shown by the twisted 
 columns and the arched canopies on their capitals. Within this 
 chapel is an altar-tomb, whereon is placed a second tomb; brought, it 
 may be conjectured, from some other situation ; bearing statues of a 
 male and female, superbly arrayed. In the centre of the choir, and 
 directly before the altar, is a tomb entirely sculptured in alabaster. 
 My encomiums exhausted on the foregoing subject, how shall I in 
 the present instance call forth adequate expressions sufficient to give 
 that tribute of applause which this, another master-work of the chisel, 
 stands forward to claim in right of consummate excellence ? Defec- 
 
 vol. x. 13 
 
194 
 
 Architectural Innovation. 
 
 tive hand, words in expressions fitting fly my pen. Deep in the 
 inmost recesses of my imagination live, then, the merits of this tomb; 
 too great for utterance, though not for conception. Friends in anti- 
 quarian pleasures, let your thoughts go with me : all then is under- 
 stood. On the four sides of this tomb are niches filled with statues ; 
 in the entablatures a multiplicity of shields are inserted, and the 
 statues of the lord and lady, lying under gorgeous canopies in their 
 dresses, give the most minute and particular explanation of the ele- 
 gant costume of their day. After a necessary reduction of sentiment 
 from this sublime repast, I passed into a chapel on the north side of 
 the choir ; where were some plain stalls, and at the east end a stone 
 altar like the one in the choir, and near it, in a centrical position, 
 an altar-tomb unadorned, excepting by some compartments con- 
 taining shields, etc. Allowing that simplicity of design in this 
 latter arrangement is most conspicuous, yet the appearance of 
 grandeur is not wanting : so true it is, our ancient works,' either of a 
 proscribed or expanded plan, are still intrinsic — ever commanding 
 sacred observation, and an obligatory care and protection. 
 
 [1803, Part II., pp. 230, 231.] 
 
 As country gentlemen have much time on their hands, some turn 
 their attention to agricultural and some to architectural matters. 
 Both pursuits have their uses, and both their rewards ; the first by 
 improving the produce of their lands, and the latter by the adorn- 
 ment of some of the most beautiful scenes within their possessions. 
 Yet how often do these undertakings fail either from a mistaken 
 application of particular modes of culture, or by a false idea of those 
 qualities which in building give the true standard of taste and ele- 
 gance. As far as my experience held with me, I witnessed, as I 
 onward went, some of those things termed " snug-boxes, lodges, and 
 neat cottages" reared by the roadside, thickset with the gleanings 
 gathered up after your reapers in the fields of the "fantastic order" 
 had received their "penny" of applause for "chaste" imitations made 
 in octavo pages, or in lath and plaster sociables, or distributed out 
 to those scribes who have the admirable knack of proving that a 
 mere oblong geometrical figure sweeping with a pointed head, 
 is the whole and sum-total of our ancient architecture ; demon- 
 strating at the same time that the mouldings, ornaments, etc., 
 thereunto belonging have little or no intrinsic merit, and ought 
 by no means to be brought into consideration, so as to fetter the 
 refined faculties of those who condescend to give to their archi- 
 tectural designs a turn towards our remote modes of constructure. 
 These pretty new road accompaniments, named as above, had a 
 fanciful combination of smooth - wrought walls, smooth-worked 
 windows and doors of the pointed turns, with bodies of trees scarce 
 lopped of their branches supporting thatched roofs. 
 
Porchester Castle. 
 
 195 
 
 Porchester Castle. 
 
 Of our many noble and extensive ruinated castles this may certainly 
 be considered as one of the first class. The effect it gives from a 
 flat and dreary situation is altogether peculiar to itself. The whole 
 extent of the surrounding wall is remaining ; the east side washed by 
 the waters of the Channel, and the other fronts overlooking barren 
 fields, and a mean town, which town seems to owe its being to the 
 resort made here in time of war. 
 
 Advancing to the north-west side of the castle, the square and 
 elevated keep hangs as it were over the walls in menacing aspect. 
 The gate of entrance at the west is large, and much decorated. 
 Entering, I noted on the left a long avenue or approach, ascending 
 in many winding directions to the keep ; the parts of which have 
 also a variety of decorations, well studied, and well applied to such 
 an arrangement of communication. The keep from this point comes 
 on the sense with additional force, both in seeming and in magni- 
 tude. These works appear Edwardian. Within the whole circuit 
 of this fortress, I found no vestiges of other buildings than those 
 enumerated, excepting the chapel, a fine specimen of Saxon archi- 
 tecture, evinced principally by the west front. The door of entrance 
 is one of those magnificent and elaborate designs such as we find at 
 St. Margaret's Church, York;* Ifley Church, near Oxford; Barfreston 
 Church, near Canterbury ; Malmesbury Abbey-church, etc. I regret that 
 I had not the opportunity to see the interior of this chapel and the 
 keep. To confess the true cause of my remissness in this respect, 
 far other sensations than those allied with antiquarian pleasures took 
 too fast hold of my attention ; for I saw on every hand wood lock-up 
 huts, palisadoes, and other such-like securities, wherein had been 
 confined the French prisoners. The horrors attendant on review of 
 these objects, which till a short time ago had been the receptacles of 
 those who had forgot their God and king, threw my soul into a 
 shudder. And ever as I turned to catch a parting look at the keep 
 and chapel, some fresh recollection of dire sacrilege and massacre 
 darted their remorseless terrors full in my distracted sight ! 
 
 Tichfield. 
 
 [1803, Part II, pp. 325-327.] 
 
 The next ruin I meet with in my course had the name of " Tich- 
 field " attached to it. Here, instead of finding an entire pile of 
 buildings in excellent repair, well furnished, and nobly inhabited, as 
 some twelve years ago L was given to understand from the best 
 
 * Engraved in "Specimens of Ancient Sculpture and Painting." 
 
 13—2 
 
196 Architectural Innovation. 
 
 authority was its condition, I saw the lamentable leavings of dilapi- 
 datory furor. Addressing myself to an aged tenant of an adjoining 
 hamlet: "You, ray friend, have no doubt beheld this edifice bear 
 another aspect than that which now so melancholy hangs over it; I 
 pr'ythee say how was its state?" "Stranger," replied the good 
 man, " I have long bore testimony to the fortune of this structure ; 
 have, when in my youthful days, been more than happy in the view; 
 and as I now hasten to bid this mortal life farewell, see with deep 
 concern this constant object, ever instigating duteous regard to 
 ennobled orders, decline with me also. It has, indeed, passed before 
 me in the wreck of things ; dead, disunited and prostrate on the 
 earth. I am yet in existence, have man's due proportions, still stand 
 erect ; could give way to ireful prediction. But I forbear ; my 
 thoughts hurry back to that point where humble resignation dwells, 
 and only ruminate how once the dignity of this place was owned, 
 how once maintained. Inquire no more ; prudence restrains my 
 tongue, and I must go." Thus we two admirers of what once was 
 (with some little difference in regard to certain particulars) parted, 
 each shaking our heads, and holding out our arms, as men who 
 think on what they are unable to express, either to satisfy their own 
 disturbed spirits, or the half-inquiring fears of those who may suspect 
 their actions are not altogether free from censure. 
 
 Southampton. 
 
 If there should be one architect among us who may really wish to 
 select and draw from our antiquities, or one amateur follower of 
 the art who may literally desire to see such imitations brought into 
 practice, so as to give particular parts of his rural domains a probable 
 semblance of some remnant of a castellated mansion, whereby to 
 revive in his mind how his great ancestors flourished in warlike 
 pomp; then let them repair hither, and make an accurate survey of 
 the encircling walls of this town, where on each direct flank will be 
 found abundant objects for the above purpose, in gates of entrance, 
 circular and square towers, buttresses of simple form, or diversified 
 with splays of every degree, battlements, turrets, and all the long list 
 of defensive architecture too infinite to be enumerated in this place. 
 Contenting myself that from these hints I may set one or two to their 
 proper labours, I as usual shall proceed, and speak of things as I find 
 them. 
 
 Ban* Gate, entering the town from the London road, is large and 
 stately, and in good repair, by which we may infer the names of the 
 heroes of Southampton, Sir Bevis and Sir Iscapart, are dear to the 
 inhabitants ; as their portraits painted on boards hung up on each 
 side the entrance, indeed, sufficiently demonstrate. Water Gate 
 
Southampton. 
 
 197 
 
 stands below, at the other extremity of the town, overlooking the 
 river. Men of this quarter carp at, look askance and decry, this 
 warrant of their former consequence ; they, unlike their brethren of 
 the upper guard, cry : " Pull us down this gate ; take from our sight 
 the nuisance ; air we want ; not the fresh air altogether, but that air 
 such as promenades dispense when all the elegance and fashion of 
 the place here repair to take the sea-drawn breeze. Low men of this 
 lower watch, gird on ; your scoffs and hopes alike are vain ; Water 
 Gate still remains." Among the many curious architectural par- 
 ticulars aggrandizing the town are some parts of the palace of Canute, 
 running on a line with the gate just mentioned ; from the windows 
 of which, as an honourable author has suggested, this monarch 
 when adulated by his nobles pointed to the tide then coming in, and 
 said: "I will go forth and prove my omnipotence, by bidding the 
 rushing waters not to wet my feet but the impetuous waves heeded 
 not, and proved to him and his servile flatterers that he was but a 
 man. Keeping on the direction of these buildings, at 300 or 400 feet 
 distance, is a very extensive assemblage of lofty arches, forming re- 
 cesses in a wall once making a face to some spacious work ; but 
 whether they gave the external or internal line cannot be ascer- 
 tained. 
 
 All Saints' Church, since 1789, has been demolished, and a 
 modern ecclesiastical design built on its site. I mention this cir- 
 cumstance, as the west window of the old church was a design I 
 never witnessed before. Its geometrical figure is not easily to be 
 described. We may, however, say the width of the window was 
 divided into three equal parts ; the first and third parts receded 
 diagonal-wise, while the second, or centre part, stood parallel with 
 the front of the window, as usual. Thus these three divisions gave 
 at once a bow-window and two compartmented sides, right and left. 
 
 Netley Abbey. 
 
 Not having the opportunity at this time of paying a second tribute 
 of admiration to the ruins of Netley Abbey, I shall turn back to my 
 notes and sketches taken in 1789. 
 
 After a walk of three miles, the greater length of the way lying 
 through a thick and mazy wood, I entered on the open area 
 whereon the abbey stands. Directly before the west front of the 
 church, at about 200 feet distance, is a small fort overlooking the 
 Southampton river, serving once as a water-gate and a place of de- 
 fence to the sacred seclusion. The west wall of the cloisters ranges 
 with the west front of the church, where is a large projecting tower 
 appearing as the original entrance thereinto. The present entrance 
 is in the centre of the south wall of the cloisters ; which before I 
 
198 
 
 Architectural Innovation. 
 
 passed through, I examined the vestiges of a series of offices taking 
 up the whole of this south line. Entering into the cloisters, I found 
 a wide waste ; the internal walls, west, south and east, and the south 
 side of the church alone bounding the area. On the east wall are 
 three entrances into three several rooms, one of which, from the 
 large dimensions, may be inferred, is the chapter-house ; these 
 rooms communicate with many more, which extend far beyond the 
 south wall of the cloisters. On the right of the chapter-house a pass 
 is had to the site of the cemetery, where at the eastern extremity of 
 this extensive plot of ground is another grand assemblage of rooms. 
 It is necessary to remark, these several buildings for the accommoda- 
 tion of the religious have suffered so much from dilapidations that 
 but confined ideas can be conceived of the original finishings of the 
 minute parts. They have all, excepting the chapter-house, room 
 attached, and the offices on the outside of the south cloister, their 
 various constructed groins or arched ceilings. The rooms at the east 
 point of the cemetery in this respect have some very fine proofs 
 of masonic skill in this way, altogether rare and extraordinary. 
 
 The walls of the church are partly complete, save the north 
 transept (of which no traces can be discerned), and are left in many 
 situations as high as their first terminations, in which are the windows 
 and other wall decorations. The columns, arches, etc., composing 
 the aisles, are all fallen into prodigious heaps of undistinguished 
 rubbish; and it was with some difficulty I made out the precise 
 arrangements of the nave, centrical tower, and choir. There is no 
 indication that there ever was a chapel of our Lady east of the choir, 
 as common to other abbey-churches. In the south transept, how- 
 ever, are many particulars in being, so as to inform the mind how 
 Netley's former architectural fame was manifested ; for the east aisle 
 belonging thereunto is complete, with its columns, arches, galleries, 
 and groins ; and what is more to be regarded, the ribs of the groins 
 of the transept itself are standing, nearly independent of their grounds 
 or spandrils, hanging as it were in suspensive insecurity, to the utter 
 astonishment of all scientific beholders how they have remained so 
 long in this uncertain state, and how they still defy the tooth of 
 Time.* Ancient Art, great is thy pride of durability, when left un- 
 touched by the destroying arm of man ! Ancient Art, cruel is thy 
 fate when your beautiful specimens are left unprotected by insensible 
 possessors ! I cry your mercy, good gentlemen, who thus hold our 
 ruinated holy fabrics in your power. Permit me to remind you of 
 an almost worn-out despised tale, prefixed to the destiny of these 
 superb ruins. A person some years ago, who had agreed to pull down 
 the whole of the abbey for an advantageous sale of the materials, had 
 
 * I have been informed, from the unrestrained access had to these ruins by 
 wanton and mischievous visitors, that these ribs have very lately been pulled down 
 by, and for the amusement of, such ignorant and unfeeling " rabble." 
 
Carisbrooke Castle. 
 
 199 
 
 gone on with his labour to a certain degree, when, standing within 
 the divisions of the great west window — here I set the drawing of 
 this object full before me — and being much enraged at the resist- 
 ance made by the tracery of the upper tier of the window, vented 
 many impious and blasphemous calumnies against the ancient 
 artificers of this abbey, when, as though his vile ingratitude to the 
 memories of such his foregone brethren — this man being himself a 
 mason, to say nothing of his then sacrilegious act — was to meet a 
 due punishment, the whole of the tracery work fell down, and 
 crushed him to atoms ! Warnings in dreams he had three nights 
 preceding this his untimely end ! Who is he, contemptuous, that 
 cries out, "What have we to do with fabled anecdotes ? — Superstition's 
 last resource to aid her cause !" 
 
 [1803, Part II, pp. 426-429.] 
 
 As I took the license to refer to my sketches and notes of 1789 
 for my account of Netley Abbey, in like manner I shall transport 
 myself to the Isle of Wight, having first crossed the " waters of the 
 channel," or Southampton river, for 
 
 Carisbrooke Castle. 
 
 Charles I. was a monarch in whom was found piety, meekness, 
 conjugal affection, heroism, honour, wisdom • and who, like a noble 
 prince, was an encourager and patron of the fine arts. I, as an 
 artist and a faithful subject, dwell with no common satisfaction on 
 this outline of Charles's character, who, indeed, was everything but 
 fortunate. Ill-fated sovereign, do I now behold those darkened 
 walls, those sullen towers, once thy captive bounds, when thine own 
 liege subjects became thy gaolers, thy cruel tyrants ? . . . 
 
 I found the ascent to the castle a weary way; and as I approached 
 near the summit, the buildings became foreshortened to the view, 
 the towers at the entrance being alone visible. Well, I gained the 
 height ; and then it was that the whole scene was displayed in all its 
 enchanting forms. After commenting on the vast expanse of country 
 I had left behind me, I made over a stone bridge of two arches, 
 passed through a small gate of introduction to an avenue, or second 
 bridge, thrown across the second fosse. I now was arrived at the 
 arch of the grand gate of entrance. A terrific pass presented itself, 
 of two prodigious lengthened wards ; the farther one ruined, and 
 open to the sky. Before I adventured on, curiosity induced me to 
 turn into the lodge in the left tower of the entrance ; the appearance 
 of which was such as might well make a draftsman, intent on the 
 picturesque, sit down to exercise his pencil. I went to work ; the 
 distant fields and hills being seen through the loopholes, and thunder 
 and lightning, to give sublimity to the scene, accompanying me in 
 
200 
 
 A rch itectu ral In novation . 
 
 this my delineatory endeavour. A total want of any living object, to 
 cry " How fares it, brother ?" still made my dreary abode the more 
 cheerless and forlorn. My sketch taken, I bore along the first and 
 second wards, already mentioned ; and while the " rocking battle- 
 ments" threatened my exploring head, the wind then blowing a per- 
 fect hurricane, I could not forbear (" arrant "-like) to stay me to 
 sketch some remarkable corbels and groin-springers, and other the 
 like decorations. The iron clamour for admittance I then made 
 loudly announced a visitor was at hand. The door was opened, 
 being the only one left of four, which, from the first guard to this 
 last, opening directly into the first court, served to secure so mighty 
 an inlet. On the left, on the right, ruins — ruins, all a fell sacrifice 
 to mortal man. Say, was the demolition in revenge to the manes 
 of the murdered king, here once imprisoned ? If so, why, as at 
 Fotheringay Castle, was there left one stone upon another ? I fear 
 me no revenge of this sort wrought the innovations which now I 
 witness. Modern accommodations for drawing-rooms, parlours, 
 billiard-rooms, and the like sort of arrangements, raised within this 
 court, tell how the matter stands, why each bower or hall is thus 
 dismantled, torn, and overthrown. 
 
 The keep, a havocked remnant of the magnificence of the Norman 
 era, still endures ; lofty, capacious, and full charged with architec- 
 tural particulars, well meriting a strict survey. 
 
 The melancholy impressions, so strongly connected with the 
 history of this castle, make it impossible to give way, so as to describe 
 the ceremonies of a certain folly, riveted in the very centre of these 
 mounds — that is, the dropping of a pin down a well ; which well, 
 however, it is but proper to observe, is an astonishing example of 
 masonry, perfectly tooled throughout all its dimensions, and remains 
 in the best condition possible. . . . 
 
 Salisbury. 
 
 To continue on my present tour in a regular manner (not intending 
 any more to seek the aid of former memoranda to eke out my tale), 
 I therefore make known that I advanced towards that spired fane, 
 one of the architectural wonders of the land, Salisbury Cathedral. . . . 
 At last I made my entry into Salisbury, sought out a well-favoured 
 and quiet hostelry, where I might enjoy my private reflections, and 
 the convenience of putting down each day's professional account, 
 taken either from the city's mighty object, or from some celebrated 
 or antiquarian subject contiguous to the same. 
 
 Wilton House. 
 
 My onset was to survey the works both of sculpture and paintings; 
 where I found a sort of architectural lodgment had been effected 
 
Wilton House. 
 
 201 
 
 by the various sons connected with the art, on the exterior of the 
 walls, as also in the halls, chambers, and other parts of the mansion. 
 It was altogether impossible to decipher with precision (I will not say 
 I was in an enemy's lines) what improvements were to be made on 
 the "adornments"* set up here by Holbein and Inigo Jones; yet, 
 by the preparation of scaffolds, ladders, and shoring poles, certainly 
 something new was to be brought to pass. It could not be altogether 
 a mere " repair," as the interior of Holbein's celebrated tower, or 
 gate of entrance, was in part bowed down to the power of indiscrimi- 
 nate change. The mode was not in the Holbein taste ; it was not 
 after our remote styles, either Saxon, Norman, or Edwardian. No, 
 it was that mode of lath and plaster work (modern substitutes for 
 stone and oak), such as we see gaining ground on every hand, assum- 
 ing to itself the title of ancient " imitation" ; while its every line 
 shows where the bias tends. 
 
 Fancy unfettered, improvement the leading principle ; something 
 new, the world's idol ; ancient models, prejudice ; antiquity itself, a 
 laughing-stock — the " fantastic order of architecture." 
 
 These mottoes I set down for the free use of our present architec- 
 tural tribe, to be adapted by them on particular occasions, and for 
 particular purposes. They will thank me, no doubt, for these intima- 
 tions. Why, then it is well. 
 
 The Great Hall — After listening with the utmost attention and 
 regard to each explanation which my conductor, with much pom- 
 posity, was pleased to communicate, of the inestimable qualities of 
 this statue and that basso-relievo, he very gravely was about to pro- 
 ceed on his "walk" of description into other rooms, when I (unhappy 
 national partiality !) cried out : " Sir, good sir, I earnestly entreat your 
 information relative to those fine suits of armour hanging up on each 
 side of this hall." " Oh," he answered, " they are only some old 
 armours once belonging to the first lordly possessor of this house 
 (which had been, before his time, one of your abbeys), and to some 
 noble Frenchmen whom he had taken prisoners in battle — that's all." 
 After recovering from my delusion, in idly gazing on each helm, 
 gorge, cuirass, shield, or spear, the warlike trophies of a renowned 
 name, I, as before, prepared myself for further note of heathen gods, 
 altars, and all the rest of such an edifying collection ; at once forget- 
 ting (I am ashamed to confess the truth) that I was by persuasion a 
 Christian, or that England's ancient artists had left behind them any- 
 thing deserving of attention. In this mood I was all rapture with 
 every subject my kind conductor willed me to be caught with, was it 
 a statue, a bust, or a sarcophagus ; being perfectly satisfied that the 
 addition of an arm, or a leg, properly applied, " looked very well " ;f 
 
 * See "A Description of the Antiquities and Curiosities in Wilton House," by 
 J. Kennedy, 1769. 
 
 t Ibid,, Introduction, p. xiv. 
 
202 
 
 Architectural Innovation. 
 
 and equally credited him when he declared this sculpture to be an 
 original, or that a copy. 
 
 The paintings now came in for their share of applause (an applause 
 something different from the above). One moment I was delighted 
 with beholding the beauteous pencilling of a Vandyke ; another 
 instant I was transported with the sublime touches of a Rubens. 
 Thus of Van Eyck, Albert Durer, Holbein, Raphael, etc. 
 
 In one of the chambers, where much furniture was stowed, in 
 consequence of workmen being in the house, as before observed, I 
 chanced to stumble on a small statue of Henry VIII. cut in oak. It 
 was, in my opinion, a very excellent performance. My conductor 
 was silent on this article; to be sure, he was well warranted so to be; 
 as, in the " Catalogue of Statues,"* this carving is not once mentioned. 
 How comes it that this our eighth Harry's statue was forgot ? Was 
 it concluded that, as his virtues and piety were so notorious, his gift 
 of this mansion so well recorded, and that this statue was shaped by 
 an English hand, all mention on the subject would be needless ; 
 much less of consequence sufficient to rank with Roman and Grecian 
 productions of the chisel. . . . 
 
 Every adoration being exhausted (to which I subscribe as fervently 
 as anyone) on the great family picture by Vandyke, let me, in turn, 
 be lavish in applause on that charming, that precious jewel, that in- 
 estimable treasure, that unique in ancient art, English art (who can 
 gainsay this my assertion?) — that divine painting of Richard II. 
 What truth of drawing; what minute attention to every costumic 
 particular ; what delicacy in the colouring ; what angelic harmony in 
 the attitudes; what holy, what beautiful countenances; what a com- 
 position to inflame the soul with conception of regal devotion, 
 
 eternal bliss and !. .. I should have found this, my adulated relic, 
 
 placed in a more conspicuous situation or a better light than that 
 in which I viewed it. In sober theme, then, let us look into the 
 design of this painting, and judge whether I am too zealous, or others 
 too indifferent. Richard is on his knees (unfashionable), attended 
 by his guardian saints, Edward the Confessor, King Edmund the 
 Martyr, and St. John Baptist (superstitious supporters), and is pray- 
 ing to our Lady, with the Infant Jesus in her arms, surrounded by 
 eleven angels. (What painter at this day would introduce such 
 accompaniments to set off his principal portrait ?) It is needless to 
 say anything more to qualify my defence of a painting done among 
 us about 1377. 
 
 Old Sarum. 
 
 [1803, Part II. , pp. 515-517.] 
 
 Perhaps there is no spot in the kingdom where little more than 
 geometrical lines, cut in the bosom of the ground, are left to guide 
 * " Description of Wilton House," Introduction, p. xiv. 
 
Old Sarum. 
 
 203 
 
 the curious in historic search after evidences of grandeur, and lofty 
 state, than this remain. 
 
 The principal part of the design, with reference to plan, is a circle 
 of more than 1,500 feet in diameter, which, with the interior, or 
 second circle, is well preserved — that is, as far as the earthworks go, 
 as there are but few vestiges of the walls to be met with. The usual 
 approach is along a gradual ascent to the first fosse, 140 feet wide, 
 over which there is, at present, to the south-east, a narrow pass of 
 earth (guarded by a mole of earth likewise) to the first mound, or 
 intrenchment. Here is an opening into the area, but no appearance 
 of stonework, to mark the gate of entrance ; nor, indeed, in tracing 
 round the summit of the intrenchment, is there any wall to be met 
 with, except at the north-west, where is an excellent specimen of such 
 defence, 40 feet in length, 8 feet in thickness, and about 10 feet in 
 height. Many of the facing-stones are left, regularly disposed, and 
 nicely jointed. In this area (width, from intrenchment to second 
 fosse, 310 feet) are three ridges of earth, stretching across the space 
 (they being intrenchments for the support of interior walls). One 
 bears to the south-west, another to the north-east, and a third due 
 east. In the division to the north-east stood the cathedral ; and we 
 are informed by Price* that in his time the foundations were visible, 
 though now no traces of them are left. The ridge bearing to the 
 east, where its line abuts against the encircling intrenchment, there 
 has lately been discovered, by the falling-in of the earth, a descending 
 avenue of stonework, the course of which leads, through the thickness 
 of the intrenchment, to the level of the fosse. The avenue here 
 being filled up with rubbish, it could not be pursued further. It is 
 conjectured, as there is not the least appearance in the fosse of any 
 opening whereby this avenue had communication to the adjoining 
 grounds, that its plan turned to the right and left, and was continued 
 through the whole thickness of the intrenchment ; but for what direct 
 purpose we, at this day, find it difficult to determine. The ex- 
 periment of clearing away the obstructing materials might not prove 
 a fruitless attempt, thereby to determine so curious a matter; but 
 where are those who have either inclination or the means to set 
 about such an act ? Alas ! men's studies are now nearly turned from 
 the paths of antiquity. Speculations in earthworks for canals, lead- 
 mines, coal-mines, copper-mines, tin-mines, etc., etc., are your only 
 "rage." Hope, then, for antiquarian enterprise, headed by the great 
 and affluent, is, I fear, but a mere illusion. A weak endeavour to this 
 purpose, from a few individuals, circumscribed by narrow means, is 
 all we are to look forward to, in aid of this good old cause — which 
 cause, I find, from constant experience, seems to be on the decline. 
 Oft has expectation made me conclude renovation was nigh : 800 
 dignified associates signing their names to restore the sickly flame ; 
 * See his "Observations on the Cathedral Church of Salisbury," 1753. 
 
204 Architectural Innovation. 
 
 but the heat soon subsides, and cold indifference follows the initials 
 of the noble list. 
 
 The second fosse is, in width, 122 feet, a circular form still ; when, 
 holding on the south-east direction, as at the first entrance, a second 
 pass over this second fosse brought me to the grand entrance, leading 
 into the second area. The way became extremely difficult, from the 
 declivity of the ground; and the danger (or labour) was not a little 
 heightened by the immense masses of wall, on either hand, hanging 
 in a suspended state, which marked out this terrific entrance. The 
 facing-stones have been all purloined, and the rubble alone remains — 
 a very rock of masonry — for so tenacious are the materials, that, 
 notwithstanding some of the work is fallen, it still retains the true 
 position of the several courses. Although no precise idea can be 
 submitted as to the design of this entrance, in towers, turrets, arches, 
 and the like objects, yet, from a situation so commanding, from walls 
 so mighty, it must have been inaccessible to warlike assaults while 
 defended by warlike zeal. That lost, and even these walls left 
 defenceless and forsaken, they have become a prey to ruin ; neigh- 
 bouring buildings want wrought stone ; cottages want hearthstones ; 
 and roads want stones to repair them with. Time here has been but 
 a looker-on, unemployed — a mere lounger in this scene of waste. 
 Man, provident man, has reduced our investigations, since Price 
 surveyed this place, even to what we find. Come, it is well it is no 
 worse. We are in the second area (still circular); width 318 feet. 
 Nought but an indiscriminate heap of earth, deep dells, and irregular 
 ridges meet my sight ; of wall, not the least particle ; and conjecture, 
 that kind attendant on all explorators, was wholly useless on the 
 occasion, a mere " sleeping" guide ; so I even gave up the purpose, to 
 arrange out the castle wards, keep, hall, and the long et cetera. . . . 
 
 New Sarum, or Salisbury. 
 
 I shall first mention that there are several ancient houses remaining 
 in this city, constructed with stone, of various dimensions ; their 
 dressings regular, evincing great accommodation in their plans, and, 
 from the number and lightsomeness of the windows, and other 
 decorations, manifesting that such abodes, when in their original 
 order, diffused every convenience requisite for consequential and 
 cheerful habitation. Surely the customs and manners of our 
 ancestors, three centuries past, by some writers have been but 
 superficially understood, or grossly misrepresented — or else we should 
 not read in a new publication (on Gardening and Architecture) ideas 
 to the following purport. The author, after presuming to judge of 
 the merits and to condemn the demerits of our ancient architecture, 
 thinks gentlemen who are raising or repairing houses in the country 
 will do well, in some instances, to " imitate" to a certain degree our 
 ancient modes, for the exteriors, but on no account to follow the 
 
New Sarum, or Salisbury. 205 
 
 practice in the interiors, as it is necessary at this day to live 
 comfortably within doors. 
 
 The Market Cross is a beautiful object, but has been most cruelly 
 despoiled of the upper part of its design. We suppose the finishings 
 were similar to those at Malmesbury and Chichester. 
 
 The close of the cathedral is surrounded nearly with lofty walls, 
 embattled, having many hanging parapets, turrets, and in their 
 circuit present four or more gates of entrance (much dilapidated), 
 with a fosse, and other particulars necessary to a defensive work. On 
 the exterior of the wall, to the east, bearing on the High Street, are 
 stuck a number of ornamented stones, of Saxon performance, 
 consisting of parts of enriched architraves, cornices, paterae, 
 ornamented compartments, bustos, etc. The sculpture is good, 
 and, allowing for the public situation, the mutilations are not very 
 great. There is one particular bust, placed in a circular-headed 
 recess, which bears the look of Roman — at any rate, I may presume 
 to affirm I have seen things of this sort, no way superior, treasured in 
 splendid collections. Collectors who never have been instigated to 
 look for "antiques" among our weeds, old walls, and ditches, at least 
 at Salisbury, may now (who knows ?) take a peep ; and what at 
 present serves as a mark to throw stones at, be in future placed in 
 cabineted security, as morsels rare and inestimable. At any rate, it 
 may be asked how these relics became inserted in a wall, raised 
 about, or subsequent to, the finishing of the present cathedral 
 church ? It is probable that, when the cathedral was demolished at 
 Old Sarum, some of the materials were brought from thence to be 
 used in the new works going on in this place, now, to us who live, 
 old works. Be this as it may, these ornaments should not be passed 
 by unheeded. 
 
 [1803, Pari II., pp. 642-644.] 
 
 On the west side of the close is a range of ancient houses, in the 
 centre of which, and fronting the west end of the cathedral, stands 
 the deanery. They have all submitted to take the smatterings of 
 the several styles of buildings pervading our architectural hemisphere 
 for a century past. They still, however, show out much consequence; 
 and the deanery in particular, in retaining many of the original 
 finishings belonging to our former religious habitations. On the 
 east side of the close is the bishop's palace ; the principal front 
 bears to the north. This is the remains of a noble elevation; it 
 gives at present a centrical body and two wings. The left wing is 
 entire, consisting of many buttresses, a door of entrance, windows, 
 and a beautiful staircase turret of Henry VII.'s mode. The right 
 wing till of late was also perfect; but the genius of innovation 
 stirred up an architect* (now no more) to try his hand at improve- 
 * Sir Robert Taylor. 
 
2o6 Architectural Innovation. 
 
 ment ; and he has succeeded in the true spirit of the fantastic order, 
 by designing a porch — a porch on which he has crammed the blinking 
 semblances of a pointed window (not a door), pinnacles springing 
 out of columns, paterae compartments, and a common modern square- 
 headed doorway — in short, a complete caricature of the architecture 
 of the neighbouring church. The body of this palace has been 
 totally changed to the style of Charles II. 's reign — a style signifying 
 nothing but insipidity, and a blind departure from that perfect 
 harmony of building so predominant in our ancient works. 
 
 When I stood on the spot heretofore bearing the famous Bell 
 Tower, I cast about for some cause to help my wandering sense why 
 that object was levelled with the ground. It could not be to obtain 
 a space for the planting of a few Lombardy poplars, as the site has 
 been again built on, a few huts now rearing their paltry roofs where 
 once stood this one of the glories of the city. It could not be for 
 an open view of the cathedral, as lofty rows of elms entirely shut 
 out any distant prospect of this sort. For what purpose, then, was 
 the downfall brought about ? Interest ? Interest could not go far 
 in the inducement ; for what avail old wrought stones, timber, lead, 
 in an account of moneys, mounting up to things of price, a con- 
 sequential sum? Among my list of regrets I have set this memo- 
 randum: " Did not ever draw a view of the Bell Tower at Salisbury.' 
 Brother Price comes me, then, in good stead, with his elevations of 
 this subject. Easton's view of the north side of the cathedral has 
 it too. Much information hence is derived; yet in such informa- 
 tion, how much lamentation is to be found ! Must antiquity-lovers 
 be the only sufferers on these occasions of devastation? Believe me, 
 no. Antiquity-haters will have their hour of contrition. Deep, then, 
 let the impulse fall ; let it rankle into the very heart's core ; give to 
 them full measure, retribution. 
 
 The Cathedral — I first surveyed the cloisters, which are on the 
 south side of the church ; the exterior of them to the west runs on 
 a line with the west front of the cathedral ; and is a vast length of 
 wall, made out by a regular disposure of buttresses, and a rich com- 
 partmented parapet. There is one doorway in the range, through 
 which I entered into the cloisters themselves. The north cloister, 
 by a peculiar circumstance unparalleled in all other cathedrals, stands 
 detached from the south wall of the nave, whereby an avenue is 
 obtained ; for what purpose originally intended I am not prepared 
 to say; but it is at present of much service in being made the 
 rubbish repository of the religious pile. Here let the infatuated 
 antiquary, like me, pore out for broken painted glass, funeral trophies 
 of helmets, gauntlets and banners ; parts of rifled tombs, sculptured 
 gravestones, enriched paving-tiles, and all the " off-scou rings " of 
 professional improvers. Let me haste from this first scene of 
 torture. Oblivion, save me ! I found the cloisters in good hands ; 
 
New Sarum, or Salisbury. 207 
 
 reparation was the word, though how slow the hammers told each 
 "nick" of progress. No matter; it is "church work," that is 
 enough. But I will give praise where praise is really due ; the re- 
 storation of such parts as are decayed seems tolerably correct. How 
 happens this ? Why, indeed, the poor men had no other superin- 
 tendent than the common plodding master-mason of the place, who 
 never heard, perhaps, how much a man shows his abilities when he 
 substitutes his own whims for those of the original model which he 
 had been " commanded " to copy. . . . 
 
 I found myself in the avenue leading to the chapter-house, which 
 is situated on the east side of the cloisters. Delightful introduction, 
 all elegance, all charm — the harbinger to a place emphatically styled 
 " Paradise"! Nothing can be more appropriate, for here no monster 
 alteration has ever set his claws ; all is as the pious founders left it, 
 unchanged, and fixed in its first, would I might say everlasting seat ; 
 but that is a wish bordering on the presumptuous, and at this hour 
 of novelty it may be thought somewhat profane. As I looked 
 through the double door of entrance, what an enraptured assemblage 
 of elevated columned recesses, with seats designed for those who sat 
 in religious council ; costume heads, basso-relievos, painted windows 
 (too many of them despoiled of their transparent show), and that 
 masterpiece of art, the centre cluster of columns supporting the 
 springing of every groin, so as to ensure of their safe return to each 
 angular cluster of columns at every cant of the divine room. The 
 armorial pavement, a pleasing disposure, assimilating itself to the 
 wayward turn of the octangular design. Is not the proportion of 
 every part true ? the widths, heights, and every enrichment con- 
 summate in beauty and elegance ? is not the eye lost in the sweet 
 delirium? Architecture, here thy sway is potent, is supreme, at 
 least to me. In this delightful resignation to a power so mighty, my 
 transport was somewhat broke in upon by the entry of one of the 
 dignitaries : goodness and a benign mind beamed on his brow ; he 
 saw my rapture, and he expressed how much he partook of the same 
 sensations whenever he visited the place ; but his participation was 
 certainly of a more rational turn than mine, tempered by " modera- 
 tion, grace divine." My portion was enthusiasm, grace unhallowed ! 
 "See you!" he cried, "yon iron bars, which horizontally lie from 
 every angle, and unite in a circular band round the centre cluster of 
 columns?" "Yes, reverend sir," I answered; "and, as I have been 
 credibly informed, set up there 100 years past with an intent, by 
 some wise survey, to give security to the building. A deformity they 
 are beyond a doubt, their dark lines obstructing the curvatures of the 
 groins in each particular view ; yet protection is a thing most to be 
 desired in a case of this sort." " Ay, ay," the reverend sir re- 
 turned ; " but what say you to the opinion of that ingenious architect 
 to whom our church stands indebted for its present improved state ? 
 
208 
 
 Architectural Innovation. 
 
 Why, man, he has given us leave to take all those bars down, as he 
 positively declares they are not now, nor never were, of any use." 
 
 It would be quite irrelevant to this account to recite the symptoms 
 of my surprise and astonishment created by the information of so 
 bold a proposal, founded, no doubt, on mature investigation and 
 profound judgment. 
 
 After this our conference, my haste (you, my kind reader, may call 
 it desire, if you please) was so extreme to draw the views, details of 
 parts, etc., of the chapter-house, that, thinking merely at first to pass 
 a day or two on such endeavour, I soon absolutely found (not to be 
 accounted for) that I had run through a fortnight's study before my 
 thread of imitation was wound up. 
 
 [1803, PartIL y pp. 735737-] 
 
 As a cemetery is a place appropriated for the burial of the dead, 
 what situation can be so desirable as under the wing of an holy 
 edifice, where the living may, either before or after prayer, ruminate 
 on the ashes of their relatives and friends who have passed the vale 
 of death before them, by recapitulating each loved name, and other 
 endearing circumstances ? Why, then, are we, as in the areas both 
 on the west and north fronts, cut off from this mournful pleasure ? 
 No sod-raised mound, no marble mortuary, to guide the surviving 
 inquirer where those relics lie, near which he may wish, when life is 
 gone, his bones should find a resting-place ! Here the pleasurable 
 green plot, the capability fir clump, the gay promenade, take place of 
 the solemn yew, the moss-bound grave, and the winding path leading 
 through mortal mementoes. Well can I conceive that melan- 
 choly hour when the lamenting inhabitants of the city assembled to 
 witness the levelling scene, which banished for ever from their sights 
 those objects set up as the last obligatory office to departed worth ; 
 can well figure to myself how they stood aghast when the ruthless 
 hammers curtailed the exterior of the church of its particular parts, 
 or overthrew in its interior the monumental record, or the mounds of 
 the holy sanctuary !* Grief, no doubt, overcame the idea of remon- 
 strance. Not so was it when Somerset, in Edward VI. 's day, set 
 about to dilapidate our adored Abbey Church at Westminster. 
 Something more than bare entreaty from the enraged neighbourhood 
 at that time stayed the sacrilegious intention. My friend J. C. has 
 well proved, p. 636, that the same spirit, and the same veneration for 
 the consecrated fane, drew forth the present race, on the occasion of 
 the late fire, to succour and to save. The men of Westminster, we 
 may reasonably suppose, will not likewise be insensible to what may 
 be the end of the job, to use the vulgar professional phrase, both in 
 repairing the damaged lantern, and the restorations, as they are 
 called, making on Henry VII.'s Chapel. The said J. C, according 
 * Altar screen, etc. 
 
New Sarum, or Salisbury. 209 
 
 to his proposed communication, p. 639, will not, we hope, fail, by 
 his faithful watching, to give them every necessary hint, that the sleep 
 of indifference may not overcome their active concern for the future 
 prosperity of the royal structure. 
 
 Apologizing for this digression, let me revert to the west front of 
 the cathedral. Salisbury's founder and first architect, if their spirits 
 could have leave to revisit our earth, must have known much felicity 
 in witnessing their general plan carried into execution throughout the 
 whole work — a work which to this day has so well endured. We who 
 bear witness to this see a regular uniform design of one pure style 
 of architecture pervading every part (allowing for a few partial 
 deviations in some of the smaller lines) ; the plinths, dados, heights 
 of windows, parapets, roofs, etc., all running in conformity, one 
 object level with another. Consistency in architecture, as seen on 
 the walls of Salisbury Cathedral Church, is certainly to be admired, 
 as most creditable to the architect who has conformed to those rules 
 laid down in the examples of the Roman and Grecian schools ; yet 
 that indescribable delight received from the beautiful irregularity 
 conspicuous on our other cathedrals has also its consistent charm, 
 equal, if not superior, to the squared precepts of regular design. 
 However, not to do away in the least degree the interest imbibed for 
 the building before us, we must for the present estrange (with gentle 
 mind) ourselves from thought of all other our great national labours, 
 and confine our opinion solely to this one of Salisbury. 
 
 The west front. — It is peculiarly noble, being composed of three 
 grand entrances, windows to the centre and side aisles, and in the 
 centre and side roofs ; several tiers of columned recesses filled with 
 statues, a diamonded facia, and turrets at each extremity of the 
 elevation. Little or no alteration has taken place on this front. 
 
 North front.— The design is still continued with an eye to the 
 magnificent. The north porch large and superbly finished in the 
 interior; the first and second transepts, the nave, choir, and Our 
 Lady's Chapel, finely tell out their part of elegant appropriation. The 
 tower and spire, emerging from the intersection of the great features 
 of the edifice, wonderfully delight the beholder, and indubitably prove 
 the power of those capacious minds who bade the aspiring decor- 
 ations last on from age to age. The innovations on this side of the 
 cathedral are many, and done under the vague pretence of improve- 
 ment ; indeed, the meaning of this word has been stretched to a 
 degree bordering on the incomprehensible ; "great improvements"* 
 is the title made to cover all the changes lately brought to pass in 
 this church ; therefore the first demolition, otherwise improvement, 
 that occurs is the small porch which entered into the first transept. 
 This act was brought about on the mere supposition that it was an 
 after-thought of some meddling architect who lived at a time subse- 
 * See Dodsworth's "Guide to the Cathedral Church of Salsbury." 
 
 VOL. X. 14 
 
2IO 
 
 Architectural Innovation, 
 
 quent to the completion of the church. In order to save this curious 
 entrance from a consignment to rubbish, a lover of antiquities* in 
 the environs of the city begged the several particles, and has with 
 great care put them together nearly in their original position in his 
 garden as a small cross for contemplation ; to retire there occasionally 
 and view the north-east part of the cathedral, to reflect on the 
 changes it has endured, more especially in the interior, to approve or 
 to condemn. 
 
 The next innovation is the Hungerford Chapel on the north side ; 
 and we may also add Beauchamp Chapel on the south side of Our 
 Lady's Chapel. The plea for this havoc is preposterous to an 
 antiquary, and no less so to all disinterested visitors. Why truly 
 these two small appendages, like the aforesaid porch, were said to be 
 erections of a late date, not only foreign to the main design, but 
 endangering, by their near affinity of materials, " the safety of the 
 buildings ;" that is, as I understand, the entire church. If anything 
 could be said more in vindication of this strange assumption, it is, 
 " that it was done with proper caution, and with the consent of the 
 descendants of the founders." It would afford some consolation, 
 however, to us, who express our sorrow on this occasion, to be told 
 who are the present descendants of the Hungerford family, and who 
 of a Beauchamp* a bishop in the days of popery and superstition ? If 
 it were of any avail to prove by professional assurances the errors of 
 the assertions of these improvers, that in consequence of the erection 
 of the above small chapel, "buttresses, walls and columns were 
 totally removed," etc., we need only refer to that invaluable work, 
 one of the literary honours of the present times, Mr. Gough's "Sepul- 
 chral Monuments," where (plate lxxi., vol. i.) is a view of the interior 
 of the Hungerford Chapel, wherein it may be perceived that, in lieu 
 of the " removed buttresses," so much talked about, that originally 
 stood between the two windows on this side of Our Lady's Chapel, 
 was thrown from a large columned architrave, equal, if not exceeding 
 in size the present restored buttress, a large arch to another similar 
 architrave uniting with the north wall of this small chapel. If the 
 two windows of Our Lady's Chapel were " reduced," the less then 
 their openings, and of course then more strength was given to this 
 part of the church. We readily admit that the space below the 
 windows was cut into in order to make a small doorway and an arch 
 appertaining to the monument of Lord Hungerford ; which arch, 
 according to the custom of erecting ancient sepulchres, was to admit 
 his statue and funeral honours to lie visible to all in a situation 
 dividing his own chapel and that hallowed part sacred to Our Lady; 
 but from these apertures, surely, no real harm to the building could 
 in any wise be apprehended. Mr. Gough's interior view of the Beau- 
 champ Chapel, destroyed on a similar pretence, likewise shows that 
 * P. Wyndham, Esq. 
 
New Sarum, or Salisbury. 
 
 211 
 
 every care was taken not to injure Our Lady's Chapel. Indeed, have 
 not these two monumental memorials stood for more than two cen- 
 turies (maugre their neglected state for want of necessary repairs) 
 without any ill consequences accruing from their relative positions ? 
 But this, I own, is a flimsy kind of reasoning, when weighed against 
 the more solid arguments of improvement, brought forward to bear 
 down ancient usage, the rites of sepulture, and Christian example. 
 Our improvers have left on the wall of Our Lady's Chapel some traces 
 of the Hungerford paintings, which, by consulting the copies taken 
 before the innovations, in the " Sepulchral Monuments," may be in 
 some measure understood. 
 
 [1803, Part II, pp. 1020-1023.] 
 
 The Interior. — It is really curious to observe that while Sir Chris- 
 topher Wren and Mr. Price in their time, and our Salisbury im- 
 provers at this hour, affect to admire this cathedral, and, by a certain 
 combination of professional terms, seek to give celebrity to its 
 beauties (which, by-the-bye, they never knew how to feel), in order 
 that men might be brought to wonder for awhile; they catch at 
 every trifling circumstance in this and that supposed imperfection in 
 various parts of the structure, to wound and vilify the fair fame of 
 the founders and architects of this so mighty a fane. Give me the 
 man who, if he dare avow his predilection for an object, an object 
 like this of Sarum's sacred walls, let him adhere to the cause he is 
 disposed to maintain, without having the fear of being thought of a 
 superstitious turn, or that his bias for the " heathen school " modes 
 of science is whispered to be wavering. Let him not imagine that 
 small chapels on the eastern sides of the transepts are deformities ; 
 an original entrance into a choir in the wrong situation ; a choir 
 itself in the way of a general view from west to east ; monuments 
 of founders and patrons obstructing the look at some modern gewgaw 
 piece of stained glass ; or that an altar and its screen standing between 
 the choir and Lady Chapel is an abominable fence, to shut out the 
 longitudinal course of architectural subjects in continuation, which 
 subjects were raised for various religious purposes, and designed to 
 be viewed separately, to answer those ends, and to give those effects, 
 for which they were at first constructed. No ; let him behold all 
 that Antiquity has left her venerating sons, as fitting, and in order 
 due, transporting to the eye, and sacred to the touch, flying the beck 
 of interest, which ever waits to lure from his constancy a follower of 
 antiquity, by the specious cry of " Destruction is restoration," " In- 
 novation is improvement," and, alas ! alas ! such character comes 
 too late for Salisbury's better fate. " The deed is done ;" and we 
 can but relate the marvels that have ensued. Well, our good friends 
 at Westminster, Ely, Gloucester, Canterbury, Exeter, Wells, etc., 
 let them attend ; and as they hear of things new and strange, 
 
 14—2 
 
212 
 
 Architectural Innovation. 
 
 ever and anon recall to their minds the divine charms of those 
 yet unaltered piles they hold within their pious care. So to my 
 task. 
 
 With something more than common dread I entered into the nave, 
 and found, to my inexpressible concern, that the major part of those 
 tombs and monuments which till of late occupied the eastern part of 
 the church had been removed, and placed on the general plinth of 
 the edifice, supporting the columns and arches dividing the nave and 
 side-aisles. In this sepulchral assortment confusion in architectural 
 modes and funeral rites was most glaringly conspicuous ; so much so 
 that, being anxious that futurity might not be imposed upon by false 
 " guides " and fallacious panegyrists, I bore me through the un- 
 pleasant labour of making particular notes of the innovating pranks 
 played with the sacred repositories. Take them, therefore, in the 
 following range, beginning at the east end of the south aisle of the 
 nave ; and so in continuation to the west and up the north side of 
 the nave, I comparing at the same time their condition with those 
 sketches which were taken by me in 1781, before their present 
 transposition. 
 
 Tomb of Longspee, Earl of Salisbury, from the north side of Our 
 Lady's Chapel. No particular mutilation. 
 
 Bishop de la Wyle ; from the centre chapel in the north transept. 
 This statue lay on a plain plinth under a low simple-arched recess, 
 date 1274. It is now placed on a sort of altar-tomb, made up of the 
 havocked upper parts of the canopies of the Hungerford monument, 
 of the date 1459. 
 
 Tomb of Lord Stourton, from the south side of Our Lady's Chapel. 
 No particular mutilation. 
 
 Robert Lord Hungerford, date 1459. The monument was erected 
 on the north side of Our Lady's Chapel, having an arch in the centre 
 looking into this and the Hungerford Chapel. The design was ex- 
 ceedingly rich, being an altar-tomb bearing his statue, and over it 
 the said arch ; a canopied roof, entablature with an inscription, etc. 
 The present remains give the statue and the upper half of the altar- 
 tomb, which is set on a common modern plinth, etc. For the 
 disposure of some of the other parts of this monument, see the article 
 " De la Wyle," etc. 
 
 Bishop Beauchamp's tomb from the centre of his destroyed chapel, 
 which was on the south side of Our Lady's Chapel. A common 
 modern slab has been put on the top of this tomb. 
 
 Tomb of Montecute, Earl of Salisbury, date . . . . ; from the north 
 side of Our Lady's Chapel. Unhavocked on its south side, but its 
 north side made up with fragments of the canopies of the Hunger- 
 ford monument. 
 
 Gravestone of Bishop Osmond ; from the centre of Our Lady's 
 Chapel. In the present instance it has been laid on an altar-tomb, 
 
New Sarum, or Salisbury. 213 
 
 composed of various fragments of ancient masonry and modern 
 common stone-work. 
 
 Sir John Cheney. — The monument was very perfect, and stood at 
 the south-west angle of the Beauchamp Chapel ; its parts were an 
 aitar-tomb, whereon lay his statue, over which was a canopied roof, 
 entablature, etc. The design was elaborate and finely executed. 
 The remains, as they now are situated, give the altar-tomb and the 
 statue thereon. 
 
 The other statues, lying on gravestones in this part of the church, 
 are in their pristine stations. 
 
 Proceeding with the other innovations (adverting still to my 1781 
 sketches), I found that the monument of Bishop Blyth, which was 
 set at the back of the altar-screen dividing the choir from Our Lady's 
 Chapel, is now placed against the north wall of the first north transept, 
 where the second porch was situated ; which porch has been removed 
 into the grounds of Mr. Wyndham, as already mentioned. 
 
 The six chapels, dedicated to as many saints, that filled the eastern 
 sides of the two first transepts, have been totally obliterated. See 
 their designations in the Rev. Mr. Milner's learned and spirited 
 " Dissertation on the Modern Style of altering Ancient Cathedrals f 
 noticed in vol. lxviii., pp. 1057, 1107. 
 
 The space between the large clusters of columns, supporting the 
 tower and spire, is a spot requiring the most serious consideration, 
 from its critical affinity to every part of the structure. It appears 
 that, from Sir Christopher's first survey until these improvements took 
 place, the perpendicular state of the spire has been frequently proved, 
 thereby to ascertain the safety of the general works — a useful and 
 laudable trial : everything appears then, as we are taught to believe, 
 in permanent security. Thus far all may be well ; but when, by 
 looking up the lines of the clustered columns of the tower, we see 
 them hang in distorted shapes, from the prodigious weight overhead ; 
 when, in order to give those clusters some necessary aid, we see open 
 screens (work of the Edwardian era) have been inserted within the 
 north and south great arches ; and when we recollect that the late 
 beautiful and appropriate screen entering into the choir, being of 
 the style of the church itself, was incorporated into the basements 
 of the north-east and south-east clusters of this tower, and that this 
 screen has been demolished, and the said two basements cut into or 
 worked on so as to assimilate them to the opposite two north-west 
 and south-west clusters — can we feel ourselves happy in the thought 
 that, for the sake of patching up a new screen of entrance into the 
 ( hoir with some of the dilapidated parts of the Hungerford and 
 Beauchamp chapels, etc., the real protection of the building has 
 b^en in this respect but a negative or (to speak the best of it) a 
 secondary consideration ? 
 
 These men of taste and judgment, these improvers, were aston- 
 
2I 4 
 
 Architectural Innovation. 
 
 ished truly at the temerity and false skill of those who ventured to 
 set architectural designs (Hungerford and Beauchamp chapels) of 
 the fifteenth century against the main church, a work of the thirteenth 
 century ; not only to endanger, as they were pleased to announce, 
 the safety of the same, but to confound architectural symmetry in 
 good truth ! Yet these minds, superior to ancient ability, effected 
 far bolder strokes of art by cutting away certain portions of the base- 
 ments of the great tower, and raising up, in lieu of the original one, 
 a farrago choir entrance, with monumental fragments of the style of 
 the fifteenth century! Penetration and propriety, how I admire your 
 consistent acts ! 
 
 The monuments on each side of the choir have sustained no 
 innovation (though, as we are told, their removal, and of course 
 dilapidation, was to have made a part of the great plan of improve- 
 ment*); Bishop Poor's excepted, which is now reduced to the statue 
 and the slab whereon it lay. This remain has been carried into the 
 second north transept, and is raised on an altar-tomb, a piece-patch 
 sepulchral apology, shoved into a corner, and put together from 
 pieces of the inscription, frieze, and other havocked morsels of the 
 Hungerford monument and chapel. Bishop Poor's monument, date 
 1237 (engraved as the frontispiece to Mr. Milner's " Dissertation" in 
 the state it appeared in 1781), but ill agrees with these purloined 
 accompaniments, or with its new situation, dragged out from the 
 side of the choir near the late high altar, where it had rested for so 
 many centuries, and on a spot the most fitting the founder of the 
 holy temple ! Why, I pray, was this good and noble-minded pre- 
 late's monument the only one thought needful to be doomed to so 
 disgraceful a removal, of the many which surround the choir? Was 
 its interior found insufficient to be converted into a pew, like the 
 Audley and the opposite monument? Or did it stand in the way of 
 opening the choir at this point, to give a view into architectural 
 vistas and modern artificial obscurity ? or was it turned out for no 
 other reason than this obvious one — the monument was the memorial 
 of Bishop Poor, the founder of Salisbury Cathedral ? However, be 
 the cause what it may, we find that not either the bishop's sepulchre 
 could remain undisturbed, or his church remain from being improved. 
 Among the spoils of the original choir-entrance stuck up in the 
 second north transept is set also a most interesting baptistry, brought 
 from the south-east angle of the second south transept, but for what 
 purpose we are not informed ; and it can only be inferred that, so 
 long as its proper station was reversed, the improvers went on with 
 their work of architectural innovation. 
 
 * " Sepulchral Monuments," vol. ii. 
 
New Sarum, or Salisbury. 
 
 2«5 
 
 [1803, Part Il.^pp. 1122-1124.] 
 
 I next passed into the choir — a scene of transformation indeed ! 
 I had been accustomed to contemplate here a far different order of 
 things. Our professional Merlins have waved their wands to some 
 purpose ; and all view, as their familiars invited me to believe, was 
 to be given up to the momentary glance at an Eidophusicon show of 
 the Resurrection filling the east window in that spot, late our Lady's 
 Chapel, now the termination of the choir. To perfect this theatric 
 spectacle, the woodwork of the choir is painted of a dark hue, the 
 distant windows surrounding this choice transparency blackened 
 over, and some of them nearly stopped up. When I had withdrawn 
 my eyes from the redundancy of yellow light beaming from this ex- 
 hibition, it was some time before subordinate subjects became 
 visionary, which, when distinctly seen, came under my notice, as 
 thus. The new work, making out the organ-case, its screen and 
 gallery, the choir, stalls, bishop's throne, pulpit, etc., were half- 
 drawn "imitations" of the Tudor mode, a mode entirely different 
 from the architecture of the church, which represents the Norman 
 or early pointed-arch manner. The above imitations are mixed also 
 with the fanciful interpolations of carpenters and carvers, who, if 
 they have or have not correct " working drawings " to guide their 
 labour, will always foist in some whim of their own, by way of im- 
 proving the same. It may be remarked that the groins to the 
 canopies of the niches, in the Tudor mode, are always seen enriched 
 to a degree with tracery and flowers, ever varying in their smaller 
 lines, and making one of the principal characters in the works of 
 that age. In the " imitations " before us, this circumstance has 
 been overlooked, and the groins of the new canopies are left entirely 
 plain. 
 
 As I advanced eastward, after looking up on either side to lofty 
 arches, galleries, windows and groins in this part of the church, I 
 found myself constrained to dwell on the gloomy distance, as seen 
 within the three western arches of the late Lady Chapel — 
 
 " But of necessity I must go through 
 My search of old things now made new."* 
 
 Grand architectural terminations should have a uniformity in 
 their several parts consonant to scientific harmony and true design ; 
 not, when the mind is filled with capacious decorations, as are found 
 on the walls which constituted the old choir, to behold the centrical 
 point of view, after a total demolition of the original altar-screen, 
 spun into three small oblong interstices, as a medium to exhibit a 
 new " after-piece," an " ombre Gothique," truly exemplified in the 
 present altar, driven into the very extremity of the building, and the 
 painted window over it ; the one so circumscribed in dimensions 
 * " Pursuits of Antiquaries " — MS. 
 
2l6 
 
 Architechtral Innovation. 
 
 and ornaments, so deprived of all light, and the other possessing so 
 much of space and so much of light, that the clergy in the stalls of 
 the choir are deprived in a manner both of hearing or seeing any 
 divine celebration which may at times be going on at the altar placed 
 in so remote and so obscure a situation. 
 
 The screen of this new " altar in the shades " is a patched-up 
 business, with more of the dilapidations of the Hungerford and 
 Beauchamp chapels ; and the table itself is of stonework. I do not 
 recollect at this instant if the ritual of the church specifies the Com- 
 munion-table to be made other than of wood ; this, however, I well 
 remember to have read, that altar-tables in the days of popery and 
 superstition among us were particularly ordered to be wrought 
 out of stone.* How answer you this, my masters ? The north and 
 south sides of what was once Our Lady's Chapel, now the choir in 
 dreary continuation, is made out on the dado parts below the 
 " restored " windows, with still more (still and still there is enough) 
 of the fragments of the aforesaid overthrown chapels, into recesses 
 with convenient seats, etc. I was not gratified with the requisite in- 
 formation why and wherefore these accommodations were set up. 
 It was an invariable rule, both in small as well as large ancient 
 religious buildings, to insert in the right or south walls, near the 
 altar, one, three, or four seats in the niches or recesses for the use 
 of the officiating clergy. The present collection of seats under dis- 
 cussion are ten on each side the altar. 
 
 From the excessive free use made of the remnants of the two 
 poor chapels so often named in this survey, we may naturally be led 
 to this conclusion : that they, the chapels as aforesaid, when in their 
 state of unity with the exterior of Our Lady's Chapel, stood in such 
 a "deformed" display of ill-adapted style, and "threatened" ruin 
 round their contaminating bondstones;t yet, when uncoursed, broke, 
 and with their ornaments thrown into confusion's depot, they have, 
 by some strange transmutation, become objects worthy of regard, 
 have been carefully sorted, new vamped, and in the interior of Our 
 Lady's Chapel are now reset in chaste disposure, neither militating 
 against the original finishings of the church, or in any wise boding ill 
 from their new contact with walls which have so distant a connection 
 with the great tower or spire or other unsuspected parts of the entire 
 fabric. 
 
 After traversing along the aisles for some time in painful mood, I 
 reflected on my perverse opposition of sentiment, or different way of 
 thinking, from those who with delight and satisfaction now sit down 
 to ruminate in happy hour on what they have perfected for the 
 architectural, monumental, and historical good of the cathedral, 
 
 * " Archaeologia," vol. x., p. 318. Several ancient stone altar-tables are still 
 remaining, as at Gloucester Cathedral, church at Hexham, etc. 
 
 f Technical term for those stones uniting two separate walls together. 
 
New Sarum, or Salisbury. 2 1 7 
 
 instigated by the primary cause of setting off to advantage a painting 
 on glass, which it may be no unprofitable talk to inquire how long 
 such a performance may stand as the criterion of modern taste, even 
 while the effervescence of "great improvements" plays around the 
 phantasies of the admirers of something " new," and the souls of men 
 obsequious to the opinions of the high and mighty. 
 
 The detached particles of the original glazing of the windows left us 
 from the fury of glass-breakers and glass-menders are replete with 
 ornamental and historical subjects, " shedding a pale religious light " 
 in a modest tone of colouring, in delicate foliage, elegant-formed 
 compartments, and fine-drawn figures, the tints of which are as vivid 
 and as fresh as when the ancient artist first dismissed them out of 
 his ingenious hands. From this gaze of so charming a nature could 
 I endure the large, ill-adapted, common geometrical divisions in 
 squares, diamonds, diagonals, frets, etc., cut out from modern stained 
 glass of plain colours, red, blue, and yellow, sold by the pound to 
 furbish out the great west window, and others round the choir by 
 artisans who, perhaps, never visited Salisbury Cathedral in their lives 
 but to set up, when finished, their handiwork ? Impossible ! I 
 mean in no wise to bring under this sort of disquisition the painted 
 window from a design of the late celebrated Mortimer, seen at that 
 elevation which once gave the end of the choir — a glazing bearing the 
 charm of unaffected representation, and participating in that pure 
 distribution of colours, light and shade, which so distinguish the 
 inestimable morceaus of our ancient " glass-stainers," impervious to 
 time, though perishable at the least motion of the hands of im- 
 provers. 
 
 In the sacristy, a room of some antiquarian account, I, with a real 
 melancholy curiosity, looked over the several rings, chalices, pattens, 
 etc., torn out of the sacred repositories of the dead, as they lay in Our 
 Lady's Chapel, or elsewhere ; took sketches from them also. My 
 patience bore with me thus far, having calmly submitted to go over the 
 whole of this ecclesiastical specimen of church improvement. The 
 spirit of a faithful narrator bore me along the vaulted fane, in the 
 laudable hope that, by an open communication of what I saw and 
 what I thought, certain " false impressions " made on the mind of the 
 public, with regard to the architectural innovations here made, might 
 in a certain degree be done away ; and at the same time convince my 
 friends that I am still at my post of remonstrance, in order to guard 
 against a system which was to have run through our other national 
 works of the like magnitude and of the like importance as this one 
 of Salisbury. I know not how it is, whether from the want of a ready 
 concurrence in the universal plan, or a want of that most necessary 
 incitement, a competent fund, the purpose is somewhat at a stand. 
 But, ah ! this influence I so much dread, I fear me, but retires 
 awhile into that chaos from whence it sprang, to brood on more 
 
2i8 Architectural Innovation. 
 
 effectual means, and to imbibe more vigour for a renewed onset. 
 Ever on duty, let me keep a watchful eye over those possessors of the 
 castellated glories of their ancestors who raise the "iron arm," or 
 those guardians of our spired fanes who invite the innovating 
 mattock. I have of late seen the beckoning hand in this way 
 palsied ere it rose to that height necessary for a complete transition of 
 the embattled tower into degenerate nothingness, or in power 
 adequate, so as to consign a holy pile to the fate of a " truer restora- 
 tion." Thus, what but yesterday was set about in hot determination, 
 to-day (from some hidden purpose) sinks into indeterminate forbear- 
 ance and sullen non-performance. May this suspensive impression 
 become general, ever haunting the imagination of antiquity's foes, 
 until the bare surmise of an architectural innovation becomes an 
 offence both against genius and common-sense ! 
 
 Gloucester. 
 
 [1804, Part I., pp. 30, 31.] 
 
 With much hilarity I prosecuted my pilgrimage as far as Gloucester, 
 surveyed, as is my custom whenever I visit this city, the cathedral, 
 partook of my usual enjoyment in looking over the noble work of 
 the nave, the increasing and exuberant enrichments of the choir — its 
 fretted roof, the heavenly choir thereon sculptured, the splendid east 
 window, which, without a parallel, not only extends in width beyond 
 the lines of the choir, but mounts, in one elevation, from the 
 pavement to the very summit of the groins. The Chapel of Our 
 Lady prolongs the scene of excellence, still more lavish of embellish- 
 ments than the choir itself. Thus the refined arrangements are 
 carried on, at first to elevate, then to astonish, and at last to impart 
 excess of admiration. Notwithstanding the strong opposition made 
 against any further publication of a series of engravings illustrating 
 our cathedrals, yet the several plates relative to this grand structure 
 are in a state of forwardness. 
 
 Ross to Usk. 
 
 Made the best of my way to Ross, passed by Goodrich Castle, 
 rested a day at Monmouth, came to Ragland ; cast my attention once 
 more on the castle — the fatal monument of enthusiastic loyalty. Its 
 near neighbour, Usk Castle, had not so much interest with me ; a 
 picturesque ruin certainly, and engaged my pencil for a short space. . . 
 
 Caerleon. 
 
 Well, I am in the precincts of Caerleon. Roman, ancient British 
 renown, in regal pomp, in martial feats, in pride of arts, all stood 
 revealed before me ; more, I must confess, by recollection of good 
 old story than by memorials left. After much pleasing reverie, I 
 
Landaff. 
 
 219 
 
 walked over the site of this once-heroic place ; observed the amphi- 
 theatre, the castle works, towers by the river, and remnant of the tower 
 which guarded the pass of the river. Here, then, I turned my back 
 on Caerleon, and soon came to 
 
 Newport, 
 
 where the first object that came under notice was the remaining 
 east front of the castle. This front gives what the enemies of our 
 antiquities so much condemn the want of in old structures, a regular 
 and uniform mode of design, consisting of a principal work in the 
 centre, inferior parts in continuation right and left, and at each ex- 
 tremity lesser works, by way of wings, etc. In leaving this town 
 somewhat in more speed than I wished, I could just discern in the 
 High Street (evening approaching) some part of ancient buildings 
 much enriched. 
 
 [1804, Part I., pp. 125-127.] 
 
 Being settled in my quarters at Cardiff, I walked over the pleasant 
 meadows (distance two miles) to 
 
 Landaff. 
 
 This town, like its cathedral, shows but as shadows departing in 
 the track of devastation. How true it is, when a mighty religious 
 fabric is suffered to lead the way into the wilds of insignificance, each 
 dependent habitation follows also ! As the guardian of the one goes 
 far away, the sojourner in the other flies to some new region ; and 
 dilapidation, alteration, and a state of ruin, become the destiny both 
 of the spired fane and the roof of busy occupation. Some two or 
 three good modern houses were sprinkled here and there, and 
 appeared creditably inhabited. Many remnant buildings of a very 
 ancient date were seen, either totally deserted, or converted into 
 granaries, sties, or laystalls. 
 
 The gateway leading to the bishop's palace is a simple erection, 
 though worthy attention. A long line of wall overhanging the fosse, 
 and parts of a room of large dimensions (suppose the great hall), 
 were the leavings of the ancient sacerdotal dwelling. The present 
 palace for the diocesan is what is termed a country villa, built, it may 
 be, about seventy years ago. Its look was something forlorn. The 
 situation of the cathedral is uncommon, being at the foot of a steep 
 declivity, whereon some of the houses of the town are standing ; so 
 that it is hardly possible to obtain a good view of the fine west front. 
 Some material change must have taken place in the face of the 
 ground on this spot since the original architects finished their work, 
 as it is not reasonable to surmise they drove this principal feature of 
 
220 
 
 Architectural Innovation. 
 
 the design into a cranny ; the north and east fronts being on level 
 ground, open to the sight, and to the adjacent lands. Opposite to 
 the east front are the rubble portions of a gateway having a connection 
 by a scattered line of wall to the palace. Being thus busily engaged 
 in observing these particulars, fondly imagining that my employ was 
 laudable, and forgetting at the same time that I was not in my 
 own country, "England," two personages rudely interrupted me — 
 protectors of the place, no doubt — as they with fiery eyes and 
 menacing actions demanded "why, wherefore, and for what purpose, 
 a foreigner like me haunted thus their sepulchral confine, after 
 having pried over the whole town in a manner unusual, and not to 
 be accounted for." Without the least hesitation I answered, "That 
 having heard in England, where I was born, of the extraordinary 
 remains of ancient architecture, religious as well as civil, in this their 
 delightful and renowned land, where health-inspiring mountains and 
 cordial hospitality were ever ready to welcome the curious stranger, I 
 had travelled me thus far to witness." Here my inquisitors took 
 their leave in all haste, satisfied with my answer, it was natural to 
 conclude ; I therefore continued my agreeable investigation. 
 
 Finding the church door open, which led into the south aisle of 
 the choir, I entered ; when, after walking about for some time, I 
 made ready my pencil and papers, my roll of items to be sketched, 
 and so forth. My position was at the east end of the choir, whence 
 I could take in the whole line of the choir, that part of the nave in 
 repair, and that in ruins ; the west door of the former being left open 
 like the other just mentioned. ... I now commenced my business 
 in earnest, and continued on the same for several days without the 
 smallest molestation. Thus freed from anxious care, I gave myself 
 up to the pleasing task, returning to and from Cardiff each morning 
 and evening, till my survey was completed. The particulars are as 
 follow : 
 
 Plan of the Cathedral. — It has gone through much havoc and 
 curtailment. The first four divisions of the nave are in ruins ; and 
 the south tower of the west front (no doubt correspondent to that 
 standing on the north) is wholly gone. So completely is every trace 
 done away of the two transepts, that not any opinion can be had at 
 what precise part they were affixed. The present modern west front 
 is run up at the fifth division of the nave ; and between it and the 
 choir are left two more divisions of the nave. The choir, which is 
 transformed into a complete modern Ionic temple, continues to Our 
 Lady's Chapel, bounded with north and south aisles (partly of the old 
 work and partly of the new) in continued lines. The Lady Chapel 
 has not been trampled on by innovation. On the south side of the 
 church is a curious vestry, unaltered either externally or internally as 
 far as the tops of the windows and groins, whereon has been erected 
 a modern office appertaining to the church. There are not any lines 
 
Landaff. 
 
 221 
 
 to point out the cloisters, chapter-house, or other buildings constituting 
 the general plan of a cathedral. 
 
 West Front. — Could not learn at what stated time the edifice was 
 brought to the condition in which it presents itself. If we may infer 
 from the modern work introduced, it must have been about sixty years 
 ago ; but as to the demolitions, whether they were done at the same 
 hour of improvement, that is by no means to be ascertained. Those 
 ancient parts left to stand or fall, as it may be, are of the first class of 
 architectural consequence ; the style is the early pointed, and exceeding 
 rich. The west door has a double entrance (the usual feature in this 
 first emancipation from the Saxon order), and what is observable, 
 though there are two semicircular headways, there never was a 
 column to support them ; the semis being perfected by a prepara- 
 tion for a perpendicular ox-eyed niche, wherein is the statue of the 
 founder of the church, in his episcopal robes, his feet being supported 
 by two dogs placed on the said preparation. The story over this 
 doorway is formed by the great west window. "Three in one" (that 
 is, three windows in one), without mullions or tracery. The second 
 tier, or story, contains only one small window in the centre, having on 
 each side three declining headed recesses. The pediment, or front 
 of the roof, here takes place, in the point of which is a statue seated, 
 with a book in the left hand ; the right hand is giving the benediction. 
 On the head a crown surrounded by a glory. The tower on the north 
 part of this front is massive, of considerable dimensions, and in a 
 mode subsequent to that of the main front itself. The corresponding 
 tower on the south part, as already noticed, is destroyed. The detail 
 of mouldings, ornaments, etc., to this front is very interesting. 
 
 [1804, Part I., pp. 215, 216.] 
 
 South Front. — In this range, taking the line from west to east, we 
 see the ruins of the first four divisions of the nave, where is the south 
 entrance, and which is well preserved ; the work is Saxon, and very 
 rich. The windows to the aisle of the nave in use are unaltered. 
 The lower part of the vestry unaltered, while the upper part is of 
 modern construction, and occupied as an office to the church. 
 Windows and door of the aisle of the choir entirely modern work. 
 Our Lady's Chapel unaltered, and is a beautiful design. The upper 
 part of the choir is wholly of modern work, with a common pediment 
 roof, dripping eaves, etc. 
 
 The east front of Our Lady's Chapel, unaltered. 
 
 North Front of the Church. — Remains in much the same condition 
 as the south front; and in the ruined divisions westward is another 
 rich Saxon entrance, correspondent to the one mentioned on the 
 south side. 
 
 Section from West to East. — Cutting through the west front, the 
 
222 
 
 Architectural Innovation. 
 
 interior ruins of the four divisions of the nave come on the view, the 
 remaining work excellent, and well proportioned ; the pillars, a union 
 of many columns and mouldings, which together continue in sweeps 
 to form the arches springing from each of the clusters. The south 
 side of the north tower of the west front makes a conspicuous show 
 at this point. Cutting through the modern west front at the fifth 
 division of the nave, two more of the divisions appear, and in the 
 best order possible. They give a kind of small nave, or introduction 
 to the choir. The choir itself is lost in modern Ionic columns, 
 entablatures, pediments, circular-headed windows, truss corbels, and 
 Pantheon groins. Among these decorations are a sort of choir stalls, 
 a bishop's throne, and a high altar. This latter object is composed 
 after the manner of a garden pavilion, with double rows of columns, 
 coved roof, and a balustrade. Quitting this incongruous arrange- 
 ment, we pass into Our Lady's Chapel ; where, if disgust possessed 
 us in the choir, here every line affords that complete satisfaction 
 which our ancient architecture ever inspires. The elevation lofty, 
 the groins airy, the embellishments light, though simple in their 
 application ; and it may be observed that, upon the whole, the 
 design conveys much instruction in the search after the knowledge 
 of what is termed the sublime and beautiful. The altar-screen is an 
 elegant performance. 
 
 Sepulchral Memorials in the North Aisle. — A grave-stone raised 
 above the pavement, whereon is an ornamented cross, and on the 
 left ground of the sculpture is the head of a religious ; the edge has 
 an inscription. A rich monument of a bishop, the statue well pre- 
 served ; at the back of the design is a shield with the instruments of 
 the Passion. The variety of allegories in this carving are very 
 curious ; and in the soffit of the arch is the figure of our Lord riding 
 out of the sepulchre. A monument with much work, and un- 
 common j the statue of the deceased appears as copied after death ; 
 and the greater part of the winding-sheet being thrown back, the 
 naked state of the figure is particularly expressed. Tradition gives it 
 as the effigies of some unhappy maid who died for love ! Is female 
 truth and constancy alone to be commemorated? shall not man 
 suffer under the like miserable star? Are there no false fair ones 
 who, while they fanned the ardour of a faithful admirer, were brood- 
 ing in their minds how they might deceive, betray ; how they might 
 trample on a heart which they had warmed, and riot in the ruin 
 which they had meditated? The statue of a knight in superb 
 armour, laid on a tomb devoid of compartments, shields, or any 
 embellishment whatever. Monument of a knight and his lady ; the 
 masonry and sculpture of the statues and ornaments are in the finest 
 style, extremely rich, and well preserved. The arch under which 
 the statues are laid is of the open kind, whereby a view is had from 
 the aisle into Our Lady's Chapel. A tomb, the work rather plain, 
 
Landaff. 
 
 223 
 
 bearing the statues of two bishops. A basso-relievo placed against 
 the wall, of our Lord rising out of the sepulchre, surrounded by the 
 instruments of the Passion. 
 
 Sepulchral Memorials in the South Aisle. — Monument of a lady, 
 correspondent in situation with that of the knight and lady in the 
 north aisle. The masonry shows little more than a simple arch with 
 two mouldings ; the tomb part bearing the statue is quite plain. 
 The arch appears stopped up, from affording a view into Our Lady's 
 Chapel. The statue is beautifully formed, and in graceful robes. 
 The statue of a bishop laid in the pavement, of simple sculpture. A 
 gravestone ; the head of a religious is carved near the top. 
 
 The Interior of the Vestry. — A scene truly congenial to the imagi- 
 nations of those who love to dwell on the impressive room decora- 
 tions of past times. The plan is a square, a column in the centre 
 supporting four divisions of groins ; six long and narrow windows, a 
 continued line of seat against the wall, with panelling behind ; curious 
 chests, etc. The mode of finishing the work very simple, and of an 
 early date ; the parts are in good proportion, and accordant one to 
 the other. In a corner of this room are thrown by the disunited 
 particulars of a most interesting monument, as the statues of a knight 
 and a lady, the several sides of the tomb on which they were laid ; 
 these sides are full of small statues of relatives, shields, inscriptions, 
 mouldings, ornaments, etc. 
 
 Cardiff. 
 
 [1804, Part pp. 324-326.] 
 
 The castle is on the magnificent scale ; the west front is the most 
 conspicuous part, having in the centre a large noble and octangular 
 tower : there are about this front, however, several modern introduc- 
 tions of windows, etc. The other fronts show not anything of con- 
 sequence, except the gate of entrance on the south, where, in a 
 tower belonging to it, they say the unfortunate Duke Robert, son to 
 William the Conqueror, was confined. This traditional piece of 
 history I cannot give in to, rather supposing the tower in the west 
 front, more than a part of the common entrance-gate, to have been 
 the fatal confine. The church is large, and contains many decora- 
 tions ; the west tower is lofty, and crowned by open-worked battle- 
 ments and pinnacles. The south-west angular buttress to this tower 
 shows towards its base what may be termed a masterpiece of 
 masonry, as it is entirely supported on the point of an arch belong- 
 ing to a moderate-sized doorway, giving the pass through a wall at 
 this point. When it is considered, the many tons weight of stone 
 resting on, to all appearance, so slender a bearing, and that the 
 sweeps of the arch and the materials are not in the least affected 
 by the length of time they have endured, admiration and praise must 
 await the memory of our old professional men. 
 
224 
 
 A rchitectural Innovation. 
 
 Cowbridge. 
 
 Quitting Cardiff, I, poor pilgrim, trudged on, with melancholy step 
 and slow, ever lighting on, in this village, or in some lone situation, 
 ancient stone habitations, much decorated and well designed. At 
 Cowbridge are the vestiges of ancient walls ; indeed, the place came 
 on my ideas as having at this day scarcely recovered from some 
 hostile devastation. Not being able to throw from me this mental 
 impulse, that the town was lying under the frowns of Fortune, I 
 passed on, and in my way to Llantwitt, at a short distance from Cow- 
 bridge, came to a large gate of entrance, as appertaining to some 
 extensive castle; yet for such an object I looked in vain. On. 
 Encountered an ancient mansion of some account, having the greater 
 part of the original doorways, windows, buttresses, etc., left in good 
 order ; at which I gazed awhile, and then continued my measured 
 way until I came to 
 
 Llantwitt. 
 
 In the churchyard are some memorials of the highest antiquity, 
 being a kind of crosses, or pyramidical stones, full of inscriptions, 
 or ornamental and geometrical forms made up by entwined bands, 
 etc. They are five in number ; one shows a circular, and the others 
 straight faces. Their heights are from 7 to 8 feet. In the body of 
 the church are two tombs, one bearing a male statue in a civil dress, 
 and the other expressing more the resemblance of an elevated stone 
 coffin than otherwise : it is much ornamented, and a head sculptured 
 near the top, seeming as though the deceased continued still to see 
 and to be seen, to witness the offices of religion, and to remind his 
 surviving friends that to such a condition they must come at last — 
 yes, at last ! Either through the common course of nature by a 
 gradual decay in the arms of relatives, or by some unforeseen pre- 
 mature stroke, aimed by malignant enemies, fall into the dark abyss 
 of Fate, unpitied, and without one kind hand to close their dying 
 eyes ! Treachery does not pervade everywhere. No, this little 
 spot, this Llantwitt, was a blissful place ; each eve beamed welcome, 
 and each arm was stretched forth in hospitable aid to further my 
 imitative purpose. ... I am on my way to 
 
 Ewenny. 
 
 I hailed the sacred walls of this Priory Ewenny, and exclaimed, 
 I behold thee in the very moment when thou art about to lose some 
 of thy "time-revered honours." Already is your southern boundary 
 falling beneath the mattock ; your porches, halls, chambers, galleries, 
 are waiting their final overthrow, even while the modern staircases, 
 
Ewenny. 
 
 225 
 
 saloons and drawing-rooms are rising on their blasted sites ! Quick 
 let me note particulars. A wall of great extent, with square and 
 round towers at the several angles and gates of entrance, surround- 
 ing pleasure-grounds ; first, second and third courts ; offices of all 
 descriptions, grand chambers, etc.; the site of the cloisters, the 
 church, etc. The approach to the western aspect of the buildings 
 is picturesque to a degree ; and the more so when a combination is 
 beheld of embattled security and cloistered seclusion. The scene 
 was uncommonly interesting, as I never witnessed so complete a 
 remain of monastic arrangement, unassaulted by the near approach 
 of hovels and other low mechanic erections, as is too generally the 
 case with many of our most consequential ancient structures. The 
 nearer I advanced, the more intelligible every object appeared. I 
 passed in at the north gate, large and stately ; crossed the first court 
 to the opposite gateway, being the south gate, a design equally good 
 with the other. Examined the interior of the towers at the angles 
 of the walls ; which were curious, and contained much professional 
 information. A large building, running north and south (in ruins), 
 perhaps was the great or common hall to the priory ; and near it a 
 grand porch (in ruins) leading to the site of the cloisters. There is 
 not the least trace of the cloisters themselves. From the west side 
 of this situation an excellent view is had of the south side of the 
 church, and on the right the hall belonging to the principal part of 
 the priory habitations. The plan of the church gives the nave, north 
 aisle of ditto, centre tower between the two transepts, and the choir. 
 On each side of the choir are groined aisles in ruins. The external 
 and internal elevations are in the Saxon style, and of very simple 
 work ; yet there are many peculiar beauties in the lines not to be 
 met with in other buildings of so remote a taste. The entrance into 
 the choir is striking, and conveys many awful impressions. The 
 nave has been converted into a parish church, and the west arch of 
 the centre tower filled in, so as to give an eastern termination, 
 against which the Communion-table is placed. The filling-in is of 
 some duration, as on the stone facing is a painting of the head of an 
 armed knight ; the form of the helmet is of Elizabeth's reign. In 
 the south transept is a kind of double tomb, bearing a gravestone 
 with an inscription and cross, and by it an armed knight. On the 
 north side of the choir is a raised gravestone, or tomb, with an in- 
 scription and a rich ornamented cross. The sculpture is very fine, 
 and the memorial it conveys quite distinct and intelligible. Here 
 are also many other tombs, but of modern setting-up. The work of 
 the church, and of the two first-mentioned tombs, is of the time of 
 the Conquest. To mention the condition of the edifice would be 
 to combine all the thoughts given way to in the course of these 
 essays on such occasions ; let us, however, observe that the roofs in 
 the transepts are falling in, their windows and those of the choir 
 
 VOL. X. 15 
 
226 
 
 Architectural Innovation. 
 
 unglazed, and in a manner overgrown with ivy. The apparent neglect 
 in every part, the accumulation of rubbish, and the real gloom around, 
 drove me from these ruinous walls, which to me at least imparted 
 many a desponding thought. 
 
 Margam. 
 
 [1804, Part I., pp. 429-431-] 
 
 At the entrance of this village are two crosses of the same 
 antiquity as those described at Llantwitt, laid together, and forming 
 a foot-bridge over a small rivulet. These crosses bear some simple 
 ornaments, with inscriptions, etc. 
 
 On the north side of the village rises a prodigious mountain, 
 thick set with spreading oaks and other wide overshadowing trees, 
 inclosing in their bosoms a ruinated chapel, known by the name of 
 "The Chapel of Notre Dame du Boir." In climbing the ascent to 
 this sequestered remain, the path was impeded by the branches 
 issuing from trunks, whose fantastic shapes seemed to mock my 
 painful toil ; and as the ruffled gales disturbed each leafy treasure, 
 low hollow murmurs rose from out their mossy stems. . . . 
 
 In a street in the midst of the village leading to the abbey 
 church is the greater part of another very ancient cross, enriched in 
 the most elaborate manner, with entwined bands, Golcoche, human 
 heads, etc. This piece of antiquity consists of a pedestal, in which 
 is fixed a part of the shaft of the cross, finishing with a circular head. 
 The work is well preserved. 
 
 In the churchyard a fourth cross, but of inferior work, is to be 
 noted, with an inscription and some indication of ornaments in the 
 head of the design. Much of this cross is buried in the ground. In 
 a garden on the south side of the church a fifth cross is set up for 
 inspection, very much enriched, though not so perfect in regard to 
 its lines, they being much mutilated ; it bears an inscription. 
 
 Plan of the Abbey. — This presents the site of the cloisters, which 
 are on the south side of the church, where many of the interior 
 arches and springings of the groins are still to be seen against the 
 south wall of the nave. On the east side of the site of the cloisters 
 is the chapter-house, with a grand double introductory avenue or 
 cloister leading into it, and into the south transept of the church 
 also. If ever truth in architectural design, proportion or symmetry 
 of parts were made evident where not anything is too profusely 
 charged or too simply set forth, here most assuredly stands a model 
 of all that is desirable in the noble science. The form of the 
 chapter-house is an octagon, with plain buttresses at each angle. 
 The windows have columns on the sides, supporting architraves 
 round each head. Internally, the angles give at a certain height 
 clustered columns, supporting groins, which here took their springing, 
 
Margam. 
 
 227 
 
 and then descended to take their second support from a cluster of 
 columns in the centre of the room. The work of the windows shows 
 a repetition of what is on the exterior. The entrance to this charm- 
 ing building is on the west side of the octagon through three noble 
 arches. The style is in the early pointed manner. With infinite 
 concern it is to be told that within these two years, from what 
 particular cause is not known, the centre cluster of columns gave 
 way, whereby this support and the crown of masonry, the groins, 
 tumbled into one heap of ruins, in which condition they still remain, 
 and as such I beheld them with sore regret and lamentation. 
 
 At about 70 feet distance southward is a part of a groined crypt, 
 appearing as the basement story to the refectory. The nave of the 
 church is not entirely complete, that part towards the east being 
 patched up as a chancel, where is placed the Communion-table. 
 The east end of the south aisle of the nave is partitioned off into a 
 small sepulchral chapel, in which are many superb tombs with 
 statues, set up during the sixteenth and seventeenth centuries. The 
 north transept is utterly destroyed, while the south transept and 
 choir are left complete ruins, they giving a few bases of clustered 
 columns, some scattered walls with a few windows, a doorway, etc. 
 The modes of architecture, whereby the structure may be dis 
 tinguished, are these : the western part, or nave, is Saxon, and the 
 transepts and choir the early pointed manner. 
 
 The elevation of the west front, particularly in the doorway and 
 windows, is much enriched. In this front there is so much of the 
 excellent that great praise and minute description might be lavished ; 
 but thus much shall suffice. The elevation of the interior of the nave 
 declines in decoration, and the arches on each side are divided by 
 piers of the plainest masonry, having no more than a common plinth 
 moulding and an impost ; there are no mouldings by way of archi- 
 trave to the arches. The windows give only side splays and arched 
 heads, and a block cornice finishes the upright. To a mind desirous 
 to restore the honours of these Saxon remains to their original 
 seeming (as many particulars of the nave have been done away, and 
 some alterations made at the east end, as already mentioned) — how 
 easy a task would it be to point out to such a one how the west 
 front might once more be revived in its pristine dressings, how each 
 side of the nave, externally and internally, might be brought into that 
 order so as to emulate the first architect's hand who wrought them 
 into consequence ! We shall urge no more * others must thus see, 
 indeed, must thus feel like a fervent antiquary, ere command comes 
 forth to restoration, true and faithful. 
 
 As the eastern remains of the church are so wholly deranged, 
 all attempts at the restorative must be for ever forbid ; a more 
 picturesque relic here lying in its few bright particles than its loss 
 could ever be recompensed in any ineffectual attempt by modern 
 
 15—2 
 
228 
 
 Architectural Innovation. 
 
 hands to rear up something new. I must not neglect to observe 
 that in the chancel are, in a manner thrown by, some fine stall-seats, 
 belonging once, no doubt, to the choir. In the ruins are many 
 grave-stones dispersed about, carved with crosses, keys, spears, 
 swords, etc. 
 
 Leaving Margam, I turned me back with reluctant gaze at quitting 
 a place so dear ; dear to me, as I was suffered to perfect my task un- 
 molested. One sweet calm prevailed, attended by encouragement 
 the most gratifying, in a friendly attention from those whom it will be 
 my pride ever to think on with satisfaction and respect. 
 
 A clear and ambient air I leave, and pestilential vapours, smoke, 
 and noxious mists now assail me as I forward march. Baleful invita- 
 tion to proceed ! The horizon once more begins to be discernible, 
 and I see before me the town of Neath, dark and sulphureous. The 
 ground was covered with a black dust, which, like the passing natives, 
 I strove not to behold, and kept a middle way between the wretched 
 hovels and their attendant accumulations, as though some dire con- 
 tamination awaited my perilous passage. . . . 
 
 Neath Abbey. 
 
 Ye powers ! how horrid, how infernal was all before me ! Deep 
 in the very centre of the sacred walls were set the furnaces wherein 
 the poisonous ore becomes a prey to fusion. What dreadful crash 
 of mighty engines ! what oaths, what imprecations ! With flames and 
 smoke the scene was filled, the sad prototype of that place of "outer 
 darkness " which the wicked alone must know. A bell is tolled, and 
 see, the brotherhood comes forth. Their vestments are sable, it is 
 true, their visages pale and wan, but not through the austerities of 
 religious observances, as of the old sojourners in this devoted ground, 
 but through the rage of heat, metallic effluvia, and ungovernable 
 inebriety. What a disorderly procession is pressing on, wild and 
 ungovernable, noisy and tumultuous ! Ha ! was it so in former days, 
 when solemn pomp drew on the pious throng to tread these paths 
 among ? 
 
 Standing within the verge of the grand gateway to the abbey, an 
 absolute ruin, alike bearing the marks of pestiferous exhalations, I 
 found it impossible to approach the abbey; I therefore noted down 
 from this station these remarks. The walls came on my sight as 
 making out the cloisters, nave, choir, the abbey buildings, etc. The 
 architecture is in the pointed style ; the structures lofty, and the 
 decorations grand ; yet all unroofed, despoiled, and left a prey to the 
 present race of inmates, unknowing where they tread, on whom they 
 tread ! 
 
Caermarthen. 
 
 229 
 
 [1804, Part I., pp. 508-511.] 
 
 In a field on the right some objects caught my attention, in a spot 
 not very familiar to me, which was a statue lying on the ground, and 
 an elevated cross at its head. On near inspection I found the cross 
 modern, and the statue ancient, being the effigies of a religious, 
 holding in the right hand the model of a church. This statue was 
 very perfect, and finely executed, and I concluded had been brought 
 from the wreck of the neighbouring abbey in order to its preservation. 
 But was the bare ground a situation becoming such a relic ? was 
 there no outhouse, hall, or cabinet, in the adjoining mansion, to 
 deposit therein this poor remnant of departed holiness ? . . . 
 
 Caermarthen. 
 
 The little time I sojourned at this place gave no opportunity to 
 inspect the remains of the castle, and all knowledge of its state is 
 derived from beholding the walls as I sat in mine inn. Suspicion so 
 waylaid me on every side that, as I am at a general confession, be it 
 known, I absolutely thought if once I entered the enclosure (used as 
 the prison of the town) its harsh grating doors might close on me 
 never to return (that is, not in haste). The castle, then (help me, 
 recollection!), consists of little more than the outer walls, and here 
 and there a few scattered towers. That part for the confinement of 
 prisoners, modern. (Thus much will serve.) This look-out was on 
 my right ; before me a scene peculiar to the spot, and I believe 
 nothing can be held to compare with such wildness and singularity ; 
 a vast level plain, whereon was strewed, as by some wily spell, a 
 thousand misshapen tumuli, unconnected one with the other, in size 
 mountainous, a very dance of giant barrows thrown into positions 
 immovable. . . . 
 
 Priory Church. — This once famous church is wholly modernized ; 
 all the monuments of the princes of South Wales in the choir, except 
 one, have been beat up for plastering the walls, etc. In vain I 
 sighed : the solitary remaining tomb warned me that it was well 
 it was no worse ; one memorial existing to prove the splendour of the 
 rest. How stands the account ? A tomb full of niches containing 
 small statues of saints, knights, and ladies fair, with large circular 
 compartments wrought with tracery, surrounding shields of arms, etc. 
 On the tomb lies a large statue of one of the princes of South Wales, 
 a good sculpture, and tolerably well preserved. The statue is in 
 armour, and a rich robe depends from the shoulders to the feet. 
 The head rests on a shield, which supports a helmet placed front- 
 ways ; this is a very uncommon circumstance, as all, or most, of the 
 helmets on tombs supporting the heads of warriors are laid sideways. 
 The feet of the figure rest on a lion. By the side of this prince is a 
 diminutive statue of a female. This association is certainly of modern 
 
230 
 
 Architectural Innovation. 
 
 bringing about, as neither the workmanship, nor the mode of dress of 
 the lady, agrees in any sort with the time it is conjectured the statue 
 of the knight was wrought, which was in Henry VI.'s reign. 
 
 Narbeth. 
 
 Overwearied with my travel, I sought to tarry awhile at this place, 
 to recruit my spirits, and reinstate them in their due order. Rising 
 early in the morning to catch the gentle breeze, I came into the lines 
 of the remnant castle. All eyes were gone, none heeded, and I stole 
 (good stars ! how patient I take things !) a view of the ruins. At 
 every line I sketched I turned me round to see if all was safe and 
 free from harm. Again I sketched, and, with fear and trembling, 
 put a finish to my imitation. In Wales, an ancient castle and a 
 prison, at this time, appeared to me synonymous terms ; to be a 
 stranger, and in dungeon deep, was one and the same thing. Prisons 
 in Wales ! what are they ?* 
 
 The Castle. — As a picturesque scene it really appears with much 
 effect. My sketch took in the centre a large circular tower, on the 
 left a fragment of a wall, over which grew up, as it were, two or three 
 lofty stories, with doors, windows, etc. ; this portion of masonry in 
 width had not many feet to boast of. On the right of the central 
 tower ran more wall, and the havocked shells of two other circular 
 towers. 
 
 On setting out to my next stage, an uncouth mortal, in rough 
 accents, demanded where I was going. "To Tenby," I answered. 
 " Forbear," he returned, " to proceed ; two formidable bodies of men 
 prepare, this hour, for combat ; the prize of victory, which is given 
 by a noble lord hard by (his son this day coming of age), is a roasted 
 ox. It is expected that several men will prove victims to the 
 desperate struggle, and many return home maimed and bruised. 
 You, sir, who seem not of this country, had better delay your 
 journey till the morrow, when the peace of the place will be restored." 
 Hesitating at this information, he continued : " Proceed, then, if you 
 doubt my good intentions in warning you of danger, by your falling, 
 to a certainty, into the hands of one party or the other ; go on, then, 
 and take the consequence." Not being much intimidated at things 
 of this nature, I determined to dare the worst ; so forth I went, well 
 prepared with store of courage (such as it was), and a fixed resolve 
 to prosecute my pilgrimage ; the very essence of a pilgrimage being 
 made up with alarms, terrors, despair, hope, victory, or death ! 
 However, nothing of all this came to pass ; and I made my entry 
 into Tenby in as orderly and peaceable a manner as ever one of our 
 ancient recluses entered into the precincts of his monastery. So 
 much for the vanity of my Welsh friend's intelligence of the disorders 
 
 * See some late papers on this subject in Mr. Urban's far-famed " Miscellany." 
 
Tenby. 
 
 231 
 
 here prevailing ; some end to bring about he had most surely, though 
 to me unfathomable : we will think no more on this. 
 
 Tenby. 
 
 The Castle. — Not being desirous, for reasons already adduced, to 
 take any view of this truly romantic remain, I shall write from 
 recollection, and observe that the situation and several parts of walls, 
 towers, and arches, overhanging the rocks whereon they stand, the 
 pass into the castle, etc., altogether, combined a sight the most 
 tremendous, and, at the same time, the most enchanting. Remaining 
 for some time on the strand between the castle on one hand, and 
 the walls and shells of grand buildings erected on the craggy 
 precipice on the other, each sublime portion of nature and of art 
 striding, as it were, to meet the Chapel Rock, rising at a short distance 
 out of the sea, I fully conceived all the glory, all the heroic deeds, 
 that marked the days of our ancestors. My train of thinking was 
 elevated above the usual level, and I became lost to common 
 occurrences, until the shades of night, and the moisture of the 
 briny element, compelled me to seek another scene more suitable to 
 he general habits of life. 
 
 The Church. — Among the particulars on the exterior are some 
 very remarkable doorways, with inscriptions in their architraves, and 
 arms, and other devices in the spandrils of the arches. One door- 
 way is most uncommon, being so made out by the lines of the 
 headway that, although the first or inner sweep of the arch is an 
 inverted sweep, or ogee, yet the succeeding lines, by a very curious 
 transition, revert into a treble sweep, with a pointed one in the 
 centre. 
 
 The Interior of the Church. — In the north aisle is a monument 
 with a rich pedimented arch and panelled tomb, bearing the form 
 of the deceased as at the point of death, naked, and with a winding- 
 sheet partly thrown over the body. Near this is another rich monu- 
 ment, with an arch of five turns, or sweeps : on the tomb part is laid 
 a beautiful statue of a female. On the south side of the chancel is 
 a tomb worthy of the utmost attention, although from some appear- 
 ance in the work it may be apprehended there has been a junction 
 of two separate tombs. However, take the tomb as it now stands ; 
 it bears the statues of two citizens in their robes, their caps thrown 
 over their shoulders, with purses at the girdles, etc. One statue is 
 placed at the feet of the other. On the south side of this tomb are 
 eight basso-relievos, sculptured in the most exquisite manner by a 
 hand that would do credit to any school, ancient or modern, pagan 
 or Christian. Under this latter influence, it must be owned, in the 
 fifteenth century they owe their composition. Basso-relievos : 1. Two 
 females (mother and daughter) kneeling at the feet of a bishop. 
 2. Two females (ditto) kneeling at the feet of St. Catherine. 3. Six 
 
232 
 
 A rchitectural Innovation. 
 
 males (father and five sons) kneeling at an altar. 4. A tomb in 
 miniature, the compartments on the side left open to show three 
 deceased persons therein. 5. Three females (mother and two 
 daughters) kneeling at the feet of St. John the Evangelist. 6. Two 
 females (ditto) kneeling at the feet of St. John the Baptist. 7. Seven 
 males (father and six sons) kneeling. 8. Tomb, like the former one, 
 showing the figures of three deceased persons. 
 
 Before I leave the sacred edifice, let me do honour to the memory 
 of a late reverend divine, to whose attention and patronage I owe 
 the first insight and encouragement to follow the study of antiquity, 
 by inserting an inscription from a neat modern mural monument, 
 set up by him, my kind patron, in this church, as a memorial of his 
 parents' virtues and patriotism. 
 
 " To the memory of 
 Roger Lort, Esq., youngest son of George Lort, 
 of Pickeston, in this county, Esq., 
 who being Major of the regiment of Loyal Welsh Fusileers, 
 was killed at the Battle of Fontenoy, near Lisle, 
 a.d. 1745, aged 51. 
 During a long residence in this town he discharged all the duties of 
 a good husband, father, master, friend, and magistrate, 
 and united in this character the various excellencies of 
 the soldier, the gentleman, and the Christian. 
 Also to the memory of Ann his wife, 
 only child of the Rev. Edward Jinkins, M.A., Vicar of Fareham in Hants, 
 a pious, prudent, excellent woman, 
 who died a.d. 1767, aged 69. 
 They had six children, Michael, Roger, Ann, George, Edward, John, 
 
 of whom the only survivor in 1 778, 
 the Rev. Michael Lort, B.D., Fellow of Trinity College in Cambridge, 
 erected this monument. 
 
 The manners of the good people of Tenby are so benevolent, so 
 full of that softness of disposition — in short, so like the kind hearts of 
 those who address me in my own country — that I for the time forgot 
 I was other than in Wiltshire, Devonshire, etc., where unsuspecting 
 welcome and benign attention ever wait the curious traveller. 
 
 Monorbeer. 
 
 [1804, Part II., pp. 632-635.] 
 
 The cordial attention I experienced at Tenby was not wholly done 
 away at this place, being about three or four miles to the west j a 
 poor village now, and found in some scattered huts inhabited by 
 a few inoffensive people. What once marked the name of Monor- 
 beer as famous may be gathered from the remains of the noble castle 
 here standing, and standing in a state more entire than any I had 
 noted during my progress. I speak of the external seeming, as 
 it was not possible to gain admittance within the walls, no one 
 dwelling therein. The situation of this castle was, as usual, romantic ; 
 
Monorbeer. 
 
 233 
 
 its west aspect bore towards the sea, which, it may be supposed, at 
 times washes its imperishable foundations. . . . 
 
 The castle in its external arrangement has a curious gate ot 
 entrance, large square and round towers, with hanging turrets at the 
 several angles of the works, battlements, cross loopholes, and others 
 of a single opening. Little damage has been done to the general 
 lines ; and we must presume the noble possessor, by the protection 
 here evinced, has in mind the former great masters of this memorable 
 spot, the relatives of the illustrious Giraldus, who, it is supposed, here 
 first drew his breath. 
 
 The church, in its exterior, is rather singular, from a tower which 
 rises between the body of the building and the chancel. In the 
 interior the architecture is after the pointed manner, and is simple in 
 the extreme, giving, in most respects, piers and arches without 
 plinths, capitals, mouldings, or ornaments of any kind. The vault 
 of the roof is one pointed headway, without rib or other decoration. 
 Notwithstanding all this simplicity in masonry, yet it was not without 
 its charms, at least to me, who can receive as much gratification from 
 an humble performance in this way as in a more elaborate work not 
 presenting so much of the artless as the endeavour just spoken of. 
 On the north side of the chancel, under a plain arch in the wall, is a 
 plain tomb, also bearing the statue of one of the family (as it is 
 generally understood) of Giraldus. The figure is in ring armour, 
 with a few portions of plate armour on the knees and legs, such as 
 was worn soon after the Conquest. The attitude is full of animation, 
 the left arm holding the shield, while the right is drawing the sword. 
 Considering the length of time this effigy has lain in its present 
 position, the chance of sacrilegious rage, havoc from whitewashes' 
 scaffold-poles, and the like, much surprise falls over us that it 
 remains in such excellent condition, showing well the features 
 of the countenance, the four bars on the shield, the ring-work of the 
 armour, etc. Come, let us again presume the noble possessor 
 above hinted at here also spreads his influence, being sensible of the 
 fine sculpture, and alive to the sepulchral memorials of celebrated 
 characters, whose revered names and exalted deeds will in a very 
 short time once more swell the pages of history in a new and 
 splendid dress, under the patronage of a disinterested mind, who in 
 such an undertaking will do honour to antiquity, and set a just 
 example for others in the same dignified sphere to bring forward 
 more of our ancient relics of literature upon a similar laudable and 
 praiseworthy plan. 
 
 Departing out of the protection which surrounds dear Tenby in a 
 kind circle of five or six miles, I, too, soon met with the reverse of fate ; 
 the very untrodden roads, the barren fields, through which I peram- 
 bulated to Carew Castle, frowned on me in sullen preparation towards 
 my receiving again my portion of anxious dread and apprehension. 
 
2 34 
 
 Architectural Innovation. 
 
 Carew Castle. 
 
 Not liking either to look at or hold conference with the people 
 who assembled round me at my arrival here, I did but in a manner 
 run over the castle, a mere ruin, and carrying on many parts the 
 architecture of the seventeenth century, worked over the ancient 
 lines, in order to give an improving aspect to the walls, according to 
 the taste of that period. Opposite the east front of the castle is an 
 entire Saxon cross, in high preservation, full of entwined bands, 
 inscriptions, etc. This object imparted much satisfaction, as 
 sculptures of this nature (such as those already described) are for the 
 most part found in broken fragments. In the church are two statues 
 laid on the stone seat of continuation ; one a knight, correspondent 
 to that at Monorbeer, and the other a religious in his officiating 
 habit. . . . 
 
 Although many miles lay before me to St. David's, yet everything 
 was dreary and uncomfortable ; few houses, and as for trees, it was 
 with difficulty one could be discerned ; on the left the sea ; on the 
 right a wide extensive plain with mountains in the distance. I came 
 up at last to the remnant of a castle, placed on a piece of rock just 
 sufficient to sustain the walls, and known by the name of Roch 
 Castle. This basement for the building is rather remarkable, as no 
 other rocky eminence is anywhere near to be met with. A curious 
 story goes with this shell : the founder having on him the horrors of 
 life, an untimely death, believed he should perish from the bite of an 
 adder, and, in order to avoid this calamity, erected his dwelling thus 
 on high, the perpendicular and smooth faces of which, he concluded, 
 would prevent the crawling approaches of his poisonous adversary. 
 This architectural precaution, however, did not save the unfortunate 
 knight from the dreaded catastrophe, as will be shown in its proper 
 place. 
 
 St. David's. 
 
 [1804, Part II. , pp. 735-737-1 
 
 So reduced is this city, both in the mansions and consequence of 
 the inhabitants, so changed are these people from their ancient 
 customs, so lost to such a character as that of a pilgrim, or so far 
 forgetful that there still exists among them the shrine of their patron 
 saint to attract the devotions of such a wanderer, that when I entered 
 the High Street, which I forsooth took for a few straggling huts in 
 the suburbs of so celebrated a place, I began to inquire the distance 
 I had to go to my desired haven ; when I should meet with the 
 wealthy and courteous citizens; and how soon I might expect to 
 behold the lofty towers and spires of the splendid cathedral. I 
 quickly found what a train of errors I had fallen into ; the renowned 
 
St. David's. 
 
 235 
 
 city had me then within its vortex ; the town's folk were honest, to 
 be sure, but unintelligible, and barbarous in their receptions, and as 
 for descrying the sacred piles, the hovels hid them entirely from my 
 sight, or those only who might take their " walk " about the few poor 
 streets remaining. Feeling most uncomfortable, a thousand doubts and 
 surmises clinging round my heart, as I made my way into the inn, a 
 shocking shelter for my fatigued body, though the host and his family 
 had something of human kindness about them ; I concluded that 
 little time was to be lost before I claimed the protection of the dignitary 
 presiding over the holy piles sacred to St. David. . . . Reciting the 
 cause of my visitation, he gave me full liberty to pursue my purpose, 
 declaring he himself would conduct me to the several antiquities, 
 and whatever assistance or comfort I might require I had but to 
 name them, and he would procure the same. . . . 
 
 The close surrounding the religious fabrics is in compass more 
 than a mile, the encircling wall of which remains on many parts of the 
 line : it was decorated with four grand gateways ; one still is left to 
 the east, leading from the city, and a noble one it is, having two 
 lofty towers and the entrance between them. Passing through this 
 inlet, the scene opened in a most wonderful manner. Below lies the 
 cathedral, and beyond the ruined walls of the Bishop's Palace peer 
 upon the sight ; in the distance rise black and ragged mountains, 
 altogether giving emotions that cannot be described, and which can 
 never be obliterated from my imagination. After standing some time 
 in this situation, I descended the steep of the churchyard, and 
 commenced my labour by surveying 
 
 The Bishop's Palace. 
 
 A small stream divides this structure from the cathedral, and it is 
 rather remarkable, the general plan (a regular square) is laid out in 
 contradict line to that of the church, being fronted south-west, south- 
 east, north-east, and north-west. The north-east front shows little 
 more than the return of the south-east front and the entrance tower. 
 The north-west front, nearly gone. North-east front, perfect. South- 
 west front, perfect. I wish it to be understood in the present 
 instance, that by the word " perfect " I mean the mere upright of the 
 walls, as all the roofs, groins, or other covering overhead are utterly 
 destroyed. The dimensions of the buildings are prodigious, the 
 decorations superb, and show the early pointed style of architecture. 
 Among the windows, which are lofty, and finely disposed, is a curious 
 circular one, filled with rich mullions and tracery. The finishing line 
 or parapet to the work is one of the most majestic decorations I ever 
 witnessed, and it is to be remembered that there is but one other 
 example of this sort to be met with in Wales (in England nothing of 
 the kind exists), and that is at Swansea. This parapet is made out 
 
236 
 
 Architextural Innovation. 
 
 by a succession of arches supported by octangular columns, with 
 ornamented capitals, etc. The arches are perforated, serving not only 
 to impart an appearance of grandeur, but to admit of defensive 
 operations in the same way as used in the interstices of battle- 
 ments. 
 
 Being now come into the great court, the scene at first appeared 
 more than the work of mortal hands ; a visionary fabric drawn to the 
 eye of a heated professionalist like me, whose mind is bound under 
 the dominion of antiquity ; but I soon found it was reality, and I could 
 not reconcile all I saw with the fantastic and common erections of 
 modern times, raised in my native country, and constructed with 
 plaster and other perishable materials, under the presumption that 
 they adorn the land. On my left ran the Bishop's Hall and other 
 apartments, staircase porch belonging thereto, etc. Before me, King 
 John's Hall, Chapel, and a staircase porch communicating to these 
 places likewise. The arcaded parapet is carried also round the walls 
 of this court. The basement story, or crypt, is vaulted with curious 
 groins, and shows many other architectural particulars appertaining to 
 such a place ; but its condition is deplorable. The staircase porch to 
 King John's Hall is an excellent design, and truly worthy to be con- 
 sidered as a proper introductory work for the occasion on which it was 
 erected, the reception of so great a sovereign. The archway of this 
 porch has an inverted ogee sweep (rare example), and above it are 
 niches with the statues of the king and his queen. A fine window 
 and other decorations fill this part of the building. The hall is 
 96 feet by 33 feet, having at its south-west end the delightful circular 
 window before described. The attached chapel gives many embellish- 
 ments, as the holy-water niche on the right of the altar, parts of 
 which altar are yet discernible, a rich window above the altar, etc. 
 There are some fine chambers adjoining. The Bishop's Hall, 67 feet by 
 25 feet, has the great kitchen at one end, and at the other three or 
 more extensive chambers. This kitchen, by what may be gathered 
 from its present state, was, when perfect, a most curious construction ; 
 the ground lines show an oblong square, 36 feet by 28 feet, which at a 
 particular height takes a circular figure by means of groins springing 
 from corbels, etc. We are told that there were four chimneys in the 
 centre of the kitchen, the work of which communicated with the groins, 
 they taking their course round it. From the prodigious masses of 
 masonry lying in confused heaps, with nicely wrought funnels within 
 them, the above information can well be credited ; and to those who 
 may bestow some time in studying the design in order to conceive 
 how it originally stood, that is, as far as masonry went, it must have 
 been like unto a large groined chamber arching over to a cluster of 
 columns in the centre, chapter -house-wise. 
 
 At the conclusion of my notes and sketches of these buildings, I 
 gave in to many an embittered reflection ; and, like the intelligent and 
 
St. David's. 
 
 ^37 
 
 feeling author who has produced to the public of late his impartial 
 sentiments on the state of St. David's,* I called to mind the former 
 splendour of this palace, its princely entertainments, its sacred 
 councils ; commented on the exalted minds of the episcopal founders, 
 who raised up at a moment's notice, as it were, by saying, " Thus we 
 will, and thus let it be," a range of apartments fit to contain a royal 
 guest; and ruminated on the majesty of those who had here sojourned. 
 Now, sad reverse ! the walls are unroofed, the chambers unprotected, 
 and the crypt turned into receptacles for the most wretched therein 
 to shelter them, who had, indeed, no other homes. Tell me of 
 dungeons, horrid for the miserable maniac, or the unfortunate 
 mendicant ; for criminals vile, or those left to undergo the sentence 
 of the law; I go with the reciter, a man who seeks for human woes, 
 to pity and relieve ; for here was much of this, and endured by those 
 who had no other crime but that of being poor. To behold them 
 crawling from out these desolated cells, hung round with damps and 
 oozy vegetation ; the rising springs inundating their clay-cold beds ; 
 and when the thunders roll and lightnings fly, the trembling super- 
 structures threatening destruction on their devoted heads ! 
 
 [1804, Part II., pp. 833-835.] 
 
 The Cathedral. — The site of the cloisters is on the north side of 
 the church, and the interior arches attached to the north and east 
 walls remain perfect. It is not very clear how the south side of the 
 cloisters, abutting against the north aisle of the church, made good 
 their line, as no interior arches are discernible ; large perforated 
 buttresses on this side, indeed, appear to have rendered the continu- 
 ation of a south cloister utterly impracticable. The west wall of the 
 cloister is nearly destroyed ; of course all trace of interior arches is 
 annihilated. The wall of the north cloister constitutes the basement 
 wall to the south side of the grand hall to St. Mary's College, built 
 by John of Gaunt. The ascent into the hall is under the first story 
 of a square tower (groined) at the west end, giving a most noble 
 introduction into the hall itself. The windows are very lofty, and of 
 large dimensions. This design is of the first class for elegance and 
 true proportion ; and it may be observed that we, who are gratified 
 at the view of an object like this, must find our satisfaction redoubled 
 when it is understood the present protector of the sacred remains 
 stretched forth his arm to save from further dilapidation, at a certain 
 period, the greater part of this princely erection. Below the hall is a 
 crypt, of a most curious construction, highly picturesque, and 
 deserving of the utmost care and attention. The other relics of the 
 college are visible in scattered walls, windows, etc. This pile being 
 in a manner united to the church by its walls, we have introduced its 
 description under the head of the cathedral. 
 
 * " History and Antiquities of the Parish of St. David," by W. Mamby, Esq. 
 
238 Architectural Innovation. 
 
 Plan. — Taking the extreme length from west to east, the transepts 
 stand nearly in the centre, between the two extremities, the nave and 
 Lady Chapel. The porch is on the south side. The nave has two 
 aisles ; in that on the north is a doorway leading without the site of 
 the cloisters : this is a circumstance rather unusual, as in other great 
 churches, Gloucester for instance, such a pass goes directly into the 
 west cloister. The transepts show not anything remarkable. Over 
 the entrance into the choir is the rood-loft complete, being divided 
 by a wall ; one part for the nave, and the other for the choir. The 
 screen supporting this rood-loft, next the nave, has, on either hand, 
 altars (that is, their site), monuments, etc., an arrangement particu- 
 larly detailed in the " Antiquities of Durham Cathedral" (but not 
 existing there, or in any other church entirely so, as in the present 
 instance). The choir has the original stalls, bishop's throne, and a 
 decoration which, I believe, is seen in no other of our cathedrals, 
 that is, an open screen immediately succeeding the stalls, and which 
 runs across the choir. Beyond this screen the greater part of the 
 choir is continued, containing tombs, monuments, high altar, etc. 
 The north and south aisles of the choir are unroofed and in ruins ; 
 yet not entirely so, as the surrounding walls and windows stand in 
 tolerable order. Here are a profusion of tombs and monuments. 
 On the side of the north aisle, under a building called the school, is 
 a fine vaulted chapel, bearing the name of the chapter-house. On the 
 side of the south aisle is a corresponding chapel, though ungroined 
 and of an inferior design. Immediately behind the choir is Bishop 
 Vaughan's chapel, the extreme length being north and south. At the 
 east part of this chapel the aisles of the choir are carried round, and 
 form an ante-chapel (groins perfect) entering into Our Lady's Chapel. 
 This last chapel bears, as in most other examples, the usual fine 
 longitudinal proportion west and east. 
 
 The West Front of the Church, in its Present State, as lately rebuilt. — 
 If the maxim is just, that "variety is charming," then in this front 
 are brought forward awkward smatterings of many of the varied 
 features that are to be met with in the long range of the cathedral ; 
 a building bearing the signs of more than one or two ages, according 
 to the time its erection was in hand, or alterations made at particular 
 periods. In this new performance, perhaps reared up in the course 
 of some three, six, or nine years, instead Of one uniform mode taken 
 from a particular part of the main structure (supposing that the 
 original front was not worthy of being imitated), we behold not 
 anything that is chastely copied from the old work, or applied with 
 judgment, so as to accord with the ancient manner of setting out the 
 entrance-front of a religious structure. Whatever might have been 
 the form of the original elevation, I am pretty certain this improved 
 front has nothing to dread of being stigmatized with the appellation 
 of being a servile copy. A " rhapsodist," like me, would, indeed, have 
 
St. David s. 
 
 laid himself open to critical censure, and have been found "absurdly" 
 drawing line for line, ornament for ornament, of the original, before 
 demolitition (as its condition, it is said, rendered it necessary to lay 
 all level with the earth); and have presumptuously boasted (flattering 
 my idle imagination that I had been the builder) that my new 
 elevation was as like the one " passed by," as a true architectural 
 antiquary is like a man devoid of "taste," without "genius," and 
 destitute of that first quality in professional men, " invention." 
 Who does not know that taste gives birth to improvement, improve- 
 ment gives scope to genius, and genius inspires the inventive 
 faculties to strike out that which is new, that which is surprising, 
 and that which makes the skill of old workmen show mean and con- 
 temptible ? 
 
 Now let us see what our modern architect has done ! He has 
 carried out two kinds of towers many feet beyond the upright of the 
 work, connected in a way entirely his own, with buttresses on each 
 side of the centre window. A " composite " mixture of these towers 
 and buttresses seems to give a finish to the south-west and north-west 
 angles of the front. The doorway in the centre (we are not enabled 
 to say that there were any side doorways before, entering into the 
 side-aisles, as conveniences of this sort are dispensed with in the 
 present elevation), as far as the headway goes, appears made so as to 
 agree with the old finish in the interior; but all the rest of it 
 is ridiculous beyond expression. The masonry of this arch, and the 
 columns supporting it, are after your Saxon manner. Below this 
 arch, to the top of the capitals, is a plain ground, whereon are laid, 
 "across and athwart" (the most dignified emblems, when vulgarly 
 represented, deserve a vulgar illustration), two crosiers, and a mitre 
 "stuck" between them. This is a true modern piece of sculpture, a 
 basso-relievo which in our antiquities cannot be paralleled. Next, by 
 way of support to this tasteful performance, is introduced a second 
 doorway, of the Tudor fashion, with a square and pointed head con- 
 joined. The great west window, in its proportion and turn of the 
 arch, seems guided by the old internal finishings, while the mullions 
 and tracery are mostly of our ingenious architect's own creation ; who 
 has, likewise, exploded the common method in every window from 
 the Saxon to the Tudor era, of mullions and tracery receding from 
 the face of the wall, by letting his dividing combinations of 
 mouldings run "flush" with the upright, as is customary in all 
 modern erections. Instead of long upright windows to the side- 
 aisles, he has copied, as much as was necessary, from the circular- 
 headed window (before itemed) in the adjoining palace. The 
 pediment over the west window has a plain parapet ; but why is this, 
 while the towered buttresses are bedecked with battlements? Be- 
 tween the head of the great window and the point of the pediment is 
 a cross loophole (a castle embellishment), after the refined manner of 
 
240 
 
 Architectural Innovation. 
 
 the Tavistock* " chaste " imitation of our ancient architecture. We 
 have, perhaps, descended too much, in particularizing the features of 
 this front, done according to the "fantastic order"; and it might 
 have been better to have disregarded it altogether, were it not that 
 from such trifling architectural offences greater violations of the like 
 cast might in time totally disfigure the primitive beauties which mark 
 the august fronts of our cathedrals and other churches. 
 
 South Side of the Church. — At the western extremity is the return 
 of the modern fantastic front. The nave, porch, and transept have 
 passed through little injury or curtailment; the windows are ex- 
 tremely good in their proportions and tracery, and a simple parapet 
 terminates the height of the walls. The great tower in the centre of 
 the building accords well with the rest of the design. The choir is 
 in good condition, and carries on the general work, but gives a line of 
 battlements. The walls of the aisle of the choir, with the outline of 
 the windows, and the buttresses, are tolerably preserved ; but the 
 battlements, roof, etc., are entirely done away. 
 
 The situation of this cathedral is most uncommon, being in an ex- 
 ceeding low spot, the ground rising on the south (the churchyard) 
 nearly to the top of the great tower. Entirely so the town, which 
 continues the ascent to a prodigious height ; that when any person 
 stands in the High Street, the church, in a manner, is hid from his 
 view. This circumstance has, indeed, already been commented on 
 as peculiar to St. David's. 
 
 The east end and north side of the church come in for nearly the 
 same portion of description as the other elevations already gone over. 
 The schoolroom over the chapter-house, indeed, occurs, which, 
 how r ever, has no remarkables that need illustration. It may also be 
 hinted that the north aisle of the nave presents large perforated 
 buttresses, hindering, according to my observation above, the con- 
 tinuation for a south cloister on this part of the building. 
 
 [1804, Part II., pp. 929-93I-] 
 
 The Interior. — The porch on the south side is the common 
 entrance, where is found a very rich doorway. In the outer division 
 of the architrave to the arch (which is pointed) is a succession of 
 small statues. On the top of the arch are three larger statues ; the 
 Deity in the centre, and on each side a kneeling figure. The 
 architecture of the nave is in the Saxon taste, but of that peculiar 
 kind which seems to be on the verge of transfusing or losing itself in 
 the early pointed or English style ; indeed, the arches of the gallery 
 over the side-aisles are pointed. The several architraves to the 
 arches are filled with an infinity of varied diagonals, frets and foliage. 
 The capitals have ornaments, and in the spandrils of the arches to 
 the gallery are paterae differently enriched. The period of the 
 * Tavistock Chapel, Tavistock Square. See vol. lxxii., pp. 409, 519. 
 
St. David's. 
 
 241 
 
 erection of the nave is, it is said, about our John's reign, a design full 
 of grandeur and beauty. There are no groins, a rich open-worked 
 timber roof of the Tudor mode giving the finish overhead. It may 
 be concluded that, previous to the putting up of this roof, the original 
 groins had been found in a ruinous state, and were then deemed 
 necessary to be taken down, and the present woodwork substituted 
 in their stead. 
 
 The font, which is placed at the west end of the south aisle, is 
 extremely simple ; the form, an octagon, and in the cants are plain 
 pointed compartments. Near this font is a remnant piece of 
 sculpture, long the puzzle of antiquaries in order to ascertain its 
 original use and complete figure. Some denominate it the relic 
 of a font, and others the sanctuary-seat or freed stool belonging to the 
 church. Many do not hesitate to affirm that they can discover 
 certain mystical characters wrought about the stone, demonstrating 
 it to be part of a pagan altar. After all these conclusions, in 
 my eye I beheld no more than the basement part of one of those 
 circular columns or crosses common in the churchyards of this 
 country, with entwined bands, frets, etc., like those described at 
 Llantwitt and other places. With all due deference, however, I 
 submit my conjectures on the subject to those opinions already 
 abroad, and therefore continue my survey. Under the fifth arch 
 from the west is the fine tomb of Bishop Morgan. His statue laid 
 thereon is well preserved, except the nose and hands, the usual 
 deprivations which nearly all our ancient statues have sustained. 
 The nave being clogged up with the lumber of pews, the ends and 
 sides of the tomb are in a manner hid from the sight ; but in taking 
 down some of the surrounding seats, by permission of the dignitary, 
 six statues were discovered on the north side, representing as many 
 of the Apostles, a shield of arms at the west end, and at the east end 
 a most exquisite basso-relievo of the Resurrection. The attitude of 
 our Lord is very striking, and finely expressed. In the south aisle, 
 and near to the foregoing tomb, is the monument of a religious. 
 The statue lies under an arch of a singular shape, and is composed 
 of four sides of a hexagon, which sides, instead of taking straight 
 lines, have each a sweeping direction. 
 
 We now come to the rood-loft, immediately before the west end of the 
 choir. The supporting front belonging to it is, without exception, the 
 most perfect work of the kind left. The high-wrought enrichments, the 
 peculiar mode of the design, give the time which marks the glorious 
 architectural era of our third Edward. In this charming performance 
 are traced the same mouldings, ornaments, etc., as we were dazzled 
 with in St. Stephen's Chapel, Westminster, before it became the 
 object of late for unnecessary havoc and dilapidation. In the centre 
 of this work is an archway leading into a porch, or introductory- 
 avenue to the choir. On the left of the archway is the site of 
 
 vol. x. 16 
 
242 
 
 A rch itectu ral Innovation. 
 
 an altar, with a screen of rich niches. On the right of the archway 
 is another vestige of an altar with a screen, but of a different kind 
 from that on the left, and of less dimensions. The continuation of 
 the design on this side is made out by a large arch, within which is 
 seen the tomb of the bishop who erected, I have no doubt, the 
 superb design we are now so particularly describing. On the south 
 return of the elevation is a still larger arch, admitting a view of the 
 south side of the bishop's tomb, as well as those of two religious, 
 ranging on either hand within the porch. Again, when we take our 
 stand of observation within the porch, the exquisite architectural 
 scenery is renewed by a varied view (supposing our position bearing 
 towards the choir) of the two religious, left and right, and that of the 
 bishop seen beyond the latter figure. Over the general entablature 
 to the parts we have gone over runs a line of excessive rich panels, 
 constituting the parapet to the loft.* 
 
 On the south side of the north transept, which side is given by the 
 back of the stalls of the choir abutting on this part of the plan, are 
 the remains of a small chapel dedicated to St. Andrew, joint patron- 
 saint with St. David to the church. Here is a good monument with 
 the statue of a religious ; likewise a very simple tomb under a plain 
 semicircular arch ; there is no statue. About these memorials are 
 laid several fragments of basso-relievos, which, as I conjecture, once 
 made out the sides of some tombs now destroyed. Among them is 
 the Virgin offering the infant Jesus in the Temple. The attitudes of 
 the figures are delicate and charming. There is likewise a statue of 
 St. Andrew, with the diagonal cross held against his breast. 
 
 In the north aisle of the choir we first notice the nearly-destroyed 
 monument of a knight. The statue is tolerably preserved ; it is 
 sculptured, cross-legged, and drawing the sword. Next is the 
 monument of a religious ; the arch has the ogee sweep, and, with the 
 compartments on the tomb-part, may be said to be rather rich. 
 The statue has at its head a small canopy above the cushion whereon 
 the head is laid. We now meet with the vestiges of the left side of a 
 monument, the half on the right appearing to have been cut away, 
 to set up the side or north screen to Bishop Vaughan's Chapel. The 
 statue is a religious, and not much havocked ; but the tomb whereon 
 it lies, filled with compartments, is rent and torn, giving sad note of 
 its precarious state. Just above this last statue there has been stuck 
 in the wall an admirable basso-relievo of the Ciucifixion. At this 
 spot we enter Bishop Vaughan's Chapel ; the extreme length is north 
 and south. The east side presents rather more than the site of the 
 altar ; this work is of simple masonry ; the table of course is wanting. 
 On each side of the altar are small windows giving view into Our 
 Lady's Chapel. Beside these windows are two very large niches and 
 
 * We refer our readers for a particular account of the original arrangements of 
 this part of a cathedral to the " History of Durham Cathedral." 
 
St. David's. 
 
 243 
 
 pedestals. The two ends, north and south, have open screens, 
 through which are entrances from either aisle of the choir. The 
 west side is left wholly plain. Here, it is not improbable, was hung 
 some large painting or rich hangings. The groins are of that kind 
 which bespeak the overhead finishing of buildings in our Henry VI. 
 and Henry VII. 's time, and much resemble the groins in the cloisters 
 at Gloucester and St. Stephen's Chapel, Westminster. The whole of 
 the design before us is as perfect and fresh as if brought to perfection 
 but yesterday. 
 
 Continuing our list in the north aisle of the choir, a monument 
 occurs which we may well say is in its last stage of havoc. The left 
 side of the arch shows some early pointed architecture, the other half 
 is departed. As for the statue, it is so far lost to common view, that 
 it is denominated nothing but a pile of rubbish. After sufficiently 
 commenting on the lines, I drew out enough to note that it had been 
 sculptured for the effigies of a religious. But what engaged all my 
 attention was the trunk of the statue of another religious, placed 
 against this monument as a sort of careful saving from the wreck 
 of the important monumental collection enriching this cathedral. 
 Apologizing for any rash opinion I may give on this mutilated 
 subject, I beg leave to assert that it is not possible for the art of man 
 to go beyond it, the outline is so just, the drapery so graceful. . . . 
 
 The last subject in this arrangement of the church is a curious and 
 uncommon piece of masonry, comprised of small oblong recesses and 
 arches (now mortared up with bits of stone), once open for the 
 purpose (as we learn) of depositing therein the offerings of pilgrims. 
 I made an exact drawing of this receptacle of good things, measured 
 its height, width, etc. 
 
 Bury St. Edmunds. 
 
 The Bridewell, formerly a " Jewish Synagogue," as noticed by Mr. 
 Neild, p. 801, is in truth a noble Saxon mansion of two stories; the 
 second story, being the principal one, has at the south end a double 
 arched window supported by columns. Three of the same double 
 windows occur on the east side, being divided one from the other by 
 pilasters or projecting piers. Pity it is, as so few buildings of this 
 kind are left to tell out the consequence of habitations at so remote 
 a period as perhaps 800 or 900 years past. I write these remarks 
 from a drawing taken in 1786. 
 
 St. David's. 
 
 [1804, Part II, pp. 1026, 1027.] 
 
 Turning from the north aisle of the choir, we take our course round 
 Bishop Vaughan's Chapel, through an aisle, which eastward opens 
 
 16 — 2 
 
244 
 
 Architectural Innovation. 
 
 into Our Lady's Chapel, by means of a double archway, and 
 southward, into the south aisle of the choir, through a double 
 archway also. The groins are perfect, and, though of simple 
 masonry, have still an appropriate effect. At the north and south 
 ends are small windows. In the spandrils of the arches are many 
 curious heads, and in the centre of the groins shields of arms. On 
 the ground are lying five large bosses for the groins to Our Lady's 
 Chapel, before they fell some time ago, owing, as I am informed, to 
 there being no roof, or any covering to keep them from the weather. 
 These bosses are filled with heads, shields of arms, and other 
 ornaments. 
 
 Our Lady's Chapel has on each side two windows, and at the east 
 end one of a larger dimension. On the south side of this chapel 
 (near the site of the altar) are the three stalls for the officiating 
 priests. On the north side is the bare appearance of a monument ; 
 the shape of the arch cannot be determined, and the statue 
 (supposing there once was one) is totally obliterated. On the south 
 side, and near the priests' stalls, are the remains of a magnificent 
 monument ; the arch is highly enriched, as is also the pediment 
 emerging from out the said arch ; the pinnacled buttresses on each 
 side give a fine termination to the design. The statue is that of a 
 bishop, but it is nearly destroyed. 
 
 Being in the south aisle of the choir, the first monument to the 
 east (against the south wall) has little more than a plain arch with 
 six turns, or sweeps, three on each side; on the tomb part is 
 something like the lines of a statue, but not anything appears 
 decisive. The next monument (proceeding in a western direction) 
 has its arch like the foregoing, and in the six turns the mouldings 
 are ornamented. Here is the statue of a religious, well preserved ; 
 the tomb on which it lies has rich compartments. The next memorial 
 is a low-raised tomb ; on the top an ornamented cross, and round the 
 ledge an inscription. Near this is another low-raistd tomb, bearing 
 the statue of a religious, with a book in his right hand. Here is 
 likewise an inscription, but not very intelligible — this is to be 
 regretted, as many are rather inclined to believe the figure is the 
 effigy of the holy and learned Giraldus. Against the opposite wall, 
 in this aisle, are the fragments of a tomb, on which is the upper half 
 of the statue of a knight. Returning back into the more eastern 
 part of this aisle, being divided by an arch from that portion just 
 left — when, looking through this arch in a north-west direction, a 
 very pleasing view is had of the tomb of Giraldus, so named according 
 to the tradition of the church.. Advancing more immediately to the 
 tomb itself, it is to be perceived that the situation is directly within 
 the arch of the choir nearest to the high altar ; this arch, with the 
 others on each side the choir, have been stopped up, from a case of 
 necessity, as the groins and roofs of the side-aisles have been 
 
SL David's. 
 
 245 
 
 destroyed, as before mentioned — therefore it was proper thus to 
 secure the choir from the weather, that divine service might be 
 performed therein. No such excuse as this can come in as a plea for 
 stopping up the side-arches to the choir of Lichfield Cathedral, as the 
 side-aisles there are finely groined, the windows well glazed, etc. 
 This accredited tomb of Giraldus has no work to show that it was 
 designed in the monumental form, as a mere piece of timber is laid 
 horizontally, so as to bear from the statue the filling-in wall above it. 
 The tomb supporting the statue is exceedingly havocked ; still, we 
 may perceive five diamonded compartments. The statue has had 
 some respect showed to it, as little damage has been done. The 
 habit is that of a religious ; the hands are in the praying position, and 
 the feet rest on a lion. The face presents the features of a dignified, 
 learned, and pious Churchman. . . . 
 
 The Choir. — The stalls begin their line within the west arch of the 
 centre tower, the dimensions of which are adequate to contain their 
 whole number, being about twelve on each side, independent of those 
 ranging on the right and left of the entrance. The bishop's throne, 
 a noble object, stands rather beyond the east arch of the tower, and 
 meets the very curious and uncommon open screen dividing the stall 
 portion of the choir from that allotment eastward set apart for tombs 
 and the high altar. This latter space of the choir extends so as to 
 comprehend four divisions of arches and columns. The elevation 
 of this part of the building differs materially from that of the nave, 
 as the arches are pointed, and spring alternately from columns 
 circular and octangular. Nor are there any galleries as in the nave, 
 a succession of windows giving the finish to the upright of the choir. 
 Notwithstanding the form of the arches differs so much in these two 
 principal arrangements of the church, still the mouldings, ornaments, 
 etc., in both instances, are of the same taste. Thus, on every occa- 
 sion, we encounter proofs the most irrefragable, that the semicircular 
 and pointed arch are coeval, or at least the latter figure had its exist- 
 ence at no great distance of time from the former. 
 
 [1804, Part /I., pp. 1120-1122.] 
 
 We now resume the description of the choir, and that part bearing 
 to the east, the roof of which is formed with open-worked timbers in 
 manner like those of the nave already spoken of; though far inferior 
 in regard to tracery and other adornments, still among the compart- 
 ments are many shields with arms. In the centre of this portion of 
 the choir, and directly before the steps of the high altar, stands the 
 tomb of Jasper, Earl of Richmond, father to Henry VII. It was in 
 consideration of the relationship (if my information may be depended 
 on) that the layer-waste of architectural grandeur, Henry VIII., for- 
 bore to sign the destruction of this church in common with so many 
 glorious fabrics ennobling those realms under his dominion. On 
 this consideration, who can approach the royal memorial without 
 
246 Architectural Innovation. 
 
 imbibing a double share of satisfaction in reflecting on the "good 
 works " of the defunct, and being sensible his remains have been, 
 and it may be inferred will still continue to be, the guardian of all 
 that makes St. David's fane conspicuous in the antiquarian world, 
 and so justly charms those who constitute the chief supporters of a 
 study so delectable and so important ? I have often been led to 
 admire the consummate skill of our ancestors (to say nothing of the 
 religious intent) in placing in this kind of centrical situation the 
 tombs of regal and illustrious personages, such works becoming 
 from their position both interesting and picturesque. Thus, while 
 inferior memorials of mortality lie on each side of choirs, the prin- 
 cipal objects to be reverenced -are thus rendered the grand points of 
 view in so bright a display of architectural and monumental scenery. 
 Forgive the expression if it should be thought to favour more of the 
 artist than the moralist. 
 
 It may not be amiss to instance a few existing examples of this 
 sepulchral arrangement, in order to enforce the above remarks. 
 Edward the Confessor's shrine; Henry VII. 's tomb, Westminster; 
 King John's tomb, Worcester (if not barbarously removed of late) ; 
 William Rufus's tomb, Winchester ; the tomb of Ralph Neville, Earl 
 of Westmoreland, Staindrop Church,* Durham (barbarously removed 
 of late into the south-west corner of the edifice) ; the tombs of the 
 Earls of Warwick, in St. Mary's Church, Warwick ; the tomb of 
 Bishop Beauchamp, in his chapel in Salisbury (the tomb barbarously 
 removed, and his chapel destroyed, a short time back); the exquisite 
 tomb of Thomas FitzAlan, Earl of Arundel, in the priory church at 
 Arundel, etc. . . . 
 
 On the pavement, and at the right of the Earl of Richmond's 
 memorial, are two very low tombs, one placed at the head of the 
 other : that westward has a statue of Bishop Jorwerth; that eastward 
 bears the statue of Bishop Anselm. At the head of this latter statue 
 is a canopy supported by angels ; and in its arch, consisting of three 
 turns, is an inscription in which the name occurs. These two statues 
 are remarkably well sculptured, and in good preservation. Within 
 the arch of the third division, on the south side of the choir, is the 
 tomb of Rhys-ap-Griffith, Prince of South Wales, who died 1197. 
 This statue is sometimes pointed out as the effigy of Owen Tudor, 
 who married Catharine, queen to Henry V. ; but the make of the 
 armour, and other costumic particulars, assign to it a much earlier 
 period than the reign of Henry VI., when Owen was beheaded. The 
 side of this tomb is plain ; and behind it is a very rich, open oak- 
 screen, which, before the divisions of the choir were stopped up, 
 gave view into the side aisle, etc. The hands and right foot of the 
 statue are demolished ; the head rests on a helmet surmounted with 
 the head of a lion ; a lion rampant is cut on the body-part of the 
 * See Gough's " Sepulchral Monuments." 
 
St. David's. 
 
 247 
 
 armour. Of the embellishments belonging to this warlike habiliment, 
 the girdle is very beautiful. The countenance is strongly marked, and 
 well expresses the character of the hero and the Christian. In the 
 division on the opposite side of the choir is the tomb of Rhys Grigg, 
 the son of the forenamed prince. The side of this tomb is likewise 
 plain; and above the statue is a low arch, extremely plain also. The 
 statue has lost both the hands and the extremities of the feet. The head 
 is borne by cushions, and the feet rest on a lion. The armour varies 
 but little from that of the father's, though not so rich in ornaments. 
 A lion is likewise cut on the body of the armour, with the label of 
 three points. The son has not any whiskers, as is seen on the father, 
 nor are the features either so handsome or so commanding. These 
 sculptures are of the first class for truth of drawing, fine execution, 
 and exact representation of costumic minutiae, ranking them among 
 the finest performances of our old masters. 
 
 Under the second division, on the north side of the choir, stands 
 a piece of architecture which is said to be the shrine of St. David ! 
 
 When there is a received opinion that any particular object of 
 antiquity was originally appropriated to a precise purpose, bold, nay, 
 presumptuous, is that person who may go about to do away, in any 
 wise, such authority ; yet, strong as may appear the testimony, some 
 doubts may be submitted in "contradict line " as to the authenticity 
 of the position advanced. 
 
 A shrine is understood to be a large wooden chest, richly orna- 
 mented, so as to contain a smaller chest, in which is deposited the 
 body of some saint ; the whole raised on a basis of stone, decorated 
 with niches, paintings, precious stones, etc. This inestimable work 
 was placed in an insular situation, and in the centre of a feretory, or 
 chapel, behind the high altar of a choir, such as we yet witness at 
 Westminster, the shrine of Edward the Confessor; and which was 
 once beheld at Canterbury, the shrine of St. Thomas a Becket ; and 
 at Durham, the shrine of St. Cuthbert, etc. The subject under dis- 
 cussion is done wholly in stone ; set up under an arch in one of the 
 divisions in the choir, in like manner as tombs and monuments ; has 
 no traits of the usual form of shrines (as above specified), and comes 
 simply under this description : The lower, or base part, is a sort of 
 tomb, rather plain, having no other decorations than four detached 
 perforated compartments, of four sweeps each (two of them stopped 
 up). Above this basement are three small divisions, with columns 
 and arches (somewhat of a rich design). In the spandrils of the 
 arches are the heads of a king, a bishop, and a priest. From this 
 detail there is little to warrant the resemblance of a shrine. While 
 drawing this object, and on mature deliberation since, 1 have been 
 induced at times to conclude this was the spot for setting up the 
 holy sepulchre on Good Friday (which was always placed on the 
 north side of choirs), as is particularly described in the " History 
 
248 Architectural Innovation. 
 
 and Antiquities of Durham Cathedral," and other writings of the 
 same cast. At another moment a powerful idea impressed me, that 
 it was the repository for the offerings made at St. David's shrine, as 
 at the back part of the work are those " stopped-up perforations" 
 remarked on in the account of subjects in the north aisle of the 
 choir. The use made on each side for the receipt of treasure I take 
 to have been after this manner : that front in the choir had the gifts 
 made by the great and illustrious part of the devotees and those 
 eminent for a life of superior holiness, whom we may natually sup- 
 pose were alone admitted by the religious into this hallowed sanc- 
 tuary • while the front, in the north aisle, took in whatever sums or 
 other matters common supplicants could disburse, who, on such 
 occasions, we may again imagine, advanced no further than the 
 exterior of the choir, being satisfied with viewing the splendour of 
 the high altar, etc., through the open screens and tombs dividing 
 the choir from the side-aisles. 
 
 [1804, Part II , pp. 1214, 1215.] 
 
 The pavement of the sepulchral part of the choir consists of small 
 square ornamented tiles, disposed in such a manner as to form 
 regular geometrical figures, in which are introduced shields with arms, 
 inscriptions, etc. This assemblage is left in a more perfect state than 
 any I have yet seen, Gloucester Cathedral and Great Malvern Church 
 excepted. In the western part of England considerable quantities of 
 these tiles are met with in every church, but lying in great confusion, 
 owing to their being continually taken up for making of graves, 
 whereby all the original symmetry of their disposure is done away. 
 In the North of England few of these tiles are seen. It is almost un- 
 necessary to point out to the antiquary their beauty and splendid 
 effect, though spurned at and thrown out as rubbish by too many of 
 those who have such decorations under care, from a real deficiency in 
 their ideas of true taste. St. David's pavement has a few certain 
 marks or fractures, said to have been made by the hoofs of 
 Cromwell's horse when he rode triumphant up to the altar — an act of 
 sacrilege meriting divine punishment on the spot. We do not learn 
 that any ill befell him on the occasion, though, by a like piece of pre- 
 sumptuous daring at Peterborough Minster, he was thrown from his 
 horse, and had near forfeited his life. 
 
 The high altar screen, in point of grandeur and peculiarity of 
 work, is perhaps one of the first things of the kind that is to be 
 noticed. The design takes up the entire breadth of the east end of 
 the choir; a dado rises from the pavement, on which are three large 
 recesses, the centre one of greater dimensions than the other two, 
 made out by clustered columns and arches of the pointed form. It 
 must be allowed, in the present instance, that this piece of archi- 
 
St. David's. 
 
 249 
 
 tecture presents a happy union of the Saxon and Norman (or pointed) 
 styles, charged with the embellishments of each order, and so 
 excellently combined that it is a difficult matter to determine 
 whether the two species of art had met together never to part, or that 
 the parent stock (the Saxon mode) was taking the last embrace of its 
 more complete offspring (the pointed mode), which was about to 
 burst into the world as all wonderful and all perfection. And let me 
 say, with no small degree of satisfaction, its intrinsic worth is not un- 
 heeded by those who have their eyes continually turned towards so 
 much excellence. 
 
 The chapel (now called the chapter-house) on the north side of the 
 choir I take to be in the crypt under the real chapter-house, which 
 chapter-house is converted into a schoolroom. This chapel is very 
 perfect, having two divisions of groins supported by columns. On 
 the north side are two windows, at the east end one window, 
 beneath is the site of the altar, and the approach is by a rise of two 
 steps. It is with concern that I am compelled to note the use this 
 chapel is put to — for chipping of tiles, making of mortar, etc. 
 
 Before I quit these sacred walls, I must do that justice to the 
 dignitaries of the church, which is by right their due, for the attention 
 bestowed on the remains, and considering all things, more care cannot 
 be evinced in clearing away the accumulations of dirt from the 
 sepulchres, preventing the dilapidated aisles from being made 
 thoroughfares (as in other instances both in Wales and England), and 
 the like, etc. As for the interior of the building (forgetting that the 
 north transept is unpaved and left as a mere cemetery, and the 
 south transept a depot for all kind of building materials), I do not 
 recollect that any of our cathedrals are better or oftener cleaned out, or 
 a more zealous attention bestowed to hold up to strangers the im- 
 portance of each curious particular. When a resolution is entered 
 upon to go farther with regard to antiquarian consistency, it is 
 probable the wretched pew lumber, disfiguring the nave and hiding a 
 part of a most elegant tomb, will be removed, whereby this portion of 
 the cathedral will appear in all its appropriate seeming, of which no 
 ancient work of this kind can be more magnificent or more sublime. 
 
 Haverfordwest. 
 
 [1805, Part L, p. 25.] 
 
 I gained the town of Haverfordwest. Here I was well lodged 
 and well accommodated ; things were reversed in this respect from 
 what I had experienced in my late quarters. The castle is one vast 
 pile, designed in the noblest style, and placed on an eminence 
 commanding the town, which lies, as it were, grovelling at the 
 basements of its walls. Indeed, I never saw a castellated structure 
 more commanding or better constructed to inspire the thought that 
 it must have been once impregnable. This fabric is used as a 
 
250 
 
 Architectural Innovation. 
 
 prison ; and for its internal state read Mr. Neild's account of prisons 
 in Wales, detailed in this miscellany. There are some monastic ruins 
 in the town. 
 
 Picton Castle. 
 
 My reception was as flattering to the " wishes " of an artist as 
 could be desired. The noble owner, who here resides in much 
 dignity, gave that attention (maugre my poor pilgrim's demeanour) 
 which made me forget for the time all troubles past ; and I set about 
 my survey with that content of soul so necessary to those who profess 
 the delineatory art. This castle at present shows no more than one 
 oblong mass of building, which may either be the original walls or 
 some additional work ; such making out, as I conceive, the principal 
 part of the pile — that is, the keep. But this may be conjecture, as 
 all the windows are modern, with common sash-frames ; such are the 
 doorways, etc. The principal ancient features are circular towers 
 at the angles of the walls, and others of a larger sweep projecting 
 from the side-walls, the whole work finishing with battlements. The 
 interior has totally submitted to modern alteration ; so that little 
 thought is raised, while partaking of the hospitality of Picton, of the 
 romantic castle of old times ; but the elegant villa with all its fashion- 
 able conveniences alone charms the senses. There are no traces of 
 any outworks, such as fosses, gateways, etc. ; an extensive lawn is on 
 the south side, and a plantation on the north side of the building ; 
 the west end looks between both, and at the east is the entrance 
 from a balustraded terrace. At a reasonable distance are the offices, 
 such as stables, etc. The general face of the ground is level ; and 
 to the south a beautiful view is had of the sea. 
 
 [1805, Part 7., pp. 126-128.] 
 
 Opposite the entrance front of Picton Castle, and at some distance, 
 is a long avenue of trees terminating with a pavilion in the Italian 
 style. Here, as it were, the confines of the castle end, for beyond all 
 appeared, at least to me, an uncomfortable and dreary heath. Over 
 its untracked way was 1 constrained to explore the route to Slebach. 
 
 Slebach. 
 
 Many artificers, as they seemed to me, were busily employed on 
 some external repairs of the building ; their work went merrily on, 
 aided by the melody of Cambria's tuneful strains, when, on descrying 
 me, an instantaneous silence prevailed, and song and hammer ceased 
 to wound the listening ear. Paying but little attention to this 
 circumstance, I entered the church, where quickly finding the 
 monumental object to be drawn, I soon was at my employ. This 
 monument is rich and finely executed. The tomb part plain, 
 
Slebach. 
 
 251 
 
 whereon lay the statues of a knight and a lady ; at the sides of 
 the design, buttresses, from which springs a flat arch ; beneath 
 is a recess filled with compartments and much tracery. Above 
 this arch rises an ogee pediment, with crotchets and a finial. In 
 the spandrils is a shield (arms gone) supported by two kneeling 
 angels. On each side of the pediment are compartments and 
 tracery bounded by the upper part of the aforementioned buttresses, 
 the whole finishing with an entabulature, the frieze of which has 
 ornaments of foliage, etc. The armour of the knight is extremely 
 sumptuous, particularly in the gauntlets, knee-pieces, and the pieces 
 on the feet. The knight's collar is composed of roses, having in its 
 centre, and depending on his breast, an animal resembling a lamb — 
 by this badge the warrior is termed a knight of the " Golden Fleece." 
 The head ot the statue rests on a helmet, and the feet on a lion. The 
 fashion of the armour, as well as the mode of the architecture, is 
 such as prevailed in the fourteenth century. The dress of the lady 
 has all the elegance of the same period, in the second robe being left 
 open on the sides to show the under, or third robe ; the outer, or 
 first robe, has the cordons ; the head is bound with a fillet of roses 
 and jewels; jewels round the neck, etc. The head reclines on 
 cushions supported by two angels, and the feet rest on two dogs. 
 
 Llangham. 
 
 I was suffered to take the drawings of the sepulchral subjects 
 in the church. Although the edifice is on a small plan, its form is 
 a cross, with body transepts, and chancel, or choir. In the north 
 transept, and against the north wall, is the monument of the knight 
 who fell a victim to his predestined fate at Roch Castle. The 
 memorial of the Roch Castle knight, I conceive of the highest import- 
 ance, as it establishes a piece of traditional information not always to 
 be depended upon in other cases. The tomb bearing the statue is a 
 portion of the stone seat of continuation round the church ; above is 
 an arched recess springing from buttresses at each side. The arch 
 has the ogee sweep with three turns right and left, each turn 
 containing smaller turns of corresponding work, and to the ogee 
 sweep are crotchets and a finial. The recess itself is plain. The 
 statue needs a very particular description. The attitude is that of a 
 warrior preparing for combat ; the right hand is about to draw the 
 sword, while the left arm is bearing up the shield (which is without 
 embellishment) ; the head is turned to the right, the countenance 
 strongly marked with apprehension ; yet there is a determined air 
 made manifest also to resist every ill. The head is supported by a 
 second or outer helmet, which made a part of the head armour in 
 early times ; indeed, the whole monument is of a very remote date. 
 
252 
 
 A rch itectural Innovation. 
 
 This helmet is surrounded by the head of a bird. The armour for 
 the neck is mail or ring-work; that for the arms and legs plate- 
 armour, and very plain. We now come to the remarkable part of the 
 armour, which is the covering to the feet, made out with small 
 squares most artfully interwoven by diamond intersections, not only 
 giving a rich appearance, but to all conjecture an invulnerable 
 defence. Here it is manifest the knight here portrayed was in dread 
 of some sore disaster happening to him at these extremities of his 
 body, and what foe so likely to assail as the crawling " adder " ; but in 
 this instance his " steely guise " was of no avail. How stand you 
 affected to the Roch Castle tradition, good friend ? Is it not by this 
 memorial confirmed beyond all question affixed on the firm basis of 
 belief? It may be observed, as a very uncommon circumstance in 
 sculptures of this nature, that the figure is well preserved, and the 
 face and feet (which feet rest on a lion) are entirely perfect. 
 
 Having tco often had occasion to mention the indecent way in 
 which so many churches are left, wherein numberless fine pieces of art 
 are suffered to be covered with all kind of rubbish, building materials, 
 etc., here, then, occurred a case in point, yet with more aggravated 
 circumstances than any I had yet encountered. On the pavement, 
 by the north side of the altar, I perceived traces of a sculptured head. 
 When removing some dirt, incrusted in a manner on the stone, I 
 discovered the features of a most lovely female ; encouraged by this, 
 I went to work with a spade, and after much labour brought once 
 more to sight a whole-length statue of a lady ! The dress showed 
 but one robe, which was held by the right hand of the figure, bringing 
 the drapery into folds the most graceful. The head attire consisted 
 of drapery also, but most elegantly disposed. It is to be presumed 
 our Welsh friends, after the u digging up " of a morsel so precious, 
 will be more attentive in future to things of this nature. In the east 
 wall, near the Roch Castle knight's memorial, is a holy-water niche 
 and pedestal, not alone beautiful in themselves, but of a design rather 
 uncommon, more immediately in the latter decoration, it being 
 covered on its shaft and cornice with a succession of shields (arms 
 gone) placed in perpendicular and horizontal positions. 
 
 Brecon. 
 
 Here the shield of protection was held over me by a resident of 
 the place. With him I walked over the remains of the castle. We 
 differed somewhat about its state ; I bewailing the several dilapida- 
 tions, and he expressing pleasure to behold it as a picturesque ruin ; 
 more so than if it had still beamed in its original splendour. We 
 then entered the priory church, large and stately, full of curious 
 particulars, both monumental and architectural, Again I repeat, 
 my pencil here knew not its use ; silent were my items ; memory 
 
Llanhamlog. 
 
 253 
 
 alone draws out the sacred scene. About three miles from Brecon 
 (still on my way homewards) is 
 
 Llanhamlog, 
 
 distinguished in a few scattered huts. Here I halted to take note 
 of a statue in the church. This church has lately been rebuilt. 
 Whatever were the dimensions and decorations of the one destroyed, 
 the present erection is little more than an oblong room, barely suffi- 
 cient to contain fifty people, destitute of every kind of enrichment ; 
 not so much as one evangelical symbol to let a stranger know whether 
 it is a place of worship or a barn. It was well the sculpture I looked 
 for was not cast aside with the rest of the " old things." However, 
 the statue, from having lain some centuries past on its back, being 
 in the death-bed attitude of adoration, was now placed against the 
 wall in an erect position. Thus the female here portrayed must, to 
 those unused to the original intention, appear singular, in perceiving 
 at the back of the figure a pallet and cushions, and other sleeping 
 particulars, which, from their situation according to reality, could 
 not remain an instant without falling to the ground. This whimsical 
 humour, to set up an object of this nature perpendicularly which 
 was evidently intended to be laid horizontally, is not confined to this 
 obscure village. Many instances could be adduced where such a 
 capricious disposure is manifested in large churches under public 
 attention, and done under the eye, and with the advice, of accom- 
 plished patrons and tasteful architects ! The dress of the statue 
 (now on its legs) consists of an under-vest, and over it an open robe. 
 The head attire is drapery, without embellishment of any kind. 
 There is a remarkable inscription cut round the edge of the slab, not 
 reconcilable as made out by different readers. 
 
 Crick Howell. 
 
 An account of the remains of the castle and church, with its monu- 
 ments, I have already particularized in vol. lxxii., p. 22 [ante, p. 149]. 
 I had, however, to take notes of a very interesting gateway in the 
 town. This gateway, if ever I have an opportunity to erect one of 
 the same kind, would prove an excellent addition to the architectural 
 assemblage making out the villa adornments of any patron of our 
 ancient arts. 
 
 [1805, Part I., pp. 331-333.] 
 
 There was now but one particular building more to go in quest of, 
 and that was St. Ishew, or Patrisshaw's Church, some six or seven miles 
 north of Crick Howell. The road, or rather hollow way, between 
 overarching hedges, was, as is usual in this part of Wales, in many 
 distances almost impassable, from an infinity of loose stones choking 
 
254 
 
 Architectural Innovation. 
 
 up the passage, and in others bearing the most frightful appearances 
 from being 20 or 30 feet below the level of the fields on each side. 
 
 St. Patrisshaw's Church. 
 
 The situation was surely such as must have suited the most rigid 
 devotee in old times ; encompassed by mountains, whose tops seemed 
 to shut out the greater part of the sun's diurnal course. No cottage 
 in sight, nor any object to glad the weary visitant with hope of 
 friendly intercourse. My guide gave me to understand that we were 
 near the secluded ruins of Lanthony Abbey, and if we were to climb 
 the hill before us, the dilapidated pile* would then be under our view. 
 
 I was but half inclinable to draw a most rare and elaborate screen 
 and rood-loft, dividing the body of the building from the chancel — a 
 building so small, and so simple in design, that it was really 
 extraordinary how a decoration so rich and perfect could have been 
 set up within walls of such humble sort, and in a manner cut off from 
 all human tread. My guide, still on the wing, told me that he must 
 leave me again for an hour at least, in which time, he supposed, I 
 might complete my business. Then, pointing to the south side of the 
 cemetery, he said, "There is an ancient well dedicated to the saint 
 who protects this church, called ' The Hopeless Well' " Few people 
 take cognizance of it at this day, whatever the votaries to retirement 
 and penance might do heretofore ; indeed, the spot itself does not 
 inspire much confidence in pleasurable ideas, sylvan scenes, or festive 
 sports. 
 
 Windsor Castle. 
 
 [1805, Part I., pp. 529, 530.] 
 
 " Hail, Windsor, crowned with lofty towers !" — Popular Ballad (1760). 
 
 Great part of my early years being passed in a village one mile 
 east of this ennobled pile, it will not be thought extraordinary if, 
 from a continued sight of the "embattled walls" and "lofty towers," 
 I laid the foundation of that unchangeable propensity for our anti- 
 quities which I have ever since devoted my whole life to illustrate 
 and to commend. The usual pathway conveying me to the " time- 
 honoured" spot was through the Little Park. Here, at about half- 
 way of the walk, is an eminence, which, as I sought its winding 
 ascent, the upper parts of the towers of the east front of the castle 
 began to peer upon my sight ; mounting still, still the building 
 showed more of its elevations ; until at length arriving at the summit 
 of this little "hill of joy," the whole contour of the royal residence 
 became manifested to my sight. I do not hesitate to own my first 
 readings were principally directed to the history of my own country, 
 legendary tales, romances, stories of giants, fairies, knights, and 
 
 * See our survey, vol. lxxi., p. 1 169 {ante, p. 148], since which period the 
 greater part of the fine west front has been thrown down, etc. 
 
Windsor Castle. 
 
 255 
 
 ladies fair ; so that ever as I repeated this my progress, Windsor's 
 glories always floated in my ideas as some enchanted castle just 
 raised to charm my wondering sight ! Neither do I blush to hold 
 it as my firm opinion, that an antiquary cannot be firm in his pursuit, 
 or true to his studies, if his mind is not tinctured more or less with 
 impressions from the above relics of old customs and manners. Let 
 those who enjoy the name without the spirit of an antiquary smile at 
 this ; I am content. 
 
 Until within these few years I never observed that any material 
 alteration had taken place in the buildings ; when going down, about 
 1788, to make some drawings in the interior of St. George's Chapel, 
 I perceived that the fosses on the east and south fronts of the castle 
 had been filled up. Let no one be offended when I declare the 
 alteration so affected me that I even started back with regret at 
 " seeing what I saw." As upon inquiry I found the mighty fabric 
 still owned the name of castle, I could not but conclude (it may per- 
 chance be held in me rather presumptuous) that one characteristic 
 of a castellated mansion was done away in the loss of these fosses. 
 Professional men have established it as a maxim in architecture, 
 that height in elevations constitutes one great point towards arriving 
 at the " sublime and beautiful." Now, it will not be denied but in 
 this instance the north and east fronts stand reduced and curtailed 
 of much of their fair proportions. 
 
 Being at work in the chapel, I was made acquainted that the east 
 window was about to undergo an improvement, by having all the 
 charming mullions and tracery cut out, and the whole opening left 
 as"clear as conveniently might be, to give room for a large painting 
 of the Resurrection. Indeed, I was so favoured as to be shown the 
 design in question. The mason's part was to be under the control 
 of a late ingenious architect, a vast admirer, on certain occasions, of 
 our ancient architecture. The window, it appeared, when cleared of 
 its contingencies, was to be set out into three divisions, the two 
 outer divisions to be divided into two stories ; each division to have 
 plain pointed heads, excepting the heads of the two outer divisions 
 on the first story, which were to be enriched with a number of turns 
 after a new way. All this I could not comprehend, my experience 
 in our ancient works having never given me any example of this 
 nature. I could not, however, refrain from expressing my surprise 
 at this new mode of mullion-work ; the answer was : "The window, 
 it is apprehended, will not endure without a something by way of 
 support to its large arch, which is of a flattish sweep ; and therefore, 
 as little work, and as Might' as possible, is intended to be inserted 
 as a substitute for the complicated, intricate and multifarious lines 
 now before our view." I answered : " But do not these said multi- 
 farious lines correspond with the general character of the whole 
 chapel?" I was thus replied to: "That is nothing; the celebrated 
 
256 
 
 A rchitectural I nnovation. 
 
 painter who here has given his sketch must have a large field 
 whereon to display his abilities." My informant, finding me blank 
 at all this, thus continued : "The old work here is very fine, to be 
 sure ; but it must submit to any change suggested, which eventually 
 will be owned, depend upon it, as improvements of the highest im- 
 portance." To these unanswerable hints I submitted with a respect- 
 ful silence, and consoled myself" with sketching the tracery of the 
 east window, which probably is the only memorial of its original state 
 now in existence. 
 
 Looking about the chapel, I found that the remains of the painted 
 figures in the different windows had been taken down and set up in 
 the great west window, in order to make one general show. On this 
 head I made no remark. But when I discovered that the two west 
 windows at the end of the side-aisles of the nave had been deprived 
 of their work to make room for two modern paintings, without the 
 least pretensions to recommend them, as being either the production 
 of the first professor of the art, or that they were in any wise applic- 
 able to the situation they were in, I was not so calm in thought as 
 perhaps became me in so sacred a place. Again the word "improve- 
 ment" was thundered in my ears, and that was sufficient. 
 
 In the year 1790, I perceived a prodigious change had been 
 wrought on the flanking walls in the south general line of the castle, 
 and nearly opposite the Queen's Lodge — to afford, as people ob- 
 served, a fine view of the keep, or Round Tower. Thus, from 
 having seen this part of the front with battlements, and other appro- 
 priate decorations, according to the style of the castle itself, I 
 encountered a common-appearanced stone wall, with a modern run 
 of coping, etc. 
 
 Before I proceed further with these observations, it will be neces- 
 sary to give some idea of the state of the castle in the beginning of 
 Charles IL's reign, and of the alterations made soon after, previous 
 to setting down the notes of a particular survey entered upon this 
 spring, of the improvements done since my visit in 1790, as above. 
 
 [1805, Part 77., pp. 629-632.] 
 
 Near the end of last month (June) one of those very good-natured 
 friends who are ever ready to communicate certain pieces of 
 intelligence, to answer certain purposes, told me that, if I went down 
 to Windsor on the moment, I might have an opportunity of 
 witnessing the demolition of the interior finishings of those chambers 
 that run westward on the north front of the castle erected by Henry 
 VII. and Elizabeth. Though not the most pleasant business, I 
 instantly complied ; and the more readily as I wished to go over my 
 memoranda taken some months back, as hinted in my last number. 
 
 My gratifications on this visit may be easily conceived. I found 
 several of these chambers on the first and second stories made bare 
 
Windsor Castle, 
 
 257 
 
 to the walls, and the floors strewed with the traceries of the ceilings, 
 enriched with the Tudor ornaments and devices. 
 
 I now commence my survey in a regular manner. In my journey 
 to Windsor I took the road on the left of Langly Broom, where, in 
 the environs of Ditton Park, is the remnant of a rural fabric belonging 
 to Queen Anne, called Reading Palace, now a farmhouse. Some 
 curious chimneys and a few other particulars mark the edifice. 
 That no doubt may be had with regard to this information, a relative 
 of mine, and of the most venerated memory, was born in this 
 structure, in whose time were to be seen considerable portions of the 
 palace, and in its superb state. At the twentieth milestone is 
 Datchet. In the east windows of the church are some excellent 
 traceries. A ferry at this village conveyed me across the Thames. 
 Entering the Little Park, I caught a partial view of the east front of 
 the castle ; some new objects seemed to play upon my sight. Indeed, 
 so far off as Hounslow Heath, where the first appearance of the royal 
 seat arrests the traveller's attention, I fancied there was a something 
 rising from out the mass of the castle that I was altogether a stranger 
 to ; but of this anon. Coming to my dear recollected eminence half- 
 way the walk in the Little Park, I began to hesitate, as though all was 
 not as usual even here. 
 
 In Ashmole's " Order of the Garter," a book published in the 
 beginning of the reign of Charles II., there are many views of the 
 castle, taken without the walls, by Hollar. The first and principal 
 view is a bird's-eye representation of the castle drawn from the south- 
 east, and probably from the tops of some of the lofty elms near this 
 spot. Second view, the east front. Third view, north front. The 
 name of Christopher Wren is to this print as draughtsman. Fourth 
 view, west front. Fifth view, south-west front. From these views, it 
 is believed the castle stood then in much the same state as left by 
 Edward III., who enlarged and beautified the old castle founded by 
 William the Conqueror, and finished by Henry I. Soon after Hollar 
 had collected his drawings, Charles II. (Sir Christopher Wren being 
 the architect) made considerable alterations in the fronts, south, east, 
 and north. Hollar shows us that on the south front between every 
 tower from the east angle to the circular tower where the entrance is, 
 leading to the upper ward or court, run rampart walls supported by 
 buttresses. These buttresses were taken away by Charles, and 
 windows, etc., inserted, as now seen. The rest of this front running 
 to the west (allowing for the late alteration in the wall opposite the 
 Queen's Lodge) continues unchanged. The great gateway, indeed, 
 entering into the lower ward, was built by Henry VIII. The terrace 
 on this and the east front, rising out of the fosse, was the work of 
 Charles, which fosse, according to Hollar's views, was complete in his 
 time on both these fronts. The east front had rampart walls and 
 buttresses between the towers, and was altered like the south front 
 
 vol. x. 17 
 
258 Architectural Innovation. 
 
 by Charles. The north front, from east to little more than half the 
 line, consisted of a succession of towers without rampart walls, and 
 was replete with a fine display of bower and other windows. This 
 range, to that part erected by Henry VII. and Elizabeth, and nearly 
 opposite the Round Tower, was altered by Charles, and he also 
 reconstructed the terrace on this front first raised by Elizabeth. The 
 rampart walls and towers in continuation are in their original forms. 
 The farther line of this front is hid by common houses, built within 
 the last century for the dignitaries of St. George's Chapel. The west 
 front has undergone little or no change. The various fronts within 
 the upper ward Hollar exhibits were full of curious windows and 
 doorways, etc. Some of the windows were large and beautiful, 
 particularly those decorating St. George's Hall. The chief of these 
 decorations were altered by Charles. The Round Tower had many 
 alterations done at the same period. The lower ward presented 
 every embellishment correspondent with the upper ward, and like it 
 underwent the same kind of variation. St. George's Chapel, erected 
 by Edward IV. and the tomb-house adjoining its east end, erected by 
 Wolsey, sustained no loss in Charles's great scheme of innovation. 
 When the several buttresses of the chapel were deprived of their 
 pinnacles is uncertain ; they were remaining in Hollar's prints. This 
 indefatigable and excellent artist gives the interior of St. George's 
 Hall, which shows as in its original splendour. The windows were 
 divided with rich mullions and tracery* ; the walls hung with 
 tapestry ; and the roof open enriched timber work, similar to 
 Westminster Hall. This hall, with almost every other interior of 
 the castle for the use of kingly accommodation, was altered by 
 Charles. Hollar has also presented a number of views in the interior 
 of St. George's Chapel, whereby it may be perceived no alterations 
 have been brought about until the present times. 
 
 Batty Langley, architect, in 1743 published four prints of the 
 castle. Plate i., general plan; ii., elevation of the east front; 
 iii., elevation of the north front; iv., elevation of the Round 
 Tower. (It is a pity Langley did not give the elevation of the south 
 front.) From these very exact and faithful draughts we find the mass 
 of buildings the same as Charles bequeathed to his successors after 
 his plan of operations had ceased. In this order the kingly pile 
 stood (not to repeat again the modern habitations for the dignitaries 
 of the chapel in anywise but as accidental erections thrown out on the 
 western extremity of the north front) until about 1783, when the 
 public first began to be amused at the novelty of beholding Windsor's 
 architectural honours once more turned over to the power of im- 
 provement. 
 
 * From which examples, it may be presumed, our modern architects have, in a 
 distant degree, drawn their hints for the windows now sticking up about the prin- 
 cipal stories of the royal apartments. 
 
Windsor Castle. 
 
 259 
 
 Batty's plates will, one time or other, be held as a criterion whereby 
 a judgment may be delivered how well the professionalists now at 
 work have perfected their job. Hollar's views are inestimable ; for 
 to them alone, when the mighty and expensive undertaking is com- 
 pleted, can we — that is, we who are antiquaries — appeal for the least 
 instruction in what way the heroic Edward's castle originally beamed 
 forth in regard to enrichments and characteristic decorations. 
 
 Of the changes or improvements that have taken place within my 
 own observation, at least since 1783, take the following particulars. 
 
 The fosse on the south and east fronts entirely filled up ; and the 
 bridge passing over to the great gateway, on the south front, into the 
 lower ward, is in a manner lost, being buried up to the parapets, 
 which parapets stand as mere dwarf walls to prevent people walking 
 over the greensward on the earth filling up the fosse. The rampart 
 walls opposite the Queen's Lodge reconstructed, and changed into a 
 common stone fence, with a common run of coping, etc. Ascending 
 the flight of steps to the terrace on the south front, I perceived a 
 new window had been inserted by way of specimen for a range of 
 windows to be put up on the principal story round the castle. This 
 novel window (though evidently copied in a careless manner from 
 Hollar's interior of St. George's Hall, before spoken of) is in its 
 particulars exceedingly incorrect, and the detail of mouldings 
 enormously large and misconceived. Our modern architects, though 
 they have discovered that an ancient opening with a pointed head is 
 beautiful, yet have not fallen upon the mode of ascertaining the rule 
 that guided our old artists in the chaste proportions of the several 
 minute parts perfecting a window, doorway, cornice, etc. The string 
 or cornice of the elevation above the head of this new window has 
 been broken into ; of course, the mouldings of the said cornice are 
 necessitated to be hoisted up with perpendicular returns, right and 
 left, rendering the general line of cornice lame and distorted. The 
 space between the outer mouldings of the architrave and the sweep- 
 ing label of this window is made to show at least 6 or 7 inches. 
 This is meant, no doubt, for an improvement, as, in our ancient 
 works of this nature, taking them of all dimensions, the proportion 
 of the space bears one-third of the width of the label ; therefore, had 
 our new window-makers fallen into the error of being copyists, their 
 space would not have exceeded an inch and a half. The east front, 
 no alteration. North front: here I quickly encountered those new 
 objects that had alarmed me at a distance, when I apprehended all 
 was not as it had been. In this range of buildings is a projecting 
 line of chambers called the "Star Chambers," from a large sculptured 
 star on the exterior. At the east angle of this line a brick octangular 
 tower has been run up, with stone (more probably your patent com- 
 position cement) dressings of windows, cornices and battlements, 
 etc., in the Hampton Court style. The west angle has not yet re- 
 
 17 — 2 
 
26o 
 
 Architectural Innovation. 
 
 ceived any addition ; such being delayed, it is not unlikely, till those 
 most curious, interesting, picturesque, and original elevations, the 
 architectural memorials of Henry VII. and Elizabeth, both on this 
 front and on that opposite the entrance to the Round Tower, are 
 taken down. I am, notwithstanding all that I have heard to this 
 purpose, but little inclined to believe they will eventually fall. In 
 the "Star Chamber" front, on which I would particularly treat, many 
 new windows are set up; in some portions the whole height, consist- 
 ing of four stories, has been thus decked. The first or basement 
 story has a pointed window, but the mouldings and receding parts 
 turn wholly upon an improved plan. The second story has the 
 common Tudor square-headed window of two lights. The third or 
 principal story presents the same clumsy window as already noticed 
 on the south front. The fourth story, a repetition of the window on 
 the second story. 
 
 [1805, Part II., pp. 723-726.] 
 
 East or Upper Ward. — In the centre of the north side, where the 
 royal chambers run, some new work has been executed by way of a 
 restoration, in conformity to the old termination at the eastern 
 extremity of this range. A new porch in this point of view also greets 
 the eye. I own that I am not competent to decide on its merits, 
 otherwise than to say it certainly is not of the same mode of design 
 as the rest of the front, where it now forms a part. The western half 
 of this range, and on its return west, adjoining the delightful Tudor 
 Gallery, which I have so continually held as worthy of all regard, 
 has been wholly new-faced and decorated, in manner like the north 
 front of the castle, already detailed ; further corroborating the intent, 
 that the various exteriors of the pile are to be gone through with in 
 due order, conformable to the models of those mixtures of styles I 
 suggested were irrelevant one to the other. Rising out of the mass 
 of ;Jthese state apartments is a new octagon lanthorn, with large 
 glazed windows, crowned by a modern weathercock. In this object 
 I cannot recognise anything like an ancient castellated decoration. 
 Something on this principle, to be sure, may be found as appertaining 
 to churches, Peterborough and Ely Cathedrals for instance. . . . 
 However, I cannot forbear to observe that this lanthorn issuing out 
 of the body of the building has, when standing at some distance 
 (Little Park), a most uncommon and strange effect ; beautiful it may 
 be — I presume not to determine on this. 
 
 Being desirous to view the interior of that part of the castle shown 
 to common visitors, I was. very kindly admitted by the porter through 
 an open panelled glazed doorway (made upon the modern Eldovado 
 plan) of the new porch into the staircase saloon ; the staircase saloon 
 I would be understood to mean, that which has recently been turned 
 out of the various artists' hands. Exerting all my powers of description, 
 
Windsor Castle. 
 
 261 
 
 I will essay to enumerate the most prominent features of this so costly 
 a part of the plan for re-edifying and improving the whole castle. 
 The figure of this saloon is an oblong, lying north and south, and 
 extending through the edifice from the front in the upper ward to 
 the front next the terrace. The length is divided into three aisles, 
 church-wise, the centre aisle being wider than the side ones. The first 
 half is filled with the stairs ; galleries occupy the spaces on each side 
 the stairs. Under the stairs, as they rise, and under the galleries, the 
 three aisles are continued, making a perambulatory round and round. 
 The upper part of the staircase terminates with various groinings, so 
 constructed as to connect themselves in a very accommodating 
 manner with an octangular skylight, which, after much mature 
 consideration, I discovered constituted the interior of the octangular 
 lanthorn exhibited on the roof of the building, as before noticed, and 
 which makes so remarkable a point of attraction in all directions. 
 The general embellishments of this staircase are in the Tudor style, 
 where flat arches, and compartments, with what moderns call "fan 
 tracery," are set forth on all sides, excepting the lofty walls above the 
 galleries, which are left entirely bare. Some slender columns, 
 doorways, and a window, indeed, break the line of vacuity, which 
 otherwise might be thought wanting a something to accord with the 
 excessive portion of enrichments in the groins overhead. To speak 
 of the doorways in particular, as to the plea of good taste in design, 
 there is one fronting the ascent of the steps, of a height so far 
 exceeding the usual proportion in regard to width, referring either to 
 the Roman, Grecian, or our ancient schools, that I cannot otherwise 
 account why within the pointed head of this doorway another 
 doorway with a square head is inserted, otherwise than to take off 
 the disproportioned appearance alluded to. This conjunction of two 
 different-formed doorways, taking them without any apology, is 
 certainly extremely wfiimsical, to say nothing about our ancient 
 examples, none such being to be met with to warrant so sportive and 
 entertaining a figure. The other doorways turn on the like fancy. 
 From a nice examination of the detail of mouldings and ornaments, 
 I find much wanting to make up what has lately been termed " a 
 religious imitation of our old works." 
 
 The Queen's Guard-room. — I found this place converted into a 
 chapel by means of the seats and other particulars taken from the 
 chapel adjoining St. George's Hall. The scene, it must be owned, 
 is rather discordant to the eye, the walls being hung with armour, 
 spears, guns, swords, bandeliers, and drums ; and the floor divided 
 out with pews, reading-desk, pulpit, Prayer-books, and Communion- 
 table, etc. However, the mind becomes satisfied, reflecting on the 
 necessity of being prepared for both events, fighting as well as 
 praying ; having thus at hand the means for destroying the enemies 
 of the church, as well as to return thanks for its preservation. 
 
262 
 
 A rchitectural Innovation. 
 
 St. George's Hall. — Here I missed some of my old favourite 
 objects, as the ascent to the throne at the east end, and the music 
 gallery supported by gigantic statues at the west end. The latter 
 Temarkables are not destroyed, to be sure ; but they are all huddled 
 up together to make room for the entertainment at the late installation 
 — on which occasion likewise a gallery for music has been broke 
 through the wall above the site of the throne. By these temporary 
 accommodations it but too plainly appears that this hall is on the eve 
 of submitting, like the other parts of the pile, to a universal 
 transformation ; or else two such grand terminations, marking the 
 taste of Sir Christopher Wren in architectural decorations of this 
 sort, would never have been thus "cut up" for one day's festival. 
 There has, notwithstanding, arisen out of this changeful tide, 
 dispelling for some moments every unpleasant idea, one circumstance, 
 which is, the abundant and unexampled meed of honour done to the 
 shade of Handel. I saw his portrait placed immediately over the 
 spot where but of late his Majesty sat as sovereign of the Order of 
 the Garter, giving on that day's solemnity one of the bright attractions 
 surrounding his resplendent seat. 
 
 The Royal Chapel. — The entrance is from St. George's Hall. A 
 total subversion of all that had been was everywhere manifested. 
 The organ-gallery at the east end — which was so finely disposed, so 
 admirably obscured in a secondary light, a light so happily diffused 
 as to create a kind of divine enthusiasm in the hearers when listening 
 to the organ's celestial sounds— is disposed of. The various 
 particulars for prayer removed to the Queen's guard-room (before 
 spoken of). The wall at the west end, where the Communion-table 
 rested, taken down to let in a large orchestra, and the sides of the 
 chapel filled with rising seats sufficient to contain a numerous 
 company : in short, this chapel is now a concert-room. 
 
 [1805, Part II., pp. 818-821.] 
 
 Among the many pictures introduced of late into the royal apart- 
 ments is a series of representations of some of the most remarkable 
 events which took place during the reign of Edward III. The artist, 
 who on some occasions has been styled "the prince of modern 
 painters," shows in these subjects at least a desire to make them 
 appear in costumic pride ; yet there has evidently been more atten- 
 tion bestowed to the fantastic wardrobe of theatres than to our 
 ancient sculptures or paintings. Of all the periods distinguishing 
 the excellence of English art, there is no point of time we can so well 
 refer to for information on this head as in Edward's day : the per- 
 formances both of the chisel and pencil are still numerous and in 
 good preservation, either in our religious buildings or in the cabinets 
 of the curious, these latter repositories storing up the beautiful missals, 
 
Windsor Castle. 
 
 263 
 
 etc. On this consideration, how can we account for our historic 
 delineator touching so lightly on national documents, and marking 
 with a zealous hand all the extravagance and whim found in the 
 warehouses of masquerade tinsel and gewgaw finery ? I shall in the 
 present instance only refer to one of the pictures : the scene, the 
 interior of a sacred structure, wherein we see the great characters of 
 the Edwardian Court brought together in devotional ceremony. The 
 architecture, the decorations, are totally irrelevant not only to the 
 taste of the age (many wonderful edifices of the fourteenth century 
 awaiting in every part of the kingdom our admiration), but to 
 monastic arrangement. Was ever a crowd of piously-disposed per- 
 sonages so confusedly parcelled out — a Catholic altar so set forth, 
 Catholic priests so robed, or Edward and his train so arrayed ? The 
 female divisions of the noble throng display their charms in draperies 
 purely fancied by the ingenious artist ; and how great the pity so 
 much fine colouring, drawing, and effect should fall a sacrifice to 
 that contempt which is so generally evinced for the study of our 
 antiquities ! 
 
 I now come to the painful part of my observations. Pacing from 
 chamber to chamber, I arrived at length at those constituting the 
 Henry and Elizabeth galleries, etc., where, as I have repeatedly 
 observed, so many delightful interior room-finishings were to be met 
 with, and how severely I suffered at witnessing their extermination ! 
 Still, let me dwell on the subject, for, in truth, I cannot easily banish 
 it from my mind. Those works being once gone, where can we find 
 other the like authorities for our study in matters of this sort? Say 
 we are commanded to imitate the accommodations and elegant fitting- 
 up of apartments in our ancient mode : where fly for specimens ? to 
 what old castle or mansion bend the eye ? . . . 
 
 Moving towards the gateway dividing the upper and lower wards, 
 in the way I took a parting look at Edward's Round Tower — at 
 least, in its present form, as whispers are abroad that this tower is to 
 be carried up fifty feet more in height. Of course, there will be an 
 infinity of new parts introduced to make out the face of so much 
 masonry. However, my belief that such an undertaking will not be 
 carried into effect is superior to my apprehension that it will be 
 carried into effect. Examining the west front of the above dividing 
 gateway, a something impressed me that all was not right. My 
 recollection failed me when I turned my thoughts to former visits to 
 set my observations then and now at odds. I will start a question : 
 Has this front been improved upon of late — that is, by repair or 
 alteration ? It will be gratifying, certainly, to have this affair fully 
 explained, as well as be the means of adding much consequence to 
 the tenor of this survey. I am not over-impatient on this head, 
 therefore let the tale come when it most conveniently may. 
 
 St. George's Chapel. — The west front, which is beyond dispute a 
 
264 
 
 Architectural Innovation. 
 
 very fine elevation, seems to be entirely disregarded — or else, why is 
 the door of entrance in the centre suffered to remain for ever shut, 
 and not, as in other holy structures, thrown open upon all occasions 
 of devotion ? Nay, upon the most solemn services, even such as 
 gave rise to its foundation, is this grand obligatory introduction 
 dispensed with. And for what reason, I trow ? A few low, un- 
 interesting tenements (convenient they are, doubtless, to lodge some 
 inferior members of the chapel) have been reared up before this 
 principal pass, and it may be their humble roofs find more favour 
 from the hand of dilapidation than the fated Tudor Gallery, which 
 seems to fall even without a sigh ! The changes made in this front 
 are in the west windows of the north and south aisles, by the loss of 
 mullions and tracery ; the openings from this deprivation are neces- 
 sitated to be barricaded up, like unto some prison-house of dreary 
 cast. So much for improvement ! 
 
 South Front. — I quickly encountered a something new done on 
 this front, and that nothing less than a porch. Although this porch 
 is of very circumscribed dimensions, yet it is made the principal 
 entrance at all times, and even on the most solemn and important 
 ceremonials. It seems this little passport to great renown was 
 finished out of hand, previous to the late installation, in order to add 
 a spark of splendour to the august assemblages ; but it must surely be 
 allowed a very small portion of that day's blaze was emitted to the 
 illustrious characters as they made their way, when each, from the 
 restricted opening, was constrained to bow the head before the 
 ceremonial of the order required them so to do. At any rate, one 
 good effect was produced — no less than reviving an ancient custom 
 at entering into a religious pile, that of bowing, which, with godly- 
 disposed persons, might be taken for an act of profound devotion. 
 After all, it is to be regretted that so noble an entrance is overlooked 
 at the west front, which gives admittance to such a gorgeous scene, 
 not alone when royal processions take place, but at each attendance 
 of daily prayer. I waive giving an opinion of this porch, and for the 
 same reason as I declined any stricture on its fellow-erection on the 
 north side of the upper ward, being desirous to leave that good turn 
 to others more partial to new than old specimens of architecture. 
 
 Interior of the Chapel. — The pavement has been new laid, and in 
 the modern way ; that got rid of was remarkable for the number and 
 variety of sepulchral stones, inlaid with highly-curious and valuable 
 brasses, rendering a choice display of historical and characteristic 
 memorials, and at the same time admirably accompanying the rising 
 walls on every side. What became of these relics I shall not set 
 about to declare — why need I, indeed, express any concern for their 
 loss, other than as an antiquary ? No line of ancestry is broken to 
 which I am a distant branch. What is it to me who were the ancient 
 religious of the pile, or how their robes adorned them, such members 
 
 1 
 
Winds 07" Castle. 
 
 265 
 
 being oat of recollection, and such vestments useless? It is ever 
 desirable to reconcile things, however. I now call to mind the stone 
 gallery, or rood-loft, which sprung from the east and west piers of the 
 north transept, and directly opposite to Sir Reginald Bray's Chapel. 
 This gallery, I well remember, was a bold and masterly performance, 
 and considered by those professional people to whom I owe my early 
 knowledge of architecture to be one of the first efforts of masonic 
 power remaining in the country. The removal of this flight of con- 
 summate skill was the first object that fell under the general decree 
 of alteration which has pervaded this chapel for some years past. 
 This occurrence, indeed, should have been noted among the intro- 
 ductory particulars in the first number of these Windsor observations. 
 
 The great west window, now beaming with such religious and 
 historic light in figures of saints, knights, and kings, contained in 
 traceries the most delightful to the eye that can possibly be imagined, 
 will soon— very soon — bear another semblance. Its vast opening is, 
 according to common report, to be cleared of all these charming 
 particulars, like unto the great east window, filled in consequence 
 with an enormous painting of the Resurrection, to make room for 
 another prodigious-sized glass-stained labour of the Day of Judgment. 
 Finding the two west windows in the south and north aisles had got 
 rid of those insignificant paintings which had been put up when first 
 their mullions were destroyed (as already told), I became rather 
 calm in my silent reprehensions, as two very good transparencies of 
 the Nativity supply their places. If we must have modern objects 
 conjoined with those so directly opposite, at least, it is more endurable 
 to have respectable things thus introduced. There is a painting on 
 panels in the south aisle of the choir that has lately been " restored," 
 as it is termed. Of its condition before such attention was bestowed, 
 see Carter's " Ancient Sculpture and Painting," vol. i. Adjoining 
 these remains is a small monumental chapel, wherein are some curious 
 pictures relating to the decollation of St. John. The architecture 
 and dresses are strictly consonant to the taste of the fifteenth century, 
 when they were pencilled, and are well preserved, having, I believe, 
 escaped the hands of the picture-repairers, or other such dangerous 
 assistants to works of art like these. At the east end of this aisle 
 another painting on glass has been brought forward by the same 
 master who executed the other new windows just enumerated. This 
 last trial of skill in this way makes the fourth alteration in the window 
 enrichments of the chapel, and, as we find a fifth is in contemplation 
 (Day of Judgment, as above mentioned), it is not impossible the 
 changeful mode may take its course round the whole edifice, and in 
 process of time the very compartments, tracery, and ornaments on 
 the walls — yea, the groins themselves — may be submitted to the 
 hands of men who may be considered as fully adequate to substitute 
 features in their room, more chaste and more sublime. Thus going 
 
266 Architectural Innovation. 
 
 on until at last Hollar's, Sandby, Carter's, etc., views of this interior 
 may be construed (should they be in preservation at the time) as 
 mere specimens in perspective, done at an hour when some mortal 
 had put forth to view the model of a structure to charm an admiring 
 age and to invite universal imitation. 
 
 [1805, Part II, pp. 924-926.] 
 
 Pursuing the description of St. George's Chapel, the next object 
 that presents itself is the screen and gallery entering into the choir. 
 This work is a new performance, not executed either in oak or stone, 
 the usual materials made use of in our antiquities, but with a subter- 
 fuge, a fictitious makeshift called "artificial stone," a composition 
 made up, it is generally understood, with street-rakings, sand, 
 ground glass, and I know not what, and then burnt together in a 
 kiln. We know the properties of stone ; of this compound we have 
 still to learn its lasting qualities. Confining our observations to the 
 manufacture of this screen, it may be thus commented on : From 
 the great size and variety of parts constituting the design, the whole 
 was first obliged to be modelled in several pieces with clay, in order 
 to make moulds from to cast therein each particular portion, previous 
 to their being put into the kiln for hardening. Now, those who 
 know the nature of clay wherewith to make models, find it im- 
 possible to tool, in such a substance, forms so correct as if they were 
 trying their skill either in wood or stone, hence the work cannot be 
 perfectly true or sharp. Thus, when every particle is put together, 
 after undergoing the above process, what with the different shrinkings 
 of the baked materials and the inequality of the lines, the whole work 
 affords a very unpleasant sight to the professional looker-on. For 
 instance, the mouldings of the cornices and other horizontal dressings 
 of this screen, instead of running straight or level, take an undulating 
 course ; the perpendicular lines either overhang or fall back from the 
 plinths, or bases, in many a turn of tortured shape. From these 
 hints it necessarily follows the rest of the screen partakes of the like 
 distortions. To speak of the design itself, it certainly is the -best 
 imitation of our ancient architecture that has yet been produced, 
 and I am inclined to believe that those who composed this perform- 
 ance and the south porch are not one and the same artist. After all, 
 I should be glad to know upon what reasonable grounds the original 
 screen was thrown aside ; it surely was of sufficient importance so as 
 to accord with the stall embellishments of the choir, to which it led 
 — at least, the workers of those stalls, not yet fallen below estima- 
 tion, thought it an appropriate appendage to the sublime display they 
 had there set forth. Hollar's elevation of the old screen certainly 
 enables us to give an opinion of its merits even from such a " shadow " 
 so left us. Others, as well as myself (admirers of our antiquities), 
 retaining in memory so excellent a work, will surely be always ready 
 
Windsor Castle. 
 
 267 
 
 to own with what particular satisfaction they beheld it when in 
 existence. There was one peculiarity in the screen I could never 
 reconcile to my good liking, and that was the square-headed doorway 
 in the centre, a pointed one being always adapted to such situations. 
 This remnant of the design has, notwithstanding all considerations, 
 been retained to warrant, no doubt, the principal cast of the new 
 organ-case, which seems in the whole turn of its features to have been 
 guided by the square-headed appurtenance alluded to. How is all this 
 to be reconciled likewise ? I have always held, and shall still continue 
 to hold, an organ-case in the light of an odious decoration, obstructing 
 the view of an interior from one end to the other, and which, in our 
 ancient or religious edifices, so admirably calculated to be seen in 
 a continued line, particularly in the upper tiers, demands the utmost 
 attention. Nothing in our antiquities warrants this monstrous sort 
 of case ; and organs used in former times (three or four in some 
 cathedrals) were always placed on high without this disfiguring cover, 
 and on the side of a choir or in some other unobtruding situation. 
 To show the perverse minds of certain men : ancient altar-screens, 
 which were erected to add a sublime effect to the most sacred part 
 of a church, and to carry on the perspective interest of the scene, 
 are by them pointed out as a deformity, by stopping up the view of 
 the building, and, of course, advised to be destroyed ;* while with 
 the same breath they endeavour to evince how needful it is to fill 
 in the space dividing the nave from the choir with a dark mass of 
 something,! in truth an organ case, as an appearance at once the 
 most eligible and beautiful. 
 
 Among the magic stall-work of the choir, I ever paid my chief 
 attention to the Sovereign's stall. I have before me a large drawing 
 that I made some years back of this particular stall, and cannot per- 
 ceive a sort of bordered awning, which is now placed before the stall 
 itself, thereon to hang curtains, etc. My guide assured me such 
 awning had always been thus open to observation, I having expressed 
 some doubts as to its being an original ornament. How is this to be 
 settled in my account ? Within the arches beyond the stalls the 
 partitions have certainly been altered. I cannot speak to this posi- 
 tively, other than with regard to the removal of the iron screen or 
 monument raised over the grave of Edward IV. Looking at Hollar's 
 views, this screen stood rather within the arch, and its greater part 
 projecting into the north aisle, without any fence or partition before 
 it, and opening in full view to the altar. In my recollection, a par- 
 tition entirely excluded it from sight. This screen is now once more 
 in view, and pushed rather beyond the arch, advancing, as it were, 
 into the choir, and a new sort of tracery fence (done in composition) 
 worked up behind it. The back of this fence is converted into what 
 is called a monument, wrought upon the modern system, and totally 
 
 * Salisbury, Lichfield, etc. f Salisbury and Lichfield Cathedrals. 
 
268 
 
 Architectural Innovation. 
 
 unlike anything in our antiquities, with black marble columns and 
 tablet, and an inscription thereon, to the memory of Edward IV. 
 At the foot of this monument is a black marble slab, with another 
 inscription in the centre to Edward. The contrivance of making the 
 letters of both these inscriptions take the black letter make will not 
 pass with antiquaries ; as such letters should have been set, accord- 
 ing to the old way, either round the ledge of the tomb-part of the 
 monument or round the ledge of the slab, and not in a tablet, and 
 in the centre of the slab, as we here behold them. In the name of 
 consistency, why affect to follow our antiquaries by piecemeal ? why 
 pluck a bit of this, and purloin a morsel of that, and then, like^the 
 half-approvers of forbidden and superstitious objects, know not how 
 to select, or where to place their forced imitations ? These efforts to 
 me seem egregious and ridiculous. 
 
 The altar-screen owes its putting together to a late Windsor archi- 
 tect, who set about things in this way at a time when architectural 
 ideas fluctuated between the prevailing modes of building then p.n 
 practice, and the modes used by our ancestors ; unwilling to set 
 aside the former as of Roman and Grecian growth, and fearing to 
 adopt the latter as being the produce of the " dark ages." There- 
 fore, that he, the said Windsor professionalise might not incur un- 
 pleasant reflections by leaning too much toward either system, he 
 has packed together tripods, vases, with pointed shields and pointed 
 arches — Adelphi ornaments with the Tudor traceries ! The time 
 when this screen was composed, I repeat, was marked by architec- 
 tural doubt and uncertainty. . . . 
 
 The Great East Window. — While standing in the midst of the choir, 
 and ruminating on the transparency before me, I said thus tojnyself : 
 What is the end aimed at by knocking out the enrichments of this 
 window in its mullions and tracery, stopping up the two adjoining 
 windows north and south, and filling up a third in continuation on 
 both sides with obscure opaque paintings of arms, etc. ? Is it that 
 so large a transparency of the Resurrection as now takes; up < the 
 whole opening should have the presumed effect of inspiring a thought 
 that it is the first and most glorious appendage in the resplendent 
 mound ? It is not for me to account for the introduction of such a 
 performance, which, from the enormity of its size, and the prodigious 
 vacuity it stands in, entirely acts at variance with the contour of the 
 whole interior. Such a piece of handiwork in any other building, 
 either on the Roman or Grecian plan, would have done honour to 
 the painter, and high praise to the suggester of producing to the 
 world so vast a specimen of coloured glass. Here is gained a trans- 
 parent scenic exhibition, and here is lost one of the finest ancient 
 terminations of a religious edifice the land could own. The first 
 consequence raises a momentary applause, the second an enduring 
 regret. What this window once was we cannot but remember; 
 
Knole. 
 
 269 
 
 what it is we but too plainly witness ; what it will be, inquire of the 
 masons who destroyed the original parts, and the painter who has 
 made good the opening so left by them. The mechanic patiently 
 waits to give his assistance when the hour comes to require it j while 
 (if report is true) the artist constantly attends to amend the fading 
 tints, to which his utmost skill cannot insure a permanency. Were 
 our ancient men of the chisel and the pencil kept to such profes- 
 sional " watch and ward "? Did their stone or their glass labours 
 ever evince this precarious, this imperfect halt of science? Sir 
 Reginald Bray, the great architect, when he announced to his country 
 that this royal chapel was completed, beyond a doubt left it with a 
 hope that no hands but those of Time would ever be affixed to any 
 part of this his all-perfect erection, to shake, to rend, to mutilate. 
 
 Knole, near Sevenoaks (surveyed 1805). 
 
 [1805, Part II, pp. IOI4, IO15.] 
 
 This large and magnificent pile was erected by one of the later 
 Archbishops of Canterbury, previous to the Reformation, such 
 prelates delighting in its situation and residing much thereat. 
 Cranmer, the pliant and obsequious contributor to forward every 
 wish of his royal master, Henry VIII., rendered up this charming 
 seat with the same facility as he had delivered up other things into 
 Henry's hands. And why ? Because the monarch's eye was fixed 
 upon the object ; it was inviting, and he had expressed a desire to 
 enjoy and to take possession. Edward VI. passed these premises 
 from the Crown to one of his favourites. Mary restored Knole to 
 the See of Canterbury. Elizabeth gave it a second time into lay 
 power, until at length it became vested in the Dorset family. 
 
 Though this vast mansion bears the marks of alterations done in 
 various ages, it still preserves the original outlines, forming a square 
 mass of buildings of four fronts, duly placed to the cardinal points. 
 The north front : On the centre is a large gateway flanked with 
 projecting towers, and on each side a range of apartments for 
 domestics. The alterations show on the attic story, and give the 
 grotesque architecture of James I.'s reign, in semicircular and 
 inverted pediments, with obelisk decorations, etc. East front : A 
 continued line of domestic apartments, and in the same degree of 
 alteration as the north front. South front : Little has been done to 
 this range by way of alteration from the first design. The many 
 bow-windows on the principal floor, full of state-rooms, appear, 
 however, of a subsequent date, though still executed upon the old 
 principle. In the centre of this front is the entrance from the 
 gardens. West front : At the south-west angle the chapel remains 
 in' nearly its pristine state. The range of this west front consists of 
 state apartments, where, among its primaeval decorations, we find 
 
Architectural Innovation. 
 
 James I.'s specimens of architecture in colonnades, pediments, and 
 their obelisks, etc., have been introduced. If we term these par- 
 ticulars the grotesque taste of his professional subjects, surely we may 
 smile at the like fantastic spirit of our o>vn times, though of another 
 species, in the modern pointed tracery filling up the semicircular 
 arches of James's colonnade, and the modern improved pointed 
 arches stuck into some of the projecting bow-windows. 
 
 Passing through the north grand entrance, admission is had into 
 the great court — uncommonly grand and striking. James I.'s archi- 
 tects have done much, indeed, or too much, towards spoiling the 
 symmetry of the original work, with their doorways, pediments, etc. 
 Notwithstanding, there are, most fortunately for us antiquity-lovers, 
 some considerable traces of a most noble gate of entrance on the 
 south side, near which is the great hall. The interior of this hall is 
 fitted up entirely in James I.'s style, with term-figures, half Roman, 
 half English ; scrolls, pendants, masques, cartouches, twisted shields, 
 leather-like foliage, and bone-formed fruits and flowers ; a mere 
 gallymaufrey of depraved art, in carving and carpentering. 
 
 Though I thus condemn this profusion of false taste displayed in 
 this hall, and in most of the principal chambers, still the state of the 
 arts prevalent at a distant period is thereby manifested ; and by 
 their preservation a high honour is reflected on the possessors who 
 have bestowed on this house such assiduous care, showing that the 
 memory of the time which hailed them lords of so splendid a fabric 
 is not forgotten. Saying thus much in vindication of what I have in 
 part disapproved, what shall I argue in behalf of the modern and 
 childish decoration of a portion of the interior of the chapel, which 
 decoration has not the least claim on ancestorial regard? Here, 
 while the beautiful windows preserve all their mullions and tracery, a 
 ridiculous, pointed, coved ceiling has just been finished with stucco 
 twisted basket twigs, by way of some resemblance (but as distant from 
 a real imitation as the sickly taper's light is from that of the blazing 
 sun !) to the entwined ribs of the groins of Gloucester Cathedral or 
 Tewkesbury Abbey Church. And, by way of carrying on the work 
 to the pitch of folly, the present prevailing and infatuated trick of 
 painting stucco with stone joints in their various tints has been 
 followed in these fantastic ribs. 
 
 Reverting to the mode of decoration of James I.'s reign, it becomes 
 a farther theme for commendation to behold in what estimation all 
 the furniture of that period is held. I own my satisfaction on this 
 account was great in the extreme. The chamber fitted up for James 
 II. is a good school for the decorative display of his time. The bed 
 called the Warming-pan Bed is a show term so very idle and 
 disgraceful that in a house of such consequence as Knole it ought to 
 be consigned to oblivion. 
 
 Among the many valuable and excellent pictures there is a most 
 
Penshurst, near Tunbridge. 
 
 271 
 
 curious one of Henry VIII., with his "Walking-staff." In the state- 
 chamber, now called the drawing-room, is a male portrait in the dress 
 of Charles L's reign (by Vandyke), and by it a female in the dress of 
 Mary's reign : these personages, by some palpable error, are termed 
 man and wife. To prove with what care Vandyke copied the most 
 minute article in the arraying of his figures, there is still preserved in 
 the family the key that belonged to the above character when in the 
 office of Lord Chamberlain. This very key I compared with the one 
 drawn in the painting, and found it had been most scrupulously 
 adhered to. 
 
 Penshurst, near Tunbridge, Kent (surveyed 1805). 
 
 [1805, Part IL, pp. 1126-1128.] 
 
 In Domesday it appears this place was the residence of a family 
 of the same name ; came to the Crown, temp. Henry VI. ; given by 
 Henry to the Duke of Buckingham ; forfeited in the reign of Henry 
 VIII. to that monarch. Edward VI. granted Penshurst to the 
 Sidneys, in whose possession it has remained until the present time. 
 
 When a mansion of such consequence as Penshurst becomes 
 deserted (as is the case at this day), a melancholy gloom seems to 
 pervade the whole pile ; and it may be truly said with regard to this 
 place, "a rope of sand" now holds its venerable walls from being 
 thrown to the earth : come but another breath of necessitous demand, 
 and then the whole mass is no more ! The way has been shown how 
 to lay the first stroke at these time-revered foundations. Not long 
 ago a part of the north front was taken down, and the materials 
 disposed of for some hundreds. By this blow the pale of ancestorial 
 renown was broken in upon, was violated. If the pang of remorse 
 was excited, what then ? The remedy was at hand, by fair sale and 
 honest remuneration. If more dilapidatory attacks ensue, the less 
 the sigh of compunction ; advantageous bargains will still prevail. 
 Thus the hardening breast by degrees becomes reflection-proof; and 
 all is — well ; ay, well. Who shall gainsay this ? 
 
 The plan of the assemblage of buildings in themselves is irregular, 
 although bounded by a general square outline, and standing to the 
 four points. This line, I conceive, was originally filled up with 
 erections agreeable to the first design, but in the lapse of ages has, 
 according to the varying mode of construction, taken a confused 
 series of uprights, as now seen. Among the many architectural 
 specimens are found those marking the reigns of Henry II., Richard 
 III., Henry VIIL, Elizabeth, James I., George II. and George III. 
 The works done previous to the time of the four latter royal person- 
 ages are distinct and independent, while the other masonic labours 
 show those grotesque and fantastic interlardings and patchings-on so 
 common to our ancient mansions. Notwithstanding, take Penshurst 
 
272 
 
 Architectural Innovation. 
 
 for all in all, there is an abundant display of architecture, not only to 
 edify the professional student, but to interest and delight the curious 
 visitant. 
 
 North Front. — This is the grand range; the dimensions are 
 immense, the style that of the time of Henry VIII. In the centre 
 is the entrance, on which is stuck much of those Italian dressings 
 introduced about Elizabeth's reign. It is to be observed, the entire 
 range on the left of the entrance has lately been taken down, and 
 the materials disposed of — which have since been reconstructed into 
 a dwelling near Tunbridge, exactly, as it is said, on the old plan, and 
 is now thought to be "a mighty pretty thing." It would have been 
 as well if the pullers-down had dug up the foundations of the 
 destroyed range, which, from the present desolated seeming thereof, 
 must, to some minds, keep alive the tale of dilapidation. 
 
 West Front. — This range is divided into five large parts, as thus : 
 the two ends north and south, two receding lines of apartments, and 
 in the centre a large projecting building, which I take to have been 
 the chapel, by its plan, proportion, windows, etc. The design of 
 this front (excepting the chapel, which is of a very remote date) is of 
 the time of Henry VIII. The innovations are : Italian dormer 
 windows, temp. James I., stuck among the battlements, and the 
 clumsy sash frames, temp. George II., inserted in room of the 
 tracery in the pointed windows of the chapel ; and in the left receding 
 portion of the front is a pointed doorway and window upon the new 
 improved system, temp. George III., which has been set up by 
 way of trial how the whole front would appear if gone on with in this 
 way, supposing some purchaser would advance more for keeping up 
 the fabric than for pulling of it down. 
 
 South Front. — But few of the elevations on this aspect can come 
 in by way of a continued line, necessary to form a regular front, as 
 they recede one after the other, from the south to the north ex- 
 tremity of the whole range. However, this retiring fort of construc- 
 tion is not without picturesque effect ; which, at least, may be held 
 sufficient to gratify the sight in a variety of square and octangular 
 towers, buttresses, battlements, etc. At the western extremity of 
 this front is the return of the south-west tower, which has suffered 
 much by innovations, temp. George II., the first and second stories 
 having had stuck on a Venetian doorway, and windows in the Doric 
 and Ionic manners. 
 
 Fast Front. — The elevations, as in the preceding front, partake of 
 the like remarkables, in receding objects, picturesque effect, and 
 many fine embellishments that have hitherto escaped the fang of in- 
 novation. On this aspect of the mansion lie the pateras, terraces, 
 where, at some distance from the main building, stands a large square 
 tower, once forming one of those intermediate outworks which 
 at certain distances served to connect the exterior defensive walls 
 
Pens/iurst, near Tttnbridge. 
 
 273 
 
 round a castellated mansion, as it appears this place was so con- 
 sidered. 
 
 Passing through the grand entrance, on the north front, the great 
 court is the next particular to engage attention, where, immediately 
 opposed to the eye, is the hall. The workmanship is of the time of 
 Richard III., and in a superior style. The entrance is on the north 
 side, through a porch flanked with an octangular tower. Above the 
 windows are receding arches, the whole design set fotth with 
 buttresses, and embattled. The tracery to the window over the 
 porch is most beautiful, and by the remnants left of the tracery to the 
 windows of the hall, they must have been most exquisite. It is 
 painful to observe these latter traceries have been cut away, in part 
 to introduce the clumsy sash frames, temp. George II.; and the 
 lanthorn to the roof of the hall has been, at the same period, 
 modernized into a bell-turret. The dressings to the side elevations 
 of the court, temp. Henry VIII. The interior of the porch is fine, 
 in the doorways, the door itself, and the groins, which work is well 
 preserved. At entering into the hall, directly above the head, is the 
 minstrels' gallery ; on this end of the hall is a double archway 
 leading to the kitchen and buttery, etc. The front, or screen, of the 
 minstrel's gallery is richly finished, where, in many of the open 
 compartments, are placed wood-carved figures, originally put up as 
 supporters to the springings of the timbers of the open-worked roof. 
 These carvings certainly should be removed, as they pass with 
 ignorant people as making a part of the gallery itself. Against the 
 wall above this gallery are hung various armours and weapons, made 
 in the time of Elizabeth ; among them is the suit of armour worn (as 
 it is said) by Sir P. Sidney when he was killed in Flanders. This 
 famous relic of heroic adornment is foully disgraced by having 
 attached to the knee-pieces a pair of "jack-boots," temp. William III. 
 To speak out, the whole of this collection of military array, which so 
 strongly corroborates the warlike achievements of the illustrious 
 house, is most shamefully neglected, and suffered to be purloined 
 away by piecemeal. The hall, from its true proportion, its windows, 
 and open-worked timber roof, is truly grand. Yet, the satisfaction 
 derived from commenting on the several arrangements is much 
 weakened in beholding, at the upper end of the hall, a paltry 
 endeavour to deceive the eye by a scenic painting, as representing a 
 continuation of the hall, etc. The above effect evinces the low ebb 
 of decorative taste temp. George II. At this part of the hall a 
 descent is had into a crypt (now the cellar), of a design the most 
 pure and excellent that can possibly be adverted to. The length 
 consists of a double aisle, divided by columns supporting arches and 
 groins — the style temp. Henry II. The proportions perfect, as is 
 the masonry, nay, perfect at this day remains the entire work, not 
 one stone has shrunk from its first jointing, or bedding. On the 
 
 vol. x. 18 
 
274 Architectural Innovation. 
 
 south side of the hall is an ancient stone staircase, ascending in 
 an octangular figure ; the tracery of the window, excellent, as is 
 the groin work, etc. Thus, as if it was judged absolutely necessary, 
 when making old mansions commodious, consonant to modern 
 ideas of taste, a little innovation must ensue ; on the square plat- 
 bands of the ribs of the groins, stucco, gallochi, and other Italian 
 ornaments, have been stuck ; the walls, likewise, come in for the 
 same share of attention. As we have very few ancient staircases 
 to recur to of this kind (circular, or newel, stairs being out of the 
 question), too much cannot be said in commendation of so rare 
 an example. 
 
 Ranging through the infinity of chambers on the several stories of 
 this vast assemblage of buildings, many are found as fitted up temp. 
 Henry VIII. ; but the major part of them, and those called state- 
 rooms, are the fittings-up of George II. 's reign. There are some 
 apartments of a still later date, and among them a staircase, more 
 spoke of for the sum it cost than for the elegance it possesses. 
 
 Willing to maintain the part of a faithful narrator, though, perhaps, 
 at the expense of the critic's smile, I mention a chamber which 
 is pointed out as being "haunted." Most true, an old country 
 residence without such an auxilary aid to inspire a sort of terrific 
 admiration among the visitants at large, must lose half its attractions, 
 and few but those bound with the chains of antiquarian delight 
 would be found to attend Penshurst at all. 
 
 In consulting the history of the place in the lives of possessors, I 
 find four names have shifted off this " mortal coil " by violent deaths. 
 The Duke of Buckingham, temp. Richard III.; Duke of Buckingham, 
 temp. Henry VIII. These two dukes were beheaded for treason. 
 Sir P. Sidney, killed in Flanders ; and a short space back, a young 
 Sidney was drowned in the park, not far from the mansion, while 
 bathing, and the very servant who attends to show the house jumped 
 in at the hazard of his own life to save the unfortunate youth, but 
 without success. Here is groundwork for a ghost in truth ! 
 
 In concluding my survey let me further note : every chamber 
 in this structure is full of all kinds of furniture, of various fashions, 
 from the time of Charles II. to the present hour. The collections of 
 pictures are numerous and valuable ; some as far back as the fourteenth 
 century, comprising interesting family portraits by the first masters, 
 with historical and other subjects. It is hardly necessary to say from 
 these circumstances, and from the importance of the house itself, that 
 few ancient residences in the kingdom are more worthy the notice of 
 the traveller than Penshurst; and yet, after all, I doubt if it will be 
 credited by those who have not been on the spot, that this extra- 
 ordinary remains of historic proof, this invaluable repository of the 
 arts, is totally forsaken by the owners, and shut up as though it was 
 an empty house to be let, or ready to be sold for the value of 
 
Church Towers. 
 
 275 
 
 the materials. A person there is, most certainly, who resides in 
 a cottage near at hand, to show the house, for a pecuniary recompense, 
 to all those who come for that purpose. 
 
 The church, that stands by the mansion, is a handsome edifice, 
 On the south side of the churchyard is the greater part of an ancient 
 wood building, showing some enrichments in a good style. In the 
 centre of the design is a large opening or gateway, giving entrance to 
 the churchyard. There is something peculiarly striking in this intro- 
 duction to the holy mound, which should not be passed without the 
 strictest attention. 
 
 Church Towers. 
 
 [1805, Part II, pp. 1 191, 1 192.] 
 
 There is a part of our antiquities which seems to have escaped 
 general observation ; that is, the interiors of great or centrical towers 
 to churches. This circumstance does not proceed altogether from 
 neglect, but from such interiors being shut out from view by means 
 of ceilings being thrown over from the four great arches usually sup- 
 porting such towers. The use of the ceiling has no other end than 
 to accommodate a set of bellringers, who, probably from a supposed 
 benefit to their recreation, always choose to be as far as possible from 
 the upper story containing the bells. This method of hiding the 
 ascending flights of stories within the interior of towers appears to 
 have been first resorted to temp. Henry VI. and VII., as many fine- 
 groined coverings or ceilings were then set up, as at Canterbury, 
 Gloucester, and Wells cathedrals, etc. These interiors, no doubt, 
 were formerly intended to have the same effect on the uplifted eyes 
 as domes in Roman architecture, yet with this difference : the former 
 displays served, by their upright and vanishing lines, their aerial 
 perspective, to lose the termination of each design in regions of 
 geometrical refulgence ; while the latter appearances revealed all 
 their properties at one view, keeping a sort of middle way, and con- 
 fining, by the continued line of a circle, the eye to familiar forms and 
 readily conceived construction. Take the stories of a tower as they 
 rise, each tier soon becomes, from the variety of perpendiculars, a 
 continued and interesting attraction to the mind in its deepest 
 research, affording at the same time almost incomprehensible specu- 
 lation to modern professionalists how, and which way, such majestic 
 elevations were brought to that standard of perfection we now behold 
 them. 
 
 The first interior of a tower which I shall notice is that of St. Mary 
 Overy's Church, Southwark. The height of the tower above the four 
 supporting arches is divided into stories, and decorated with columns 
 and arches. These fine-wrought objects are hid from view by an 
 obtruding ceiling (such as mentioned above). — Abbey Church, St. 
 
 18—2 
 
276 
 
 Architectural Innovation. 
 
 Albans. The centre tower, fine tiers of columns and arches, hid by 
 an obtruding ceiling. — Gloucester Cathedral. Centre tower, fine 
 tiers of arches, etc., hid by an obtruding ceiling. — Wells Cathedral. 
 Centre tower, splendid tiers of columns and arches, and hid by an 
 obtruding ceiling. It is needless to quote any more of our great 
 churches for proofs of this sort. Those edifices of inferior degree, 
 called parish churches, have also their proportion of enrichments of 
 this kind, and are also shut out from observation by obtruding 
 ceilings. Coming to more confined ecclesiastical dimensions, it may 
 be well to particularize the interior of the centre tower of Merton 
 College Chapel, Oxford. Above the usual obtruding ceiling, at a 
 certain height, tri-clustered brackets, filled with perforated tracery, 
 project from the four angles of the tower, they supporting four arches, 
 which arches run parallel with the four sides of the tower ; and, by 
 way of adding sufficient strength, and at the same time yielding an 
 admirable feature, the centre tri-clustered bracket diverges groin-wise, 
 and by a curious ramification strikes out into a circular cove, uniting 
 the whole work described so as to give a most uncommon and re- 
 markable effect. The cove then opens into a spacious circular 
 gallery, faced with arched recesses. Among the lines various carvings 
 of shields and figures of angels are introduced. This ingenious and 
 beauteous performance is executed in oak. The remaining portion 
 of the tower is occupied by the bell-chamber. That such a matchless 
 piece of carpentry and carving should be lost to the public is really 
 a mortifying reflection. I have, indeed, but to announce that the 
 work is of the Edwardian era to stamp on it the character of con- 
 summate excellence. Perchance, if this interior was laid open 
 agreeable to its original intent, the same spirit of envy that havocked 
 Edward III.'s glorious chapel of St. Stephen, Westminster, might 
 here also, by a baleful influence fatal to our antiquities, hurry on its 
 destruction also. My apprehension on this particular occasion almost 
 instigates me to suppress this piece of intelligence. Hope resumes 
 its throne. Architectural innovation yet may be at rest ere all our 
 brightest ornaments of ancient art are breathed on by such a direful 
 contagion. 
 
 It is rather extraordinary that among the hidden treasures of the 
 kind I have been discoursing on there is but one example (at least 
 within my knowledge) that has escaped this immured state of neglect, 
 and that is the great centre tower of Durham Cathedral. This part 
 of the general design of the church stands as the diadem of masonic 
 power, not alone as taken in a general sense, but in a particular 
 manner as illustrative of the present subject. Vain would be the 
 task in endeavouring to give adequate ptaise to so extraordinary an 
 interior. Something, indeed, by way of affording an idea of its con- 
 structure and decorations may be had by consulting the plans, eleva- 
 tions, and sections of Durham Cathedral, published by the Society 
 
Stamford, Lincolnshire. 
 
 277 
 
 of Antiquaries. This expensive and laborious undertaking of the 
 learned body of presenting to my countrymen at large a series of our 
 cathedrals from the long interval between the Durham collection and 
 the promised one of Gloucester, in order to carry on the grand 
 project, seems to prognosticate that the whole business is on the 
 wane. 
 
 Stamford, Lincolnshire. 
 
 [1806, Parti., pp. 33-35-] 
 
 St. Marys Church. — The great tower, forming the west front, is 
 peculiarly striking. The upright is divided into five stories, filled 
 with columns and arches. The style, the early-pointed arch, with 
 its own stock of mouldings, ornaments, etc., Salisbury Cathedral- 
 wise. The spire, of later work, rises in an octangular form, much 
 enriched with canopied windows, etc. The masonry is truly ad- 
 mirable.* 
 
 St. John's and All Saints Churches are fine edifices, full of enrich- 
 ments, and present many desirable specimens of art. In some parts 
 of the town are valuable remnants attached to old houses, as niches, 
 canopies, doorways, windows, etc. The Grey Friars' Gate is a pure 
 design, and well preserved. The chapel of St. Leonard's Hospital 
 is a precious object : the style, Saxon ; the parts not over-rich or 
 too plain, possessing the happy medium in design. This chapel has 
 long been the subject of praise among curious men, from the days of 
 Peck, who wrote the " History of Stamford," to the present time. 
 The elevation is in three stories. The basement story: a large door- 
 way in the centre, with detached columns and an ornamented arch ; 
 on each side are recesses partaking of the same particulars. The 
 second story shows a colonnade with windows. The third story: 
 one window, its shape composed of two segments of a circle joined 
 perpendicularly, producing a pointed arch top and bottom ; the 
 design finishes pedimentwise.f This chapel is now used as a store- 
 house for bark, faggots, etc. 
 
 Tickencote. 
 
 This place lies about three miles from Stamford, on the road to 
 Grantham. It was in 1780 I, by direct mission, surveyed the church. 
 I state this circumstance as at the time of this my present journey, 
 this remarkable building, this other jewel in the sight of antiquity's 
 followers, has been what is called "rebuilt" — an operation, it is well 
 known, when an ancient English edifice is the object, that leaves no 
 inducement to such a person as me to go and scrutinize. :{: On this 
 
 * Engraved in Carter's "Ancient Architecture of England." 
 + Engraved in "Ancient Architecture." 
 
 + The improvements of St. Margaret's Church, Westminster, tell what fate 
 must have befallen Tickencote, as the same architect had the handling of both. 
 
278 
 
 A rchitectural Innovation. 
 
 consideration I shall submit a particular detail of this church as I 
 witnessed it at the above date. 
 
 The building gives two parts : a body and chancel. The chancel 
 is Saxon; the body of the Tudor style; of common, simple work, 
 and added, it is thought, to give room. The plan of the chancel 
 is nearly a square, 36 feet by 30 feet in the mass. The western part 
 is entirely made out by the entrance, which is enriched to an excess. 
 On each side are five columns, with highly ornamented capitals. 
 The arch partakes of an oval shape, a figure not wholly confined to 
 this specimen ; its architrave, which extends beyond the spread of 
 the columns, is struck into seven parts : 1. Mouldings ; 2. oxes' 
 skulls ; 3. flowers and frets united ; 4. a curious and extraordinary 
 collection of masques, ornaments, costumic heads, grotesque figures, 
 etc. ; 5. diagonals ; 6. other diagonal forms ; 7. plain squares and 
 indents. The original colouring of this entrance is, in many parts, 
 visible. North side : An intersecting arched dado with columns ; 
 two windows, with columns, etc. Columns rise between the piers 
 of the windows to the top of the building. East side : Grand and 
 rich. The height, though of no great dimension, is divided into 
 five ranges or stories. The first, or dado range, has the continua- 
 tion of the intersecting arches, with columns, etc. Second : plain, 
 excepting the east window placed in the centre. Third : recesses 
 with columns. Fourth : recesses ; in the centre of this and the 
 third range, a large recess, and near its head a small opening, light- 
 ing the roof. Fifth : three small recesses. Between each range 
 there is a string, and at the angles of the elevation rise clusters of 
 columns to the top of the building ; similar single columns are like- 
 wise between the recesses. The capitals, architraves, and strings 
 are full charged with diagonals and other adornments.* Though 
 much of the work has been havocked, still the greater part of the 
 intention is left, and fully sufficient to enable a " religious " restora- 
 tion, allowing, for a moment, there was a necessity for such a job. 
 North side : Much havoc, indeed, and altered in later times ; seg- 
 mented pointed windows stuck in, and, still coming downwards, two 
 trifling Tudor windows mock the others by being worked up within 
 them. 
 
 The interior of this chancel is extremely simple compared with 
 the exterior. Plain columns at the angles, and at the centre of the 
 two sides, north and south, from which spring groins. The ribs 
 have treble-rowed diagonals uniting in the centre, with a circular 
 ornamented boss. East window, plain columns, with a diagonal 
 architrave to the arch. There is a rise of three steps to the space 
 before the site of the altar. The decoration in the south porch of 
 the body of the church being Saxon, I conceive that it was brought 
 from some other fabric, and stuck into the wall in its present 
 * Engraved in " Ancient Architecture." 
 
Grantham, Lincolnshire. 
 
 situation. The object is a doorway, simple, though of elegant 
 design. The opening has been reduced to a smaller doorway, with 
 a pointed head ; and on the door itself a most beautiful pierced iron 
 ring. In the south wall of the body is an early-pointed arch recess 
 (another removal) with a stone coffin, the lid bearing a cross and 
 vine leaves. On the pavement, in a recess on the south side of the 
 chancel, is a very early carving in oak of a knight, in the usual 
 prostrate, praying attitude, his feet supported by a lion. 
 
 Grantham, Lincolnshire. 
 
 Angel Inn. 
 
 The front consists of two stories, in stonework. The centre a 
 straight face, and at the extremities bows. A large archway in said 
 centre. Above (second story) a beautiful bower, or small bow- 
 window. Buttresses rising the whole height next occur. Single 
 windows succeed, right and left, on both stories. The bows 
 complete the elevation, having each three windows on the different 
 stories. The parapet has diamond compartments with shields. The 
 devices and ornaments introduced on this front are characteristic, 
 and well adapted. Heads of a king and queen on each side the 
 doorway. On the buttresses angels playing on a crwth, dulcimer 
 (18 strings), and a cittern (guittern, guitar). The bower window is 
 supported by the figure of an angel (a lovely performance), holding a 
 crown. Above the angel's head, and making out the base of the 
 bow, is a succession of smaller angels. In the entablature are 
 posture-masters, grotesque heads, an elephant and castle, birds, 
 beasts, etc. Taking this design all together, it contains every 
 desirable requisite to satisfy the most scientific eye — regularity of 
 lines, just proportion, and exquisite workmanship ; yet the hand of 
 innovation has not been satisfied, for the tracery to the windows is 
 knocked out for the monstrous propensity of inserting, in such 
 places, modern sash frames. The style of the work is in the time of 
 King Henry VII. 
 
 Among the many ancient stone houses dispersed about, disgraced 
 by the alterations of our day, there is one left in its original, 
 uncontaminated state. The centre a square projection of three 
 stories, one window to each story, and a smaller one to the profile. 
 On the left, a window to each story. On the right a large doorway, 
 one window above. There is a rich run of compartments and 
 shields under the centre window on the second story. The 
 entablature is much enriched. Style of the workmanship temp. 
 Henry VII. While noting the features of this choice example, the 
 standers-by told me that " the master of the house was mad, for he 
 neither would have it made to look decent, like the residences of his 
 
28o 
 
 Architectural Innovation. 
 
 neighbours, nor would he ever stir out but in the night, and that was 
 for the purpose of hunting by moonlight." 
 
 [1806, Part I., pp. 117-120.] 
 
 Behind some houses, nearly opposite the Angel Inn, is a most 
 curious small chapel or oratory. On the exterior, the east end and 
 the north and south sides are seen ; the western side, at present, 
 being open to some attached chambers of modern sort. In a 
 remnant building, running from the south side of the chapel, is an 
 ancient doorway, which originally might be the only entrance into it. 
 Above the chapel is a second story, but shows not anything remark- 
 able in the interior. By the flat-pointed arch to the doorway, and 
 the square-headed windows with pointed lights within them, it may 
 be affirmed the design was executed temp. Henry VII. Above the 
 doorway is the bust of a female, supposed the foundress ; and in the 
 spandrels of the arch are prostrate figures of a king and a bishop ; 
 there being in a compartment between them the Holy Ghost in the 
 likeness of a dove. Over the lower windows are bustos of angels 
 and an ornamented frieze. The interior, 8 feet square and 9 
 feet hLh, is enriched with a profusion of sculptures, and in a way 
 rather uncommon. On the north side, sculptures (in basso-relievo) 
 fill the pier between the two windows and the space on the left. 
 The south side is occupied in like manner. The east-end has sculp- 
 tures on the pier between the two windows. The ceiling, which 
 rises pediment or roofwise from the two sides of the structure, leav- 
 ing a pediment-space over the east windows, is entirely filled with 
 sculptures. This extraordinary relic, though now serving for culinary 
 purposes, is tolerably preserved, every object being very intelligible 
 and sa'isfactory. Notwithstanding the confined dimensions above 
 stated, several of the particulars are comparatively small to others, 
 which, for reasons known at the time of their formation, were judged 
 necessary to be so varied, appearing, however, to some who presume 
 to give an opinion on the business as a sort of inconsistent display. 
 
 North Side. — In the space on the left of the windows are many 
 ornaments, a crucifixion, with Mary and John ; so made out as to 
 show the black-letter monogram 3J.l^.i&. In the pier of the window 
 a crucifixion, etc. On the sides of this last sculpture are niches 
 with figures of saints. The frieze over the windows is filled with 
 angels. The half of the ceiling rising on this side of the chapel has 
 the evangelical symbols, the lion and eagle ; an angel holding a 
 shield bearing the instruments of our Lord's Passion; an angel ditto, 
 with the cross and wounds of our Lord ; St. John with the lamb, 
 attended by St. Margaret and St. Catherine ; angels in niches, etc. 
 
 South Side. — In the space on the right of the windows; ornaments, 
 a crucifixion, etc., correspondent to the work on the north side. In 
 the pier of the window, our Lord rising out of the sepulchre and His 
 
Grantham, Lincolnshire. 
 
 281 
 
 ascension ; accompanying niches, with saints, etc. Angels in the 
 frieze. The half of the ceiling rising, also on this side, shows the 
 Eternal Father seated; two angels censing; the formation of man ; 
 Abraham offering Isaac; the Root of Jesse, Jesse at the bottom; 
 David with his harp in the centre, and at the top our Lady with the 
 Infant Jesus ; the evangelical symbols, the angel and ox ; niches 
 with angels, etc. 
 
 East End. — In the pier of the windows the crucifixion is given 
 twice, one over the other. Accompanying niches with figures of 
 saints, etc. Frieze filled with angels. In the centre of the pediment- 
 space is the Trinity, shown by the Father holding up the Son ; and 
 above the head of the latter, and on the breast of the Father, is the 
 Holy Ghost in the form of a dove.* 
 
 During my examination of this chapel, I was given to understand 
 that it was to be pulled down and the materials sold, either to be 
 reconstructed in some more eligible (say fortunate or venerated) spot, 
 or to be broken to pieces to mend the roads. By this time it is 
 more than probable nothing remains of this sacred place ; a bare 
 recollection that once such a structure was existing is all that can be 
 looked for. 
 
 St. Wulfran's Church, renowned for its lofty tower and spire, 
 ranking among the more exalted erections of this kind, as that at 
 Salisbury, Chichester, Boston, Coventry, etc. Notwithstanding the 
 abundant praise that has ever gone with such objects — for, indeed, 
 to look at them is to be charmed —there are some minds who, 
 throwing aside all their sensibility and better judgment (allowing 
 they ever were possessed of any), take upon them to scowl on such 
 airy trials of art, and observe, "Spires in themselves are false geo- 
 metrical figures, never making any part of the finishing of church 
 towers in their first designs, a mere after-thought in succeeding ages, 
 and run-up more for the intent of sea and land marks than for any 
 other purpose in regard to beauty or elegance." The spire that has 
 been most objected to on this principle is the unfortunate one at 
 Salisbury. Many scribes and many builders have exhausted much 
 sophisticated argument and much professional proof, to persuade us 
 how much better the cathedral (now in a reformed, or transformed 
 state) would appear if this unclassical accompaniment were disposed 
 of. Blowing hot that way, these very argumentators with the same 
 breath, blowing cold this way, assert that the great tower of Durham 
 Cathedral is an incomplete performance ; because, forsooth, it is not 
 decorated with a spire, and have laboured hard to make a beginning 
 on such an aspiring project. Thus while a spire in the west is held 
 as a deformity, a spire in the north, if set up, would be considered 
 as mighty pretty and " quite the thing." Destroy the deformity, 
 
 * Engraved in Carter's " Ancient Sculpture and Painting," with explanations 
 by J. Milner, D.D. 
 
282 
 
 Architectural Innovation. 
 
 because no one knows who was the architect; construct the new 
 thing, because everyone knows who would be the architect. Thus 
 pullers-down and setters-up employment would command. 
 
 Under this Grantham ecclesiastical fabric is a fine crypt, composed 
 of three aisles, corresponding with the three aisles of the super- 
 structure, having columns, arches, and groins, forming the basement 
 to the whole fabric.* Nearly the whole of the crypt is piled up with 
 human bones. . . . 
 
 Newark. 
 
 The exterior of the great church is superb (did not see the 
 interior) ; mullions and tracery of excellent design fill the windows, 
 and on different parts of the building are niches with statues and 
 other decorations. 
 
 The Castle. — The north front overlooking the river is the most 
 perfect, having a large square tower at the north-east angle, and 
 another in the centre of the elevation. Between these great features, 
 on the principal story, and among some large magnificent windows, 
 is an excellent projecting bower window. Tne general outline of the 
 plan of this castle is a square ; dimensions prodigious. The number 
 of stories, by examining the north front, seem at least to have been 
 five. The arrangements to so vast a pile must have been numerous 
 and grand. Within the exterior walls nothing remains ; and the plot 
 is entirely taken up for a bowling-green ; here is theme for the 
 moralist again, but of a far different cast from the sensations imbibed 
 in the receptacle for dead men's bones, where late we trod and 
 marvelled. No fund was wanted for "gutting" this proud mound; 
 no, the said fund has been, no doubt, made up since by sale of 
 materials, etc. How comes it the possessors, lordly or plebeian, left 
 yet so much on hand ? . . . 
 
 Southwell, Nottinghamshire. 
 
 The town itself has not anything worthy of notice; therefore 
 attention must be solely directed to the collegiate church, founded 
 630, being the earliest date, St. Augustine's, Canterbury (605), ex- 
 cepted, we have on record of a building among us now in existence. 
 The church has sustained little alteration, otherwise than in some 
 of the windows, which have given place to the pointed ones of the 
 fourteenth century. I own my notes on this fabric were taken, not 
 in that general way I could at this time have wished; as surely there 
 are (taking into consideration the very remote date) many particulars 
 of the strongest import. However, I submit my remarks, trusting a 
 second visit (in preparation) will fully recompense the present defi- 
 ciency. In the surrounding wall of the religious mound, and on the 
 north side, is a pointed gateway, with reducing parapets : the opening 
 * Engraved in "Ancient Architecture of England." 
 
Southwell, Nottinghamshire. 
 
 283 
 
 has been stopped up. At this spot, in point of scenery, this gateway 
 occupying the foreground, and the chapter-house and north side of 
 the church seen beyond it, has a very picturesque effect. On the 
 west side of the surrounding wall is another gateway, Saxon, and of 
 the plainest architecture; well impressing the belief, that the general 
 works here were raised in the sixth century. The parts of this gate- 
 way are plain jambs, and an abacus, supporting a semicircular arch 
 with two facias by way of architrave.* Above the head of the arch 
 has been fixed, probably in the fourteenth century, a recess, with an 
 ogee head (statue gone). Through this gateway a direct view is had 
 of the west front of the church, the chapter-house on the left, and 
 some ruined monastic buildings on the right. It is hardly necessary 
 to say, the appearance of this scene is at once striking and grand, 
 venerable also from thought, that for more than a thousand years this 
 picture has lasted. 
 
 West Front. — Made out by two lofty square towers parcelled off 
 into seven stories, and decorated with windows and arched recesses. 
 Between tower and tower, in two stories, is the west doorway and great 
 window. The towers are capped with lofty square spires, quite plain ; 
 these square finishings I conceive to be far more ancient than those 
 we commonly witness in octangular forms : perhaps they are not 
 coeval with the towers, yet still they have at present their interest in 
 man's eye. The west doorway, two large windows in the towers, and 
 the still larger one in the centre of the front, are, as above stated, late 
 insertions, having pointed heads and much tracery work. Over the 
 centre window are battlements, another departure from the first design, 
 which is Saxon, and in its purest dress. 
 
 North Side. — Taking in the transepts, it is constructed in five 
 stories ; between the windows, breaks or pilasters. The upper story 
 has remarkable circular windows : the elevation terminates with a 
 parapet, being its own proper completion. The porch on this front 
 is in strict unison with the rest of the parts. The great centre tower 
 s rather low. My judgment may be at fault in this respect, the ex- 
 ceeding lofty towers pressing on the sight in every district of the land 
 must be my apology if I err in this decision. This tower has two tiers 
 of recesses, proper parapet, etc. 
 
 The chapter-house (on the north side of the church), in plan, is an 
 octagon ; bearing strong resemblance to those of Wells and Salisbury. 
 The ruined buildings mentioned in the general view are sumptuous, 
 having large and rich traceried windows. Here are some peculiar 
 chimneys, the tops of which are devised into small chapels, with 
 windows for the dismissal of smoke, etc. 
 
 I must again express my concern that memory alone can in any- 
 wise help me to say aught about the interior of the edifice with refer- 
 ence to the architecture in the elevations, etc. ; but if that faculty of 
 * "Ancient Architecture." 
 
284 
 
 Architectural Innovation. 
 
 the mind can be depended on, I may venture to affirm, the columns, 
 arches, the galleries, windows, groins, mouldings, and ornaments, are 
 truly genuine, and full of that infinite variety that peculiarly charac- 
 terizes, and which, perhaps, gives to Southwell a celebrity that cannot 
 be found in any other fabric. 
 
 However, that I may not leave this curious church without note of 
 some remarkable remains, I shall with much satisfaction comment on 
 the avenue leading from the church to the chapter-house. The dado 
 parts below the windows have recesses with columns and arches 
 enriched with costumic heads. The pointed windows have pleasing 
 tracery, and the groins are light and beautiful. The double entrance 
 into the chapter-room is replete with grace ; the ornaments belonging 
 thereto are many, and excellent in their kind. Among the above cos- 
 tumic heads are a king, a queen, a bishop, ladies of various degrees, 
 heads of eminent men,* etc., the whole collection marking the age of 
 Henry II., as doth the architecture also. 
 
 There is another subject which must be minutely described ; indeed, 
 panegyric might be exhausted on its merits, and it may be surmised 
 (not without reason) that I was so fascinated with my memo- 
 randa, that I even forgot and neglected the prime characters of the 
 interior itself. You then that dwell with more than common satis- 
 faction at mention of the architecture of our third Edward's day, hear ! 
 The screen entering into the choir owns the pride of that meridian 
 hour of art. The work to the nave has three large openings, in 
 arches, with columns and slender buttresses between them ; at each 
 end of the design are appropriate recesses. The several arches are 
 bounded by pediment finishings, and a suitable entablature completes 
 the whole. The interior of this screen (adequate description fails me) 
 returns the work of the exterior arches, composing a kind of cloister 
 of three divisions. The ends, north and south, full of the richest and 
 most delightful tracery. The groins, in their ever-consummate proof 
 of ancient geometrical power, are here constructed in a way peculiar 
 to themselves ; there are no spandrels to the ribs, they being left to 
 seek their pointed flight independent of any such seeming assistance; 
 in the diagonal line behind the ribs there is open tracery filling in that 
 narrow space. Nothing can exceed the lightness, and, it may be said, 
 the magic touch of these vaulted bows. In the front next the choir, 
 the principal portion of the design is carried on, and with increased 
 embellishments. The centre arch corresponds with that on the nave 
 front ; the spaces right and left are divided into three parts each, and 
 into two stories. The lower story contains three small arches on 
 each side ; the internal work groined, and serving as stalls for the 
 dignitaries. The stories above form galleries, with open compart- 
 ments that are glazed, etc. The minutiae of mouldings and orna- 
 ments are delicate and rich to excess. In fine, this screen may be 
 * " English Ancient Sculpture and Painting." 
 
Doncaster. 285 
 
 held as one of the gems of ecclesiastical decoration in this part of the 
 north ; a jewel most worthy to be prized, and by those men of taste 
 and discernment who have, to the high honour of this church, so long 
 kept it unsullied and free from all dilapidation, or more fatal 
 improvement. 
 
 Ye despoilers of Edward's architectural glories, if ever you chance 
 to stumble on this refulgent piece of workmanship, be tender, be 
 merciful ; and as some retribution for strokes already inflicted, touch 
 with a gentle hand, your eyes blessed with a new sight, this tremb- 
 ling remains ; and should you (which science by her protection per- 
 mit) see aright, have pity on its matchless properties, and let it still 
 endure. An age to come expects it ; therefore once more, have 
 mercy ! 
 
 Doncaster (1790). 
 
 [1806, Part I., pp. 220-222.] 
 
 St. George's Church is much decorated ; the plan — a body, side 
 aisles, transepts, chancel, etc. The west window, the tracery elabo- 
 rate and intricate ; the other windows are numerous, and between 
 each are buttresses ; on every height are battlements, etc. In the 
 centre of the building is a lofty tower, enriched with two stories of 
 windows, buttresses, pinnacles, and open parapets. The interior of 
 the edifice showed not anything deserving particular notice. 
 
 Conisborough Castle (three miles west of Doncaster). 
 
 According to Mr. Browne's account of this castle (vol. lxxi., p. 201), 
 he traces the foundation as far back as 487. (We, in our last essay, 
 had affirmed St. Augustine's, Canterbury, to be the most remote 
 edifice on date.) This gentleman has entered into the minutiae of 
 the works, as if the arrangements were then perfectly visible to him, 
 when I declare on my part, from the extreme confused and dilapi- 
 dated condition of the walls, they seemed past description. Here 
 might be some inattention in me; however, the keep being the grand 
 object of investigation, I shall confine my remarks to that head. 
 The plan, a circle 53 feet diameter ; six buttresses, 9 feet wide and 
 9 feet deep, are attached to the circle at regular distances, leaving 
 six spaces 16 feet each. In the space to the south-east is the 
 entrance, to which is an ascent of many steps— the elevation. The 
 doorway on said south-west space has a square head, and over it a 
 circular one. No windows on the first story. The second story 
 has a window over the doorway with two lights square-headed, with 
 a circular head over them. There are on this story, to the north- 
 west and south-east, two other windows. Third story : two similar 
 lights, and in the south-west buttress four small windows. From the 
 
286 
 
 A rchitectural Innovation. 
 
 havocked appearance of the upper part of the walls, it is impossible 
 to ascertain if there was ever a fourth story. 
 
 Interior. — The opening of the doorway is continued through the 
 wall, 15 feet thick, into the first story, which is made out in one 
 circular room 23 feet diameter; walls plain. In the centre of the 
 floor is a four-feet opening, below the dungeon, headed with a circular 
 cove. At the right of the entrance doorway, in the thickness of the 
 wall, is a staircase to the second story, cut in the sweep of the wall. 
 The second story gives the window (large and noble in this internal 
 view) over the entrance ; opposite a rich chimneypiece, with double 
 columns, the capitals full of ornaments; the mantel plain, but curious 
 from the scientific mode of jointing the stone-work. Between these 
 two decorations, at regular distances, are two circular-headed door- 
 ways ; one from the lower story staircase, and the other passing up 
 to the third story by winding stairs. Third story: a double-column 
 chimneypiece, plain mantel, circular-headed doorways corresponding 
 to those on second story; one enters from the stairs of second story, 
 and the other goes to the top of the walls by winding stairs also. 
 Thus to each floor entrance was had on one side, while on the other 
 side the further ascent was gained. Two windows are also seen over 
 each doorway. 
 
 As there are no floors remaining to the second and third stories, 
 and being anxious in the extreme to try the truth of the report, that 
 within a doorway on the third story something extraordinary was to 
 be seen, I procured a ladder, and mounted up to the stairs leading 
 to the third story, which, having ascended, I found myself at the 
 doorway of third story. At this situation are left, projecting from the 
 wall, a few stone brackets, once supporting the floor. Here I was 
 encouraged by my attendant, who said, "Step on one of these 
 brackets, hold fast by your right hand by the groove of this door, 
 and, with your left hand stretched forth, grasp the groove of an 
 adjoining doorway; then, by a confident spring, throw yourself within 
 that doorway, and your point is gained." Well, my exertion was 
 fortunate ; and, behold, there appeared a small chamber, of such 
 choice and excellent design, that too much cannot be said in its 
 description or its praise. The work Saxon ;* of course so is the 
 whole keep. Indeed the date must have prepared my readers on 
 this head. Dimensions 15 feet by 8 feet* The length is divided 
 into two parts by columns, the further part partaking of an octangular 
 figure. The head-way is groined. At the end is a window with 
 columns, and a circular head. On the cants of the octagon are 
 circular windows, and below them niches, with heads of three turns. 
 In the first division of this chamber (constructed within the thickness 
 of this south-west buttress, the external windows of which are spoken 
 of in the elevation), on the left, is a square-headed doorway, leading 
 * Termed by Mr. Browne, "Gothic." 
 
Doncaster. 
 
 287 
 
 into a very small cell (cut in the thickness of the general wall) with 
 a loophole, and remnant of a certain stone convenience. Referring 
 to the chamber just described, the capitals are highly charged with 
 ornaments ; the architraves to the windows have the diagonals, as 
 have the ribs to the groins, the centres of which are connected by 
 very rich bosses. From the survey of this chamber, it might at first 
 be termed an oratory; yet, as the end window bears to the south- 
 west, this conjecture must be given up. It certainly is impossible 
 to assign a name to so confined an interior, considering the early 
 period when executed, in order to accommodate it to the habits of 
 our Saxon ancestors; which habits we must not call either "rude" 
 or " uncivilized," when they have left behind them so rare a piece of 
 workmanship.* 
 
 In the churchyard of the adjoining village is a tomb, it may be 
 affirmed, coeval with the castle. The sculptures on it are most 
 curious. On one side is Adam and Eve tasting the forbidden fruit; 
 then succeed (making out the length of the stone) compartments 
 with birds and beasts. On the other side a warrior, with sword and 
 shield, fighting a dragon ; a bishop attending. On the top, a conflict 
 between two warriors ; one is overthrown. May not this be a memo- 
 rial of the defeat of Hengist, the Saxon general, spoken of by Mr, 
 Browne ?f 
 
 On the wayside from Ferry-bridge to Pontefract (distance three 
 miles) a stone is set up; the sculptures bespeak it Roman. A circular- 
 headed recess, with an eagle; foliage, twisted bands, paterae, etc. J 
 
 The road entering upon Pontefract is cut through a rock, from 
 whence is seen a large solitary uninhabited mansion. The mass of 
 the building square, with towers at each angle. Architecture temp. 
 Henry VIIL, though on some shields with arms is a date 1591. 
 The doors being open, I made my way in, not without that portion 
 of tremor usual on such occasions, which silence and the look of 
 these deserted places ever inspire. . . . 
 
 Pontefract. 
 
 To speak of this place altogether, it seemed to me as having lately 
 undergone a siege, and little or no means taken to raise it from such 
 a miserable plight. The castle an entire ruin, a rich and elegant 
 church in ruins also. 
 
 The Castle. — Within the precinct or liberty of this woful spot are 
 some remnants of offices ; and against one of them is set up the 
 greater part of a statue havocked almost to a nondescript sculpture ; 
 it may be judged to be the statue of a knight. When we look at 
 the extensive and magnificent works of this castle, as seen in an 
 
 * Engraved in the "Ancient Architecture of England." 
 t Engraved in " Ancient Sculpture and Painting." 
 X Ibid. 
 
288 
 
 Architectural Innovation. 
 
 engraving published by the Society of Antiquaries, from a drawing 
 taken before its demolition in the seventeenth century, and at the 
 present inconsiderate portions of the general fabric, we must shudder 
 not alone from thought of the occasion of the change, but at the 
 change itself. One prodigious circular tower, where they say 
 Richard II. was put to death, and some walls of continuation, the 
 above offices, etc., are all that is left of Pontefract Castle, once 
 "mighty, strong, and bold." 
 
 The church near the castle, rendered useless by the loss of the 
 roof, comes in proof of the inability of the parishioners to repair it 
 for divine service. They give a strange excuse for this by informing 
 visitors that the building was thus reduced during the siege in 
 Charles I.'s reign. This seems improbable, as all the exterior work 
 is rather perfect. The design gives a body, side aisles, transept, 
 chancel, centre tower, etc., the whole an admirable performance. 
 There is something peculiarly striking in these remains, and it may 
 not inaptly be called a beauty in distress ; and yet no admirer of 
 our English architecture comes to pity, and to save; that is, to 
 repair and to restore. 
 
 Tadcaster. 
 
 This town has to boast so much of improvement, that there is but 
 one ancient house left to gain any credit that, it had a name in former 
 days. This house has the common projecting bower windows, temp. 
 Henry VIII., with a pediment finish at top, etc. On the front of a 
 house near the church have been stuck on carvings of the Deity, an 
 angel, etc. There is also a gravestone with an ornamented cross. 
 In the church is an oak screen, making what is called the " pew" 
 belonging to the Somerset family. 
 
 Bilbury. 
 
 Half a mile out of the road, between Tadcaster and York, is 
 Bilbury Church. Here is a tomb for General Lord Fairfax ; accord- 
 ing to the inscription, he died 167 1. The concluding line has these 
 words, "The memory of the just is blessed." 
 
 York (1790). 
 
 [1806, Part II, pp. 322-325.] 
 
 It may be premised that the walls and gates, nearly encircling the 
 city, are very entire, and well kept or repaired ; and by consulting 
 the plan of the place, published by Drake, 1736, the general form is 
 that of a square, excepting the north-west extremity, where the line 
 runs irregularly. The River Ouse takes its course through the heart 
 of the city. To the south-east there is not any wall, that part seem- 
 ing to have owed its security to the Foss-river on this point ; the 
 castle defending attacks from the south, and Laythorp postern and 
 
York. 
 
 289 
 
 bridge from the east. St. Mary's Abbey occupies the north-west 
 extremity of the walls, and the close of the cathedral takes up the 
 north angle of the walls. 
 
 MlCKLEGATE. 
 
 This grand entrance from the south or London road stands 
 near the west angle of the walls. An avenue or ward, flanked 
 at the angles with circular hanging turrets, an arch of entrance, 
 which is Pointed/ 5 ' leads to the gate itself. This gate is square in 
 plan, with circular towers at the angles, embattled, wherein are 
 placed small statues of warriors, etc. The archway to the elevation 
 is circular, and supposed Roman. The height of the building is 
 great, being made out in three stories, on which are various shields 
 with arms, etc. The design, taken altogether, is remarkably noble 
 and impressive, and may be said to rival the triumphal arches of 
 Greece and Rome ; Micklegate bearing the features of English war- 
 like pride, while the others present that ostentation in architecture so 
 peculiar to those countries to which they belong. On the right of 
 the street leading to this gate is St. Thomas's Hospital, a curious 
 building, but lately much modernized in the lines. Taking my course 
 to the right, round the exterior of the city walls, they being flanked at 
 certain distances between gate and gate with circular and square 
 towers, I came to Sheldergate postern. This gate is erected by the 
 Ouse, which intersects the line of wall. This design appears now as 
 being reduced to little more than a pointed archway, and a hanging 
 turret on the right. Crossed the river Ouse; the wall in continu- 
 ation, where is Castlegate postern ; a plain archway, with a large 
 tower attached. The view extremely fine : this gate to the left, in 
 the centre (distant) the spire of St. Mary's Church, and to the right 
 Clifford's Tower, or the keep of the castle. Proceeding round the 
 outworks of the castle, and having crossed the Foss river, I came to 
 Fishergate postern— a simple archway, wall embattled, on the left a 
 large square tower with buttresses, etc. Standing within this gate, a 
 picturesque view is had of the city, the cathedral coming in as the 
 principal object. The next gate occurring is Old Fishergate Bar. 
 The design, though plain, is grand in effect. A large archway ; 
 above, a pointed three-turned head compartment, containing a shield 
 with St. George's cross; on each side large buttresses, having postern 
 doorways. This gate and doorways stopped up. The view taken 
 here is charming to the curious eye, without one modern discordant 
 particle to distract observation. On the right of the gate, and to the 
 left, a long continuation of embattled wall, square and round towers, 
 etc. In the foreground the Foss and highway. Walmgate Bar then 
 attracted my notice, being the entrance to the city from Hull. The 
 
 * Not circular, as given in a late engraving of this subject. 
 VOL. X. 19 
 
290 
 
 A rch itectu ral Innovation . 
 
 design complete. An avenue or ward, with a pointed archway 
 springing from columns, two hanging turrets, etc., lead to the gate ; 
 it is square in the plan, and flanked with circular towers. Over the 
 city wall, on the right of the gate, the towers of the cathedral are 
 seen in the distant view. Near this gate, on the Hull road, is St. 
 Laurence's Church ; on the churchyard wall are laid two whole- 
 length statues, brought evidently from another situation, perhaps 
 niches in some destroyed edifice. One of the statues is St. John 
 with the Lamb ; the name of the other doubtful. The sculpture fine. 
 Against this wall there is stuck the upper half of another statue, fine 
 workmanship also. Laythorpe postern and bridge, in rotation, may 
 be cited as good picturesque objects. The arches of the bridge are 
 pointed, with piers between each. At the end of the bridge, passing 
 into the city, is the postern, a lofty building with a pointed archway, 
 buttresses, etc. The scene, in continuation, gives some fine wall- 
 towers, and over them rises the tower of St. Cuthbert's Church. I 
 then came to Monk Bar. A noble design, with an outer ward, flanked 
 with hanging turrets, and having a circular archway, denoting its 
 great antiquity. The gate, or bar, is flanked with circular towers, and 
 rising in four stories. The second story is uncommon, having a 
 pointed-arch front, headed with battlements, and decorated with 
 niches, shields with arms, etc., projecting from the main building. In 
 the battlements to the flanking towers are placed small statues, etc. 
 The last gateway that occurs is Bootham Bar. This work has also 
 the outer ward, with a pointed archway, hanging turrets, etc. The 
 gate itself in plan is square, with hanging turrets at the angles ; but 
 is not on so grand a scale as Micklegate or Monk Bar, though, in 
 their general forms, there is much similitude. Bootham Bar enters 
 the city from the north road. At some paces from Monk Bar is 
 Monk's Bridge, leading to the Scarborough road. This bridge, 
 though of plain work, is well designed, having three pointed arches, 
 piers, rising parapet, etc. Taking a position in the grounds on the 
 other side of the bridge, the scene becomes impressive ; in the fore- 
 ground the bridge, and in the distance a general north-east view of 
 the cathedral. Leaving Monk Bar, and following the course of the 
 city wall, to the right another picturesque view is obtained. The 
 wall in the foreground, and behind it, rising in majestic state, the 
 north-east aspect of the cathedral and chapter-house. As the 
 objects in this view approach near the eye all is distinct and in- 
 telligible. . . . 
 
 Coming into the city at Micklegate, I found on the right Trinity 
 Church ; the gateway leading into the precinct exists, and is curious. 
 The arch is Pointed, and springs from piers ; buttresses placed in an 
 angular direction are attached to the angles of the walls. This 
 design is miserably disfigured by huts built within and above the 
 arch. Farther up the High Street I meet, stuck in the tower of St. 
 
York. 
 
 291 
 
 Martin's Church, the lower part of a basso-relievo, whereon were left 
 two figures from the feet upwards to the knees, and between them a 
 child. The attitudes and draperies good. While standing on the 
 supposed site of the Roman imperial palace, near the south-west 
 extremity of the city walls, now common garden-grounds, I saw dug 
 up by the workpeople a ring and two fibulae (one with an imperial 
 head). These curiosities are in my possession. Ouse Bridge is 
 built in a centrical part of the city, and has something of a superior 
 cast in its construction ; therefore long may it endure one of this 
 city's glories, ancient glories in architectural fame ! The arches are 
 Pointed ; the centre one is of a prodigious span and height, nearly 
 equal to (perhaps exceeding) our Blackfriars centre arch. The other 
 arches diminish gradually as they advance towards the land. Over 
 the west arch adjoining the centre one is a very curious building, 
 called the Town Hall. Excepting the centre arch and the adjoining 
 east one, all the rest have houses reared over them, giving some idea 
 of old London Bridge. The two arches clear of the buildings have 
 had set up, instead of appropriate stone parapets, paltry modern iron 
 railing. The exterior of the Guildhall next the river is magnificent ; 
 designed much in our Westminster Hall manner, with buttresses, 
 lofty windows containing rich traceries, etc. On the face of a pro- 
 jecting part of the elevation is a large water-gate. Sorry I am I 
 cannot speak of the interior, having no note or sketch on this 
 head. 
 
 On the south-west angle of the city walls, bordering on the precincts 
 of St. Mary's Abbey, is a tower projecting from the wall in eight 
 cants or sides ; and if the continuation of the sides of the tower were 
 remaining, the whole exterior must have shown twelve sides, forming 
 the geometrical figure a duodecagon. This work is called the 
 Roman Tower. Perhaps the basement is of Roman construction, 
 while the upper part, which externally has loopholes, they internally 
 widening into large and lofty pointed windows, is, from these par- 
 ticulars, of a date some centuries later. It is, however, a valuable 
 remain. In the distant view, taking this tower in the foreground, is 
 seen the north side of St. Mary's Abbey Church, and beyond St. 
 Olave's Church. 
 
 St. Mary's Abbey. 
 
 The principal parts of these remains show the havocked west front, 
 and the north side of the nave of the church. Of the west front, 
 there is part of the west doorway, the line in continuation to the 
 north, with a portion of the west window, the window to the north 
 aisle of the nave, and the termination of the front, which is in an 
 octangular form. Little is left of the southern half of this front. The 
 whole is highly decorated, the height being made out in three tiers, 
 
 19 — 2 
 
292 
 
 A rchitectural Innovation . 
 
 full of recesses, with columns, arches, pediment finishings, etc. The 
 execution of the work is in the most perfect style, and the ornaments 
 of leaves and flowers, that have escaped the all-destroying hand of 
 man, as sharp and true as if fresh from the immediate stroke of the 
 chisel. . . . 
 
 In the Mint yard is a fine crypt of four aisles, made out by 
 columns supporting semicircular arches. In a niche in the wall is a 
 whole-length sitting figure. In the yard of a house in Aldwark is a 
 basso-relievo, brought from St. Helen's, on the wall ; whereon is a 
 half- moon encircling a heart; over, the word JMJfl^lj* The 
 approach to the castle is a commanding view ; on the left the gate 
 of entrance, and on the right Clifford's Tower. The porch on the 
 south side of St. Margaret's Church, which is supposed to have been 
 brought from the destroyed hospital of St. Nicholas, without the 
 walls, is of Saxon work ; it is not only the most curious, but the 
 richest performance of the kind left among us — those at Glastonbury, 
 Malmesbury and Dunstable not excepted. It consists of piers and 
 three receding columns on each side, from whence spring as many 
 distinct arches and architraves in a circular direction. In the return 
 of the archway are niches with circular heads ; a column on each 
 side then succeeds with another circular arch and architrave, com- 
 pleting the interior. The finish of the design externally is pediment- 
 wise, with a crucifix on the top. On the piers are diagonals. Among 
 the capitals are two warriors encountering with sword and spear, a 
 siren with a mirror, the well-known fable of the fox and stork, etc. 
 The run of architraves to the arches are six in number. No. 1, 
 or outer architrave, has the twelve signs of the zodiac, and represen- 
 tations of the twelve months alternately ; 2, foliage ; 3, royal heads, 
 chimeras, masques, etc. ; 4, centaurs, birds, beasts, etc. ; 5, warrior 
 fighting a lion, centaurs, birds, beasts, etc. ; 6, ornaments.* 
 
 [1806, Part Li pp. 425-428.] 
 
 In St. Martin's Church is a very curious piece of ancient needle- 
 work covering the pulpit. Considering the nature of the embellish- 
 ments on it, I conceive it once to have been a cope, but cut up and 
 accommodated by resewing the parts together to its present purpose. 
 The ground crimson velvet, studded with silver stars ; on each side, 
 compartments, with columns supporting arches, entablatures, etc., 
 wherein are saints and martyrs. In the centre is a large com- 
 partment in shape of a shield, filled with corresponding architecture 
 to the work on the sides \ in the midst of which is seated the figure 
 of God holding up our Saviour on the cross. On the breast of the 
 Deity is the dove. In order to secure the head of the Deity from 
 injury, there was sewed thereon an embossed sun. This object I had 
 
 * Engraved in " Ancient Sculpture," with a particular description by R. Gough, 
 Esq. 
 
York. 
 
 293 
 
 taken off, in order to discover the said head, which, until my investiga- 
 tion, had not within memory been ever noticed. It is almost needless 
 to say I got the sun resewed in its station once more. This cloth is 
 in good preservation, and the heads, particularly that of the Deity, 
 exquisite performances. In one of the windows is a painting of St. 
 George in the armour of Edward III.'s time. A window in 
 Allhallows' Church shows a fine painting of a bishop. The angels 
 supporting the open timber-worked roof of this church are playing 
 on various musical instruments, as a crewth, dulcimer, cittern, regalls, 
 etc. St. Ellen's Church in its west front is rather remarkable ; the 
 centre part, giving the width of the nave, rises in projecting pilasters 
 to the height of the top of the west window, when arches spring from 
 them with side pedimented grounds ; the whole crowned by a pleas- 
 ing octangular turret filled with niches, etc. To some old buildings 
 in the precincts of the cathedral is a rich doorway ; over the point of 
 the architrave a niche with a bishop seated. Buttresses succeed the 
 columns, supporting the architrave to the arch. Over this design is 
 a projecting horizontal canopy, upheld by small figures. Within the 
 bishop's prison, near the west end of the cathedral, is a long narrow 
 vault, 32 feet by 9 feet, called the dungeon. At the entrance are two 
 doors, each 5 inches thick ; between them a space of 1 1 inches, 
 where, it is said, prisoners were occasionally pressed by way of 
 punishment. Two narrow loopholes with iron shutters light this 
 place. 
 
 The Cathedral. 
 
 The north view of this immense and magnificent pile appeared to 
 claim the first attention of the artist. In beholding the lines of the 
 towers, chapter-houses, transept, aisles of the choir, nave, etc., un- 
 intercepted by near-raised hovels, as is the consequence at the west 
 front, and that the eye can take in at one direct look the cathedral 
 to the left, Close gate in the centre, and the ruins of the bishop's 
 palace on the right ; . . . these remnants show signs of much grandeur. 
 The near approach to the west front is shockingly impeded by vulgar 
 erections of shops, victualling houses, etc. I doubt, had these 
 erections evinced any particulars claiming notice from their antiquity, 
 if I had here been under the necessity of complaining of want of space 
 on this part of the cathedral. To take the least pleasurable drawing of 
 the west front, with respect to perspective truth, I was compelled to 
 seat myself amidst the dilapidated parts of the bishop's palace ; these 
 objects forming a dark confused mass for the fore-ground, while above 
 them the upper lines of the church appeared in airy splendour, 
 lighted by the sun's resplendent rays. Being desirous also to have a 
 direct view of this front, from the base lines to the summit of the 
 towers, I was constrained to make my sketches from the different 
 stories of the confronting hovels, for it is a thing impossible to 
 
294 
 
 Architectural Innovation. 
 
 command the whole height at one look. That such an extraordinary, 
 majestic, wonderfully high-embellished design should lose, in a 
 manner, half its charms for want of being seen in the most 
 advantageous situation, is a circumstance which, although it must 
 not be accounted for, must be lamented, and deeply too. By the 
 inspirer of man's transcendent powers, his more than mortal art, let 
 me be diffuse in description and in praise. The west entrance in its 
 double doorway is grand ; clusters of columns supporting architraves 
 full of enrichments, they uniting with a pediment termination. 
 The west window contains every delightful turn that tracery in 
 its most intricate forms can possibly bestow. The recesses with 
 pediment finishings, the high and diminishing buttresses, the 
 accumulation of rich windows, the perforated battlements, and 
 each other accompaniment occupying every part, how admirable, 
 how enchanting ! It is a question with me, if this front of majestic 
 York is not the supreme head of all architectural dominion within 
 the land. The design, it may be judged, marks the style of the 
 meridian of art in the reign of Edward III. In a frieze under the 
 great east window is a series of seventeen heads of the best sculpture, 
 full of character and costume, with regard to the fashion of the hair, 
 beards, etc. The first head a king, and the last a bishop. The 
 intervening heads show no particular personages. Observing that 
 some modern alterations had been wrought on the south transept, I 
 deferred at this time to make sketches or notes of the vast line of 
 elevation constituting the south side of the cathedral. 
 
 The interior surpasses not only all description, but all comparison 
 with other the like episcopal felicities, in its prodigious dimensions, 
 just proportions, due embellishments, and all those other requisites 
 constituting such a fabric. The sublimity is farther heightened by 
 that universal hue of painted glass so admirably displayed. . . . 
 
 In the galleries over the side-aisles of the nave are laid in pro- 
 miscuous sort several interesting statues and other choice sculptures. 
 It is to be regretted that these performances are not placed in some 
 eligible situation, to attract notice, instead of being in this manner 
 lost, except to those whose curiosity induces them to explore these 
 upper regions of architectural grandeur. The sculptures I sketched 
 were an armed knight, and a personage in robes, bearing on his hand 
 a hawk. A large dragon also engaged my pencil. The choir-screen, 
 it may well be affirmed, is one of the noblest of the kind to be met 
 with. In the centre, the grand archway to the porch, preparatory to 
 the approach into the choir. This porch is finely groined. The 
 archway of this screen is embellished with a profusion of sculptures. 
 On each side of the archway are eight rich niches, wherein are statues, 
 the size of life, standing on pedestals ; an entablature of exuberant 
 work finishes the design. These statues present a series of our kings, 
 from William I. to Henry V., at which period, it may be supposed, 
 
York. 
 
 295 
 
 this splendid screen was set up. The workmanship of the statues is 
 particularly fine, the attitudes well varied, the draperies and every 
 costumic particular minutely made out, and no doubt faithful to the 
 fashion of each succeeding reign. * The countenances characteristic 
 and strongly marked, according well with the ruling passions peculiar 
 to each monarch. If at any future hour a perverse and unfortunate 
 idea should be entertained, from the consideration that it is needful 
 to restore certain mutilated parts of this screen, by submitting such a 
 business to uninformed hands with regard to our antique, let them 
 be Englishmen or Italians, it may be as well to item, for the satis- 
 faction of present and future true antiquaries, the present state of the 
 screen itself, and of each several statue. 
 
 The screen shows those kind of mutilations which through a long 
 train of years must necessarily happen to such an object, yet not so 
 obtrusive but they may pass general notice ; we ever considering that 
 in what is left of a truly valuable piece of antiquity, the hand of the 
 first artist is still visible, and of course it should be held sacred. 
 State of the statues : William L, rays of the crown, and hands, gone ; 
 William II., perfect; Henry I., perfect, excepting the rays of the 
 crown, one of them gone ; Stephen, rays of the crown partly gone, 
 half of the right foot gone ; Henry II., part of the sword gone ; 
 Richard L, part of the sceptre and some of the rays of the crown 
 gone; John, rays of the crown, right hand, and fingers of the left 
 hand, gone ; Henry III., rays of the crown, and parts of the sceptre, 
 gone; Edward I., rays of the crown, and hands, gone; Edward II., 
 rays of the crown, and right hand, gone ; Edward III., hands gone 
 (agrees with his statue in Westminster Abbey); Richard II., right 
 hand gone (agrees with his statue and painting, Westminster Abbey) ; 
 Henry IV., rays of the crown, and right hand, gone; Henry V., both 
 hands gone. There follows a statue (perfect) of James I., executed, 
 and introduced into the screen in his life-time.t 
 
 Against the clusters of columns dividing the archway entering into 
 the chapter-house are most beautiful statues of the Virgin and Child. 
 The attitude of the Virgin delicate and charming, and the drapery 
 chaste and elegant. The damage this sculpture has sustained, from 
 the savage hands (no doubt) of iconoclasts in the seventeenth century, 
 is the loss of the face and hand of the Virgin, and the head and 
 lower part of the left arm of the child. Interior of the chapter-house : 
 here architectural pride and episcopal splendour have fixed their 
 seats — ah ! could I say everlasting seats. The plan, an octagon ; 
 windows fill every cant except the entrance one, which shows the 
 interior of the double entrance : above it is the outer face of the 
 
 * Taken, beyond dispute, from habits preserved in the royal wardrobe. It is a 
 fact that Queen Elizabeth possessed a complete collection of these kind of robes, 
 from the Conquest down to her day. 
 
 t Engraved in "Ancient Sculpture," described by Dr. Milner. 
 
296 Architectural Innovation. 
 
 avenue to the gallery under the windows ranging round the building. 
 Above this face, the part is rilled with mullion compartments, similar 
 to the work of the windows, containing paintings of kings and bishops. 
 At the angles between each window rise clusters of columns support- 
 ing the groins, which groins are connected with a circular dome. 
 The spandrils of the groins and dome have paintings of figures and 
 ornaments. The windows full of painted glass. The canopied seats 
 on the seven sides of the octagon are extremely grand ; and, what is 
 rather singular, within the thicknesses of the canopies runs a gallery 
 communicating with the eight sides of the room as above noticed. 
 
 The statue of William of Hatfield, youngest son of Edward III. , 
 which lay at the western end of the nave, is now brought and placed 
 within a rich recess in the north aisle of the choir. The work is 
 perfect, excepting the face and fingers of the hands. The dress 
 superb and curious. Shoes fully ornamented ; the hose plain. The 
 vest rich, and at the waist a girdle, wrought in small ornamented 
 squares. The outer robe is fastened with brooches, and jagged at 
 the edges. Two good statues lay on the pavement in this aisle, of a 
 knight armed, and a person in plain robes. There are likewise two 
 wooden figures of knights pointed out in this aisle, which, until of 
 late, in consequence of alterations on the exterior of the south 
 transept, used to strike the quarters of the clock over the entrance. 
 Here is shown at the same time a real complete helmet. The 
 monument of Archbishop Bowet is on a lofty and extensive scale ; 
 buttresses with niches form the sides, and over the arch are open- 
 worked niches, etc. The next sketches I set about were the most 
 remarkable basso-relievos under the seats of the choir ; the dresses 
 and armours temp. Edward III. A man seated. Two men in close 
 conference, accompanied with a jug and a bowl. A lady and a 
 dignified person playing at chess. St. George on foot, encountering 
 the dragon. A knight armed, on horseback, in full charge, stooping 
 at the same time to pick up a ring. A knight, unarmed, running a 
 tilt. A second St. George, on foot, slaying the dragon ; a spirited 
 carving. A religious inflicting punishment on a kneeling person. A 
 female beating a man with a ladle ; the man is drawing his sword to 
 revenge the insult. A third St. George, on horseback, and the 
 dragon. A fourth St. George, on foot, slaying the dragon. (These 
 four representations of St. George are well diversified, and valuable 
 for the armour each exhibits.) A tumbler. In a chamber adjoining 
 the vestry is a curious lavatory, with arches, recesses, etc. Curiosities 
 in the vestry : A large ivory bugle-horn 2 feet 6 inches long, called In- 
 gulphus's [Ulphus's] horn. The carvings on it are a lion, three griffins, 
 a unicorn, and a dog. Silver crosier taken from a Catholic bishop in 
 the seventeenth century. Monumental finger-rings of Archbishop 
 Sewell, Archbishop Beckinfield, and Archbishop Bowet. As a mark 
 of confidence, I was admitted into the Treasury (an unusual in- 
 
Kirkham, 
 
 297 
 
 diligence to strangers), where is a fine-wrought chest, containing the 
 history of St. George. In compartments at the sides are St. John the 
 Baptist and St. Anne.* 
 
 The direct motive of this survey being, as already hinted, confined 
 to certain particulars, such as have been enumerated, I shall make 
 no other remarks at present than to observe, the screens dividing off 
 the eastern aisles of the two transepts are justly to be esteemed as 
 filling with appropriate decorations those situations ; and if ever the 
 removal of them should be thought necessary, it would leave a strange 
 vacuity, which no man of real taste could approve or countenance. 
 The mullions of the great transept and east windows in their con- 
 structions have something peculiar to themselves : the mullions in 
 profile show two and three uprights ; and while they give increasing 
 strength to the work of the windows they produce a wonderful 
 diversity of objects. In a front view, they appear to derive all their 
 security and design from the usual single mullion, producing an 
 effect at once of extreme lightness and delicacy. The high-altar 
 screen is in every degree worthy of its situation, and of the edifice 
 itself, which may be said to establish and confirm in architecture all 
 that is "sublime and beautiful." 
 
 Kirkham (1790). 
 [1806, Part I., pp. 520-524.] 
 
 At twelve miles' distance from York, on the Malton road, are the 
 remains of Kirkham Priory. Little of the walls is in being, except 
 the gateway, which is enriched in the highest manner. The ground 
 has buried the elevation almost to the springing of the arch ; above 
 which are two windows with excellent traceries ; and on the sides of 
 the elevations are buttresses. On the face of the building are many 
 shields of arms, niches, and compartments, containing basso-relievos 
 and single statues. Among the figures are St. George and the 
 dragon, a knight, and a giant ; our Saviour on the cross ; two 
 angels with the instruments of the Passion ; St. Peter ; the Deity, etc. 
 
 Beverley. 
 
 At the entrance into the town from York, and likewise from 
 Howden, are gateways; the designs simple, and but little varied. 
 That from York has a regular-formed pointed archway, small windows 
 over the arch, and on each side plain buttresses, the whole terminat- 
 ing with triple-storied buttresses. On the left of the gateway is 
 attached an ancient house ; the windows to the first story have 
 traceries. The gateway from Howden in its archway gives the flat 
 Tudor sweep ; on each side buttresses with compartments • has a 
 common pediment pitched roof (modern). 
 
 * Engraved in "Ancient Sculpture," described by Dr. Milner. 
 
A rchitectural Innovation. 
 
 St. Mary's Church. 
 
 An elegant and splendid exterior ; the design marks the style temp. 
 Henry VI., consists of a nave, side-aisles, transepts, a lofty centre 
 tower, choir, porch, etc. The whole work is uncontaminatcd by 
 modern alterations. Against some columns, or pillars, in the nave 
 are placed the statues of five minstrels, with this inscription : 
 
 " ^hgs pgfJor mabc thx ^Ugnstruhs." 
 
 The instruments they play on are a tabor and side-drum, a creuth, 
 a bass flute, a gittern, a treble flute. These instruments are calculated 
 to produce sounds in score, or full harmony.* Against an ancient 
 mansion in one of the streets is a remarkable basso-relievo. In the 
 centre a knight on foot attacking a wild boar ; in a tree near at hand 
 is a damsel waiting the event of the combat. On the left, as a 
 detached subject, is a naked figure seated, holding a youth in a 
 strange position. On the right, another detached subject, wherein is 
 a second naked figure about to devour two serpents, f 
 
 The Minster. 
 
 Sir C. Wren's proposed professional trick of erecting a rotunda, 
 with a cupola within the great centre tower of old St. Paul's, and 
 when completed, to take down the tower and surprise the world 
 with his "incomparable new design," being rendered useless by 
 the Great Fire, we have but to imagine what an odious sight such 
 an object would have appeared. Lord Burlington was more for- 
 tunate, for he has actually put part of Sir Christopher's plan into 
 execution on this minster, by setting upon the great centre tower 
 a very cupola. What with the fury of blind zeal on one hand to 
 destroy, and the more blind rage of architectural taste on the other 
 to improve our ancient works, we shall erelong have few originals to 
 boast of. It were well could our surveys of those great fabrics yet 
 left in their unaltered dress be fully entered upon; but the means 
 adequate to place me in so desirable an employ are not directly 
 within my grasp. The following memoranda of this church, like 
 those already gone over, is now collected from those sketches taken 
 in order to fulfil a mission towards illustrating certain publications, 
 and taken when I had no idea of submitting their description to 
 public consideration ; of course my notes must come defective in 
 point of general information, as was the case with regard to York. 
 
 The north-west view appears to the eye with peculiar satisfaction, 
 being wholly free from novel obstructions. The design, particularly 
 in the west front, much resembles York Cathedral. The decorations 
 
 * Engraved in " Ancient Sculpture." 
 
 f Ibid. 
 
Beverley. 
 
 299 
 
 are nearly as profuse, though the dimensions are very far behind in 
 the scale of comparison. The wretched cupola, above noticed, has 
 a most deformed and unnatural effect, as seen amidst pointed windows, 
 buttresses, pinnacles, etc. The circumstance should never be for- 
 gotten ; nor should adequate praise ever be withheld in regard to 
 that undertaking which took place a few years past, in re-establishing 
 the north front of the north transept to its perpendicular situation, 
 which before that event overhung its base 4 feet, so as to threaten 
 the sudden downfall of this part of the church. Recollect a combina- 
 tion of carpentry, replete with the most extraordinary mechanic 
 powers, raising or forcing the whole face of the front at one surprising 
 effort into its proper upright. This front has ever since stood firm, 
 and will remain, no doubt, a lasting memorial of the ingenious artist's 
 great abilities, who performed so arduous an undertaking. 
 
 hiterior. — Ever holding this belief, that our ancestors were com- 
 plete masters of compositions in score, instrumental as well as vocal 
 (the latter compositions are still many in possession of the curious), 
 I was particularly attracted by a number of small statues over the 
 columns on each side of the nave, playing on a variety of musical 
 instruments, well adapted to produce full harmony. Gittern (guittar), 
 bagpipes, viel, crewth, gittern of another form, tambourine, large 
 flute, bass ditto, bass bagpipes, small harp, double tambourine, 
 dulcimer, small harp of another form, bass gittern, or theorbe, 
 trumpet, small harp of a still more varied form, tabor and pipe, a 
 bass crewth.* 
 
 In the screen behind the high altar is a person playing on a flute 
 with two extremities, whereby the performer might play first and 
 second. On a capital in the south transept are three instrumental 
 performers. The instrument to the centre figure is nearly destroyed, 
 but seems to have been a large flute. The second performer has a 
 crewth ; and the third man, allowing for some havoc made on the 
 instrument, bears strong resemblance to a bass crewth, or violoncello, 
 and played on in the modern way. 
 
 Among the sculptures about the walls is a fiend holding in a sack 
 two females, who are in devotional attitudes. Two half-fiends, in 
 strange conjunction. A male and female (lower parts show that of 
 beasts) in very familiar attitudes. Two masters of defence, in fierce 
 combat, with swords and hand-shields. Basso-relievo of King 
 Athelstan and John of Beverley. The painting of these two 
 personages in the south transept has lost the greater part of its 
 intrinsic value, by having been retouched, alias restored, alias 
 accommodated to the costume of James I.'s reign, when it is to be 
 inferred such "picture-mending" took place. 
 
 Tomb in north transept, the statue a priest ; his robes embroidered 
 with a profusion of arms. 
 
 * Engraved in " Ancient Sculpture." 
 
300 
 
 A rchitectural Innovation. 
 
 Chapel, east end of the north aisle of the choir; a tomb of an 
 Earl of Northumberland, of rich work. Monument of Lady Percy 
 on the north side of the choir. In the design, workmanship, and 
 taste, everything is perfect, chaste, and elegant. The masonic parts 
 are minute, and cut with the nicest care ; the foliages luxuriant and 
 delicately handled; and the sculptures of figures are profuse beyond 
 all compare, and of the finest school, proving that our artists at this 
 time must have stood the proud compeers with any foreign son of the 
 chisel, either of the then day or of more remote periods. It is with 
 much exultation I tell that the condition of the whole monument is 
 exceeding good, having escaped the usual mutilations so common on 
 these sepulchral remains. The monument on its north front may be 
 thus described : A plain oblong pedestal supports a plain stone chest 
 (containing the ashes of the deceased) ; on the top are indents, once 
 filled with the brass effigies of the lady. On each side of the design 
 are buttresses made out with compartments, pinnacles, etc. Within 
 these buttresses are columns supporting an ogee architrave, with 
 crotchets, and a finial supporting a sitting figure, which architrave 
 incloses five great turns, each great turn containing lesser turns. A 
 pediment with crotchets and a finial then succeed, and finish the 
 contour of the monument. This general form is repeated on the 
 south front, leaving within the two fronts a space of 4 feet (the 
 width of the chest), which is finely groined and ornamented. In the 
 spandrils of the smaller turns of the sweeping architraves are basso- 
 relievos ; among them are the Salutation ; the Nativity ; our Lady 
 seated near our Lord ; St. Catherine ; a variety of angels, etc. In 
 the spandrils of the greater turns are eight personages, forming the 
 first characters of Edward III.'s court (this monument entected in 
 his reign), with shields of arms before them. One figure, by his 
 shield and the crown within his helmet (the visor up), presents the 
 portrait of Edward III. Another that of the Lady Percy. All the 
 knights (seven) are in complete armour, and of the most splendid 
 kind. The admiration excited thus far must give way to more 
 refined delight when intent on the two seated statues on the finials 
 of the sweeping architraves on each front. The statue on the north 
 side — our Saviour pointing to the wound in His side. Near attending 
 are two angels with the instruments of the Passion. The statue on 
 the south side (looking towards the altar) is the Deity receiving the 
 soul of the lady in a winding-sheet, borne by two angels. Here are 
 also two attending angels. The attitude of the Deity is full of dignity, 
 the countenance benign and composed. That of the lady is wrought 
 up to the highest point of adoration, in the ardent hope of Divine 
 acceptance. The expression in the faces of the angels bearing the 
 sheet is marked with beatific joy and welcome. . . . 
 
 List of the most remarkable basso-relievos under the seats of the 
 choir : Man hunting the wild boar. A monkey riding a hare ; another 
 
Beverley. 
 
 301 
 
 acting as doctor to a bedrid goat. Hog playing on a bagpipe, 
 accompanied by numerous hogs dancing. Hog with a saddle. Hog 
 playing on the harp. Grotesque figure of St. George fighting the 
 dragon. Man slaying a small animal. Man kneeling, and preparing 
 for penance. Man on horseback, preceding a number of muzzled 
 bears. A bear eating. Monkey holding the hind parts of a dog, as 
 if playing on some musical instrument. Bear-baiting. Man teaching 
 a monkey to dance. Monkey playing on the bagpipes, and a bear 
 dancing. Men slaughtering an animal. Man and a dog. Huntsman 
 sounding his horn, surrounded by dogs. Men with a bear and a 
 wheelbarrow. Man preparing a dog to fight a bear. Shield of arms 
 supported by dragons. A pelican. A hart sitting on a tun. Grotesque 
 sport of men riding on rams, etc. A shepherd with his dog. Men 
 drawing a bear on a sledge. Men with bears. Men lifting weights. 
 Monkeys at their gambols, riding on men, etc. Lion fighting a 
 dragon. Monkey dandling a child. Monkey with a bottle. Men 
 lifting weights and weighing articles. Two sculptors quarrelling ; one, 
 who seems retiring, has the chisel, while the other, who has the 
 mallet, is about to strike with it ; on one side is a man holding hh 
 nose in contempt, while on the other side is a man expressing his 
 terror at the scene before him. A fiend seizing a naked figure. A 
 miser exploring his money-chest, a fiend attending. A glutton 
 drinking, a fiend attending. Dignified person going a-hawking. 
 Man dressing (curious) ; he is putting on his long hose (pantaloons), 
 shoes lying by him ; his pouch hung up, and ready for hanging at 
 his girdle. Man lifting a large stone. Female churning. Three 
 fools dancing a morisco. Fool with his bauble, showing postures ; 
 another playing on a pipe and side-drum. In this collection of 
 carvings there is much information of the costume and manners of the 
 fifteenth century. 
 
 Howden. 
 
 The Great Church. 
 
 This church is on a large scale; a body, side-aisles, and lofty centre 
 tower ; the parts very rich ; but in following the design in the chapter- 
 house, choir, and its side-aisles, the decorations are augmented to the 
 utmost degree of magnificence and delicacy. I am, however, truly 
 concerned to state that the chapter-house and choir are mere ruins, 
 the walls only remaining. 
 
 To describe the east front : we find the east window extending 
 nearly to the top of the elevation ; on each side buttresses with four 
 tiers of niches, in which are statues, etc. In the space bounded by 
 the pediment is another window, though small (once lighting the 
 roof), with surrounding niches. The pediment finishes with a turret 
 full of niches, etc. The windows and buttresses to the aisles (carrying 
 
302 
 
 A rch itectural Innovation. 
 
 on the east front) are composed of corresponding work, though the 
 particulars, as chaste design marks out, assume a less portion of high 
 wrought particles than what is seen on the centre of the front. 
 
 The interior of the chapter-house is called (not without reason) 
 York's chapter-house in miniature ; indeed, the lines are so minute, 
 that the eye is drawn involuntarily to scrutinize and discover, if 
 possible, the final ramification of each tracery, or fix the endless turns 
 of each delicious piece of foliage — but in vain ; therefore, we only 
 thus investigate, to be charmed and to be delighted at the general 
 view. 
 
 The body of the church is in repair, and used by the parishioners. 
 The original screen entering into the choir still exists ; the design 
 good, but far inferior to the architecture we have above particularized. 
 In the niches of this screen are statues of a religious with a book ; 
 Queen Emma, with the plough-shares and penitentiary taper ; St. 
 Paul with the sword ; and St. Peter with the keys and the model of 
 a church. On the right of the screen is an oblong pedestal, whereon 
 is set the trunk of a gigantic statue of a religious ; the drapery fine. 
 In a small projecting chapel, on the south side of the choir, is a 
 monument and tombs of the Saltmarshes. Though descendants of 
 this family are in the neighbourhood, this chapel is suffered to lie 
 unroofed and unprotected. One tomb has a knight in ring-armour, 
 cross-legged. Another tomb shows a knight in ring-armour, with a 
 lady, who is cross-legged also. On the sides of this tomb are twelve 
 figures of men and women, in civil and religious habits ; the attitudes 
 are pleasingly varied. In the north wall is a monument, but despoiled 
 of the statue and other enrichments. 
 
 Not far from Howden is 
 
 Wressell. 
 
 The church is destroyed up to the gable end of the west front ; 
 dimensions small. In a view of this ruin the background is filled 
 with the remaining mass of the castle. The remains of the castle 
 consist of one side of the great court. Here are many state rooms, 
 and a chapel fitted up with decorations, such as appeared on the 
 declension of the Tudor style in the sixteenth century, and the 
 introduction of the Italian grotesque at that period. A melancholy 
 scene of grandeur everywhere prevailed, and deserted by those who 
 alone can revive its former state. In one of the chambers on the 
 first floor there is a communication with a double spiral staircase, by 
 means of which two persons can ascend and descend at the same 
 time, unknown to each other. In compartments over a doorway in 
 this chamber are some curious carvings ; in the centre one is carved 
 the story of St. Hubert, who is kneeling at the sight of the hart bearing 
 between his antlers a crucifix. This sort of story is applied, and 
 
Selby. 
 
 303 
 
 with better success, to an adventure of David Bruce, King of Scots, 
 who received a crucifix from a hart he met, and on the spot built 
 Holyrood House. At the battle at Durham, temp. Edward III., 
 Bruce brought with him this crucifix; when, being taken prisoner, 
 this crucifix was hung up in the cathedral, being called afterwards the 
 Black Rood of Scotland, where it remained until the dissolution of 
 monasteries, temp. Henry VIII. On the left of this basso-relievo is a 
 knight, holding with his right hand a banner, and with his left chains, 
 etc. On the right of the basso-relievo is St. George slaying the 
 dragon. 
 
 Selby (1790)- 
 
 [1806, Part II. , pp. 624-628.] 
 
 Journeying on, I paid a visit to Selby. The abbey church is fine, 
 and contains, in the interior, many valuable examples of Saxon 
 architecture, and of the succeeding style, wherein the pointed arch 
 manner is brought forward with much success. Taking a south 
 exterior view of the building, I found the parts not so exuberant as 
 usual on the Yorkshire fabrics ; still, there is much for study. The 
 gateway entering to the south side of the church is to be regarded as 
 an object of much importance, and as such, no doubt, it will ever 
 be considered. The archway is pointed, and supported by columns ; 
 on each side buttresses. Above are two conjoined pointed windows, 
 which have the happiest effect. On each side, and above these 
 windows, are small niches, with statues. Within the archway are two 
 more archways. 
 
 Aldborough. 
 
 At Aldborough, near Boroughbridge, much satisfaction is derived 
 from the sight of the Roman altars and pavements, which are there 
 so carefully preserved, and, I may say, almost adored. . . . 
 
 Ripon Collegiate Church. 
 
 However the date of the foundation {circa William I.) conveys the 
 mind back to so remote a period, the exterior decorations seem much 
 later. The towers, forming part of the west front, from having been 
 carried up no higher than the roof, reminded me how our Westminster 
 Abbey church appeared previous to the deformed " congestions " 
 run up by Sir Christopher Wren, as we now witness. Viewing this 
 church on the south-east, from the variety of breaks, the diversity of 
 forms in buttresses, windows, battlements, turrets, etc., everything 
 takes a picturesque turn. In the south aisle of the nave is a plain 
 tomb ;* on the end of the slab is a horizontal basso - relievo, a 
 decoration peculiar to this memorial — and presents a lion in a forest, 
 where is a kneeling figure, whom the royal animal seems to reverence. 
 * Engraved in "Ancient Architecture." 
 
3<H 
 
 Architectural Innovation. 
 
 At the entrance into the north aisle of the choir is a beautiful and 
 highly-wrought stone pulpit, the form an octagon, each cant filled 
 with compartments and tracery. What is singular, there is no base 
 or stem to the pulpit, the octagon body resting on the pavement. 
 St. Wilfred's Chapel, or " Needle," being the chief attraction of the 
 building to excite the admiration and wonder of strangers, I shall 
 enter into its particular detail. First, let me observe, this kind of 
 church attraction is rather general — as the "whispering gallery," 
 Gloucester Cathedral ; Galilee, Durham Cathedral ; Edward Con- 
 fessor's and Henry VII. 's chapels, Westminster ; lantern, Ely 
 Cathedral ; counter-arches in the great tower, Wells Cathedral ; the 
 martyrdom, Canterbury Cathedral ; spire, Salisbury Cathedral, etc., 
 etc. To return to Ripon minster. On the south side, and within 
 the great cluster of columns of the centre tower, being without 
 the choir, steps descend, full east, into an avenue 2 feet 10 
 inches wide, which for about 10 feet turns to the north, then turns 
 again to the east for 26 feet; at the end of this part is a small 
 opening looking into a receptacle for bones. On the left is the 
 entrance into the chapel, which chapel is placed directly in the 
 centre of the foundation of the great tower. Dimensions of the 
 chapel, 11 feet 2 inches by 7 feet 9 inches, in height 9 feet. 
 The design is entirely plain, with a semicircular arched head, or 
 ceiling, from west to east. On the south side a small opening 
 communicating with the receptacle for bones, as above. At the east 
 end are remains of an altar, with a holy-water niche, on the left side ; 
 and above a stopped-up window, once receiving light, as being pro- 
 bably at the eastern extremity of the crypt of the original fabric. On 
 the north side is a small opening, 1 foot wide, called the "needle." 
 Further westward, on this side, is another holy-water niche. On the 
 west side is a doorway into an avenue, running first northward 1 2 
 feet, and then turning, runs to the east 16 feet. Here is a flight 
 of steps likewise, which ascends into a small chamber on the right 
 hand of the porch of the choir. The steps and avenue from the 
 nave I take to have been for the use of the laity, while the other steps 
 and avenue from the choir for that of the priests, etc. The small 
 opening, otherwise the " needle," is in view from the latter steps, and 
 appears to have had no other use than for those who, wanting room 
 in the chapel, might from that spot behold the ceremonies at the 
 altar ; however, such strong hold has tradition taken here, that I was 
 informed some very singular trials had been gone through in this 
 " needle." Its professed use is this : a female, being suspected of un- 
 chastity, is drawn into the opening ; if she cannot pass, unhappy is the 
 hour : if she comes through, a)l is well. We make no account for 
 different sized persons ; the " needle " has its virtues. In proof of all 
 this I was witness to an ordeal of this kind. While I was making my 
 sketches . . . one of the gentlemen of the party led a young lady to the 
 
Ripon Collegiate Church. 
 
 305 
 
 ominous " needle," and entreated her to try the touchstone of female 
 honour. After some preparatory excuses the blushing fair put her 
 head into the opening (her friend being in the choir avenue on the 
 other side the opening, in order to assist her efforts) ; then her 
 body ; at last she literally forced her whole person through the 
 " needle," to the inexpressible joy of him who proposed the trial, and 
 to the great mirth of the bystanders. 
 
 In a chapel under the chapter-house are deposited many carved 
 bosses, once belonging to the groins of some destroyed building. A 
 king seated ; holy personage seated ; bishop seated ; king and a 
 bishop seated ; holy personage relieving a distressed person ; ditto 
 bringing ditto to the entrance of a church ; a bishop ; the angel 
 driving Adam and Eve from paradise ; angel saluting the Virgin. 
 Among the carvings to the seats of the choir is a siren with a mirror, 
 a centaur with a shield supporting an elephant, which carries on its 
 back a castle full of armed men. There is a very curious bugle-horn 
 belonging to the Corporation ; on the belt, to which the horn is 
 suspended, are many arms and devices in silver, appertaining to the 
 profession s ofthose who have been mayors ; many dates occur from 
 1570 to 1790. 
 
 Fountains Abbey. 
 
 Founded 1 132. This magnificent pile, although havocked down to 
 mere ruins, preserves the whole of the monastical arrangements ; 
 probably more so than in any other ancient religious establishment 
 among us. The abbey is situated near a line of rocks, from whence 
 the stone for building was taken, the north side of the church ranging 
 with the quarries. On the south side of the abbey, and over which 
 many of the edifices are constructed, runs the river Skell. 
 
 Plan. — On the west, and at some distance from the main structure, 
 is the Porter's Lodge, Infirmary, Millbridge (mill destroyed), Elee- 
 mosynary, or place for alms (two large erections), a second bridge. 
 Edifice built on arches (through which the river runs) where the poor 
 were fed. Ambulatory, or double cloisters, standing to the west, and 
 raised on the south side of the church (where all the monastic 
 buildings lie). Over is the dormitory. The length of the ambulatory 
 (divided into two aisles by a range of columns) is immense, nearly 
 taking up as much space as the length of the church itself. The 
 cloisters, on the east side of which is the chapter-house, various 
 lodging-rooms, etc. On the south side the kitchen, scullery, re- 
 fectory, locutorium, etc. To the eastward of these buildings is a 
 third bridge. The church gives the nave and side-aisles ; north 
 transept with chapels ; over the north extremity of this transept 
 rises the great tower (uncommon situation) ; south transept with 
 chapels, choir and Lady Chapel, which chapel lies in its extreme 
 
 vol. x. 20 
 
306 Architectural Innovation. 
 
 length, north and south, in manner like the Chapel of the Nine Altars, 
 Durham Cathedral. Length of the church, 351 feet. 
 
 Views. — The west front of the church is rather of a simple cist ; 
 a centre doorway, and over it the great west window. But what 
 gives interest to the scene is the prodigious line in continuation with 
 the front of the church of the ambulatory and dormitory over it. On 
 the left of the church are the picturesque rocks, and on the right the 
 monastic erections. There are four or five doorways into the 
 ambulatory ; and under the southern extremity of this place, built on 
 arches, runs the river. The fall of water at this point being great, a 
 fine cascade is produced at once to delight the eye, and rouse the 
 mind from profound meditation. . . . The east front of the church has 
 every particular in design to charm and elevate the imagination when 
 fraught with holy purposes. In the centre the large east window, 
 taking the width and height of the whole choir ; to the right and left 
 two stories of windows, and between each buttresses, etc. The 
 surrounding scenery again becomes impressive, where woods, streams, 
 cascades, and rocks from their natural commixture of effects throw 
 out the artificial creation of aspiring forms, which, to the first 
 glance of the distant eye on this point of the works, might seem all 
 vision, and all celestial ! . . . At the south end of Our Lady's Chapel a 
 pleasing scene is presented, as the work of the east front is turned, or 
 carried on in continuation. Amidst some gaps in the wall the great 
 tower is seen. Standing in the nave, and looking to the east end of 
 the building, an awful example of man's fanatical rage is everywhere 
 made manifest. In the foreground to the right and left, fragments of 
 the nave ; in the middle distance, parts of the transepts, the remnants 
 of the arches and aisles of the choir ; and in the extreme distance the 
 great east window, waiting some sudden shock to meet the fate its 
 once attached glories have already suffered ! Had I not on the like 
 occasions given way to rage and many a threatened vengeance? . . . 
 The refectory bespeaks much grandeur ; the end, or higher part of the 
 room, is to the south, where, and on the sides, east and west are 
 lofty windows ; connected with the windows on the latter side is a 
 beautiful gallery for the minstrels, as we presume to term it ; if at 
 any hour of pious festival it was held good to call in the aid of 
 Divine harmony. 
 
 How distressing it is to reflect that the whole of this prodigious 
 series of edifices, excepting the ambulatory, is ungroined and un- 
 roofed ; and that particular portion of the walls that hath suffered the 
 greatest devastation is in the choir, wanton barbarity and savage 
 ignorance having left the other elevations less miserable and less 
 defiled. Upon consulting the mode of the architecture throughout, I 
 find a uniformity of style, not usual in so vast an assemblage of 
 edifices, everywhere prevailing, and agreeing well with the date 
 of foundation. Loftiness of idea in the general elevations, simplicity 
 
Middle kam. 
 
 307 
 
 of features in the decorations, and a correct and chaste taste, govern- 
 ing the whole of the works — works yet proclaiming the sublimity of 
 Fountains Abbey. 
 
 Jervaux Abbey. 
 
 ... I attempted at something like a general plan, or a slight recovery 
 of the monastic pile, but with little success. I began my lines on the 
 west, by the side of the road leading to Middleham. On the right and 
 left heaps of ruins ; suppose here was the great gateway ; advancing 
 came to ruins; suppose the refectory, running east and west, 116 
 feet in length. On the right, or south of these relics, many masses of 
 edifices ; perhaps the abbot's lodgings, the monastic offices, etc. 
 Willing to try at an elevation, I here and there particularized some 
 doorways, half-buried arches in the walls ; many windows also came 
 under my observation, but in such a mutilated condition that I was at 
 last compelled to give up my survey, having made not the most 
 distant trace of the church. . . . 
 
 Middleham. 
 
 In the centre of the town is the base of a double cross. A large 
 oblong flight of steps supports two plain pedestals, once, no doubt, 
 constituting the lower parts of two crosses. On the pedestals at 
 present are placed a large stone basin and a couchant lion. Admit- 
 ting these pedestals, basin and lion to be original, it will be allowed 
 this is an uncommon design. From this spot, looking directly over 
 the houses, the upper lines of the towers of the castle appear. 
 
 The Castle {date 1190). 
 
 The whole of the works are in ruins. Plan : an oblong square, 
 taking in a space about 216 feet by 165 feet. At the three angles of 
 the outer walls are square towers ; at the fourth ditto a circular 
 tower. Within these walls are numerous attached chambers and 
 offices. From these buildings to the extensive pile or keep occupy- 
 ing the centre of the castle runs an area about 25 feet in breadth, 
 making an ambulatory of four sides, excepting the south-east angle, 
 where these chambers communicate with the keep. The keep is 
 divided into two parts or chambers nearly 100 feet in length, one of 
 them in breadth 26 feet, the other 19 feet. The front of the castle 
 next the town bears north, where in the tower at the north-east angle 
 (square) is the gate of entrance, with a double division of groined 
 arches On the east side of the keep is a grand ascent of many 
 steps communicating with a circular staircase at the south-east angle, 
 which gave admittance to the several floors. There are vestiges of 
 an infinity of staircases for the external wall-attached buildings. 
 
 Elevations. — The north front is the most entire, and gives the design 
 
 20 —2 
 
3 o8 
 
 Architectural Innovation. 
 
 as simple in the distribution of parts, but of strength mighty, the 
 walls being in many places, particularly of the keep, from 10 to 
 15 feet thick. It is to be wondered at that the gate of entrance 
 should be on the angle of the walls. East front nearly destroyed. 
 South front rather perfect, as is the west front. In the ambulatory 
 are huge masses of walls which have fallen down, and lying in every 
 direction. In the north-west angle is one of these masses, a cube of 
 at least 20 feet, standing absolutely on a point, it having taken an 
 oblique position when thrown down. It is not to be doubted these 
 devastations were the effect of gunpowder, by mining, etc. From 
 this mass remaining, united in its several particles as one compact 
 body, and from many prodigious parts of hanging walls, bearing 
 themselves in the air in tremendous fort, we have still to admire the 
 extraordinary skill of our old masons. The decorations of windows, 
 etc., on the exterior fronts, are for the most part advanced little beyond 
 loopholes, and are in the Tudor style ; but the windows to the keep 
 exhibit great dimensions, and evince the authenticity of date, 1190. 
 The two chambers on the second story of this principal range must 
 have been superlatively grand. 
 
 Wensley. 
 
 In the vestry of Wensley Church (near Middleham) is a curious 
 basso-relievo, 1 foot 4 inches by 9 inches. In the four corners left 
 by the sides of the cross are birds and dragons ; at the bottom the 
 word DONERID. The work is Saxon. In the chancel a fine brass 
 of a priest (perfect), the robes much embroidered; the hands are 
 crossed and support a chalice. 
 
 Coverham Abbey. 
 
 Another ruin ! Plan : gateway, some remnants of the monastic 
 buildings on the south side of the church, which church is on a small 
 scale, about 117 feet from east to west. In the elevation these 
 ruins show the gateway ; the arch circular ; clusters of columns on 
 one side the nave with pointed arches ; and of the transepts and 
 choir little more than foundation walls exist. The monastic offices 
 are partly in ruin, and partly built up in a mean way for modern 
 habitations. There are, however, one or two curious doorways, with 
 ornamented inscriptions and devices, etc. A basso-relievo of the 
 Deity. Two good tomb statues of cross-legged knights (lately dug 
 up) placed against a wall ; they are, by the ring-armour and other 
 particulars, of a remote date. These sculptures are in tolerable 
 preservation.* 
 
 * Engraved in Gough's " Sepulchral Monuments." 
 
Knaresborough. 
 
 309 
 
 Knaresborough (1790). 
 
 The Castle. 
 
 [1806, Part If., pp. 721-724.] 
 
 Memorable for being the refuge of those execrable assassins who 
 murdered St. Thomas a, Becket in Canterbury Cathedral. Richard II. 
 was confined here previous to his removal to Pomfret Castle, 
 where he was put to death. The Knaresborough people defended 
 this castle for Charles I. When surrendered to the Parliament forces, 
 all the buildings were demolished, some few parts excepted, which 
 now present little else but ruins. The site shows a circle of about 300 
 feet diameter, overlooking the river. The lines of the exterior wall of 
 the works are discernible ; and in a wall taking a diagonal direction 
 across the works is a gallery of communication. Two circular towers 
 are visible. The keep, by the parts left, most certainly was a grand 
 design, consisting of three stories ; on the second or principal story 
 the windows are large, which, with other decorations, warrants its 
 former magnificence. Taking an east view of the remains, they come 
 very picturesque : in the centre the keep, to the left vestiges of a 
 gateway, and on the right a distant view of the river and country. 
 
 St. Robert's Cave (or Chapel). 
 
 An excavation in the rocks near the town. On the exterior a 
 Pointed doorway and window. On the right of the doorway is a 
 curious figure of a knight in the attitude of drawing his sword, as 
 ready to defend the entrance. This sculpture is cut in the rock. 
 The interior of the chapel (8 feet square) is worked into two divisions 
 with groins. The east end has three cants of an octagon, where is an 
 altar with compartments, and over it a niche. On the south side are 
 many heads cut in relief. The whole work is evidently done by an 
 unskilful hand; perhaps the first hermit, who took up his abode 
 here in the reign of King John, employed himself in the execution of 
 the design, as the lines, though tending to the early Pointed style, 
 are incorrect and irregular ; at least, there is wanting that uniformity 
 which follows the labour of professional men.* 
 
 The Dropping Well is an extraordinary natural curiosity, and who- 
 ever attentively views it must soon discover many strange and 
 romantic forms, sufficient to bewilder the mind of the curious in- 
 vestigator, yet still not without some pleasing returns of rational and 
 useful reflection. 
 
 Harewood Castle. 
 
 Plan. — The first story gives the hall 56 feet by 29 feet ; adjoining 
 is the kitchen. This is but a part of the general arrangement of 
 * Engraved in " Ancient Architecture." 
 
Architectural Innovation. 
 
 buildings, they having been nearly demolished in Charles I.'s reign. 
 There are two entrances into the hall ; that from the east is a regular 
 pass through a portcullised archway (grooves remaining), while the 
 other communicated with some court. Second story alters but little 
 in plan, and gives rooms correspondent to those below, with the 
 addition of a small chamber over the principal entrance called the 
 chapel ; and on each side the exterior of the window are shields with 
 arms. It may be worthy of remark that in the hall is a rich recess in 
 manner of a monument. The arch in the centre has many turns, 
 with ornamented spandrils and ornaments in the entablature, which 
 finishes the design. 
 
 In Harewood Church are six very beautiful and rich tombs, with 
 knights and their ladies. Some show by the fashion of the armour 
 as old as Edward III., others as late as Edward IV. Among them is 
 Sir W. Gascoigne * (in his robes), that firm judge who committed 
 Henry V., when prince, for contempt of court, and who refused to 
 pass an unjust sentence against Scroope, Archbishop of Canterbury. 
 The armours and female dresses are splendid and elegant, and the 
 execution of the sculpture masterly and in a fine style. What 
 may be deemed extraordinary, the statues have not suffered any 
 mutilations. 
 
 Kirkstall Abbey (date 1152). 
 
 This other great and magnificent religious establishment, with that 
 of Fountains, is, however, rather second in consequence, with refer- 
 ence to design, dimension and richness of parts ; its state of ruin 
 differs also. Fountains preserves the whole of the offices ; Kirkstall 
 is deficient in this. Fountains has lost some of the walls of the 
 church • Kirkstall showed that part of the pile very entire (that is, the 
 mere uprights) until of late, when nearly half of the centre tower fell 
 to the ground. 
 
 Plan. — At some distance to the north-west is the gateway. 
 Ranging with the west front of the church is an ambulatory, and over 
 it the dormitory, similar to the arrangement of Fountains. Adjoining 
 is the infirmary. The cloisters (which only preserve the interior 
 walls), with the chapter-house, lie on the south side of the church. 
 Other buildings fill up this aspect of the religious mound, but from 
 their ruined condition cannot be particularized. The church is in 
 length 224 feet. Nave and side-aisles as usual ; the transepts have 
 each three chapels ; the choir is exceedingly small. Here is no Lady 
 Chapel, nor does there appear ever to have been one. 
 
 Elevations. — The west front is much richer than Fountains ; the 
 doorway is highly embellished; over, two conjoined windows; still 
 higher a single window, once lighting the roof. On the sides of the 
 front, breaks or buttresses, which with the pediment terminate with 
 * See his portrait, Gent. Mag., vol. li., p. 516. 
 
Wakefield Bridge. 
 
 embellished turrets. The ambulatory in continuation is much ruined. 
 The east front of the church accords in decorations to the west front ; 
 the east window is large. Viewing the interior part of the church 
 from the west doorway, the nave has lost the groins ; those to the side- 
 aisles remain. The choir retains its groins. The centre tower has 
 remaining its south and part of the east sides. The chapter-house is 
 not only uncommon in design, but possesses much of the sublime. 
 It is an oblong, divided into two portions by double arches ; that 
 portion contiguous to the cloisters has the remnant of a cluster of 
 columns in the centre supporting two divisions of groins ; and so 
 strongly is the masonry united, that notwithstanding all the columns 
 are gone except the centre one, the capitals belonging to them and 
 the springing of the groins retain their positions, to the utter astonish- 
 ment of all beholders. Ever let me seize each opportunity to hold 
 up to praise the wonderful skill of my ancient brethren, and ever cry, 
 What was their system of construction, and what were their materials 
 thus to combine, bidding after-ages look on and marvel ? The 
 second portion eastward is without a centre cluster of columns, the 
 groins springing from angle to angle. The windows are large and 
 contain seats, no doubt intended for the religious when seated in 
 council. Much of the architecture of Kirkstall is Saxon j and that 
 which presents the Pointed style is as low down (seen chiefly in the 
 centre tower) as the Tudor date. . . . 
 
 Wakefield Bridge. 
 
 {Built by Edward IV.) 
 
 A fine example of ancient masonry, and on a large scale ; in the 
 centre is a chapel projecting from the east side of the bridge, four 
 arches ranging on either hand. At the north-east angle of the 
 chapel is a staircase for ascending into it from the water ; the east 
 window has much tracery, and the parapet is perforated. The win- 
 dows on each side of the building, north and south, are equally rich. 
 But all embellishment seems inconsiderable, and all praise inadequate, 
 when referring to the west front, immediately connected with the pass 
 on the bridge. This front, however, may be particularized as to its 
 several features ; then let the antiquary's imagination lively paint that 
 eulogium which may be felt but cannot be described. The design is 
 26 feet in breadth, and is divided into seven parts by buttresses ; 
 these parts are made out as so many recesses, with Pointed arched 
 heads and lofty pediments. The second, centre and sixth parts 
 have doorways (the centre one and the sixth bricked up) ; above is 
 an entablature, supporting niches, turrets, and five basso-relievos. 
 These latter decorations are crowned with small battlements. The 
 several grounds are filled with compartments and traceries, which, 
 with the crotchets, finials and other ornaments, are minute and deli- 
 
3 I2 
 
 Architectural Innovation. 
 
 cate in the extreme. The basso-relievos show the Nativity, Resurrec- 
 tion and Ascension ; the fourth not quite intelligible (being with the 
 rest much mutilated), but appears to contain two personages, one on 
 each side an altar. So much did the magic of this chapel rivet my 
 attention, that I passed three days making my sketches ; indeed, 
 the nature of the work demanded so much of my feeble efforts. 
 After the description as above, will it be credited that this chapel, 
 this divine edifice, was, previous to my arrival, let to an old-clothes 
 man, who was in the practice of hanging on the precious traceries 
 his filthy ware, he cutting and driving in nails for that purpose ? . . . 
 
 Near Wakefield is the remains of Sandal Castle, under the walls 
 of which Richard Duke of York lost his life, in the battle with Queen 
 Margaret. Of this castle little exists but two uprights of about 
 20 feet each in length, containing a few windows, etc. 
 
 Nottingham Castle. 
 
 Nothing is left of the original works but the archway of the 
 descent down the sallyport, through the rock, on which the castle 
 stood, being called " Mortimer's Hole."* The present structure was 
 erected in 1674, after the old one had been destroyed in the grand 
 rebellion. The situation seems to have made the walls inaccessible, 
 at least on the south side, the rock being nearly perpendicular. The 
 above archway is Pointed, and recedes for some feet with this form 
 in continuation, where steps begin the descent for a short distance ; 
 then the descent is followed by the mere footing through the excava- 
 tion down to the ground at the base of the rock. This descent is 
 tedious and tremendous ; loopholes at certain distances are cut to 
 admit light and for shooting arrows through. At some distance from 
 the castle, where the rocks still continue in line, though declining 
 gradually in height, are excavations upon an extensive scale, their 
 face bearing due south. Before them is a small and clear stream. 
 The arrangement of the excavations is monastical ; and we with 
 much satisfaction trace out the infirmary, refectory, dormitory, 
 chapter-house and the chapel. This latter place gives two aisles, 
 divided by perforated arches, with headways in manner of groins ; 
 and at the east end an altar. Many Roman tiles are worked in the 
 chimneys, and a Roman column with an ornamented base makes a 
 part of the chapel, f Too much study cannot be devoted to so 
 curious and so peculiar a subject ; and we may fairly conclude the 
 excavation to be as old as Christianity itself with us, when we find 
 the early converts resorted for safety and secrecy to grots and caves. 
 
 * Engraved in " Ancient Architecture." t Ibid. 
 
Westminster Hall. 
 
 313 
 
 Westminster Hall. 
 
 [Ante, pp. 67-70.] 
 {Erected temp. Richard II.) 
 
 [1807, Part I., pp. 15, 16.] 
 
 West Front. — The greater portion of the front is partly the north end 
 of the hall, with projecting square towers right and left : these are the 
 three great features. The secondary features present the porch in the 
 centre, a gallery above ranging from the face of each tower, and 
 directly over the gallery is the great north window. The decorations 
 stand thus : On the basement story on either side of the porch is an 
 excessive rich dado, and a line of rich canopied niches rising from it. 
 The exterior arch of the porch is supported by columns with an 
 ample and finely-proportioned architrave. In the spandrels of the 
 arch are the shields of arms of Richard, borne up by the hart, his 
 cognizance, and supported by kneeling angels. The cornice to the 
 gallery has a regular horizontal line from each tower, until it comes 
 to the extent of the centre arch ; the cornice then rises to a 
 moderate height, forming a kind of knee at both junctions. To 
 the two lower divisions of this cornice are remnants of a compart- 
 mented parapet, but to its centrical division all trace of the work is 
 obliterated ; hence, every idea of the original finish of this part must 
 be given up as uncertain, and of no classical authority. The towers 
 have above the basements two stories ; in the centre of each story 
 there is one window, and on each side those windows on the first 
 story are other large and rich canopied niches. The face of the 
 masonry on each side the windows of the second story is entirely 
 plain. A rich entablature, with beads, flowers, etc., and a plain 
 parapet terminates the altitude of the towers. The principal mould- 
 ings of the architrave and mullions to the great centre window are 
 torusses, or small columns rising from bases. The tracery to the 
 window is elaborate, and made out by rich, high-fancied Pointed arch 
 expandings ; and the sweeping cornice to the head of the architrave 
 is borne up by the cognizance, the hart. Above the window, this part 
 of the design concludes with the usual pedimented boundary, on the 
 point of which is a curious combination of four rich niches turret- 
 wise. There are no vestiges to be seen of what character the statues 
 were that filled the several niches, except we refer to the " Ancient 
 Sculpture and Painting of England," vol. i., plate i., where is engraved 
 the statue of a knight found, 1781, under the stairs leading to the 
 exchequer in the interior of the hall, which statue was then strongly 
 conjectured by eminent antiquaries to have been one of the series 
 that had place in such aggrandized situations as the niches. 
 
 In order to account for the havockings so apparent on the whole 
 front, it may be presumed that, when the beer and coffee houses were 
 set up against the basements, and the accommodation for seats at the 
 
3H 
 
 Architectural Innovation. 
 
 coronation of his present majesty affixed over these hovels, in order 
 to make room and convenient joist-holes, it was natural with ignorant 
 mechanics to knock down and cut away every obstacle to their pro- 
 ceedings. Upon these premises the groins of the porch were 
 destroyed to get height for banners, canopies, and kniyhts on horse- 
 back. To get a level line for a back seat to the scaffold over the 
 porch, the parapet suffered j and the heads of the line of niches on 
 the basement fell victims for the same reason ; also the canopies to 
 the upper niches of the right-hand tower were pared off some time 
 back to quiet the apprehensions of the hovelled inmates below, lest, 
 by their supposed tendency to fall, the attached chimneys and roofs 
 might thereby suffer and be disfigured. It was but the other day the 
 canopies to the turreted niches on the pediment were removed to 
 make the necessary lodgment of a stone base to support a paltry vane ! 
 
 The execution of the parts of the front is delicate and of the first 
 degree of excellence ; and it is but to survey with impartial and 
 scrutinizing attention each peculiar, to be delighted and improved 
 with such a meritorious study. 
 
 Waltham Abbey. 
 
 {Erected by Harold, 1062. — Surveyed 1807.) 
 [1807, Part II, p. 929.] 
 
 The remains of this magnificent Saxon pile are at present under 
 the power of workmen, who, it seems, are putting on a new ceiling, 
 the old one, of about forty or fifty years' standing, being found in a 
 state the most dangerous. Thus, as no one can positively say when 
 a mason, a carpenter, or a bricklayer gets into a building, when or 
 how he will get out, it is best to be prepared for the worst. On 
 this sort of apprehension or doubt, I was induced this spring to 
 survey the whole precincts, and found the state of the existing edifices 
 as here specified. 
 
 General Plan. — The outline of the precincts to the north is bounded 
 by the river Lee, over which are two bridges, one leading to the 
 abbey gateway on the west, and the other to a part of the precincts 
 on the north-east. The precincts lie on the north side of the church, 
 and little more than lines of ruined walls (marking no edifice to which 
 they once made a part) are to be met with. The church has imme- 
 diately on its west front the High Street of the town, and on its south 
 front the cemetery. On the east front are gardens. The church 
 consists of a west tower (under it the west porch), and the nave of 
 the original edifice ; the west front of which, with the transepts, choir, 
 and Our Lady's Chapel, destroyed. On the south side of the church, 
 towards the eastern extremity, is a small chapel (and crypt) attached 
 to it. 
 
 Elevations. — The bridge leading to the abbey gateway is small, and 
 of no great interest. The bridge leading to the precincts on the 
 
Waltham Abbey. 
 
 315 
 
 north-east, although in ruins, gives a beautifully constructed arch. 
 The abbey gateway is either of a very simple design, or has been 
 havocked down to the front wall, wherein is the road-gate, and 
 postern to ditto. In the several ruined walls, nothing satisfactory 
 occurs, so as to determine where stood the cloisters, chapter-house, 
 refectory, dormitory, abbot's lodgings, etc. 
 
 The Church. 
 
 West Front. — Of the first Saxon design there is none left ; the 
 present front, as far as it goes, is the architecture of Edward III. 
 The tower, built up immediately against the centre of the front, was 
 done in 1558; therefore, what is discernible of Edward's work is the 
 centre doorway (now within the west porch) and the exteriors of the 
 aisles of the nave, which are of a degree of masonry and sculpture 
 neither too rich nor too plain. The doorway has columns on each 
 side, with foliaged capitals ; and the outer line of the architrave to 
 the arch runs into a pediment, having in the spandrel, where is some 
 tracery, the head of a religious. The windows of the aisles give 
 mullions with sweeping or ornamental tracery, over them small circular 
 ditto with turns. At the angles of the front are buttresses, with niches 
 and pediments. A double parapet, one over the other (the upper 
 one perforated,) finishes the upright. There is likewise a buttress on 
 each side the tower ; but whatever was the continuation of the work 
 to the centre of the front, it must have been utterly destroyed when 
 the present tower was set up as above stated, the doorway of which 
 may be termed rich. The upper half of this tower in 1778 was taken 
 down, and a paltry substitute of four stone walls with oblong holes 
 set up by way of a belfry ; I was told while making my memoranda, 
 and which is no way surprising, that this same belfry is already so far 
 become unsafe, that it is shortly to be taken down. So dead are the 
 guardians of this church to Edward's refined architecture, that the 
 west doorway above described is partly hid by hutches, and timber 
 piles ; the west porch serving more for the purposes of a lumber-shed, 
 than the introductory pass to a sacred sanctuary, the house of God ! 
 
 [1807, Part II. , pp. 1020, 1021.] 
 
 South Front. — So much of havoc, alteration and patching up has 
 been done on this line, that there is some difficulty to ascertain the 
 original decorations of the upright. It gives the aisle of the nave or 
 first story, and the windows to the gallery or upper story. At about 
 one-third of the length of the remains are vestiges of a large and 
 noble porch, where are to be discerned some columns, arches and 
 diagonalled architraves. The windows to each story have columns, 
 with plain capitals, made out by an inverted sweep; and the archi- 
 traves show the diagonals. Between the windows are breaks or 
 
3i6 
 
 Architectural Innovation. 
 
 pilasters. There are strings to the two stories, and the parapets to 
 each are supported by masks and human heads. In the running 
 compartment to the first story are circular diagonalled recesses. The 
 turn of the design evinces simplicity united with an air of grandeur. 
 Towards the extremity of the nave is an attached chapel and crypt, 
 the work of the Tudor times. This chapel has been so cruelly 
 mangled that little remains to cause an interest about what may be its 
 pending fate. Its present use is seemingly to hold lumber, gardeners' 
 tools, seeds, etc. The crypt is more perfect, and deserves much 
 attention. The use made of it is for the stowing up of skulls, etc. 
 
 Present East Front. — Made up, since the havoc general of the 
 church, by filling in the west great arch of the destroyed centre tower 
 with all kinds of rubbish, and a beastly common workshop window 
 stuck among them. There is in continuation some line of the west 
 side of the south transept, wherein is a curious window, etc. 
 
 North Front. — In a worse state of disfigurement, if possible, than 
 the south front. All sorts of modern makeshift windows, done in 
 the modern restoring way, are crammed in among the few original 
 ones left. This front corresponds with that of the south. 
 
 Interior. — West end a mere blank, excepting the opening of the 
 Edwardian doorway already described. East end shows the grand 
 arch of the destroyed centre tower ; it rises the whole height of the 
 nave. The length of the nave is given in seven divisions. The 
 height comprehends three stories. The first story is for the side- 
 aisles, the second the principal gallery, and the third is for the upper 
 windows or second gallery. Between each grand arch to first story, 
 and supporting it, are clustered and single columns alternately. The 
 arches to the first and second gallery, in the three first divisions from 
 the west, have pointed heads, some of a plain design, and others of 
 the general rich embellishments of the interior. This combination 
 of circular and pointed arches, we have often remarked, is familiar 
 in the Saxon order, and proves how well grounded is our position, 
 that the Pointed order emerged from the former. In the decorations 
 to the whole construction are many varieties, but none so prominent 
 as to break in upon the harmony of the whole work. On this occasion 
 to describe one division may be deemed quite sufficient. To the first 
 story the centre great arch springs from clustered columns on the 
 left, and from a single one on the right. The second story has its 
 arch supported by clusters of small columns. Part of the design is 
 here wanting, which, by consulting similar buildings, might with ease 
 be restored. . . . The third story contains a large arch with smaller ones 
 on each side, supported by single columns. The grand single column 
 to the first story is fluted diagonally : all the rest of the columns are 
 plain. The architraves to the arches are much enriched with 
 diagonals. In referring to other parts of the interior, we find some 
 of the great single columns with serpentine fluted diagonals. 
 
Guildhall) London. 
 
 317 
 
 Guildhall, London. 
 
 Surveyed 1807. 
 [1807, Part II, pp. 1 1 14, in 5*1 
 
 This hall appears to be a work coaeval with Westminster Hall 
 (141 1) ; that is, those particular parts substituted on the original 
 erection of Rufus, by Richard II., in the north and south fronts, tiers 
 of windows on east and west sides, etc. ; the walls below being of the 
 first design. In Guildhall, then, we trace the hand of the same 
 architect in his larger decorations ; and the detail of smaller parts, in 
 the mouldings and ornaments, still more forcibly corroborate the 
 similitude of design. The grand porch or facade of entrance on the 
 south front, erected in the reign of Henry VII. (of which on its 
 exterior nothing now remains but the columns and arch to the 
 entrance), was also a noble elevation. It certainly is a subject of 
 wonder, considering the first injury this hall sustained in the Great 
 Fire, 1666, next its hasty repair within three years, and, lastly, its 
 worse than repair, the improvements done since the year 1788, that 
 we have the least particle left of the old fabric, either as some confir- 
 mation of its former state, or to afford documents of the style of 
 architecture which prevailed in the fifteenth century. 
 
 The features added in 1669 are not to be held as anything very 
 strange, considering the rage of the day against English antiquities 
 issuing from the Wren school ; but in our return of admiration 
 (I will not call it an affectation) for the remaining works of our 
 ancestors, to witness the present facade, set up by way of a grand 
 south entrance, is certainly a matter not to be reconciled either to a 
 system of unrestrained whim, or the generally supposed useless and 
 nominal pursuits of an F.A.S. . . . 
 
 South Front. — To speak of the facade or grand entrance (standing 
 some feet before the main line of the hall), as it showed in 1788, 
 there was in the centre a beautiful archway supported by double 
 columns, and the spandrels to the arch full of fine tracery. On each 
 side of the archway first rose a basement with two divisions of com- 
 partments inclosing shields ; above them rich niches ; and within 
 each slender pedestals supporting the statues of Discipline (or Re- 
 ligion), Fortitude, Justice and Temperance, expressed by four elegant 
 and delicate females : the first in the habit of a nun ; the second had 
 an upper garment composed of ring-armour, and in the left hand a 
 shield ; the third, crowned, and in the attitude of administering 
 justice (the scales gone); the fourth, deprived of its arms, and of 
 course no symbols remaining, but the attitude was most expressive of 
 the character it assumed; indeed, each sculpture showed the like 
 happy effect.* In the story above two grand niches with statues of 
 
 * These statues (which were given to Mr. Banks, the statuary) are said to be 
 still in being, and to have been more than once exposed to sale, but bought in, as 
 
3i« 
 
 Architectural Innovation. 
 
 two sages, one recognised as representing Law and the other Learn- 
 ing. Round these decorations were compartments, windows, etc. 
 Over these objects were something of the additions of the Wrenean 
 school, such as an entablature with compartments, a large armorial 
 basso-relievo, scrolls, circular pediment, etc. On the right of this 
 centrical part of the facade was a doorway, various compartments, 
 windows, etc. The counter-part of this assemblage on the left, when 
 I took my survey and sketches, had been recently pulled down, pre- 
 paratory to the improvements about to be entered upon. 
 
 The line of the hall itself is in two stories, the first containing 
 the original windows, with buttresses between each, and the 
 windows to the upper story, with the entablature and parapet, 
 Wrenean additions. 
 
 The whole of the facade has been demolished, excepting the centre 
 archway and columns; and it now becomes my task, and an un- 
 pleasant and difficult task it is, to endeavour to describe the present 
 substitute. . . . Here are pointed arches to the windows of the earliest 
 acute form, not correspondent to the more obtuse pointed arches of 
 the hall, with turns within them also, but of eight sweeps, while those 
 of the hall take but six sweeps. The fact is, our ancient window- 
 heads never take more than six sweeps, and we oftener find four 
 sweeps in such situations than the greater number six. All these 
 mighty imitations, then, are worked without any mouldings or other 
 indispensable particulars, and the pointed arches are the only 
 attempts to bring forward anything similar to our ancient architecture. 
 Numberless running compartments with flowers, and an Attic pedestal, 
 leans to the Roman, and fluted pilasters, honeysuckle ornaments, and 
 inverted arch parapets to that of the Grecian manner ; and the ter- 
 minations of the said pilasters immerge into East Indian pinnacles 
 and fire-bosses, but without the true details of either of these three 
 foreign modes of building. The upright, in its own degree, gives 
 three parts, a centre and two sides (right and left), each divided by 
 the pilasters as just mentioned. In the centre, above the original 
 entrance, are two tiers of windows, three in a row ; on the sides, four 
 stories of windows of all proportions, three in a row. In short, to 
 behold thirty windows crammed into a space that, rationally speaking, 
 should have had no more than five, one in the centre and two right 
 and left, is certainly an architectural trait of genius reserved for the 
 present day ; and, as such, let us close this first part of our survey, 
 which will be resumed in a second paper. 
 
 [1807, Part II., pp. 1212, 1213.] 
 
 The whole exterior of the hall now under survey has been compoed, 
 and the dark congestion run over with a chemical whitewash of 
 
 bidders did not come up to the expected price. They are engraved in " Ancient 
 Sculpture and Painting." 
 
Guildhall, London. 
 
 3*9 
 
 various stains, and scratched and chopped at certain chalked courses, 
 to imitate the hues and scarifications of decayed stonework ; when, 
 be it remembered, all this sort of architectural blister is actually laid 
 over the real and actual stonework of the hall — whether needful or 
 not is best known to those who " best can tell." . . . 
 
 I have much to upbraid myself for, that when I took the south side 
 of the hall in 1788 I neglected to preserve to myself the east and west 
 fronts ; but I fondly thought at that time no innovating hand would 
 ever have presumed to restore their mutilations, whatever might be 
 done with respect to pulling down this or that attendant building ; but 
 I have been mistaken. As it is, I have sedulously examined every 
 moulding, and every other architectural particular of each front, in 
 their present appearance. I am not satisfied (laying that asperity 
 aside which is ever bound to these kind of surveys, as beholding so 
 much of culpable inattention). A variety of minute parts in the 
 turns of the heads of the windows, and in other situations, are false 
 and irregular ; and to conclude my notes on the north and south 
 sides (entered upon in my last paper). I find that within the seventh 
 and eighth divisions (made by buttresses) eastward, two low sort of 
 hovels, by way of petty offices, have been erected. As little adulation 
 has fallen to the share of the constructor of the new porch or facade, 
 he, or some other heedless student in our antiquities, will not in the 
 present instance meet with anything much like compliments. These 
 low erections, then, have each a doorway and two windows taking 
 pointed heads, but, unluckily, not like the obtuse pointed heads of 
 the hall, but the more acute equilateral proportion — a feature much 
 older in practice than those on the sides of the main building before 
 us. The cant mouldings to each of these new-revived openings are 
 destitute of the necessary plinth, or source from whence all ancient 
 architraves take their rise ; but this will be considered as trifling, as 
 will, no doubt, my observing that the doors themselves are purely 
 modern — that is, what is called the Egyptian Frenchified English 
 taste now in fashion. 
 
 East Front. — A noble elevation. In the basement an extensive 
 doorway leading to the fine crypt under the hall. Above the base- 
 ment is the large and magnificent east window, divided into three dis- 
 tinct parts by beautiful appropriate buttresses (an uncommon decora- 
 tion in such a situation). The mullions and tracery are architectural, 
 intricate, and elaborate, with many tiers of pleasmg mouldings, and a 
 sweeping cornice. The parcelling of the principal lights in the width 
 of the window are nine (a grand account); and in height the principal 
 lights are three, with many other intervening lesser lights, the whole 
 partaking of the sublime ; and no particular is found too " heavy" or 
 too " light," but accordant and perfect. At the angles of this front 
 are lofty octangular turrets, curious in their plinth accompaniments, 
 and decorated with buttresses. Somewhat above the second story of 
 
320 
 
 Architectural Innovation. 
 
 these turrets a pediment cornice extends towards the centre of the 
 front, giving beyond all doubt the original finish to the roof, or, as it 
 is vulgarly called, "gable end." On the tops of the turrets are 
 cupolas, whence a second pediment cornice extends towards the 
 centre of the design, accommodating itself to the present roof; these, 
 of course, are Wrenean unseemly additions, and set up by those who 
 first breathed hatred to our antiquities. These cupolas and second 
 pediments have been, through all the present restorations, most 
 scrupulously preserved, as in duty bound, so the descendant profes- 
 sional school should do. Instead of bringing these rival pediments 
 to the necessary finish, by each meeting at a point in the centre, they 
 are both cut short off, and a plain modern pedestal set on the few 
 horizontal feet thus obtained. I never, as 1 recollect, heard that Sir 
 Christopher had pretensions to be the chief magistrate of the City ; 
 but if so, here, I suppose, his statue was to have been set up in 
 triumphant guise by the professors of his new school, they having run 
 over the hall a flat modern panelled ceiling in lieu of the open 
 timber-work (gaze at Westminster Hall !) which hung in magic splen- 
 dour before the Great Fire devoured all its glories ! Farther investi- 
 gating this east front, I found small recesses, roof-holes, air-holes, etc., 
 stuck and broke into the plain parts of the upright. Here again I am 
 at fault — do not feel happy : something tells me all is not right 
 (unfortunate consequence, want of sketches !). Thus am I compelled 
 to dismiss this front. 
 
 West Front. — A repetition of the east front (excepting a west door- 
 way into the crypt, which is not introduced), with some charming 
 deviations in the tracery of the outer divisions of the great west 
 window. These changes are not very perceptible at first sight ; the 
 eye must long wander over the mazy lines ; but when the discovery is 
 made, insensibly are we surprised, and insensibly are we delighted. 
 
 By consulting the plan of the crypt I find that the width (north and 
 south) is divided into three aisles, and length (east and west) into 
 four. The longitudinal course takes, I conclude, about half of the story 
 above (it may possibly extend the whole length of the hall, but parti- 
 tioned off or otherwise), as on the south side are four windows, corre- 
 sponding to those over them. They are not visible on the exterior, 
 being walled up, etc. 
 
 The aisles in the crypt are made by clustered columns, with plinths, 
 bases, and capitals, from whence spring groins, with ribs, and orna- 
 mented bosses ; one of them has a shield with the City arms. The 
 windows are large, and contain three lights, having each pointed 
 heads, with three turns. Height of the crypt, about 13 feet 6 inches. 
 
 [1808, Part pp. 23-25.] 
 
 Interior of the Porch. — Extremely perfect, and a most beautiful 
 introduction to the hall it certainly is. The length is portioned into 
 
Guildhall, London. 
 
 two divisions, by columns supporting groins, with rich bosses, etc. 
 Each division has three compartments, with pointed heads, turns, 
 and tracery, filling up the principal arches of the divisions. 
 
 Interior of the Hall. — Length 154 feet, width 52 feet. The length 
 has eight divisions, made by clusters of columns ; and to each 
 division, in the upright, is a stone seat of continuation, dado with 
 compartments and tracery (among which, in certain situations, are 
 doorways and windows), string, or first entablature, grand window 
 (in some situations other decorations take place), and second enta- 
 blature. So far exist the remains of the original upright ; its con- 
 tinuation showed, no doubt, an open-worked timber roof (in manner 
 like Westminster Hall), and which was consumed in the Great Fire. 
 A repair soon took place, which next occurs in the present elevation ; 
 that is, a general entablature and double piers and windows with 
 circular heads ; these objects are regularly set over the ancient divi- 
 sions below, the whole covered by a flat panelled ceiling, three 
 panels in width and sixteen in length. This Attic story, then, is 
 plain to a degree ; neither applicable to the situation nor to the style 
 of an interior, the finish of which could not be perfect without an 
 open-worked roof as aforesaid. 
 
 The embellishments in the dado give three compartments; the 
 centre ditto principal, within which are three smaller compartments 
 with pointed head, turns, etc. On each side of the grand window 
 are compartments, in unison with those in the dado. The window 
 itself is lofty, and has its height in two tiers ; the lower ditto, pointed 
 heads, with turns ; and the upper ditto, the general head of the 
 window, with turns, tracery, etc. The two entablatures in their 
 friezes have an infinite number of small blockings, composed of 
 human heads, shields of arms, ornaments, etc. To the cluster of 
 columns are rich bases and ornamented capitals ; and on them, we 
 may presume, the destroyed timbers for the roof once took their 
 springings ; but now Wrenean shields of arms with preposterous 
 embellishments usurp their situations. 
 
 South Side of the Hall. — First division (from the east) : The hust- 
 ings (or more probably a grand flight of steps covered by said hust- 
 ings), rising some feet from the pavement, unavoidably caused the 
 first entablature to be set as high as the top of the first tier of the 
 grand window. Below this entablature are splendid canopies to fix 
 niches ; the rest of the work of these niches wainscotted out by 
 Corinthian fluted pilasters and panelling. Second division : Dado 
 complete (as, in general, are all the rest, with the two entablatures) ; 
 grand window ditto. Third division : The work in centre of dado 
 cut away, to bring in a modern doorway ; occasional doorway com- 
 plete ; grand window stopped up. Fourth division : Complete ; 
 no grand window ; in lieu, fine compartments and tracery. Fifth 
 division : Grand doorway from the porch occurs ; over it, in lieu of 
 
 VOL. X. 21 
 
322 Architectural Innovation. 
 
 grand window, compartments and tracery ; the work broke into for 
 the pushing out a modern music-gallery. Sixth division : Complete, 
 and similar to fourth ditto. Seventh division : Window in dado 
 stopped up. Great window ditto. Eighth division : Window in 
 dado stopped up. Grand window ditto. 
 
 North Side. — First division (from the east) : Same embellishments 
 as ditto on south side. Grand window broke into for a doorway, etc. 
 Second division : Entirely broke into by the modern monument of 
 the late Lord Chatham. . . . Third division : Dado, centre work cut 
 away, and a modern doorway introduced. Fourth division : Varied 
 in the design ; the dado has a flight of steps leading to ancient 
 chambers, and on each side octangular turreted galleries. These 
 galleries support carved wooden palm-trees, which trees support a 
 gallery of the like material and a clock. These wooden performances 
 have been erected since the fire. To the right and left are gigantic 
 pasteboard figures of Gog and Magog, set up also since that calamity, 
 as previous thereto there were original figures of these heroes, which 
 were then thrown down and destroyed. Modern doorway cut into 
 the grand window. Fifth division : Complete in dado and grand 
 window. Sixth division : Ditto, ditto. Seventh division : Dado 
 window stopped up ; grand window complete. Eighth division : 
 Complete. In the dado a large doorway, and the occasional small 
 ditto. 
 
 East Side. — In the dado, grand range of canopies to niches ; the 
 rest of the work panelled out, as before observed of the canopies on 
 the south and north sides. In the centre of this range three of the 
 canopies project in an octangular direction. Great window : the 
 general lines, a repetition of the exterior; but the mouldings are 
 multiplied, and rise more delicate, and of a richer degree, having 
 bases and other additional accompaniments. A grand architrave 
 likewise springs from half-columns, which columns rest on the 
 canopies below. Between these half-columns and the mullions of 
 the window are small niches. This upright is singularly splendid. 
 
 West Side. — Dado destroyed; that is, all the compartments and 
 other particulars therein cut away ; cannot say precisely at what 
 time, as I have no memoranda. The wall remains bare, up to the 
 sill of the great window. Against the centre of this said wall another 
 funeral memorial has been raised, to do honour to the memory of 
 that upright and worthy man, Alderman Beckford. The architecture 
 of the composition points to the Roman manner, while the dress of 
 the statue, in direct opposition to that of Lord Chatham, is in the 
 fashion of the day — long gown, coat, full-dressed wig, etc. I leave 
 these contradictions in point of costume to be reconciled and made 
 palatable by some other investigator of our public works, as, I can- 
 didly confess, with me it is altogether impossible — therefore useless 
 the attempt. I perceive that on the bare wall, as above, are char- 
 
Reculver. 
 
 3 2 3 
 
 coaled in some divisions of plain panels, with the flat Tudor-arched 
 head, such as used in the reign of Henry VIII., when the pointed 
 style was sinking into neglect and disuse. . . . 
 
 Before I conclude, let me observe that the east and west great 
 windows have got many feet of new coloured glass, showing arms, 
 devices, and ornaments. That the designer might have been in- 
 formed by some antiquary that great windows formerly had painted 
 glass, and that the subjects were arranged this and that way, I cannot 
 doubt. Nor can I be under any uncertainty when I pronounce that 
 the artist certainly never saw an actual illuminated ancient window; 
 as, in the attempt before us, all is purely modern, and purely con- 
 genial to those principles of design which are everywhere prevailing. 
 
 Reculver. 
 
 [1808, Part I., pp. 125-128.] 
 
 It appears that although the church of Reculver, in Kent, is not 
 in any immediate danger from the inroads of the sea, yet the 
 minister, churchwardens, and inhabitants of the parish, on Tuesday, 
 January 26, 1808, resolved unanimously to petition the Archbishop 
 of Canterbury to empower them to take down the said church, and 
 erect another in a more eligible part of the parish.* . . . 
 
 I have before me a sketch of a south-west view of Reculver 
 Church, drawn in 1791. The style is in the early Pointed manner. 
 The centre part of the west front has a grand doorway, two large 
 windows, and bounded on the sides by two lofty towers with spires 
 of wood covered with lead (resembling the "departed spires" at 
 Lincoln), laid on in the herring-boned direction. On the south side, 
 a porch, window, buttresses, block parapet, etc. Sorry I am that I 
 cannot speak to the decorations of the interior, as I possess no 
 memoranda ; but, as far as recollection will serve, it was grand and 
 interesting. It is my intention (having some notes to take, by 
 command, at Canterbury) very shortly to visit Reculver, if the spirit 
 of innovation is not beforehand with me, when it may be possible 
 to state, as far as in me lies, what real cause there exists for this 
 outcry against an object which has always been considered, not only 
 as a precious remain of art, but as a landmark to guide the navigator's 
 course !t . . . 
 
 Brighthelmstone, Sussex (1807). 
 
 It will certainly be thought strange to some, that in a place so little 
 calculated to afford a theme to my labours, and where no buildings 
 are to be met with (except the church) but such as count the hours 
 
 * See the Morning Advertiser, January 30, 1 808. 
 
 t Consult the well-digested histories of Reculver, which form Nos. 18 and 45 of 
 the " Bibliotheca Topographica," and where good external and internal views of 
 the church are given. 
 
 21 — 2 
 
3^4 
 
 Architectural Innovation. 
 
 of their precarious existence, or such as seem to bid defiance to all 
 precept ancient or modern, I can take up my notes j but, like all 
 other explorating mortals, I must at times traverse many an 
 unprofitable region before I can arrive at that haven all have in 
 view : great intellectual transports or great gains ! Of the first good 
 I reap my portion ; of the latter little falls to my lot. Still I am 
 content. 
 
 Statue of his Royal Highness the Prince of Wales. — His Highness 
 is represented in the uniform of his regiment, and the statue is placed 
 on a plain pedestal. The attitude is animated, and the likeness 
 strong ; but why, against all the rules of sculpture, and more 
 particularly that of common custom in regard to grace, hide the 
 right arm as it were among folds of drapery, and give to the left arm 
 all the energy necessary to express scorn and defiance, as hurled 
 across the briny main, to that quarter whence impotent threats alone 
 (high Heaven protect us !) can assail our "laughing strands"? 
 
 Offices to the Prince's Pavilion. — After noticing the confined scale 
 of the Pavilion, its unassuming display of meek simplicity, regularity, 
 and good taste, we are surely left to a sort of surprise, not easily to 
 be overcome, that why, and wherefore, in these offices, such 
 unbounded extent of arrangement, such profuse enrichments, and 
 such unrestrained whim, has been given way to, without sober 
 propriety of design to direct on one hand, and restrictive economy 
 to guide on the other. Taking the general elevations of the offices 
 in the mass, we find some particulars in the common mansion office- 
 run of the day, some reluctant hits at the Hindoo species of 
 architecture, some weak touches at the Chinese pagoda mode of 
 construction, and some indirect and impotent flashes at our ancient 
 English turn of building. In short, the whole congestion is a sort of 
 professional frolic, running a short-lived antic around the chaste and 
 modest elevation of the Pavilion above alluded to. 
 
 Parish Church. — Does not present any lines that are calculated to 
 make an impression on the beholder ; the decorations are not many, 
 and those of the simple kind with modern convenient alterations in 
 church accommodation. Among other matters there is a curious 
 font, spoken of by many as a thing rather of the marvellous, and 
 become the cause of much desultory opinion. . . . 
 
 Depend upon it, this font, in a certain degree, is a trick upon 
 antiquaries, and set up some few years back when Brighton was but 
 an insignificant town for fishermen, before sagacious remark and 
 wise conclusion on things of this nature could take place ; yet still 
 the cunning sculptor, by circumstances relative to the increasing 
 resort of strangers, anticipated what would eventually take place 
 with regard to the merits of this his handiwork. 
 
 On the plinth of the font (which is circular) are modern initials, 
 with the date 1745. From this fact of affixing a point of time, with 
 
Bright helms tone, Sttssex. 
 
 3 2 5 
 
 the hint of the sculptor's name, or that of the churchwarden then in 
 power, the freshness of the work, with some modern sculptural 
 interpolations, I am convinced that in the above year the present 
 font was executed, and copied probably (as near as professional 
 hostility to our antiquities would permit) from an original performance 
 of the kind, either belonging to this or some neighbouring church, 
 and which original has been since destroyed. 
 
 Description of the Font. — Above the plinth is a running frieze of 
 paterae and foliage. The body of the font is divided into four 
 compartments by columns, etc. ; and I shall, in order to make my 
 idea of the subject good, begin with that wherein is exhibited the 
 Last Supper. Our Lord is seated at a table (covered by drapery set 
 out in studious form), with six of the Apostles, three on each side.' 
 Before our Lord is the cup ; His left hand holds the bread, and His 
 right hand is giving the benediction. There are cups and bread 
 before the Apostles likewise; they all hold up their left hands in 
 token of admiration. The second compartment shows a person of 
 consequence seated, perhaps a king (as there is on the top of his 
 head an ornament by way of a crown), to whom a figure (resembling 
 one of the preceding Apostles) kneels, offering bread. Hence it 
 may be inferred the latter character is entreating the former to 
 become a Christian, who, however, seems resolutely to resist all 
 importunity. Third compartment, two persons in a vessel, with a 
 mast and sail ; one at the prow, and the other at the helm steering ; 
 the waves much agitated. Let me suppose these are two pagans at 
 sea in a storm, and at the last extremity. Two personages appear 
 on the shore, at each end of the vessel, one a bishop with his crosier, 
 and the other, by the habit, a religious female. Each is conversing 
 with the distressed mariners ; the bishop has given to the man before 
 the mast the cup, to the other man the female is presenting the 
 bread. This basso-relievo, no doubt, is intended to show that by 
 faith in the Church the storm was allayed, and the men saved from 
 that destruction which threatened them on every side. Fourth 
 compartment contains three arched recesses ; in the centre recess is 
 a naked man in the water, in the left is an angel, and in the right an 
 holy personage with a cup. This representation, beyond a doubt, 
 is calculated to evince that a converted person is receiving baptism 
 at the hand of a religious, and that, as it is a work pleasing to hear, 
 an angel is introduced rejoicing at the blessed occasion. 
 
 The instruction to be derived from these several sculptures is, the 
 origin of Christianity, its progress restrained, miracles taking place 
 to open the eyes of unbelievers ; and the final consequence, general 
 conversion by baptism. 
 
 There is a very beautiful and delicate open screen between the 
 body of the church and the chancel, the work temp. Henry VII. 
 The dado on the west side elaborate to a degree ; but so inattentive, 
 
326 
 
 Architectural Innovation. 
 
 or so ignorantly blind, are the Brightonians to so much of ancient 
 ability, that the greater part of the tracery is hid by the common pew 
 lumber, intruded into this, as well as all places of worship throughout 
 the country, to the encouragement of slothful habits and careless 
 prayer in the several congregations there attending. This said 
 lumber is not alone to be deprecated on this score, but on that of 
 mutilating and shutting out from sight bases of columns, dados of 
 all kinds, tombs and monuments, and numberless other decorations, 
 which are so justly esteemed for the purity of their enrichments and 
 perfectness of execution. 
 
 Old Shoreham. 
 
 The Church. 
 
 [1808, Part I., pp. 197-199.] 
 
 Great part of the fabric in ruins ; the work Saxon, and exceedingly 
 plain, appearing of very early date, from the strong resemblance it 
 bears to the Roman manner. On the south side of the church is a 
 doorway rather remarkable. Columns (nearly buried in the ground), 
 with foliage to the capitals, support an arch, having in the architrave 
 three distinct parts ; the first contains a sort of triglyphs, the second 
 diagonals, and the third paterae. 
 
 New Shoreham. 
 
 The church is large and grand, uniting the two styles, Saxon and 
 the early Pointed, and may be denominated a good school for the 
 study of our ancient architecture, and at a period when the above 
 systems were maintaining that struggle, whereby one of them was to 
 obtain the sole dominion in all public works. Thus, after a trial in 
 this way for more than two centuries, the conflict ended in favour of 
 the Pointed style, such as is displayed in Salisbury Cathedral, etc. . . . 
 
 The plan of the church is a cross ; the nave destroyed ; yet, that 
 the curious investigator might not be wholly disappointed in this 
 respect, confused masses of walls (I am no ingrate antiquary to call 
 them "rubble walls"), forming the boundary of the west front, still 
 remain. The lofty tower standing in the centre of the transepts, 
 when seen above the four great arches its support, has two stories : 
 the first story entirely Saxon, having two arched recesses with 
 columns ; within each recess an arched window. At the sides and 
 between each recess are breaks ; columns at the angles of the tower. 
 The second story has two arched recesses with columns, but the 
 arches take the pointed form; two windows again occur, but the 
 arches to them are circular, and their openings are divided into 
 three small lights by columns, which columns support small circular 
 arches. These lights, and the columns, give the strongest warrant 
 
New Shoreham, 
 
 327 
 
 for supposing they were some of the early hints towards forming the 
 system of mullion-work, which ran through window adornments in 
 after-ages. Above the recesses are two others, but circular. At the 
 angles of the tower is a continuation of the breaks from below. The 
 tower finishes with a parapet, supported by blockings of human 
 heads, etc. 
 
 East Front. — A most interesting elevation, and in good preserva- 
 tion ; no thanks to its present guardians, otherwise churchwardens, 
 who are, as one of them informed me, devising means to pull it 
 down, to make room for a new upright, the design of which (thinking 
 to do me a favour) he very kindly showed me, in a drawing prepared 
 for this undertaking — a drawing replete with ideas of the modern 
 fantastic mode of building, yclept the "Tudor style." Hence to set 
 about describing its lines would but tend to disgust my readers and 
 torture myself : therefore I forbear. Mem. : This churchwarden, I 
 found, was a master-mason in the neighbourhood. Parish jobs may 
 now, perhaps, be said to take place of bigotry, heretofore the prime 
 spring to drive havoc into action against these our lesser religious 
 piles. As for the more important objects, cathedrals, abbey-churches, 
 etc., they still groan under the usual "orders" of capricious alteration 
 and dilapidation. 
 
 The height of the east front gives three tiers : in the first tier, three 
 circular-arched recesses with columns ; in the centre recess, a circular- 
 headed window. Right and left, the fronts of the side-aisles, with 
 one circular recess, and ditto window to each; above them other 
 circular recesses ; breaks at the angles. Second or principal tier : 
 wholly in the Pointed style, presenting three grand windows in- 
 corporated, as it were, into one; divided by clusters of columns, 
 with rich capitals, having pointed heads to the arches, and 
 architraves of many mouldings. Third tier shows one centrical, 
 large, circular window, containing moulding turns within the general 
 sweep. On each side this window are several small recesses of 
 various forms and dimensions. The front finishes with a pediment. 
 
 Interior. — The arches and columns supporting the great tower are 
 Saxon and in the best style ; the ornaments to them rich. The choir 
 has five divisions, made by columns and arches, with a gallery and 
 upper window story ; groins complete the upright. The columns are 
 circular and octangular alternately. A description of one division 
 will apply in general to the rest, and this I take from the north side. 
 
 First Story. — The proportion of the opening to the arches is good; 
 the columns are remarkably so, they having lofty plinths with 
 compartments ; the mouldings to the bases pleasing ; capitals grand, 
 being fully enriched with ornaments, as are the architraves. The 
 detail of this story entirely Saxon, while the form of the arches is 
 pointed. The dado to the windows of the side-aisle, within the 
 divisions, has a succession of arches and columns, with rich capitals 
 
328 
 
 A rchitectu ral Innovation . 
 
 and architraves, as is the string over them ; the windows plain. This 
 work is also Saxon. 
 
 Gallery Story — which, with the story above, in all their parts, is 
 in the early Pointed style. The division has two openings of 
 columns and arches ; and on each side the boundary of the division 
 springs from the general string course cluster of columns, etc., for the 
 support of the groins. The several openings to the galleries give 
 much variety, no two being in the same idea, yet in their masses all 
 are correspondent. The diversity met with in the smaller parts of 
 our antiquities is a strong characteristic, affording endless subject for 
 the antiquary's praise ; but not so with the anti-antiquary, as such 
 diversified features become the very cause of their destruction, as is 
 about to be evinced in the cloisters of the abbey, Westminster. 
 The capitals to the columns of the gallery have ornaments ; the archi- 
 traves not enriched. The windows of the upper story are in their 
 mouldings plain, as are the mouldings to the groins. 
 
 To allude again to the diversifications found in the smaller parts 
 and ornaments of ancient buildings among us, perhaps there cannot 
 be pointed out one bearing so many vestiges of this kind as in the 
 church of Shoreham. They are charms that wind round the heart, 
 ensuring delights which can never cloy. 
 
 Broadwater, near Shoreham. 
 
 [1808, Part I., pp. 316, 317.] 
 
 The church large, and built cathedral-wise j the length about 188 
 feet, by 89 feet, and gives a nave, with side-aisles ; four grand arches 
 (in centre of the cross) supporting the tower of the church ; north 
 and south transepts (having each, on the east sides, three small 
 chapels) and a choir. The style of the architecture runs on the 
 mixture, Saxon and the early Pointed ; the work of the choir very 
 rich, with groins, etc. The most remarkable decorations of the 
 interior are as follow : 
 
 West grand arch, entering under the tower, has, rising to the 
 springing of the arch on each side, columns, bases plain, and devoid 
 of capitals, excepting a slight indication of some architectural form 
 which cannot satisfactorily be defined. The arch is pointed, with an 
 architrave highly enriched with diagonals, interspersed with some 
 appropriate and pleasing ornaments. The arches entering into the 
 transepts still continue the pointed sweep, but spring from Saxon 
 pilasters, with capitals, etc. ; no ornament of any kind. The fronts 
 of the chapels in the transepts have each pointed arches to them, but 
 show no architraves, and are supported by pilasters; above the 
 arches are small plain Saxon windows, and within each chapel the 
 like small windows, but with pointed heads. Upon the whole, the 
 design and arrangement of these chapels are uncommon and striking, 
 
Bramber Castle. 
 
 329 
 
 as is indeed the general effect of the transepts themselves, they 
 being of the same simple turn ; while the other parts of the church 
 take a degree rather rich. 
 
 In the porch a curious architrave to the doorway. A very ancient 
 helmet is preserved in the nave. 
 
 Lancing. 
 
 I mention the church, for the opportunity to point out a very 
 curious chest kept therein, cut out of part of the body of an oak 
 (6 feet in length). Sides, ends, and bottom shaped square ; the top 
 rounded from end to end, and which has been sawed off, constituting 
 the lid (with proper hinges, etc.) ; its inside has been made by 
 excavation. 
 
 Bramber Castle. 
 
 A very small part of the elevations remain — west wall of the grand 
 gate of entrance, and some few courses of straggling walls to the 
 north-west of the area. The situation of the castle, bold and 
 commanding ; the mound itself is of great height, and is entirely 
 encompassed by a wide and deep fosse. The plan of the area takes 
 an oblong, irregular figure, say 600 feet, from south to north ; and 
 from west to east, say 300 feet. On the south side the area, the 
 grand gate of entrance ; and in or about the centre of the area, the 
 mount whereon was the keep. No other vestiges of the arrange- 
 ment exist. By the remnant wall of the grand gate of entrance, an 
 idea may be entertained that the buildings were on an extensive 
 scale, and rich ; the architecture Saxon. This said wall gives in the 
 height four lofty stories ; the more magnificent one on the third 
 story, where is an exceeding noble window. There is no appearance 
 of a bridge leading across the fosse, for admittance within the castle 
 — a mere common causeway of earth is now thrown over for ac- 
 commodating those who visit these interesting and curious remains. 
 
 Near the brink of the fosse, on its south aspect, stands a small 
 church, no doubt coseval with the castle ; and notwithstanding the 
 late cruel "repair," "alteration," and "improvement," some most 
 precious morsels of the original building are yet in being, as a 
 doorway on the south side, and an archway entering into the chancel 
 of a class in Saxon architecture which combines grandeur with 
 beautiful simplicity. 
 
 Steyning. 
 
 [1808, Part pp. 407, 408.] 
 
 The portion of the church left us is the nave ; the transepts and 
 choir destroyed. The style Saxon, and in the finest taste ; the work 
 on the exterior may be called rather rich, but that in the interior ex- 
 uberant and magnificent to a degree. This assertion may be credited, 
 
330 
 
 Architectural Innovation. 
 
 when I say that this is one of those excellent Saxon remains among 
 us which, if not of the most extensive dimensions, is at least abound- 
 ing in all that is beautiful in design and perfect in execution. 
 
 Plan. — In width, centre (or nave) and side aisles \ the length, four 
 divisions on each side the nave, of circular columns and arches ; at 
 the eastern extremity, right and left, are clusters of columns and 
 arches for the piers once supporting a centre tower. On the south 
 side of the church a porch. 
 
 Elevations. — A church like this having gone through the operation 
 of curtailment, and, of course, much consequent alteration on the 
 exterior, the north and south sides are only noticeable for retaining 
 the original uprights, showing each on the basement story (side- 
 aisles) breaks with columns, and long, narrow, plain, circular-headed 
 windows, with parapets supported with heads, blockings, etc. ; and 
 on the second stories lofty, just-proportioned windows ; those to the 
 north with plain architraves, those to the south giving columns with 
 enriched capitals and suitable architraves. The parapets to these 
 upper stories supported by heads and blockings. The doorway in 
 the porch has a square head within a semicircular head, leaving a 
 plain ground between them ; this ground is usually filled in other 
 instances with basso-relievos. The architrave to the doorway has 
 the diagonals. The door itself is plain, but has rich ornamented 
 hinges. 
 
 Internal Parts. — Grand and splendid ; the minute parts are sharp 
 cut, and continue perfect, affording a spectacle full of the highest 
 interest, and calculated to make impressions on those who are of a 
 liberal turn of mind, and who are ever ready to allow that English- 
 men centuries back had not only capabilities to construct edifices, 
 but taste to embellish them ; and surely never were they in such 
 proof as in this interior. I shall select one division for illustration, 
 which is the third on the north side the nave. The height two 
 stories. First story : columns large, 3 feet 7 inches diameter, 
 height of the shaft 10 feet 6 inches. A surbase rises from the pave- 
 ment, on which is the regular base to the column, bearing the 
 strongest resemblance to that of the Doric. The bell of the capital on 
 the left filled with leaves, and the abacus filled likewise with small 
 diamonds and diagonals. The bell of the capital on the right has 
 small perpendicular rounds, supporting semicircular inverted com- 
 partments. The abacus shows diagonals. The architrave to the 
 arch is in three great parts ; first or outer part contains paterae, 
 second part diamonds, third part diagonals. At the intersection of 
 the outer lines of this architrave, as well as to all the others about the 
 church, are heads full of curious costume. The windows in the 
 side-aisle, viewed through the arch, small and plain, as of those on 
 the exterior. The string or cornice to the story run with semicircular 
 compartments. 
 
Bermondsey Abbey, Surrey. 331 
 
 Second Story. — The window stands over the centre of the arch 
 below ; it has double columns on each side, the capitals enriched, 
 the ornaments of which continue along the piers between the 
 windows. The mouldings to the architrave of the windows not 
 enriched. In the centre of these piers are united columns. 
 
 Among the ornaments in the various capitals to this interior, which 
 our ancestors from their inexhaustible stores of invention so delight- 
 fully varied in the smallest parts, are lions with foliaged tails, honey- 
 suckle compartments, and other traits of sportive fancy, guided at the 
 same time by pure judgment. Among the enrichments of the series 
 of architraves is seen the characteristic diagonal, worked into all 
 possible varied shapes, and which when viewed anglewise (each 
 shape being doubled in the returns) the most agreeable and charming 
 sensations take place. 
 
 Bermondsey Abbey, Surrey. 
 
 [1808, Part I., pp. 476, 477.] 
 
 Within my memory, little remained of this pile but traces of the 
 first gateway entering into the sanctuary, the second gateway, in 
 nearly its original design (temp. Henry VII.), long lines of walls, and 
 some few uprights in the later Tudor manner, done either upon the 
 brink of the expulsion of its holy brotherhood, or when certain parts 
 of the monastery were consigned to lay-residents or to other foreign 
 purposes. No vestiges of the church or great cloisters to be seen, 
 nor was there any tradition where it stood. These premises being 
 given, I proceed to my memoranda : 
 
 1779. — I took a view of the second gateway on its internal front ; 
 it showed a large archway, a postern (stopped up and nearly obliter- 
 ated), on the left, and a buttress. On the right, a similar buttress ; 
 and on the angle of the erection an octangular tower for a stair- 
 case, etc. A string or cornice completed the first story. Second 
 story, modernized, with sash and garret windows, common tiled roof 
 and chimneys. Before the gate on the right, a butcher's shed ; and 
 on the left other sheds. 
 
 1785. — Took a view of the external front of the second gateway, 
 and line of wall in continuation, to the remnants of the first gate- 
 way. The archway to this front rather rich ; the postern-gate in good 
 order ; on the right and left, octangular buttresses, and over the arch 
 a cornice. Second story modernized, as of the other front. About 
 the middle of the line of wall was a curious piece of Saxon masonry, 
 apparently introduced at some remote period, presenting an indented 
 inclined cross, and on each side diagonals. At the end of the line 
 of wall, the jamb of the first gateway, the springing of the arch, etc. 
 
 The Parish Church adjoining in a transformed Wrenean condition 
 from its first features, and deserving of little notice. 
 
332 
 
 Architectural Innovation. 
 
 1808. — Want of employment with some people, a love of altera- 
 tion in others, and the mad rage with the major part of the Ber- 
 mondseans to get rid of every particle of those documents which 
 proved their district had once a page in history, has this year con- 
 trived a new road, of no perceptible use or convenience, through the 
 very heart of the existing walls of the abbey, bearing down on either 
 hand every venerated object that impeded their course. I have then, 
 before the last devastating arm is raised, taken a survey of the whole 
 site, and thus report accordingly. 
 
 The portion of the first gateway, line of wall, and second gateway 
 destroyed ; but it must noc be forgotten that the above-mentioned 
 butchers' and other sheds have been most conscientiously preserved, 
 and with that true stimulus which is manifest with innovators on all 
 occasions. 
 
 The general plan of the remains gives the walls set at right angles 
 one with the other ; the greatest extent is from west to east, say 630 
 feet; width, say, 225 feet. The arrangement, then, must have been 
 vast and magnificent ; and it is no very difficult matter, and I con- 
 ceive no presumption, at this time to affirm that there were two large 
 gateways on the west, three great courts, besides inferior ones, a 
 second cloister, dormitory, refectory, etc. The uprights in being, as 
 above stated, evince no particular part of the assemblage appertain- 
 ing to the monastery. Great portions of the walls support modern 
 hovels ; and in a garden on the south-east angle of the general wall 
 (this particular part of the wall, and in some other instances, shows 
 the early brickwork, temp. Edward IV.) are a number of small ogee 
 pointed recesses. Here, I would have it understood, I suppose the 
 second cloister was raised. Among the Tudor uprights already 
 stated, built, beyond a doubt, upon the basements of some of the 
 first erections, is a fine archway, windows, etc. 
 
 On the south of the abbey still runs the fosse, part of it filled up 
 for a thoroughfare, called Grange Walk. This, perhaps, may be 
 thought conjecture ; but to those who contemplate the spot, this 
 impression will have weight. In beholding those ruined walls, 
 which are divested of cabins, and other shed-attached matters, we 
 are compelled to exclaim, " How prodigious must have been their 
 elevations when entire, as barely in any of their present heights is to 
 be discerned the commencement of the sills of windows, or other 
 decorations ! From these circumstances I may have credit for 
 averring that these particular walls constituted the basements of the 
 more important edifices, as the dormitory, refectory, etc. 
 
 To the north of the abbey, and on the east side of the neighbour- 
 ing churchyard is a mansion called the Abbey House ; but there is 
 not any object now to strengthen this idea : it is, indeed, possible 
 that on this spot, soon after the demolition of the monastery, those 
 to whom the spoil was decreed might erect a habitation, in order to 
 
Bermondsey Abbey, Surrey. 333 
 
 confirm them lords paramount over the prostrate splendour around, 
 as was the case in many parts of the kingdom in the sixteenth 
 century. However, that this same appellation, Abbey House, might 
 not fade in men's recollections, the now owner, agreeable to the pre- 
 vailing taste of exhibiting in new-erected cottages something like 
 " abbeys and priories, etc.," presents you with certain signs in this 
 way, a doorway of entrance, and a number of offices, in the Pointed 
 manner, but devoid of the necessary details, unless pointed apertures 
 and notches in the walls can possibly constitute them so. In the 
 grounds to this Abbey House, an Egyptian pyramid has been set up, 
 and on it stuck the Saxon cross and one-half of the diagonals be- 
 longing to the line of wall described as above. A small square 
 Roman tablet is also placed above the cross, with the following notice : 
 
 * ' This Obelesque 
 
 was erected by 
 JAMES RILEY, 
 A.D. 1806 ; with Stones of 
 the antient Abbey of 
 Bermondsey, 
 to perpetuate the 
 Ornaments used therein." 
 
 " History of Surrey," pub. 1804, vol. i. 
 
 What a strange congestion of Egyptian, Saxon and Roman modes 
 of architecture crammed together, to commemorate the destruction 
 of an English range of buildings, consecrated to the purposes of 
 religious worship and holy seclusion ! And what is yet still more 
 strange, these perpetuators term one small piece of masonry (the 
 cross) the ornaments'* (the whole assemblage it seems they would 
 infer) used within the abbey. 
 
 The Parish Church has just gone through a compoing improve- 
 ment ; has been beautified, and all the rest of it, common on such 
 occasions, displaying, if possible, a more odious semblance than it 
 exhibited at my first visitation in 1779. 
 
 Priory of St. Mary Overy, Surrey. 
 
 Surveyed 1808. 
 
 [1808, Part II, pp. 606-608.] 
 
 The date of the foundation appears to be 1106. A relic only of 
 the architecture of this date is to be perceived, and that is in the in- 
 terior of the west front of the church ; as all the rest of the fabric 
 gives the styles in use in the reigns of Henry III., Edward III., and 
 in the Tudor eras, and which styles are found adapted in the remains 
 of the monastic dwellings on the north side of the priory. From the 
 various parish repairs done on the exterior of the church, little trace 
 
 * Ornaments literally mean such performances as come from the hands of the 
 sculptor or carver, such as flowers, fruits, foliage, etc. 
 
334 
 
 Architectural Innovation. 
 
 of the first decorations meets attention ; and so rapidly and silently 
 has the work of dilapidation been carried on between the time I visited 
 the spot in 1797 and the present year, that many remains of attached 
 buildings have fallen, to make room for stables, manufactories, and 
 other temporary erections ; and perhaps, had I not now entered on 
 this survey, another twelve months might have consigned every vestige 
 of the once peaceful region to oblivion. 
 
 The site of the priory is on the Bank side to the north, and near 
 London Bridge on the east ; the south side bears upon the Borough, 
 and the west aspect fronts the ruins of the palace of the Bishops of 
 Winchester. Abutting the north-west angle of the west front of the 
 church is a gateway leading into the precincts of the priory, the 
 archway of which is in the Tudor style, and not over-rich, the upper 
 part of the gateway modernized. Passing through this inlet north- 
 ward, on either hand is to be noticed some faint traces of ancient 
 wall ; and particularly on the right, when turning to the east, there 
 were considerable portions of buildings, but they are now destroyed. 
 Some few paces farther is a very fine and spacious crypt, say 100 feet 
 by 25 feet, running north and south, and attaching itself to the north 
 transept of the church. The plan is in two aisles, marked by octan- 
 gular columns and run into eight divisions, they supporting excellent 
 groinings, and which are most curiously constructed at each end of 
 the arrangement. The masonry is also admirable, and in the best 
 state possible at this hour, and appears to be coeval with the church. 
 In the first and second divisions partition-walls and doorways have 
 been introduced, and in the Tudor mode. This choice pile is used 
 for storing up coals and other articles by some retail dealer in such- 
 like commodities. Over the crypt is the departing remnant of a 
 sumptuous apartment ; at the north end a large window (stopped up). 
 On each side of the longitudinal range are doorways and small Tudor 
 windows (insertions of that day). The southern half, however, is 
 nearly rendered a common loft, made so for a modern lumber reposi- 
 tory ; while the northern half shows the original open timber-worked 
 roof, the truss-dividing timbers supported by stone corbels. If I may 
 be allowed to give an opinion, I conceive this place to have been the 
 dormitory, where on each side were the cells for repose, with an 
 avenue between them, run in the centre of the design, for the admit- 
 tance of each religious thereunto. This idea is strengthened by the 
 number of small windows remaining, which we may suppose lighted 
 each cell. The exterior of this edifice has to its basement a Tudor 
 window, doorway, and several corbels, with remnants of groinings 
 springing from them, evincing that on this part was a groined avenue ; 
 one jamb of a doorway of admittance to it is left. No other vestige 
 of the holy seclusion is in existence ; at least, it has not been my 
 fortune to make any farther explorations. . . . 
 
Priory of St. Mary Overy, Surrey. 335 
 
 The Church. 
 
 Built perfectly upon the cathedral arrangement, though its dimen- 
 sions are not on so large a scale, as its length does not comprehend 
 300 feet, and the other parts in proportion. 
 
 The Plan. — A nave, its side-aisles, transepts, choir, its side-aisles, 
 and Our Lady's Chapel. At the eastern extremity of this latter chapel 
 is run out a small monumental chapel. On the north side of the 
 choir, the Chapel of St. John (now the vestry) ; and on the south side 
 of the choir (nearly occupying the whole line), the Chapel of St. Mary 
 Magdalen which chapel gives three aisles each way — that is, from 
 north and south, and from west and east. The site of the cloisters I 
 have no difficulty to assign to the north side of the nave (although no 
 traces of them are in being), as a large doorway in the north aisle of 
 the nave (stopped up) appears undoubtedly to have led into them. 
 
 West Front. — Not more than one-third of its features left, which 
 are in the style of Henry VII.'s reign. West doorway with rich oak 
 doors. Centre large window, rich also, with six lights, its upper half 
 modern. Window to the south aisle nearly perfect. Window to 
 north aisle hid by a hovel reared up against it. The upper half of 
 the front modern brickwork, of no intent or interest. 
 
 South Side. — The window from the angle of the west front, hid by 
 a hovel. Porch grand, in the early style of the fabric (as are in general 
 the remaining objects about the rest of the fabric), with a double 
 entrance made by columns, they showing rich capitals and other in- 
 teresting embellishments ; but the several lines have been cruelly cut 
 upon and re-worked. The rest of the windows as far as the transept 
 are fine, and in good preservation, as are the buttresses between them. 
 The parapets over this side-aisle and upper story, with the line of wall 
 of the nave, entirely faced with modern brickwork. The buttresses 
 and tracery to the windows, excepting the south large window of the 
 transept, untouched ; this latter decoration is in a condition deplorably 
 modern. The upper tier of the transept, modern brickwork. 
 
 St. Mary Magdalen Chapel. — Lately compoed, and innovated 
 upon ; yet the doorway, stuck in about seventy or eighty years past, 
 is carefully left uninjured, as have been the keystones of the same 
 date, introduced over the heads of the windows. The grand flying 
 buttresses to the choir much altered, and disguised by modern brick- 
 work, as are the heads of the various windows and parapets, to the 
 concluding lines on this side of the choir and Lady Chapel. 
 
 East Front. — The windows and buttresses in the lower part un- 
 touched ; the upper finishings modern brickwork. 
 
 North Side. — Much of the design, in the choir range, in preserva- 
 tion, such as the windows, smaller buttresses, and in particular the 
 large, magnificent flying buttresses present their forms in an unaltered 
 state. The transept stands nearly in the same condition as the south 
 
336 
 
 Architectural Innovation. 
 
 ditto. The whole of the face of the nave, excepting the mullions to 
 the windows, covered with modern brickwork. 
 
 Grand Ce?itre Tower, — It rises above the church in three stories : 
 first story plain, but internally much enriched, as will be described in 
 its due place ; second and third stories, two windows each on the four 
 sides, the walls finishing with battlements. At the angles of the tower 
 are turrets, with spires, etc. These two upper stories, Tudor work ; 
 and the spires themselves are a sort of mock restoration, done some 
 few years past. It was from this tower Hollar took his famous views 
 of London, both before and after the Great Fire, 1666. 
 
 [1808, Part II, pp. 699-701.] 
 
 Interior of the Church. — The nave is marked by seven divisions of 
 arches ; style, the early Pointed. First division, large circular 
 columns, with smaller ones attached at the four cardinal points ; 
 other columns to the succeeding divisions, octangular and circular 
 alternately, with the like smaller attached columns as above. It 
 must not be passed over without remark that those small columns 
 against the west wall have Saxon bases and capitals ; which circum- 
 stance may help a conjecture that the primary parts of the building 
 (particularly the west exterior) were of that order. The gallery story 
 has many openings, given by columns and arches, though nearly all 
 are stopped up ; some of them in their mouldings exhibit the small 
 diagonalled flower, so peculiar to the first dawn of the Pointed style. 
 In the third, or window story, the mullions and tracery to them are 
 of a subsequent date. The groins elaborate, but are scarcely to be 
 considered as coeval with the uprights. We must, therefore, bring 
 them lower down — perhaps a century or more ; they spring from 
 bustos, common in the Tudor times. The north side-aisle has its 
 windows similar to those of the nave as above, excepting in the first 
 division, which shows one of an earlier turn. Here is a very curious 
 monument of Gower, executed in the reign of Richard II, the statue 
 of the first costumic sculpture ; but, unfortunately for modern pro- 
 fessional admiration, it lies in the usual prostrate devotional attitude. 
 Within the second division of the south aisle is the entrance from 
 the great porch. The windows in continuation in this aisle are 
 precious, as they possess their first mullions and tracery ; yet, as no 
 satisfaction is without alloy, they have lately been compoed upon, 
 under which mania they, in consequence, suffered much. Each side- 
 aisle has groins ; some of the ribs, meeting in the centres, are left 
 without decoration. This is the commencing practice of such parts 
 of buildings, while other ribs show flowers or bosses at their inter- 
 sections, which method, in process of time, became universal. 
 
 The north transept goes on with the main design ; the major part 
 of the original mullions to the windows are in being, one of them 
 stopped up. At the end of the transept is a very ancient cross- 
 
Priory of St. Mary Overy, Surrey. 
 
 337 
 
 legged knight, carved in oak. The statue is now set up against the 
 wall. This act is a ridiculous perversion of the first intent (lying 
 prostrate), so common with such sort of memorials. 
 
 The south transept presents itself in much the same style as the 
 north ; but remains more perfect in the mullions and tracery to the 
 windows, and other particulars, the great south window excepted, 
 which has (as already observed) been miserably modernized. The 
 great tower, in the centre of the two transepts, is supported by four 
 grand clusters of columns, and arches with their architraves, and in 
 the best style of Edward III.'s day. Above the arches is laid a flat 
 painted ceiling, representing some aerial perspective ; a strange 
 mode of embellishment, common to halls and chambers in the time 
 of Charles II. and in one or two succeeding reigns. This ceiling is 
 more immediately to be condemned in this place, as it excludes from 
 view the very fine interior of the tower above, evidently erected with 
 the intent that its decorations might be seen from below, as at York, 
 Durham, etc. 
 
 The greater part of the nave is hid in the basements by the accus- 
 tomed pew lumber; and beyond the great arch under the tower, 
 westward, the nave is entirely stopped out with that odious, prepos- 
 terous, and useless piece of lumber, the organ-case. If the organ 
 itself, small in the essential parts, was properly disposed on one side 
 of this interior (and, indeed, I refer to all other churches on this 
 subject), so much of charming architecture would not be lost to 
 those who can feel the merits of such enchanting scenes. 
 
 The choir has five divisions of arches on each side ; the columns, 
 their support, are in some situations circular and in others octangular, 
 with four smaller circular columns at the four points ; the centre 
 column to each rising to the top of the gallery story, and supporting 
 the groins, which are of the plain intersecting kind, but of the most 
 delightful proportion and elegant sweep. The arches of the gallery 
 (supported by delicate columns) open ; but no thoroughfare from 
 one gallery to another, as usual. The windows have, however, a 
 gallery communication of arches and columns, etc. To speak at 
 once, the upright is perfect in the highest degree ; is of a turn grand ; 
 and, happy I am to relate, the two sides have been permitted to 
 endure unhavocked and undefiled, if we may hide our eyes from the 
 pew lumber and the glazing-in of the several arches. The east end 
 is filled up with one of those vulgar, clumsy altar-pieces, in what is 
 called the Grecian taste. Above this other piece of lumber is a large 
 window of the Tudor fashion. In the north aisle of the choir two of 
 the first windows from the transept stopped up ; third and fourth 
 windows perfect; the fifth window takes a new turn, and gives that 
 kind of window termed the architectural Three in One, such as are 
 conspicuous in Salisbury Cathedral and other works of the same 
 date. Under this fifth and preceding window are low arched, 
 
 vol. x. 22 
 
338 
 
 Architectural Innovation. 
 
 Tudor-worked monuments. Four of the windows, and divisions 
 wherein they were placed, in the south aisle of the choir, cut away 
 into large arched openings, to give admittance into St. Mary Mag- 
 dalen's Chapel, built in the Tudor times, as its architecture suffi- 
 ciently demonstrates. Groins of this chapel destroyed, and a modern 
 ceiling substituted instead thereof. Traces of holy water niches, etc. 
 
 Our Lady's Chapel. — The early style of workmanship carried on ; 
 it has four aisles, north and south, the two outer ones being con- 
 tinuations of the north and south aisles of the church. The length, 
 from the back of the altar to the east end of this chapel, made out 
 in three aisles. The windows are some of them of the plain kind, 
 such as are in the aisles westward ; others in three single lights ; and 
 the rest show with tracery. Under the window in the last north 
 division is a Tudor-worked monument, with the statue of a skeleton. 
 The groins of the chapel perfect and extremely beautiful, and the 
 whole scene is impressive and solemn. At the east end of this, Our 
 Lady's Chapel, a small chapel has been run out in two divisions ; has 
 tracery windows, two of them stopped up ; and at the east end the 
 window appears once to have been in the same pleasing state, but 
 altered, to set therein a monument, in James I.'s reign. The groins 
 are destroyed. Two very ancient stone coffins are here preserved.* 
 At the back of the altar-screen of the choir are some fine tracery 
 compartments, supposed once to give view through them into Our 
 Lady's Chapel. 
 
 The interior of St. John's Chapel bears now a modern appearance 
 — even that of a mere common vestry-room. 
 
 About the church are many heterogeneous and grotesque monu- 
 ments of the time of James I., etc. 
 
 Interior of the Great Tower. — It is formed in four stories. First 
 story : On each side are four arches with columns, and a gallery of 
 communication behind them. Second story : On each side three 
 large arches with columns, but stopped up, and the decorations 
 nearly cut smooth with the face of the wall. These stories are in the 
 early style of the church. Third and fourth stories of Tudor work, 
 and similar in their parts. On each side of these two stories are two 
 large and lofty windows, each having two tiers of mullions, and 
 tracery in their heads. Between these two latter stories is a flat 
 compartmented ceiling, and an entablature with ornaments, etc. 
 These objects are still in their original colouring. From the rich 
 turn of this ceiling it becomes evident that, at the period of its 
 setting up, the tower was clear to view up to this point ; and the 
 
 * There has just been set up in this chapel a very pleasing mural monument to 
 the memory of the late Abraham Newland, Esq. (an account of whom has been 
 given in 1807, vol. lxxvii., p. 1170,) from a design of J. Soane, architect; and it is 
 no small satisfaction to find that not any of the lines of the chapel have been 
 mutilated in consequence, as is too commonly the case in these kind of under- 
 takings. 
 
Winchester Palace. 
 
 339 
 
 whole gaze must have been, in every respect, pleasing and pre- 
 possessing. 
 
 [1808, Part II, pp. 889—890.] 
 
 About two months past, beholding a party of the seminary youths 
 at Westminster amusing themselves in mutilating the mullions and 
 tracery in the last window but one, to the right of the west cloister 
 of the abbey church, they having at that moment beat down with 
 stones one of the capitals, I cried : " Gentlemen, pray leave some 
 particles of these beautiful objects for other artists to study from, 
 who may come after me for that purpose " (I being at that time 
 employed in making sketches from the several windows). They all 
 instantaneously laid down their missile weapons (fragments of 
 tracery, which, with the said capital, I saw afterwards taken away by 
 a friend, who has carefully placed them in his study), and went their 
 way abashed and much concerned. In a few moments one of the 
 scholars returned. He owned (I beg I may be credited) the pro- 
 priety of my reproof; and ever at my renewed visits to proceed with 
 the imitations of the said windows, he came and conversed with me, 
 as one pleased with my labours, and awakened to the glories around 
 us ! Would that some compunction, like unto what this reformed 
 youth gave way to, might wind round the hearts of those of riper 
 years, who daily tread the cloistered aisles, that a stop might be put 
 to the shameful and destructive practice of turning them into tennis 
 and cricket courts ! Will remonstrance never plead to any purpose ? 
 
 Winchester Palace, 
 
 CONTIGUOUS TO THE PRIORY OF St. MARY OVERY, SURREY ; SUR- 
 VEYED 1808. 
 
 To attempt to lay down, by way of plan and elevation, the former 
 extent and arrangement of this palace from the present remains 
 would be an attempt rather impracticable ; still, if we give way to 
 those sensations which are usually conceived on survey of scenes like 
 this under consideration, the palace must have been every way 
 worthy of the high state and establishment of the prelates of the 
 sumptuous See of Winchester. Unquestionably the site was parcelled 
 out in two or more grand courts, the principal of which appears to 
 have had its range of state chambers fronting the river ; and part of 
 this range is now almost the only elevation that is to be met with in 
 any intelligent shape. And although its external decorations on the 
 north or river front are either destroyed or bricked up from view, yet 
 it is impossible to refrain from indulging the supposition which seems 
 to point on every space traits of magnificence and profuse design. On 
 the other front bearing to the south are many curious doorways, 
 windows, etc., in various styles, from that of the early Pointed down 
 to the Tudor era, but ruefully havocked, and partly blocked up by 
 
340 
 
 Architectural Innovatioit. 
 
 sheds, warehouses, and stables. In the gable of the west end of this 
 range is a large circular window, which for delicacy of form and 
 beauty of workmanship has few superiors. Let it be said it is a work 
 done in the reign of Edward III. ; and that is warrant for its utmost 
 praise. More in detail as we examine the interior of the range; that 
 is, as far as its present condition will allow us to discover curious par- 
 ticulars, the height of the walls being divided into many floors for 
 storing up all kinds of wares, etc. I consider the part under 
 examination as one large and superlatively noble chamber of state. 
 
 In the basement story at the west end is a line of six arches, 
 having once, no doubt, connection with groins (usual in basements), of 
 which they made a part. Two doorways occur in the line. The 
 principal floor appears to have extended to the roof : much of the 
 open-worked framing is in view. Still continuing our examination of 
 the western upright, many arched recesses are apparent ; and on the 
 highest point is the circular window above noticed; diameter 12 feet. 
 Architrave 1 foot, giving many mouldings. The tracery is singular, 
 and presents in the centre portion of it a large hexangular figure 
 inclosing twelve narrow pointed lights emerging from an ornamental 
 boss or rose. The six points of the hexagon continue their lines 
 (intersecting each other in various directions) to the general circle, 
 forming thereby eighteen triangular lights, each of them being filled 
 with mouldings of six turns ; and eighteen very small lights bound the 
 others, they arising out of the general combination of the geometrical 
 figure. 
 
 The architectural imagery in the tracery of this window (if I may 
 be allowed the term) on the first inspection shows rather complex, 
 and not to be reduced to system, or the ready conception of the 
 beholder ; but an attentive eye and a faithful pencil may soon bring 
 the seeming masonic labyrinth to plain demonstration and true 
 principle. 
 
 The other three sides of the chamber have lost their interest, as 
 those few objects of windows, etc., which are partially seen are so 
 blocked up by partitions, and such-like conveniences, that but little 
 information is to be derived ; and the decorations immured by the 
 warehouse constructions we must conclude, from those already 
 spoken of, to be numerous and important ; wishing at the same time 
 (though in vain) for a speedy removal of the blockading nuisances 
 which debar us from our satisfaction and our studies. 
 
 On the eastern exterior of the boundary wall of the palace, and 
 nearly opposite to St. Mary Overy's, there were, in 1785, a few 
 decorations of hanging buttresses, stopped-up windows, etc. ; they 
 are now destroyed. Within this eastern range remain a few buildings 
 of wood deserving notice ; but to obtain that end the explorer must 
 defy encountering unpleasant obstacles. 
 
Temple Church, London. 
 
 341 
 
 Temple Church, London. 
 
 Surveyed 1808. 
 [1808, Part II., pp. 997-1000.] 
 
 Round Church. — A common appellation given to those churches 
 among us built by the Knights Templars, in honour of the Holy 
 Temple or Sepulchre at Jerusalem. There are several still in the 
 kingdom, as London, Cambridge, Northampton, Maplestead in 
 Essex, etc. The principal of these edifices is in the Temple, London, 
 usually called the Temple Church, which from its high antiquity 
 (date T185), most curious construction, and singular elegance of 
 design, certainly deserves a better fate than is at present its lot, as the 
 following survey will sufficiently demonstrate. 
 
 Plan. — Western part, or nave, circular ; diameter, say, 57 feet. Six 
 clusters of four columns in the centre of the nave support six arches ; 
 in the wall of the surrounding aisle, twelve arches ; between each, one 
 column. In the western arch, the grand entrance, three arches east- 
 wards enter into the choir ; in the other eight arches are as many 
 windows. In the lower part of the arch, due south, is a small door- 
 way ; and in the arch succeeding to the right a modern, square- 
 headed doorway broke in. Two large modern monuments with 
 statues, and several small mural monuments stuck about the walls, 
 columns, etc. The centrical clusters of columns, in their lower 
 halves, hid by panelled oak boxes ; an organ-case fills the centre 
 archway, and glass-framed contrivances and doors fill the two side 
 archways entering into the choir. In the pavement many old grave- 
 stones ; some plain, others with indents of crosses and figures, and 
 one with a brass of the wife of " John Hare, 1601." Upon the pave- 
 ment is laid two distinct series of statues, four in one, and five in the 
 other series, with one ornamented stone coffin. These statues are 
 of very remote sculpture, may be called fine, and the costume in 
 the armours and dresses curious to a degree; they are in good 
 preservation. 
 
 I cannot forbear expressing a surmise that these statues were not 
 always in the situation they now occupy, and for many reasons. 
 First, we have rarely any instances of statues like these laid on pave- 
 ments, and in many respects so close one to the other that the arms 
 and draperies of one lie over that of the other. Second, they are in 
 no chronological order, as the costume of the last statue is perhaps 
 more remote than that of the first. Third, some of the statues show 
 vestiges of ornamented slabs under them ; many have their feet sup- 
 ported by lions ; and all are seen with their heads resting on 
 cushions, circumstances common in tomb memorials. Thus, I 
 suspect that when the church was to be what they called improved 
 in the latter end of the seventeenth century, these statues were then 
 remaining on their proper tombs, on each side the choir, as there is 
 
342 
 
 Architectural Innovation. 
 
 still one tomb with the statue of a bishop (coeval with the costume 
 of these in question) to be met with in the south aisle. Therefore, 
 as pew-lumber, etc., was judged more necessary than sculptural relics, 
 they were taken down, and disposed of to the best advantage in the 
 way we now find them. 
 
 Description of the statues : i. Cross-legged, right arm on the 
 breast, left holding the shield, charged with rays, on a diamond 
 ground ; helmet, ring armour and surcoat. Geoffrey de Magnaville, 
 1 148. 2. Cross-legged, sheathing the sword, shield slung on the 
 left arm, charged with a lion rampant ; ring-armour and surcoat. 
 William Marshall, Earl of Pembroke, 12 16. 3. Cross-legged, the 
 arms in the usual devotional attitude ; shield slung on the left arm, 
 charged with three water-budgets. The head is uncovered, the ring- 
 armour being brought down on the shoulders in drapery, forming 
 thereby a kind of collar for the neck. The ring-armour is composed 
 of entwined circles (the ring-armour to all the other statues is 
 wrought with half-circles), excepting on the knees, which are covered 
 with plates and surcoat. Robert Ross, 12 15. 4. Cross-legged, both 
 arms crossed on the breast, shield slung on the left arm (not charged 
 with any bearings ; all the other knights' shields evince the same 
 deficiency) ; ring-armour and surcoat. Round the head a plain wreath. 
 William Plantagenet, 1256.* 5. Stone coffin, ridged, forming thereby 
 a cross, ornamented with animals' heads and foliage. 6. Not cross- 
 legged ; holds the sword drawn with the point downwards ; shield 
 slung on the left arm ; ring-armour and surcoat ; feet supported by a 
 lion. On each side the cushions under the head much foliage. 7. 
 Not cross-legged ; right arm on the breast, shield on the left arm j 
 ring-armour and surcoat. 8. Not cross-legged ; the arms in the 
 usual devotional attitude ; shield on the left arm ; ring-armour and 
 surcoat. It is remarkable the sword is suspended on the right side. 
 
 9. Cross-legged and drawing the sword ; shield slung on the left arm ; 
 ring-armour and surcoat ; feet treading on a dragon. Emblem, the 
 religious soldier conquering the enemies of the Christian Church. 
 
 10. Cross legged; right arm on the breast, left arm, on which the 
 shield is slung, resting on the sword ; ring-armour and surcoat. 
 
 From this description it will be perceived that these statues are not 
 alone interesting, as four of them are ascertained by name and date ; 
 but in finding the attitudes much varied, and some in a way nowhere 
 else to be met with. 
 
 Near the west doorway is a paltry modern font. At the west end 
 of the south aisle of the choir is a flight of steps ascending to 
 ancient chambers, which are on the south side of the nave, but now 
 disused. 
 
 The choir, proceeding immediately from the east part of the nave, 
 
 * These names and dates are from Mr. Gough's truly-valuable "Sepulchral 
 Monuments." 
 
Temple Church, London. 
 
 343 
 
 of which it in a manner forms a part, is divided into three spacious 
 aisles, by four clusters of columns on each side the centre aisle, 
 which support five arches on each side likewise. Length, say 87 
 feet, breadth 58 feet. On each side the choir five windows, and at 
 the east end of each aisle a ditto window. The lower parts of the 
 clusters of columns hid by pews. At the east end a Wrenean 
 Corinthian altar-piece, and nearly the whole of the dado under the 
 windows hid by ditto sort of panelling. In the south aisle a plain 
 tomb, with the statue of a bishop ; the costume coeval with the 
 statues in the nave. In the north aisle the monument of Plowden, 
 1534 ; and a monument for Martin of the same period. Many small 
 mural monuments placed against the columns and on the piers 
 between the windows. In this aisle there is a curious chest bound 
 with bars of iron. The greater part of the choir stopped up by the 
 modern common church-lumber called pews ; and directly before the 
 altar is placed, in the prevailing new and indecent mode, the pulpit ; 
 and what perhaps is still more reprehensible, a large Buzaglo stove is 
 set up directly before the pulpit ! 
 
 At the west exterior part of the nave is a porch added in the Tudor 
 times, if we may judge from its workmanship ; and at its west side a 
 modern elevation in the Saxon style, as it is vainly called, for no less 
 a purpose than that of an apple-stall ! The porch is now a common 
 thoroughfare. 
 
 Elevation. — West front. It shows great part of the circle of the 
 nave ; style, Saxon. It is in two stories, the lower story for the side- 
 aisle, and the upper story for the centre of the nave. The door of 
 entrance is particularly grand, having on each side three columns 
 with enriched capitals, and between them four demi-columns covered 
 with rich masonic compartments, etc., crowned at top, by way of 
 capitals, with small half-statues. The divisions of architraves round 
 the arch, eight, and filled with a profusion of ornaments. This 
 doorway is in excellent preservation. The windows show columns, 
 but no architrave round their heads. Under the parapet a succession 
 of blockings without any ornaments. Between the windows plain 
 pilasters, which pilasters have had worked against them in later times 
 (for support) buttresses. When that part of this front south of the west 
 doorway was restored, as it is ridiculously called,* 1695, a Wrenean 
 square-headed doorway, with a kneed architrave, Doric triglyphs, and 
 pediment, was worked up to an opening, broke through the wall and 
 window in the second division to the right ; the buttress cut into a 
 Wrenean piece of architecture, with inverted scrolls, etc. Wrenean 
 style architraves to the windows. The Saxon blockings to the parapet 
 destroyed and Doric blockings substituted. In the upper story, 
 where the windows are of plain forms, with pilasters between them, 
 some alterations have been made, yet with caution, but at what period 
 * See a tablet on the new work to this purpose. 
 
344 
 
 Architectural Innovation. 
 
 it is difficult to determine ; such as adding a small buttress to the 
 pilasters, a cornice over the windows and battlements. Before the 
 west doorway the porch of early Tudor architecture (as before 
 observed in the plan) ; it is groined, communicating by archways 
 north and south to and from the Temple. At the west end of the 
 porch is the whimsical elevation for an apple-stall, done under the 
 persuasion of its being in the Saxon mode, when the only hint given, 
 and that in the most slovenly manner, is on the architrave round the 
 doorway in a succession of zigzag flutings, instead of zigzag projecting 
 mouldings. The rest of the upright is wholly common house-work. 
 An attempt at groining has also been entered upon, but from the 
 strange oblique direction of the plan, and the obvious ignorance of 
 the designer, the trial has miserably failed. It is surely a lamentable 
 circumstance to find so much of the nave of the church shut out 
 from view by hovels for occupations the most mean and despicable. 
 
 East Front. — Early Pointed style. The aspect is grand, though 
 much altered and contaminated ; or, as the inscriptions on the walls 
 have it, "repaired and beautified 1726 and 1736." The elevation is 
 made in three divisions for the body and side-aisles of the choir by 
 buttresses ; the windows in each division are formed with three plain 
 lights united into one general figure ; to each light (the centre one 
 being higher than the others) are columns and architraves to the 
 heads. Above the windows a plain modern (date as above) cornice. 
 The gables to each division new-cased, and the small windows within 
 them, lighting the roofs, new-cut ; and upon the points of each pedi- 
 ment to the gables a Wrenean fluted urn, with a flame issuing out of 
 the neck thereof. 
 
 North Front. — A continuation of buttresses and windows, same 
 as those in the east front. Cornice with blockings and the parapet 
 modern. 
 
 South Front. — In design similar to the north front ; but the windows 
 most shamefully despoiled a short time back of their columns and 
 architraves, and a few despicable dressings stuck up round the heads 
 of the windows by way of finish. The cornice and parapet modern 
 in like manner as on the north front. 
 
 To carry on the measure of contempt evinced against this famous 
 structure, the greater part of the basement of this latter front is 
 blocked up, like the nave, by a continuation of similar sheds and 
 other vulgar erections. 
 
 In a small staircase belonging to one of the above premises is left 
 open to view a curious window with columns, giving light, and a gaze 
 into one of the ancient chambers hinted at in the plan ; it has 
 columns at the angles supporting groins ; there are also in the walls 
 recesses, etc. 
 
Temple Church, London. 
 
 345 
 
 [1803, Part Il.ipp. 1086- 1088.] 
 
 Elevations of the Interior of the Church. — The Nave; style, Saxon. 
 Taking the centre circle, we find the clusters show each four detached 
 columns one from the other, but secured at half the height of the 
 shafts by a solid horizontal band. The bases being hid by oak 
 boxes, their forms cannot be specified. The capitals in their 
 abacuses are remarkable, taking angular directions front and rear, and 
 square ditto sideways from division to division. The ornaments in 
 the capitals varied in the smaller parts, but correspondent in the 
 general outlines. The great arches springing from the sides of the 
 capitals are pointed, with an architrave of few mouldings ; but in the 
 returns of the arches the mouldings are multiplied in a certain degree. 
 From each capital in their fronts rises a single column, supporting 
 the groins, the ribs of which remain, but the spandrels are destroyed, 
 and a flat ceiling is seen above. However, it may not be improbable 
 but that the lines are partly original, if we refer to the open groins 
 constructed with ribs, seen in a few instances, as at Bristol and St. 
 David's cathedrals, and Southwell Minster, Nottinghamshire, though 
 of far more elaborate work. The gallery story above the great arches 
 has a series of columns (their capitals sparingly enriched) with arches, 
 which from the near affinity of the columns intersect each other, 
 giving thereby between each capital a smaller arch, and pointed, a 
 form naturally appearing from such a combination of circular lines. 
 The mouldings of the architraves to the arches, from the above 
 circumstances, become curiously interlaced. In each division of the 
 gallery is a small square-headed opening, occurring within one or 
 other of the recesses between the columns ; all the other recesses 
 being solid, and present a plain ground. The windows above have 
 columns, which are circular-headed. 
 
 Aisle of the Nave. — The lines of the windows same as on the 
 exterior. In the dado, between each large single column, six recesses 
 with columns (capitals enriched), and pointed arches ; the architraves 
 have their toruses cut into at certain distances, showing in conse- 
 quence a succession of hollows and rounds, vulgarly termed "billet 
 mouldings." In the spandrels of the arches, a variety of human 
 heads. The groins to the aisle perfect, and in their springings from 
 the several columns, as they oppose each other, give contra intersec- 
 tions — an architectural occurrence both pleasing and interesting. 
 
 Although the nave is Saxon, still we find the principal part of the 
 arches pointed, a circumstance demonstrating how gradually the 
 Pointed style rose out of the former order. This position we have 
 constantly maintained through the course of these essays, as oppor- 
 tunity and examples put it in our power so to conform and establish 
 the same. 
 
 The Choir ; style, the early Pointed. — The clusters of columns to 
 the arches of the centre aisle are not detached, as is usual in this 
 
346 
 
 Architectural Innovation. 
 
 class of the order, but united, giving a sort of large column of four 
 half-circles, standing to each point of the fabric. The windows to 
 the aisles, and their eastern ends, are similar j the columns supporting 
 the arches, being of the most delicate make, stand detached, having 
 a band that divides each shaft into two parts. Groins, both of the 
 side and centre aisles, perfect, and in strict unison with the whole of 
 the design, constituting the choir, which is regular, spacious, and of 
 a turn the most chaste and beautiful. [See Note 3.] 
 
 Chipping Ongar Castle, Essex (1808). 
 [1808, Part If., pp. 1161, 1162.] 
 
 The earthworks only remain (except a small portion of wall, which 
 will be spoken of in its proper place). They are very extensive and 
 perfect in plan, and if an opinion may be entertained, the buildings 
 on them, constituting the castle, must have been on the most magni- 
 ficent scale. The ground on which the works are raised lies rather 
 level, though on the north and east there is a gentle rise. The spot, 
 upon the whole, seems to have been chosen for the convenience of 
 receiving into the main fosse, from various higher sources, a constant 
 supply of water, which necessarily would run into the secondary fosses, 
 and thence, at no great distance, empty itself into a small stream or 
 river which runs from north to south across the country. By these 
 means the water in the fosses would always be preserved clean and in 
 a transparent state. 
 
 The lofty mound, where once stood the keep, is situated on the 
 south-east point of the works ; form circular, as is the first or principal 
 fosse surrounding it. From the north east point of the first fosse a 
 secondary fosse takes a circuitous direction of great extent to the 
 south-west of ditto, enclosing within it an area for an irregular three- 
 quarter circular court. It is on the western point of this outer work 
 that a small portion of wall is visible. At the west point of the first 
 fosse is an old house : the decorations may be conjectured to be of 
 Elizabeth's reign ; and it seems to have been made out of some great 
 square tower or gateway entering into the castle, as its commanding 
 situation and near affinity to the most defensive part of the walls 
 readily warrants such a conclusion. At the north and at the west 
 points other fosses occur ; the former sweeps widely, and the latter 
 directly, into the small stream west of the works before described. 
 The fosses are still filled with water. 
 
 I profess myself but little studied in military works of this kind ; 
 yet let me observe that these before us are certainly of a very regular 
 and well-conceived plan, both for the security as well as the splendid 
 conveniences of those who were once resident on the noble confine. 
 
 On the west aspect of the works stands the town of Chipping Ongar, 
 in one line of street, of a clean and orderly appearance. The people 
 
Chipping Ongar Church. 
 
 347 
 
 are hospitable to strangers, and well disposed to give every assistance 
 needful to those who wish to study their neighbouring antiquity, the 
 remains of the castle. On the southern extremity of a field south of 
 the castle are three wells within a few feet of each other, of which at 
 this day no Ongar man can give any account when or for what pur- 
 pose they were made. No use is made of them. 
 
 Chipping Ongar Church. 
 
 So few of its original features are in view, either externally or inter- 
 nally, that I shall be very concise in my notes. ... I shall not commend 
 the mean, paltry wood upright now placing in the windows in lieu of 
 the appropriate stone mullions just knocked out ; but I must be par- 
 ticular in observing that I was in the nick of time to view the south 
 doorway of the church before it was banished from sight by the laths 
 and plaster ready to be daubed over it. Its form is plain jambs and 
 a plain semicircular head, each of these parts worked with tiles — 
 Roman tiles probably. Let me go farther, and say that this deco- 
 ration, with the walls of the building, may be of the most remote date ; 
 for though, as soon as our Roman friends had deserted our shores, 
 we hailed and received Christianity among us, yet we did not so 
 hastily turn from the mode of building which they left behind them. 
 Upon this presumption, alluding principally to the doorway in ques- 
 tion, I gazed at it as an architectural curiosity of great interest, and of 
 the highest regard. . . . 
 
 In a line due west from the castle, at nearly a mile in distance, is 
 
 Greenstead Church, 
 
 indisputably one of the earliest pieces of architecture in the 
 kingdom. . . . 
 
 Greenstead Church, usually called "the wooden church," is 
 evidently done upon the Stonehenge principle ; and, whatsoever 
 may be its origin (in regard to what is left of its uprights, as of a late 
 period some brick and wood additions have been attached), it is 
 certainly a remnant of great architectural importance, well deserving 
 a particular and professional description, not alone as having been 
 once the sacred repository of a royal martyr, but upon the score of 
 its being so precious an example of the simple and primitive practice 
 of carpentry among us. 
 
 [iSo 9 , Part /., pp. 34, 3S-] 
 
 History informs us that the body of St. Edmund, on its way from 
 London, about the year 1010, rested in this church. So far we may 
 count upon its antiquity as to a precise period. 
 
 Plan. — Gives one aisle, 28 feet by 16, west end and the two sides, 
 north and south, made out by trunks of oak, sawed in half, and 
 placed in perpendicular positions within one inch of each other, their 
 
348 
 
 Architectural Innovation. 
 
 sawed faces standing inward. There is no appearance of any 
 entrance or window, coaeval with the arrangement of the trunks them- 
 selves ; therefore it may be supposed the light obtained was through 
 the small interstices between each trunk, and whatever doorway there 
 may have been, it must have showed where the present one is set up 
 within the porch inclosing it (which is on the south side of the church), 
 in the fifteenth century. The eastern end of the erection is now an 
 open space, entering into the chancel, 17 feet square, which chancel is 
 worked with bricks, done at the same time as the porch was contrived, 
 having a doorway and two windows on the south side, one window 
 on the east, and one on the north. Against the west end of the 
 church a common modern wooden square tower has been affixed. 
 Against the south-west, the south-east, and north-east angles are 
 paltry brick buttresses, a recent patching up to keep, as it is said, the 
 modern common roof from falling. In the south-east angle of the 
 chancel is placed a very curious holy-water bason, in the style of the 
 thirteenth century, a decoration that must evidently have been brought 
 from some other religious edifice. 
 
 Elevations. — West End. — On the ground is laid a horizontal piece 
 of timber, properly squared and smoothed, in which stand seventeen 
 trunks of trees, at a mean of one foot diameter each ; those placed at 
 the angles, north and south, in height six feet ; the others, in continua- 
 tion to the centre one, rise gradually, pediment-wise, to a height of 
 14 feet. It is to be observed, an opening has been cut in the centre 
 trunk as a doorway from the church into the wooden tower. The 
 original mode of securing the top of these trunks does not appear ; 
 but, judging from the side sustainments, it must have been by squared 
 pieces of timber (such as form the plinth timbers), laid in an inclined 
 direction, so as to give the pedimental line of the roof, whatever may 
 have been its manner of finishing. The present roof is of the common 
 barn turn. 
 
 North and South Sides. — Being nearly similar, we may reckon to 
 each either twenty-three or twenty-four trunks. Nothing positive in 
 this respect, as the modern porch, brick buttresses, and a few patch- 
 ings-up to the trunks obstruct the regularity of their numbers. They 
 are likewise set in a horizontal squared piece of timber — mean, one 
 foot diameter ; they rise 6 feet, and are sustained at top by a second 
 squared piece of timber. As the roof is of so late a date, done with 
 dormer or garret windows, little or no idea can help us to guess at 
 the first covering of the building. Still, as opinion is at liberty with 
 us all, I shall conjecture that it is possible sawed trunks of trees, 
 resembling those in the uprights, might have been laid over the space 
 from wall to wall, meeting together at the ridge, in manner like the 
 leaden coverings to roofs with their enfoldings, as yet to be seen on 
 our cathedrals and other structures. 
 
 To mention the doorway and one of the windows to the chancel, 
 
Collegiate Church of St. Katherme. 349 
 
 they are of the flat-arched Tudor fashion, and no way remarkable. 
 The other windows are merely common make-shift frames for contain- 
 ing quarries of glass. On the wooden tower a mean wooden spire, 
 covered with slates. 
 
 Construction of the trunks so as to form uprights or walls to the 
 building. 
 
 A horizontal regular-worked timber, by way of plinth — length that 
 of the front or sides of the elevations, width 1 foot, height 7 inches — 
 in which a groove is cut, in depth 2 inches, in width 2 inches. The 
 trunk or half of the tree, 8 inches in section, cut away at bottom into 
 a tenon, 6 inches in width and 2 inches in height, is inserted into 
 the groove of the horizontal timber as its base sustainment. At top 
 the trunk is canted down 1 foot, leaving a horizontal ridge of ij- 
 inches, giving on its face an inverted semicircular head, forming 
 that figure seen in our earliest Saxon capitals, of which this before us 
 is certainly one of the first accidental causes, producing so simple 
 though pleasing a feature. A second horizontal square timber, by 
 way of an entablature, grooved in like manner as the first or plinth 
 timber, receives the ridges of the trunks. By these plain and intelli- 
 gent means the trunks are permanently secured. And that this is 
 the fact centuries have handed down to us this interesting practice 
 of carpentry, which remains extremely perfect, and in the best condi- 
 tion possible. 
 
 It is curious to find the bark on the trunks yet show their natural 
 winding flutings unimpaired. Each trunk standing apart (as before 
 mentioned) one inch, it may be inferred, afforded sufficient light to 
 the interior (these openings are now filled up with plaster, etc.). 
 
 Royal Hospital and Collegiate Church of St.* Katherine, 
 near the Tower of London. 
 
 Surveyed 1809. 
 
 [1809, Part I., pp. 100-103.] 
 
 When it is considered, that as the Queens of England, from 
 Matilda, consort of King Stephen (foundress of the hospital), to the 
 present time, have always taken so great an interest in this 
 establishment, they being patronesses thereof — to find the vestiges of 
 the hospital in the residences for the master, brethren, sisters, and 
 beadswomen, little better in appearance than some wretched poor- 
 house — from the history of the hospital and church, published by 
 Dr. Ducarel, 1782, the mind is raised to a scene of the utmost 
 importance, and which cannot easily brook the sad reverse now 
 visible — it is piteous ! it is deplorable ! 
 
 I first visited these remains in 1780; and, upon this my second 
 exploration, I find that eight years ago some considerable alterations 
 were entered upon, in taking down the school at the west front of 
 the church, modernizing the said front, casing with brickwork the 
 
35o 
 
 Architectural Innovation. 
 
 greater part of the north and south sides of the choir, and entirely 
 rebuilding the east front. These innovations, with those made 
 previous to my first visit, will be regularly treated upon in the 
 following survey. 
 
 All trace of the ancient buildings which were on the north side of 
 the church are entirely done away (if we except some small particles 
 of a stone wall, containing the head of a doorway, etc., at the back of 
 the master's garden) ; as are those on the south side. The present 
 master's and the brethren's houses on the north side of the church 
 were rebuilt in 1756. The houses for the sisters, etc., on the south 
 side of the church rebuilt in 1695. 
 
 The Church. 
 
 Plan. — A nave and two aisles, the work of Thomas de Beckington, 
 master, about the year 1443. Before the west doorway is a modern 
 porch, on which is erected a square tower, for the purpose of a 
 belfry. The divisions for the aisles are five, made by clusters of four 
 columns and hollows between each. The choir, the work of William 
 de Erldesby and John de Hermesthorp, master, 1369, narrows itself, 
 and runs on a line with the clusters of columns in the nave. On 
 each side the choir are clusters of extreme small columns, placed 
 against the walls in four divisions, with a large window between each 
 division, bricked up. On each side of the entrance within the west 
 end of the choir are four stalls ; and within the two first divisions, 
 north and south of ditto, nine stalls. In the third division on the 
 north side of ditto, the magnificent monument and chantry (which 
 chantry projects northwards beyond the wall of the church) of John 
 Holland, Duke of Exeter. Against the several piers of the windows, 
 and at the angles of the walls, are buttresses. 
 
 West Front. — Little of the ancient uprights are to be seen, other- 
 wise than in the west windows (of three lights and pleasing tracery) 
 of the aisles of the nave, and the buttresses at the angles of the walls. 
 The tower in the centre of the front, with its angular splays, doorway, 
 window, and clock-dial to the first story, and window to the second 
 story, with its battlements and compo pinnacles, as also the strange 
 space on each, the tower eking out the width of the nave, purely 
 modern, betraying the narrow minds of the guardians of the pile, and 
 the lack of all architectural taste in the builder. The original door- 
 way into the nave, of much rich work, shut up from any advantageous 
 show by the porch of the tower above hinted at. 
 
 North Front. — The aisle of the nave presents its five windows 
 (the two first from the west bricked up), and buttresses. Little 
 alteration, otherwise than in patching up the buttresses with brick- 
 work, and running on a brick parapet. The five windows to the 
 upper story remain ; but the tracery turns have been cut away. A 
 modern brick parapet on this story also. The choir in one upright 
 
Collegiate Church of St. Katherine. 351 
 
 of a line with height of the nave, in the first and second divisions 
 with the buttresses, faced with the late new brickwork.* In the 
 third and fourth divisions the original decorations of the buttresses 
 and windows, with surrounding stonework, has escaped annihilation, 
 though the openings of the windows are bricked up. 
 
 South Front. — Shows the nave in much the same condition as has 
 been specified in that of the north front, though only one of the 
 windows has been bricked, which is on the upper story. The east 
 windows to each aisle are bricked up. The four divisions for the 
 choir have undergone an entire late new facing, obliterating every 
 original decoration with brickwork (some of the buttresses left with a 
 few feet of the old stonework), stone splays to the buttresses, and 
 stone coping to the parapet, positively carrying on the semblance of 
 some extensive and lofty range of warehouses. 
 
 East Front. — A late new design, which, I am warranted to say, is 
 as despicable and unscientific as it was before noble and replete with 
 due architectural character. It stands a discordant mixture of stone 
 and brickwork. The professor of each art shows the absurdity of his 
 labour by thus coming in contact, bound together as fast as may be, 
 by the unclassical and perversely-minded designer, who, it is under- 
 stood, had his orders to restore the old front, which he has done in 
 manner and form as here followeth : 
 
 The brickwork is confined to octangular turrets and buttresses at 
 the angles of the front, a basement from the ground line to the sill of 
 the east window, and to the pediment over the arch of the east 
 window. All this is on the common warehouse system. The 
 remaining part of the front is made out by the east window itself. A 
 something like the original opening of the window has been suffered 
 to remain ; the dimensions ample, of a fine proportion, and turns 
 with its due pointed head. It was a universal mode in a St. 
 Katherine window to give as a prime feature in the tracery a large 
 circle. This rule was observed at each period or order of our ancient 
 architecture, and was never deviated from. Another strong principle 
 guided the ancient artist in his window construction, which was to 
 preserve the springing line of the arch, so that every particular, either 
 of mullion or tracery, might assimilate itself to such an essential part 
 of the decoration. 
 
 After this demonstration so laid down, it will scarce be credited by 
 some readers that in the new window before us this mode of practice 
 has been wholly overlooked or despised, for a literal imitation of a 
 small coach-wheel, its spokes, with Roman paterae attached to its 
 outer sweep, has been introduced instead of a St. Katherine's circle, 
 with appropriate tracery ; and the springing-line of the arch utterly 
 unheeded. The new stonework commences without any architrave 
 to the window, being two stories of eight lights each ; the first story 
 * Meaning the work done since 1800. 
 
352 
 
 Architectural Innovation. 
 
 a long height, and the second story a very short height. A horizontal 
 cornice divides each story, which stories are so contrived as to be quite 
 independent one from the other. In the upper part of the head of 
 the window is the coach-wheel alluded to, with some fillings-in of 
 strange sweeps and upright jambs, and " other incongruous props," 
 forming upon the whole a congestion of irrelevant and distorted lines, 
 that it will scarcely be possible for the most determined foe to 
 architectural propriety and ancient science to go beyond it. 
 
 Interior of the Church. — The uprights of the nave in their lines 
 rather plain, but well proportioned, the capitals to the columns with- 
 out ornaments, the plinths of the bases and abacuses to the capitals 
 octangular, and the architraves to the arches have but few mouldings. 
 The first story is parted from the second by a string moulding : the 
 windows to the latter story small, containing two lights ; the 
 architraves modern, the turns to the tracery cut away ; a modern 
 cornice concludes the uprights. The ceiling partly modern, and 
 partly made out with some of the old open timber-work. The 
 windows of the aisles come on view with much effect, as they retain 
 all their pleasing forms. The west end of the nave, a blank wall ; 
 the fine west window sacrificed for the modern organ-case and gallery 
 there set up, an undertaking gone into in the usual contemptible and 
 burlesque method of imitating our ancient decorations. The front of 
 the screen entering into the choir a huddle of fantastic lines from 
 the same school, and perforations made at the back (framed and 
 glazed), through the fine stalls in the choir. The font is a mean and 
 pitiful modern marble piece of masonry, and by way of carrying on 
 the introduction of such-like improvements, two clumsy Buzaglio 
 stoves adorn the aisles, north and south. Pew-lumber as in other 
 churches. 
 
 The Choir. — The open-worked doors passing into the choir original, 
 the width of the choir noble, and its height peculiarly striking, and, 
 with the lofty and delicate clusters of columns attached to the walls, 
 give a most impressive scene. The arches, with their architraves to 
 the windows, convey an idea of much grandeur ; still, how much more 
 such a prepossession would be increased if it were possible to remove 
 the blocking-up in the eight windows, which might then bring forth to 
 observation a profusion of embellishments, now lost in masses of 
 brickwork, which render the choir dark and of the most gloomy 
 appearance. 
 
 If it were easy to conceive that anything worse than bad can be in 
 existence, we might hold up the interior of the late new east window, 
 though a repetition of the external lines, for still great reprehension, 
 as being in a state of comparison with the original sublime objects 
 around it. The decorations of the choir are truly grand, in the stalls 
 and the reading-screens before them. There are four stalls on each 
 side the entrance westward, and nine stalls on each side of the choir, 
 
Collegiate Church of St. Katherine. 353 
 
 on the north side of which three of the stalls have been nearly cut 
 away to bring in a modern doorway, barbarously set up at this point. 
 Some other partial dilapidations are done to the stalls likewise in this 
 range. Under the seats of the stalls very curious carvings. In the 
 second division of arches on the north wall, very remarkable com- 
 partments occur, but cruelly havocked for the setting up a modern 
 monument. In the third division stands the glory of the fabric, the 
 superb and elegant monument of the Duke of Exeter, with the statues 
 of the duke, his first wife and sister. The design presents a large 
 arch, under which lie the august personages, and which arch opens 
 into the chantry belonging to the monument, now modernized into a 
 vestry-room, or, according to a vain presumption in keeping some 
 idea of the first arrangement, chapter-house and commissary's court. 
 An infinite number of small niches (statues destroyed) with a profu- 
 sion of ornaments fill every part of the work, and a square-headed 
 doorway, as making out the general appearance, gives admittance 
 into the chantry. In the third division, on the south wall of the 
 choir, is a flat arch Tudor-designed monument, but much havocked. 
 The ceiling corresponds with that in the nave. 
 
 The Altar-Screen. — Whatever might have been the wish of those 
 who suggested the setting of it up, in respect to its being a sort of 
 imitation of the stall-work of the choir, they certainly have been much 
 deceived in their expectations, as the artist employed has evidently, 
 in his contrivance for an altar accompaniment, paid more devotion 
 to the practice of the modern schools of art than the performances of 
 his ancient brethren. We witness pointed arches, with common 
 modern square compartments, niches with pinnacled canopies and 
 circular modern backs, buttresses, open-worked parapets, with modern 
 mouldings and modern ornaments, etc. 
 
 Priory of St. Bartholomew, Smithfield. 
 
 Surveyed 1809. 
 
 [1809, Part L, pp. 226-228.] 
 
 Founded by Raherus, minstrel to Henry I., about the year 1102, 
 and who became himself the first prior. In succeeding times altera- 
 tions in the edifices consequently took place, and which, as far as the 
 remains admit, will be noted as the various styles occur (extremely 
 distinct). These remains are very considerable, as is seen in the 
 eastern part of the church (western part of ditto nearly destroyed), 
 cloisters, chapter-house, crypt to the dormitory, and other particulars 
 of the general arrangement. 
 
 The priory stands on the eastern side of Smithfield, but is at 
 present almost shut out from view by surrounding mean habitations, 
 so that it is with much difficulty the walls can be traced, and many of 
 the sacred buildings are occupied for the most unhallowed purposes ; 
 
 vol. x. 23 
 
354 Architecttiral Innovation. 
 
 and I find that since 1791, when first I studied and took a general 
 plan of the priory, only one piece of antiquity has been done away ; 
 it will be noticed in its proper place. At the time of my first visit, a 
 very powerful junto in the parish had concerted a sort of scheme to 
 sweep the whole remains away, church and all, under the weak 
 pretence that a certain part of the choir was then in imminent danger of 
 falling. We have much to thank an able architect and antiquary* 
 for his professional exertions on the occasion, in a few judicious 
 repairs, done in the teeth of the would-be innovators, that we at this 
 moment have the very great satisfaction to behold so much of the 
 priory demanding our attention and regard. 
 
 General Plan. 
 
 The Church. — The nave nearly destroyed, a portion of which is left 
 in the doorway entering from the west front into the south aisle of the 
 nave, the south wall of ditto aisle forming the wall for the north 
 cloister, and the eighth or last division of the said south aisle. (At 
 this point is run up the present modern west front for the church.) 
 The work of these particulars is in the earliest Pointed style. (The 
 site of the nave a burying-ground.) Four great arches next occur, 
 which once supported a centre tower • they are in the latest Saxon 
 manner, as is the work of the choir commencing immediately from 
 the tower. The choir is in five divisions, and once took at the east 
 end a circular turn, but this is superseded by a modern upright, 
 termed the east end of the church. The fourth and fifth divisions on 
 the north side of the choir are filled in with the monument of 
 Raherus. Behind the above eastern upright is wailed out the base- 
 ment part of the original circular termination, making a place 
 vulgarly termed Purgatory ; it is used as a vault for bones, etc. The 
 aisles round the choir, north and south, rather in a complete state, 
 but the eastern ditto is deficient in this respect, as its south-east line 
 has given place to some late square-formed disposure on this part. 
 Tudor windows have been substituted in the north aisle, etc. 
 
 Eastward of the present church is an attached oblong building, 
 called Our Lady's Chapel, but wholly filled up with modern tene- 
 ments. The north transept is entirely destroyed, and the north great 
 arch of the centre tower, which entered into it, has of course been 
 filled up as a portion of the general north side of the church. The 
 south transept of Saxon work exists, but walled out on its north side 
 from the church ; it is unroofed, and left as a ruin, and serves for a 
 small burying-ground. At the eastern end of the south aisle of the 
 choir is the vestry, a complete specimen of simple Saxon architecture. 
 Its original windows are stopped out, though visible externally, north 
 and east ; its south ditto destroyed, and a modern one stuck in its 
 
 * — Hardwick, Esq. 
 
Priory of St. Bartholomew, Smithfield. 355 
 
 place. The cloisters lie on the south side of the nave, taking up 
 that entire range. 
 
 The east cloister is the only one left. It is in the Tudor style, and 
 has eight divisions, though I am inclined to think that there was a 
 ninth ditto to the south. At the north end of this cloister is a very 
 curious Saxon doorway, entering into the last division eastwards of 
 south aisle of the nave. It is stopped up. This cloister is used as a 
 receptacle for horses, being deemed a very " comfortable eight-stall 
 stable." To this I object but little, as such useful and noble animals 
 cannot surely much defile the consecrated walk. But when I 
 observe the site of the north cloister (at the west end of which is 
 much of its western division) fitted up with a blacksmith's forge, a 
 public-house, and certain private offices, my indignation is great 
 indeed ! I must proceed. The site of the south and west cloisters, 
 parcelled into coach-houses, store-vaults, etc., a profanation, no 
 doubt, but a silent one at least. It may be mentioned that part of 
 the east wall of the east cloister is what makes the west side of the 
 south transept. At some four or five feet from the south wall of the 
 transept (a space converted into a saw-pit), and immediately proceed- 
 ing from the east cloister (though not directly in the centre of the 
 line), is the chapter-house ; style, Henry III.'s reign. It is an 
 oblong building. The walls now show no higher than the dado, and 
 it is turned into a store place for sawed timber. From the south 
 wall of the chapter-house, to which it is connected, runs to the south 
 the crypt of the dormitory. (The dormitory itself over it destroyed.) 
 To the date of the work I cannot speak positively, probably very 
 remote, as the arches are circular ; however, its extent is great, and 
 is portioned into two aisles by eleven divisions, with octangular 
 columns. This grand crypt is, I am sorry to state, bricked up into 
 a variety of store-vaults of all descriptions, hiding in a manner its 
 design, and doing away nearly all its interest. At about two-thirds 
 of the length of the crypt one of the divisions is left open for a 
 common thoroughfare. Directly against the wall of the south aisle 
 of the choir of the church is a magnificent small chapel, with a grand 
 arch of entrance from the south transept (latticed up), a doorway 
 from the church (stopped up), and windows on the east and south 
 side. The design is of the turn of Edward III.'s reign. Its 
 use now, a store-room for hops, etc. There are some faint traces of 
 wall in numerous directions, and I observe every object remains as I 
 studied from them in 1791, without any more mutilation or curtail- 
 ment, excepting an avenue of much rich work, taking its course 
 directly from the western angle of the site of the south cloister (the 
 dilapidation hinted at above), which I found now destroyed, and its 
 room taken up for a coach-house, etc., this avenue at that time 
 making part of a broker's shop. 
 
 23—2 
 
35^ 
 
 A rchitectural Innovation. 
 
 [1809, Part 1., pp. 327, 328.] 
 
 West Front of the Church (of which the doorway entering into the 
 south aisle of the nave only remains). — It is of considerable dimen- 
 sions, and much enriched ; four columns on each side (capitals 
 plain) support a succession of four architraves round the arch of the 
 doorway ; in each architrave are the small diagonal flowers so 
 peculiar to the early Pointed style. If, therefore, this remnant door- 
 way shows so much consequence, what ideas must be entertained of 
 the whole front when in its perfect state ? In a similar doorway into 
 the north aisle of the nave, and a centre doorway (of still greater 
 magnitude, no doubt) into the centre aisle of the nave, windows, 
 buttresses, pediments, and every other decoration, making out a 
 design upon such an enlarged and magnificent scale. As the nave 
 is in a manner destroyed, little opinion can be advanced of its up- 
 right ; yet, judging from the remnant of groins at the back of the 
 west doorway, and those to the last division of the south aisle, 
 attached to the south transept, it unquestionably appeared with much 
 grandeur. The present west front, run up against the entrance 
 under the four grand arches introductory to the choir, maybe applied 
 to Elizabeth's reign, made out in a brick tower, with stone dressings, 
 a doorway and windows, a common west window, with frames of 
 glass, and a common west doorway. This latter object and west 
 window-frames of a recent date. 
 
 North Front of the Church. — Some vestige of the stone walls, but 
 patched with brickwork. Outside of the great arch to the transept 
 visible ; side of aisle and centre aisle of choir visible, each patched 
 with brickwork. 
 
 East Front. — Wholly faced with brickwork. 
 
 South F7-ont. — Vestiges of the stone walls and arches of windows 
 to the centre aisle of the choir. They are in general patched with 
 brickwork. The windows of the vestry of the plainest forms, yet not 
 the less interesting. 
 
 Magnificent Chapel on the South Side of the Choir. — The windows 
 on the east and south sides have lost their arched heads ; the columns 
 and architraves to the jambs remain. They are very delicate and 
 beautiful ; the dado mouldings are remarkably so. The large arch- 
 way from the south transept has columns and a fine architrave. The 
 upper part of this chapel destroyed. 
 
 East Cloister. — Each division gives columns supporting the groins, 
 and the architraves to the windows follow the lines of ditto. The 
 arches are in the best Tudor proportion ; that is, before they began 
 to fall from their equilateral proportion to that flat sweep, which was 
 necessarily obliged to be struck from four centres, a sweep never 
 wholly disused until the latter end of Elizabeth's reign. At the inter- 
 section of the ribs of the groins are bosses, with a variety of historic 
 
Priory of St. Bartholomew \ Smitkfield. 357 
 
 basso-relievos, shields, heads and foliage. Upon the whole, this 
 cloister is a good study for the curious artist and amateur. 
 
 Chapter-Mouse. — The walls are left on the east, north and south 
 sides to a height, from whence it may be inferred the windows took 
 their rise, comprehending the dado part of the design. On the east 
 side are three entrances (stopped up) from the cloister ; on the 
 north and south sides a series of arches, supported by ornamented 
 corbels ; the arches have most pleasing and chaste tracery. 
 
 The avenue on the south side of the cloisters, lately destroyed 
 (which, unfortunately, I neglected to sketch in 1791), if my recollec- 
 tion does not fail me, had arches and corbels correspondent to those 
 in the chapter-house. 
 
 Grand Crypt — In its lines rather plain, as the mouldings to the 
 capitals of the octangular columns (bases buried) and ribs of groins 
 are but few, yet of that appropriate turn which, as an introductory 
 story to a more enriched or principal one, was consequently adapted. 
 
 Of the four grand arches at the entrance into the choir, the west 
 arch shows a circular sweep ; east arch, a circular sweep ; north and 
 south arches present pointed sweeps. Although the details of these 
 arches are Saxon, still there is displayed a sort of unity in these varied 
 sweeps. This was a practice not uncommon with our ancestors, for 
 the like combination is found at Canterbury, Malmesbury, Hexham, 
 etc. At present the west arch springs from Tudor brackets ; east 
 arch springs from columns, their lower lines cut away ; north and 
 south arches have their supporting columns complete. The orna- 
 ments to the capitals of these columns are pleasing, as are also 
 some to the compartments in the spandrels of the arches. 
 
 South Tra?isept. — Awfully picturesque ! rendered so from its cruel 
 state of dilapidation. On the east side, over the grand entrance to 
 the magnificent chapel, is a most pleasing gallery of arches and demi 
 ditto with columns ; some of the arches remain open while the others 
 are bricked up. On the south side three grand windows (centre one 
 of the larger dimension), but bricked up. The west side shows barely 
 any vestige of decorations. 
 
 Choir. — The arches are supported alternately by single columns 
 and piers, with many breaks. Their lines are much obtruded upon, 
 not alone by the monument of Raherus, but by those of a much 
 more recent setting up ; bases buried. The capitals have the divided 
 ovolo ; the mouldings to the architraves of the arches have in the 
 hollows detached rounds, vulgarly termed billet-mouldings. The 
 gallery story is grand, large arches and columns, with demi ditto, 
 succeed each other ; the capitals have the divided ovolo, and the 
 larger arches in their architraves give the detached rounds.* In the 
 third division of the gallery on the south side (from the west) is 
 inserted the seat of Prior Bolton (the last prior but one), rendered a 
 
 * Elevation of one division engraved in the " Ancient Architecture of England." 
 
358 
 
 Architectural Innovation. 
 
 secluded situation by a screen of much rich work set up before it. 
 In its dado is a basso-relievo of his device, a bolt (arrow) transfixed 
 through a tun. The Tudor work of this screen but ill accords with 
 the primaeval lines of the gallery; however, as it is an historical 
 memorial, we must forgive the seeming incongruity. In the window 
 story, Tudor Pointed windows, mullions destroyed. Ceiling the 
 wreck, perhaps, of some rich Tudor open-worked timber roof, pared 
 down to a common pediment, covering and cross timbers, which 
 timbers are supported by cherubim's heads. Cherubim's heads, 
 considered as architectural corbels in our churches, seem to have 
 been first brought in by Sir Christopher Wren, as is demonstrated in 
 his St. Paul's by such a numerous and confused show, and in other of 
 his religious erections. Thus, of course, they became a general 
 ornament, and we must not be surprised to find them stuck up at St. 
 Bartholomew's as an improvement in the embellishments of the build- 
 ing. At the east end of the choir some faint traces of the original 
 east window ; the rest of the space filled in with two modern common 
 circular-headed windows, and a painted theatrical scene of architecture 
 in the Doric style, by way of an altar decoration. The side aisles 
 retain their original groins. 
 
 The monument of Raherus, taking up two of the arches on the 
 north side of the choir, is in the Tudor style. Stow informs us, 
 indeed, that it was renewed at such a period, let us suppose by Prior 
 Bolton himself, who by the above ever-to-be-revered antiquary is 
 called " a great builder." The monument has six divisions. The 
 first three open into a recess, containing the tomb of the founder, on 
 which lies recumbent, in the usual devotional attitude, his statue, in 
 his monk's habit. On each side of him a small kneeling statue of a 
 monk, each reading. At the east end of the recess a half-length 
 angel, with Raherus' shield of arms. The tomb possesses much 
 rich tracery, with shields ; the recess is elaborately adorned also. 
 Fourth division of the monument gives a large compartment ; fifth and 
 sixth divisions afford space for a doorway, entering from the north 
 aisle. The canopies and spandrels to each division are rich and full 
 of delicate compartments and tracery. The design terminates with 
 an entablature and a rich fleur-de-lis. 
 
 St. Albans (1809). 
 
 Recent Innovations. — St. Michael's Church. 
 
 [1809, Part I., pp. 431, 432.] 
 
 It appears that upon some beautifying job done in this building, a 
 large painting was discovered of the Last Judgment ; it was soon 
 copied by an ingenious artist of the place ; since that time the whole 
 painting has been nearly obliterated. The style of the performance 
 about Henry's VH.'s reign. 
 
St. Albans. 
 
 359 
 
 St. Peter's Church. 
 
 The eastern end, or chancel, entirely destroyed, being, it is said, of 
 "no real service to the inhabitants." The centre tower rebuilt, but 
 not with any attention to its prior design. It now shows a vulgar 
 jumble of incongruous parts, worked on that principle which we call 
 "miserably modern." The body of the church has been altered, in 
 many instances, upon the same barbarous model ; the west front in 
 particular showing more forcibly the broad hoof of innovation, in the 
 love of religious architectural change. The state of the interior at a 
 future opportunity. 
 
 The Abbey Church. 
 
 Beyond the second division, proceeding directly from the high-altar 
 screen (the wonder of England in its splendid design), where the 
 transverse arches of the choir (stopped up) take place, forming the 
 feretory, now the vestry, are three other divisions, introductory to Our 
 Lady's Chapel (which chapel is turned into a schoolroom). The first 
 of these divisions has long been opened, by holes broke through the 
 north and south walls, as a thoroughfare from the town into the site 
 of the abbey buildings, called at present the abbey orchard. The 
 other two divisions are partitioned off into a rabble play-place for the 
 scholars. The covering to these divisions, flat panelled compart- 
 ments, curiously painted with the devices of some of the later 
 religious of the church, prior to the dissolution. These paintings 
 have been torn down, and cut up for fuel; and when the tearer- 
 down was respectfully reminded how much gratified antiquaries 
 would have been had their preservation been announced instead of 
 destruction, he with a cruel indifference answered, " What have we to 
 do with such superstitious objects ? I think I have put them away 
 in the manner they best deserved." 
 
 Upon the space over the high-altar table are certain sacred 
 characters, about which are stuck some childish embellishments of 
 polished brass-work. These supposed embellishments are, however, 
 unworthy of further criticism, though exciting much contempt. But 
 our animadversions increase when we find in the feretory, in order to 
 screen some very unfit conveniences for so sacred a spot, a quantity 
 of paltry paper-hangings, imitations of our ancient architecture, as 
 they are called, but despicable to the last degree in point of execu- 
 tion ; in fact, such miserable modern attempts in this sort as are now 
 to be found at paper-hangers' and window-blind manufactories. Nay, 
 further, on the south side of Duke Humphrey's matchless monument, 
 and on the north side of the chantry in the feretory, are hung up, 
 hiding the excellent rich work of either, warning-boards, relative to 
 the wearers of pattens, common disturbers of devotion, and other 
 irreligious visitants. 
 
360 
 
 A rchitectural Innovation. 
 
 The remains of the west porches, entering into the north and 
 south aisles of the nave, replete with some of the most charming 
 characteristics of the early Pointed style, give detached marble 
 columns, with rich foliaged capitals, double turned arches, rich 
 foliaged brackets, ornamented groins, etc. 
 
 Tottenham High Cross. 
 
 Surveyed A ugust, 1788.* 
 [1809, Part II, pp. 998, 999. J 
 
 Authors do not tell us that Edward I. erected a cross to the 
 memory of his beloved Eleanora on any spot between that at 
 Waltham and the one at Charing, as they are silent whether the 
 corpse rested between those places on its way for interment at 
 Westminster ; yet many people have, and still continue to suppose, 
 that the cross at Tottenham (a work of the sixteenth century) is on 
 the site where one similar to those at Geddington, Northampton, and 
 Waltham (still in being) once stood, as it is of a very inferior cast to 
 those architectural glories, and must have been set up on the 
 destruction of the first cross, overthrown either by accident or 
 design, merely with the intention of keeping alive the memory of 
 one of the resting-places of the royal funeral, without meditating or 
 presuming to rival those either at Waltham or Charing. 
 
 Be this as it may, Tottenham High Cross has this summer been 
 covered over with compo ; it previously bore a simple appearance, but 
 is now rendered of a very rich and elaborate cast, doing away in the 
 first instance the architectural history of the erection ; and allowing 
 it possible that there might once have been on the spot an Eleanora 
 cross, holding in contempt, by a want of due imitation, the 
 characteristic style of decoration prevalent at the time of the 
 Queen's demise. But according to the system of our professional 
 innovators, to destroy a sacred relic of antiquity, and to restore it, as 
 it is called, upon a model quite in a different style and nature, is one 
 and the same thing. . . . 
 
 It is an octangular brick pillar, divided in its height into four 
 stories; viz. a double plinth, first portion of the pillar, second 
 portion of ditto, and a pinnacle. Each plinth and story rendered 
 distinct one from the other by certain appropriate mouldings, and 
 the whole design appeared without any kind of ornament. 
 
 Tottenham High Cross, surveyed November, 1809. — Entirely 
 covered with the proclaimed everlasting stuff, compo — a stuff now 
 the rage for trowelling over our new buildings, either on the whole 
 surface or in partial daubings and patchings ; it is used in common 
 with stone work — for instance, on an arcade, half one material, half 
 
 * See a pleasing view of this cross by Wale, published 1756, by Sir John 
 Hawkins in Walton's " Complete Angler." 
 
Tottenham High Cross. 
 
 361 
 
 the other ; " making good," as it is called (abominable expedient) the 
 mutilated parts of ancient structures, there sticking on until it 
 reverts (after exposure to the air for three or four years, more or less) 
 to its first quality, dirt and rubbish, and then is seen no more. 
 
 The mere octangular plan, and proportion of the cross in its four 
 stories, has not been departed from, but in other respects it is a new 
 work, in the style of architecture of the Tudor era, and some 
 particular decorations seem to be casts from the exterior and interior 
 of Henry VII.'s Chapel. 
 
 Double plinth, or pedestal plain as before, but the intermediate 
 mouldings new ; first portion of the pillar, angular pilasters at each 
 cant of the octagon, and the face of the cant done with a pointed 
 head, compartment of five turns connecting itself with another com- 
 partment above it, diamonded, with a shield containing a clumsy 
 imitation of a black letter. As there are eight faces to the upright, 
 of course there are as many shields, each bearing a letter of the 
 same cutting : beginning at the west face the letters run thus, 
 TOTENHAM. In consequence of there being but eight 
 shields, one of the T's in the spelling has necessarily been dispensed 
 with. At any rate, by this device of the word " Totenham," all doubt 
 about its being one of the Eleanor crosses is done away, and it is 
 now in fact the four-mile stone from Shoreditch Church to " Toten- 
 ham," on the road to Ware, and so forth. The mouldings between 
 this story and the second are worked into an entablature with 
 modern fancy heads, and small pieces of ornaments alternately set at 
 each angle. Second story : small buttresses at the angles of the 
 octagon, with breaks and pinnacles, but no bases. The face of each 
 cant has a compartment with an ogee head, backed with narrow 
 pointed compartments. The mouldings between this story and the 
 pinnacle, a repetition of those on the plinths. The pinnacle making 
 out the fourth story gives at each angle crockets, and its termination 
 is with a double finial, but not set on in geometrical rule to the 
 crockets below. I shall not say anything to the vane and initials 
 N. E. W. S., as they are purely modern. 
 
 High-Altar Screen, Christchurch, Hampshire. 
 
 Surveyed 1789. 
 
 [iSn, Part I., p. 131.] 
 
 The design is worked without any perforations (excepting the door- 
 ways right and left) ; it extends across the choir, and rises to a 
 proportionable height, which height is wrought in four stories, and in 
 the width thereof are five divisions, occupied by small and large 
 niches, with an exceeding large compartment in the centre, placed 
 immediately over the site of the altar-table. In the small niches 
 all the statues are preserved, while the large niches are deprived of 
 such accompaniments. The large centrical compartment retains its 
 
362 
 
 Architectural Innovation. 
 
 sculpture complete. The lines of the elevation are minute and rich, 
 and the whole is crowned by a very beautiful and delicate entabla- 
 ture. From the turn of the design, we see the great professional 
 skill manifested in the fourteenth century, in a happy union and 
 due distribution of every particular therein contained. 
 
 Among the small statues are Moses, Aaron, the twelve Apostles, 
 with St. Nicholas, St Catherine, St. Helena, St. George, etc. The 
 large compartment contains, in basso-relievo, these subjects : On 
 the lower part is the figure of Jesse ; from his loins rises the 
 mystical vine, which passes from him to David, who is on his right 
 hand (playing on the harp), and then, on his left hand, to the royal 
 moralist Solomon. These three characters are represented cross- 
 legged. The stem then appears as introducing the scene of the 
 offerings of the Magi (or the three kings from the East) to the infant 
 Jesus, who is supported by His divine mother, she being in a re- 
 cumbent posture. Joseph is behind her. In the centre of the 
 sculptures are those of the shepherds and their flocks, and above 
 them is the angel pointing to the star. These several figures, except- 
 ing the angels and shepherds, which are carved small to give an 
 idea, it is presumed, of distance, are the size of life. They are well 
 executed, and the vestments of the kings and shepherds give the 
 exact costume of Edward III.'s reign.* 
 
 Harrow Church, Middlesex (181 1). 
 li%u, Part II., pp. 517-518.] 
 
 Great interest still adheres to the walls of this edifice ; for, though 
 ruthless innovation has held uncontrolled sway, there are to be met 
 with various specimens of our ancient architecture. The oldest relic 
 is the West Doorway, of Saxon work (evincing that the walls them- 
 selves are of that origin), double columns, with rich capitals supporting 
 double arches ; one a flat segment of a circle, the other a regular 
 semicircle. The segment shows the diagonal ornament; the semi 
 is thick overlaid with plaster ; of course, its ornaments are lost for 
 the present. Some few years back there was a very curious font, but 
 destroyed in 1800 to give place to a paltry modern marble font. 
 The next objects that occur in point of style, are the doorways, 
 North and South, of the time of Henry III. ; pleasing designs ; 
 columns supporting arches of the pointed form, with architraves of 
 many mouldings, but devoid of ornaments. The columns and arches, 
 dividing the body of the church from the side aisles, are in a similar 
 taste, and of plain workmanship. The several windows have been 
 so totally changed from their first appearance, that nothing can be 
 decisively said about them. The ceiling of the interior is of the 
 Tudor cast, being one of those flat inclined timber pannelled cover- 
 
 * This basso-relievo is engraved to a large scale in "Ancient Sculpture and 
 Painting." 
 
Winchester Cathedral. 
 
 3 6 3 
 
 ings, so generally found in most of our old churches, proving (not- 
 withstanding the edifice may be, as to foundation, etc., of a more 
 distant period), that they, in latter times, had undergone repairs and 
 alterations according to the then prevailing mode of work. The 
 present ceiling under discussion shows the principal dividing timbers, 
 supported by angels playing on a variety of musical instruments of 
 the day, and among them are two examples of those combinations of 
 pipes, such as we now see performed upon by the Pandeans. One 
 of these instruments has a double row of pipes, evidently for the 
 purpose of playing first and second parts. 
 
 Winchester Cathedral. 
 
 Visited 1810. 
 
 " Though Canterbury be the higher stall, Winchester is the better manger." 
 [1812, Part I., p. 7.] 
 
 The meaning of this old saw being so obvious, little need be said in 
 explanation, otherwise than to express some surprise that this church 
 of Winchester is so indifferently attended to in regard to common 
 necessary repairs. The West front remains in the same neglected 
 condition as it appeared in 1789. The North transept, one of the 
 grandest examples of Saxon architecture, has indeed been cleared 
 since the foregoing date from the rubbish that usually filled up its 
 aisles ; yet still continues to be shut out from the rest of the fabric, 
 as though it were a part possessing neither use nor beauty. I found 
 a few repairs going on in the choir ; but, on inquiry, was given to 
 understand the progress was so slow, that many visitors had suspected 
 the requisite funds for executing the same were either deficient or 
 circumscribed, so that a lively and vigorous prosecution of the under- 
 taking was altogether an impossible thing. I recollect no other trace 
 of ecclesiastical care. The yearly visitation paid to Waynefleet's 
 monumental chapel is duly performed, but with such a duty the 
 church has no concern ; Magdalen College looks to this. Beaufort's 
 monumental chapel, its companion in splendour and noble design, 
 fares rather ill in this respect : no reverential sons pay obligatory 
 attention to the sublime sepulchral memorial ; it is left to take its 
 chance, as it is called, either from the damage sustained in being 
 exposed to the out-of-repair vaultings over it, or from the depredations 
 of mischievous people, encouraged by those who resort to the spot 
 for no other purpose but to censure and deride the pious remains of 
 ancient art. William de Wykeham's monumental chapel, like that 
 of Waynefleet, and from the like motives, also meets with protection. 
 
 Notwithstanding the seeming fair condition of the two more fortu- 
 nate chapels, there are a few objections to be made to what the hands 
 of ignorant repairers and beautifiers have done to them. The muti- 
 lations wrought on the statues of Wykeham and Waynefleet, in the 
 
364 
 
 A rchitcctural Innovation. 
 
 noses, mouths, and other particular parts, by the rage of barbarous 
 and misguided zeal, have been restored, but in such a slovenly, dis- 
 graceful manner that perhaps this part of the undertaking had better 
 not have been attended to. The shields and other embellishments 
 more directly on Wykeham's tomb, also restored, but in a modern, 
 fancy way, by paintings instead of sculptured work, according to the 
 original design. These incongruities may probably escape a casual 
 observer ; but to the patient and exploring eye of an artist they appear 
 most glaring and unseemly. How far the engraving of the head of 
 Waynefleet in a recent publication of his life can be valued, becomes 
 a question, when more attention was paid by the engraver to a plaster 
 cast of the head (including its modern deformities) than to a drawing 
 made for the occasion, with natural restorations of the parts before 
 dilapidated. Hence the want of the delineator's name to the engraving 
 is accounted for. 
 
 Though the prince of poets (Shakspeare) and the prince of painters 
 (the late Sir Joshua Reynolds) in their labours have each endeavoured 
 to render the memory of Beaufort odious, his statue in this church is 
 uninjured, perfect in all its lines, and to certain passers-by (unbiased 
 in their minds when reflecting on the real character of the cardinal) a 
 memento of " terrific awe and veneration." 
 
 There is in this church a kind of griping avaricious propensity with 
 the officers deputed to show the same to strangers. Artists and other 
 ingenious men are most unfeelingly pressed in this sort; which, with 
 the extreme difficulty they stand under in obtaining leave from the 
 higher powers to study after the antiquities, render the following public 
 questions necessary. 
 
 Are the revenues of the ecclesiastical establishment unequal to 
 remunerate its menial attendants, that they must seek their wages 
 from the accidental payments of certain travellers? and is example 
 found in some corner of the foundation thus to warrant the driving 
 away literary men or artists, the handers-down to posterity of passing 
 events and existing antiquarian objects, through the means of hard 
 pecuniary requisitions ? 
 
 Whitehall. 
 
 [1812, Part 1L, pp. 540, 541.] 
 
 At the sale of drawings of the late Thomas Sandby, Esq., professor 
 of architecture to the Royal Academy, was a view taken by him on 
 the banks of the Thames at Whitehall, wherein he introduced Inigo 
 Jones's palace, from the plates already described. The scene was 
 beautiful and interesting. Sir Henry Englefield, baronet, purchased 
 the drawing. 
 
 Glastonbury, 
 
 The famous Abbot's Inn, Glastonbury (vulgarly called the 
 " George Inn "), is on the eve of being destroyed by its present 
 
Winchester. 
 
 365 
 
 possessor, who is an attorney, to erect on the site a modern dwelling. 
 This information to antiquaries is alarming, when it is considered 
 how few examples of the kind are in existence — so elegant in design, 
 so elaborate in detail. Let the interior be rendered comfortable 
 according to present habits, and welcome, as there are none of the 
 original adornments left, but to the external parts every care and 
 honour should be paid. 
 
 Winchester. 
 
 And further, the hospital of St. Cross, near Winchester, has 
 recently been committed to the care of rude and pitiless hands by 
 some ruling people, under the idea that it needed improving and 
 beautifying. 
 
 Great Hall. — Curious ancient picture, which had embellished the 
 walls for many years, is not now on show. 
 
 Cloister, or avenue on the east side of the quadrangle, a relic of 
 much decorative instruction, its eastern wall destroyed, with several 
 ornamented chimneys belonging to the infirmary and chambers over 
 the cloister; indeed, the work-people used all their professional code 
 of arguments to be indulged in removing the whole cloister, as there- 
 by they confidently affirmed a charming view of the country would 
 be gained, like that previously experienced on the south side of the 
 quadrangle ; but their attempt in this way (from some hidden cause) 
 dwindled down to a mere substitution of the eastern wall, with a 
 common fence of lath and plaster. 
 
 Church. — Porch on the north side destroyed and rebuilt, as they 
 presume to term it, neglecting, or more properly despising, a few 
 remarkables thereon, which had long exercised the ingenious opinions 
 of antiquaries. But their pleasing theories are now of no avail ; the 
 vulgar sons of the line and rule have ended all their controversies. 
 
 Interior of the Church. — South aisle of the nave ; a gravestone of 
 a remote date, with the effigies of one of the masters of the holy 
 seclusion sculptured thereon. Under this memorial, workmen, con- 
 ceiving treasure was buried (or hid, according to such plebeian feel- 
 ings), rent up the stone and rifled the grave. Their sacrilegious 
 hopes, however, were frustrated, and nothing but dust and bones 
 appeared. Through disappointment and revenge the stone was broke 
 in pieces, and the bones thrown about the pavement. And in con- 
 formity to the preposterous mode prevailing among low artificers, 
 much of the north exterior has been daubed over with plaster, and 
 the whole of the interior whitewashed and party-coloured with brown 
 and yellow washes. 
 
 All Hallows' Church, Tower Street. 
 
 [1813, Parti.,}. 333.] 
 
 This church escaped the sad effects of the great fire, and in a certain 
 degree the succeeding reparation of the Wrenean school (otherwise 
 
366 
 
 Architectural Innovation. 
 
 than in a plain brick tower at the west end, pews, organ-gallery, altar 
 piece, etc.), seen on many churches that were not given up to the 
 general overthrow, in consequence of the supposed injury done by 
 the devouring element to the major part of such sacred edifices. All 
 Hallows, it now seems, will not escape the present influenza of 
 beautifying and improving such ancient structures, as the interior is 
 delivered up to the care, discretion, and tender respect of surveyors, 
 artificers, and common labourers, who have not one jot of antiquarian 
 zeal among them. We this day (March 31), surveyed the building. 
 It has a centre and side aisles ; at the west end a plain brick tower, 
 as above cited ; north and south aisles and east end unaltered ; 
 windows of the Tudor flat sweep, with mullions and simple tracery, 
 excepting the east ditto, which presents elaborate, beautiful, and 
 singular tracery. In the interior, the more western divisions of arches, 
 raised on massy columns, are of a remote date ; those eastward take 
 the flat pointed arch and clustered columns of the Tudor era, and 
 are correspondent to the turn of the windows, as is the ceiling, made 
 out in flat compartmented timber framing, set with various ornaments 
 at the intersection of the timbers. Many old gravestones, some with 
 indents, which once contained brasses, others with their brasses 
 complete. At the eastern extremity of the side aisles, monuments of 
 the Tudor mode likewise, presenting, among other enrichments, 
 highly-wrought tracery. 
 
 On putting several questions to a person present (we believe the 
 clerk of the works), it appeared the ceiling was to give place to a new 
 one, in a better character ; the windows, more immediately the east 
 one, termed a dark piece of deformity, reconstructed (modernized), 
 monuments (being in the way) removed, but whether into any other 
 part of the aisles, or the mason's rubbish-yard, could not be ascer 
 tained. The old gravestones broke up, and the whole pavement re- 
 laid after the neatest and most comfortable manner possible. 
 
 Leadenhall. 
 
 [1813, Part I., pp. S40,54i.] 
 
 Erected in 141 9 as a public granary, with a chapel for those who 
 frequented its market. This building was at times used for other 
 purposes, the preparation of triumphs, pageants, for the distributing 
 of pious alms, etc. The design, noble in itself, a quadrangle of 
 elevations, with a cloister on each side, the arches of which, the 
 several doorways, windows, groins, chimney-pieces, open timber- 
 worked roofs, all of that pure mode of masonry and carpentry, which 
 possesses an equalization of parts, circumstances ever imparting a 
 solid satisfaction never to be effaced. A short time back the grand 
 front next the street and north cloister gave way to modern accommo- 
 dation ; now the east and south side, with their cloisters, are under 
 the destroyer's hands ; the west side is waiting the like annihilation. 
 
Leadenhall. 
 
 367 
 
 To speak of the north front, it had three stories, was divided into 
 nine parts by buttresses, in the centre an archway entering into 
 the quadrangle. The windows of the basement story very rich in 
 tracery.* Alluding also to the chapel, it projected from the east 
 cloister, had four divisions, north and south, with buttresses ; the 
 tracery of the windows, more particularly the eastern of five lights, 
 pleasing and regular. In the interior was a rich screen of introduction 
 to the chapel itself, the entrance part large, and the side compart- 
 ments replete with tracery and other accompaniments. In the 
 chapel, no decorations ; they, with the original groins and roof, long 
 since destroyed. 
 
 * Engraved in Carter's " Small Views of Ancient Buildings.'' 
 
VOL. X. 
 
NOTES. 
 
 Abergavenny Castle - 
 „ Church - 
 
 Aldborough 
 Arundel Church - 
 
 Ashby - de - la - Zouch 
 
 Church 
 Basingstoke, Holy 
 
 Ghost Chapel 
 Bath Abbey 
 
 Bermondsey Abbey 
 
 Beverley Minster 
 
 St. Mary's 298 
 
 Church 
 Bibury Church 
 
 PAGE 
 
 144, 145 
 I45-H7 
 
 303 
 :Q2-i94 
 
 128-130 
 180, 181 
 
 162 
 
 331 
 
 17-21, 
 298-301 
 
 174 
 
 The remains of the castle were in 1890 used 
 as a refreshment-room. 
 
 Nave and north aisle restored, 1882. The 
 statue (p. 146) is of Jesse, not of St. Chris- 
 topher, and is probably from a large reredos. 
 
 The nave and aisles of this church were 
 rebuilt and the chancel restored in 1871. 
 
 This church was thoroughly restored in 
 1874 under Sir G. G. Scott. The chancel, 
 known as the FitzA.lan Chapel, has been 
 screened off from the church as the private 
 property of the Duke of Norfolk, his act being 
 upheld on appeal in 1880. 
 
 Re-opened after restoration and enlarge- 
 ment in 1880. 
 
 This ruin is now surrounded by the ceme- 
 tery. 
 
 Restored in 1864, under direction of Sir G. 
 G. Scott. 
 
 Incorporated with a house in Grange Walk. 
 A small part of the gateway remained in 1878, 
 which, with some scattered fragments of wall, 
 appears to be all that was then left. Some 
 fragments are described 1808, Part ii., p. 977. 
 
 The restoration was begun in 1866, under 
 the direction of Sir G. G. Scott, who replaced 
 the screen (p. 17) by a wooden one of his own 
 design. The restoration was completed in 1868. 
 In 1887 an early English well was discovered 
 under the choir, partly filled in by fragments 
 of the ancient reredos. 
 
 Flying buttresses were added to the tran- 
 sept in 1853 by E. Welby Pugin. Church 
 restored at a cost of ;£i 2,000 between 1863- 
 1876. 
 
 Thischurchwas thoroughly repaired in 1855. 
 
 24 — 2 
 
372 
 
 Notes. 
 
 Bilbury Church 
 Bramber Castle 
 
 Brecon Castle 
 Brighton, or Bright- 
 helmstone 
 
 Bristol 
 
 Broadwater Church, 
 
 Shoreham 
 Burtord Church - 
 
 Bury-St. -Edmunds 
 
 Caldicot Castle - 
 Canterbury 
 
 Cardiff Castle 
 
 PAGE 
 288 
 
 529 
 
 252 
 3 2 3 
 
 161, 162 
 
 328, 329 
 174, 175 
 
 243 
 
 159, 160 
 9-12 
 
 Caerleon 
 
 Carew Castle 
 
 218 
 
 234 
 
 Rebuilt in 1873, tne °ld chantry being pre- 
 served. 
 
 Portions of the outer wall and a fragment of 
 a Norman tower remain. The church was 
 restored in 1870. 
 
 In a complete state of dilapidation. 
 
 In 1849 tne Pavilion was sold to the Cor- 
 poration, who keep it in repair for town pur- 
 poses. 
 
 The ancient parish church of St. Nicholas 
 has been altered so frequently that little of the 
 original work remains. It ceased to be paro- 
 chial in 1873. The font (p. 325) is really an 
 old one, and not a modern copy. 
 
 Reredos restored in 1839 ; great east win- 
 dow, 1847 ; 1860-62, interior rearranged and 
 embellished (cost upwards of ,£13,000) ; 
 1862-66, rebuilding of central tower, which 
 was in a highly dangerous condition ; 1867-77, 
 new nave built by Mr. G. E. Street, to har- 
 monise with ancient choir ; new west front 
 completed, 1888, by Mr. J. L. Pearson, R.A., 
 appointed architect on death of Street. Abbey 
 gateway restored 1885-86. 
 
 This church appeared to be in fair condition 
 in 1887. 
 
 The nave, Silvester and Chantry Chapels, 
 were restored in 1870-72 ; the chancel, tower, 
 and Tanfield Chapel in 1877. A coloured 
 niche was discovered in the Tanfield Chapel 
 in 1874. 
 
 Abbey gateway was carefully restored by 
 Mr. Cottenham, architect to Rochester Cathe- 
 dral. Some remains of the abbey are pre- 
 served by being built into houses. Some sub- 
 structures also remain. 
 
 The church was restored in 1881. 
 
 In 1830-31 the north-west tower, being in a 
 dangerous condition, was destroyed, and a new 
 one to match the S.W. built in 1840; shortly 
 after which the west front was restored. A 
 fire took place in 1872, destroying the roof of 
 the choir, which necessitated its restoration 
 and the renovation of the choir. 
 
 The greater portion of the edifice was 
 modernised by the late Marquess of Bute, 
 who converted it into a noble castellated man- 
 sion. Large sums of money have been devoted 
 to the restoration and maintenance of the 
 fabric. 
 
 A museum has been erected by public sub- 
 scription, to contain the Roman and other 
 remains discovered. The earthworks are being 
 carefully preserved. 
 
 This Norman castle is not in very good 
 condition. 
 
Notes. 
 
 373 
 
 Carisbrooke Castle 
 
 Carmarthen, Priory 
 Church 
 
 Charleton Church 
 Chepstow Castle 
 
 Church 
 
 Chichester Cathedral 
 
 Chipping Ongar Castle 
 ,, „ Church 
 
 Christchurch 
 Cirencester Church 
 
 Conisborough Castle 
 
 Coventry, Babelake 
 
 Hospital 
 Coventry Cathedral - 
 
 Ford's Hos- 
 pital 
 
 Free School- 
 Grey Friars - 
 
 St. John's 
 Church 
 
 St. Mary's 
 Hall 
 
 St. Michael's 
 Church 
 
 Trinity Church 
 
 PAGE 
 199, 200 
 
 229, 230 
 
 171 
 
 153-156 
 
 ■Sb 157 
 
 188-191 
 
 346, 347 
 347 
 
 361-362 
 174 
 
 285, 286 
 
 in 
 
 106-108 
 
 no, III 
 
 111-115 
 
 109, no 
 98-104 
 
 104, 105 
 
 105, 106 
 
 The castle is the property of the Crown, 
 which keeps it in repair. 
 
 Contains an altar tomb, said to be the 
 largest in England, removed here on the dis- 
 solution of the monastery, and restored in 
 1866. 
 
 This church was thoroughly restored in 1875. 
 
 Has been carefully preserved, and, when 
 necessary, repaired. A portion of the do- 
 mestic buildings are still occupied. 
 
 Underwent considerable alterations in 1841, 
 which were unfortunately of such a nature as 
 to entirely destroy the original character of 
 the building. 
 
 Restored, 1829; tower fell, 1861 ; rebuilt, 
 
 1865- 66 ; Lady Chapel restored, 1871-72. 
 The earthworks still partially remain. 
 Church restored in 1884, when additions 
 
 were made. 
 
 A new transept roof was fixed in 1882. 
 The church was thoroughly restored in 
 
 1866- 73 by Sir G. G. Scott, at a cost of 
 £14,000. 
 
 This castle is still in need of repair and 
 restoration. It is, however, in the charge of 
 a caretaker, who prevents wilful dilapidations. 
 
 This building is kept in repair, and used as 
 a school for boys. 
 
 Some remains of the cathedral were care- 
 fully uncovered and restored about twenty 
 years ago. 
 
 This wonderful specimen of carved Perpen- 
 dicular, half-timbered work is kept in the 
 highest state of preservation. 
 
 The school has been removed to new build- 
 ings, the old chapel being used for religious 
 services. 
 
 Christchurch steeple is the remaining part 
 of the Grey Friary. The lower stage is uti- 
 lised as the chancel of a church added in 1832. 
 
 Restored between 1875 and 1877 by Sir 
 G. G. Scott. 
 
 The interior has been carefully preserved and 
 restored by the town, whose Council Chamber 
 it forms. The exterior is in a shocking state. 
 Repairs and alterations were undertaken in 
 1763, 1818, and 1835. 
 
 Exterior walls of the aisles were repaired 
 from 1855 to 1885, in which latter year very 
 extensive restorations were commenced in- 
 ternally as well as externally, including the 
 restoration of the tower and spire to the per- 
 pendicular. The cost has exceeded £40,000. 
 
 In 1 83 1, during repairs, some beautiful 
 frescoes were discovered. Various restora- 
 tions have been undertaken from time to time. 
 
374 
 
 Notes. 
 
 Coverham Abbey 
 
 Cowdry House - 
 
 Crick Howel Castle 
 n „ Church 
 
 Daventry, Church of 
 Doncaster - 
 
 Dunchurch, Church of 
 
 Dunstable, Priory 
 Church of 
 
 Farnham Castle - 
 Fountains Abbey 
 
 Gloucester - 
 
 Goodrich Castle - 
 Grantham Church 
 
 Greenstead Church 
 
 Harewood Castle 
 Haverfordwest - 
 
 PAGE 
 308 
 
 186, 187 
 
 149, 253 
 
 149. 150, 
 253 
 
 97 
 285 
 
 97 
 
 94 
 
 183, 184 
 305-307 
 
 7-9, 218 
 
 I5I-I53 
 
 280, 281 
 
 347 
 
 309. 3 !o 
 249 
 
 In 1874 this building was in a ruinous state, 
 part being used as a cowshed. In 1889 the 
 outline could still be traced of the conven- 
 tual buildings. 
 
 This house, burnt down in 1793, has been 
 rebuilt, and is now the seat of the Earl of 
 Egmont, except the north-east wing. 
 
 Entirely neglected, only a solitary tower 
 remaining. 
 
 Restored in 1868. In 1882-83 new organ 
 erected, arches between the transepts and 
 aisles opened, and the chancel restored. 
 
 Restored in 1884. 
 
 Burnt down 1853. Rebuilt by Sir G. G. 
 Scott, practically on the plan of the old 
 church, in the following year. 
 
 Restored circa 1842-45. An account of his 
 restoration was given in a work called 
 " Parochialia," London, 1845, by the vicar, 
 the late Archdeacon Sandford, which is im- 
 portant as one of the first accounts of intelli- 
 gent church restoration published. 
 
 This superb church was thoroughly restored 
 in 187 1, the south aisle being rebuilt, a new 
 roof added, and the beautiful open arcade of 
 the west front renewed, amongst other works. 
 
 This castle and appurtenances is kept in re- 
 pair by each bishop. The ancient ruined 
 keep forms part of the episcopal garden. 
 
 Galilee porch reconstructed in 1854. Such 
 repairs as are necessary are undertaken by the 
 owner, the Marquis of Ripon. The late Earl 
 de Gray had numerous excavations under- 
 taken, and a museum fitted up in the " Hall 
 of Pleas," for the preservation of objects 
 found. 
 
 Restorations commenced by Mr. F. S. 
 Waller in 1847, continued by Sir G. G. Scott 
 in 1867. The compartment (p. 8) is all now 
 destroyed, but the picture is still up in the 
 triforium. The variation in the shield (p. 8) 
 was not uncommon in the fourteenth century, 
 and it is therefore most probably copied from 
 an original of that date. 
 
 These ruins are kept in passable repair. 
 
 Restored in 1866-67 under direction of Sir 
 G. G. Scott. North porch restored in 1877. 
 The upper part of the spire having been struck 
 by lightning, was rebuilt in 1882. 
 
 This church was repaired in 1848. See 
 1849, Part i., pp. 194, 195. 
 
 This building is still in ruins. 
 
 The remains of the Priory of St. Mary "and 
 St. Thomas the Martyr (a.d. 1200) are now 
 in a state of absolute decay, and those of the 
 castle are in an almost equally disgraceful 
 condition. 
 
Notes. 
 
 375 
 
 Hereford - 
 
 Hinckley Church 
 Howden 
 
 Jervaux Abbey - 
 Kenilworth Castle 
 
 Kirkham Priory - 
 Kirkstall Abbey - 
 
 Knaresborough Castle 
 
 Knowle (near Seven- 
 oaks) 
 Laycock Nunnery 
 Lichfield - 
 
 Llandaff Cathedral 
 
 Llanthony Abbey 
 
 PAGE 
 
 5 
 
 131 
 
 14, 
 
 301-302 
 
 307 
 131 
 
 297 
 310-31 1 
 
 309 
 
 269-271 
 
 167-171 
 115-118 
 
 2ig 
 
 148-149, 
 171 
 
 The west tower (built by Bishop Boase) fell 
 in 1786, destroying the whole west front, and 
 four arches of the nave. The west front was 
 rebuilt by Wyatt in 1788, when the nave was 
 shortened. Cathedral restored 1858-63 by Sir 
 G. G. Scott. 
 
 Restored between 1875 and 1878, at a cost 
 of ,£10,000, by Mr. Ewen Christian. 
 
 Partial restorations took place in 1843 and 
 1850. The central tower was formed into an 
 open lantern in 1868. In 1889 the choir was 
 still in ruins. 
 
 The ruins were carefully excavated in 1806- 
 1807. A considerable part of the chapter 
 house and the refectory are still standing. 
 
 The ruined castle is carefully preserved. 
 The lodge gate has been repaired, and is used 
 as a residence for the custodian. Church 
 restored and enlarged in 1865. 
 
 The principal remains are a fragment of the 
 Early English east end, and portions of the 
 walls of the nave, transept, chapter-house and 
 cloisters. Also the very fine thirteenth-century 
 gatehouse. 
 
 The ruins were bought by a number of 
 private gentlemen in Leeds, and presented to 
 the Corporation for the use of the public in 
 1889. A movement for restoring them for 
 religious uses having fallen through, only 
 such repairs as were necessary to prevent 
 further decay have been undertaken. 
 
 The castle and grounds are now laid out as 
 pleasure gardens, and are the property of the 
 Local Board. 
 
 This house is kept in repair by its owner, 
 Lord Sackville. 
 
 Choir restored in 1814 ; west front in 1820- 
 1822 ; south side of nave refaced by Sydney 
 Smirke in 1842 ; extensive restoration by Sir 
 G. G. Scott from 1856-60 ; Domus Thesauraria 
 restored in 1875 J Lady Chapel restored in 
 1876 ; west front restored, 1877. 
 
 The Ionic temple referred to (p. 220) was 
 built about 1732 by Mr. Ward, of Bath, and 
 taken down about 1855. The restoration of the 
 old church was begun in 1835, and being com- 
 pleted, it was re-opened in 1857. The tower 
 built by Pritchard in 1869 at the north-west 
 end of the nave was in 1888 found to be in such 
 dangerous condition as to require renovation 
 and the rebuilding of some of the western 
 piers of the nave arcade. The Lady Chapel 
 was restored in 1835. 
 
 The existing remains comprise two western 
 towers, portions of a nave of eight bays, a 
 
37^ 
 
 Notes. 
 
 Llanwitt (near Cardiff) 
 Church 
 
 London, Guildhall of - 
 
 London stone 
 
 London, St. Bartholo- 
 mew's Priory, 
 Smithfield 
 
 St. Katherine's 
 Hospital and 
 Church 
 
 Temple 
 Church 
 
 Maidstone Collegiate 
 Church 
 
 Malmesbury 
 
 „ Abbey Church 
 
 Market Cross 
 Manorbeer Castle 
 
 ,, Church 
 
 Margam Abbey - 
 
 ,, Crosses - 
 Middleham Castle 
 
 „ Church 
 
 Midhurst, see " Cow- 
 dry House " 
 Monmouth Churches - 
 
 Narberth Castle - 
 Neath Abbey 
 
 224 
 
 317-323 
 4 
 
 353-358 
 
 349-353 
 34i 346 
 
 162-167 
 164-167 
 
 163 
 
 232 
 
 233 
 226-228 
 
 226 
 307-308 
 
 307 
 
 140-141 
 
 230-231 
 228-229 
 
 central tower, transept, choir and lateral 
 chapels and some of the monastic buildings. 
 
 Restored and new roof added in 1864. 
 
 Moved in 1798, and cased for preservation. 
 
 Restored in 1887. The upper part of the 
 apse being rebuilt, and the choir being re- 
 roofed. 1 he remains of the Lady Chapel and 
 crypt, which formed part of a fringe factory, 
 have been secured, but the church is still 
 very incomplete. The architect directing the 
 restorations was Sir A. W. Blomfield. A fire 
 in 1830 destroyed a number of interesting 
 remains of the old priory. 
 
 The church and hospital were pulled down, 
 1825 and 1827, to make the St. Katherine's 
 Docks. 
 
 The church was repaired in 181 1 — see 181 1, 
 Part i., pp. 100, 101 ; Sir R. Smirke's restora- 
 tion was not begun till 1825. Its general 
 restoration commenced in 1840, when most of 
 the objectionable monuments were removed to 
 the triforium. St. Anne's Chapel was removed 
 in 1827, and the foundations were re-opened 
 in 1862. See 1842, Part ii., pp. 521-523. 
 
 The interior was restored in 1875-76, the 
 steeple, destroyed in 1730, not being rebuilt. 
 The remains of the archiepiscopal palace are 
 formed into two dwelling-houses. 
 
 The parish church, consisting of the nave of 
 the abbey, repaired in 1823. 
 Restored in 1883. 
 
 A dwelling-house has been constructed near 
 the great gateway. The ruins are fairly well 
 preserved. 
 
 The church is in a good state of preservation 
 and little altered. 
 
 Remains are in a good state of preservation, 
 especially the unique chapter-house. 
 
 A cross still remains. 
 
 The keep, 100 by 80 feet, has recently been 
 cleared of rubbish, and a stone wall and pali- 
 sading has been erected to protect the remains. 
 
 Ceased to be collegiate in 1856 ; partially 
 restored in 1878. 
 
 St. Mary's was re-opened in 1882 after an 
 entire restoration under the direction of G. E. 
 Street, R.A. 
 
 St. Thomas's, Overmonnow, restored 1880. 
 
 There is every reason to suppose that this 
 is the fifth fortress which has occupied the site 
 of the present massive ruins. 
 
 These picturesque ruins of what was 
 described by Leland as "the fairest abbey in 
 
Notes. 
 
 377 
 
 Netley Abbey 
 
 Newark Castle - 
 ,, Church - 
 Nottingham Castle 
 
 Odiham Palace - 
 
 Oxford Cathedral 
 
 St. Mary's 
 Church 
 
 ,, All Saints' 
 Church 
 
 ,, All Souls' Col- 
 lege 
 
 ,, New College - 
 
 Magdalen Col- 
 lege 
 
 ., Jesus College - 
 
 Lincoln College 
 
 Oriel College - 
 ,, Corpus Christi 
 College 
 Merton College 
 
 University Col- 
 lege 
 
 St. John's Col- 
 lege 
 
 Brazenose Col- 
 lege 
 
 „ Trinity College 
 Schools - 
 
 Baliol College - 
 „ Exeter College 
 
 Christ Church 
 Colle ge 
 
 Wales " are now in a shocking condition, ex- 
 cepting the sacristy, chapter-house, slype and 
 the common house, still remaining despite the 
 neglect they have shared in common with the 
 rest of the structure. 
 197-199 The existing ruins include presbytery, 
 transept on east side of cloister, the sacristy, 
 vestibule of chapter-house and the common 
 house. The door of the refectory and the 
 porter's lodge also remain. 
 282 A considerable portion of the ruins remain. 
 
 In 1888 one part was used as a cattle market. 
 282 Restored in 1855 under direction of Sir 
 
 G. G. Scott. 
 
 312 The castle, which was burnt by rioters in 
 
 1 83 1, has been restored and adapted for use as 
 a museum in 1875. 
 182-183 j Some vestiges of the castle remain near the 
 I Basingstoke Canal. A remnant of the palace 
 I is utilised as a farm-house, called Palace Gate. 
 132 Restored in 1872-76 by Sir G. G. Scott. In 
 
 ! 1856 a reliquary chamber was discovered. 
 
 175 Restored in 1871. 
 
 175-176 Restored in 1866. 
 
 176 The chapel was restored in 1872-76 by Sir 
 G. G. Scott at a cost of ^3 5, 000. 
 
 176 Chapel restored in 1879-80. Hall new-roofed 
 
 in 1866. New buildings added in 1872-75. 
 176 Chapel restored in 1833. Library length- 
 
 ened 1822. New quadrangle built in 1881-87. 
 176 Principal front rebuilt in 1856. South front 
 
 restored in 1853. Chapel restored in 1864. 
 176 Hall repaired 1835. New buildings added 
 
 j in 1882-85. 
 176 j Chapel restored in 1818, 1833, 1884. 
 176 This college has been kept in good preser- 
 
 ! vation and a new block recently added. 
 
 176 I The hall was restored in 1872. Additions 
 
 were made in 1864. 
 
 177 Chapel restored in 1862. New buildings 
 added in 1845, 1861 and 1879. 
 
 177 Chapel restored 1843 by Mr. Blore, who 
 
 added a ceiling of fan tracery. 
 177 First quadrangle restored in 1865. New 
 
 buildings added 1886. 
 177 The hall roof was restored in 1846. 
 
 177 I The present schools have been built since 
 
 the date of this article. 
 
 177 The south front was restored in 1867, and a 
 new chapel built in 1856-57. Fisher buildings 
 restored in 1877. 
 
 178 Principal front rebuilt in 1833-34. New 
 chapel erected in 1857-58. Alterations in 
 kitchen wing, 1882 
 
 178-180 I Great quadrangle restored in 1876-78, the 
 I hall being restored at the same time. 
 
378 
 
 Notes. 
 
 Penshurst - 
 Peterborough 
 
 Picton Castle 
 Pontefract - 
 
 Porchester Castle 
 
 Raby Castle 
 
 Raglan Castle 
 Reculver - 
 
 Ripon Minster - 
 
 Rochester Cathedral 
 
 Rochester Castle 
 St. Albans Abbey 
 
 271-275 
 3- 4. 6 
 
 250 
 287-288 
 
 195 
 
 22-23 
 
 141-142 
 323 
 
 303-305 
 
 6-7 
 
 6-7 
 
 358 
 
 New buildings on the south side of the college 
 precincts were added in 1862-66. The chapel 
 is the cathedral. 
 
 Partly restored in 1862. 
 
 The apse and earthen screen were restored 
 and decorated under Sir G. G. Scott. 
 
 In 1883 the central tower was taken down 
 and rebuilt, being raised about seven feet, 
 under direction of Mr. J. L. Pearson, R.A. 
 
 Abbot's gateway restored 1880. 
 
 This is now the residence of the Phillips 
 family. 
 
 The castle has been leased from the Duchy 
 of Lancaster by the Corporation, which has 
 undertaken various excavations and repairs. 
 The guard-house has been enlarged and turned 
 into a museum. 
 
 It was disused as a place of confinement for 
 prisoners of war in 1814, when it reverted to 
 the lord of the manor, who has since allowed 
 it to be used as a pleasure resort. 
 
 This castle, supposed to occupy the site of 
 the mansion given by Canute to the church of 
 Durham, is kept in preservation by the owner 
 and inhabitant, the Duke of Cleveland. 
 
 Great interest is taken in the maintenance of 
 the fabric. 
 
 The remains of the church were purchased 
 by the Trinity Corporation in 18 10, who have 
 carefully preserved them. 
 
 In 1829 some renovations were undertaken 
 under the direction of Mr. Blore. In 1842 the 
 Ecclesiastical Commissioners also made some 
 inadequate repairs (see 1844, Part i., p. 182), 
 and in 1862 a thorough restoration was under- 
 taken by Sir G. G. Scott and completed in 
 1872, the cost being over ^"40,000. 
 
 Restored (almost remodelled) by Cotting- 
 ham (1825-30), who is responsible for the 
 upper part of central tower. Again restored 
 1871-75 by Sir G. G. Scott. The remains of 
 the screen now form part of the lumber in 
 the crypt. 
 
 Works to support the foundations were 
 undertaken in 1889. 
 
 Restorations were commenced in 1832 by 
 Mr. Cottingham. Under the direction of Sir 
 G. G. Scott ^14,000 was spent on repairs, 
 and in the latter year the tower piers were 
 largely rebuilt. The nave was restored 1875- 
 79, when, funds being exhausted, Lord Grim- 
 thorpe offered to continue the restoration at 
 his own cost, which he did, obtaining a faculty 
 and being his own architect. The west front 
 and the transept ends are practically entirely 
 new, and are in a style of architecture pre- 
 
Notes. 
 
 379 
 
 St. Albans, St. 
 Michael's Church 
 
 St. Peter's 
 
 Church 
 
 St. David's 
 
 Bishop's 
 Palace 
 ,, Cathedral 
 
 Salisbury Cathedral - 
 
 Salisbury Market Cross 
 Selby Abbey 
 
 Shoreham (New) 
 
 Church 
 Shoreham (Old) Church 
 
 Southampton Bar-gate 
 
 Southwark, St. Mary 
 Overy (St. Saviour's) 
 
 358 
 359 
 
 234 
 
 234-237 
 237-239 
 206-218 
 
 204-205 
 303 
 
 326-328 
 326 
 
 196-197 
 333-338 
 
 viously unknown, as to the merits of which 
 opinion is singularly unanimous. Lord Grim- 
 thorpe is about to restore the retro-choir and 
 Lady Chapel. The Wallingford screen has 
 been restored by Mr. A. Hucks Gibbs. 
 
 The church was generally restored in 1876. 
 
 Acts of Parliament were passed in 1803-06 
 authorizing the raising of the money for pulling 
 down the tower and chancel, and re-building 
 the former on a smaller scale. A curious 
 feature in the aisles is a vaulting shaft against 
 the walls, the vaults or spandrils for a wooden 
 roof never having been completed. Partially 
 restored in 1887-88 under Mr. F. W. Kinnear 
 Taite, architect. 
 
 In 1805, Part i., p. 24, is the following ad- 
 ditional note : Over the river running between 
 the west front of the cathedral and the Palace, 
 in former times, was a large stone thrown across 
 to answer the purpose of a bridge, and known 
 by the name of the " speaking stone," which was 
 used to cry out with a warning and prognosticat- 
 ing voice when certain people were to walk over 
 it. Although the speaking stone is no more, 
 the "St. Nun's, or wishing-well," remains, 
 and in full possession of all its wonted slock 
 of faith, that is, in modern explanation, super- 
 stition. 
 
 Ruins somewhat preserved. 
 
 Restored in 1862. West-front re-modelled 
 in 1883. 
 
 Renovation of cloisters and Lady Chapel 
 commenced in 1854; chapter-house restored, 
 1856 ; choir restored, 1869 ; cathedral 
 generally restored, commencing 1863, by Sir 
 G. G. Scott. The stained glass referred to 
 (p. 206) has been collected, so far as possible, 
 and placed in the great west window. 
 
 This cross in 1889 was in an excellent state 
 of preservation. It is exceedingly similar to 
 the market cross at Malmesbury. 
 
 Nave roof raised to its original pitch in 1873, 
 when semicircular apse of Norman date was 
 discovered. South nave aisle restored in 187 1, 
 when other reparations were undertaken. The 
 tithe barn was partly destroyed in 1840. 
 
 Restored 1874. The restoration was com- 
 pleted in 1876. 
 
 The church was repaired in 1845 at the 
 expense of Magdalen College, in whose gift the 
 living is. 
 
 The bar-gate has been repaired, and the 
 upper portion is now used as the Guildhall. 
 
 Choir restored in 1829 by G. Guilt, F.S.A. ; 
 Lady Chapel in 1832; transept in 1830. The 
 
38o 
 
 Notes. 
 
 Southwark, Winchester 
 Palace 
 
 Southwell - 
 
 Stamford, St. Leonard's 
 Abbey 
 
 „ St. Mary - 
 St. John 
 All Saint's - 
 Steyning Church- 
 Stoney Stratford - 
 
 Tadcaster Church 
 Tamworth - 
 
 Tenby Castle 
 
 Tenby Church - 
 Titchfield - 
 
 Tickencote Church 
 
 Tintern Abbey - 
 Tottenham High Cross 
 
 Wakefield Bridge 
 
 Waltham Abbey 
 Warwick Castle - 
 
 339-340 
 282-285 
 
 277 
 
 277 
 277 
 277 
 3 2 9 33i 
 95 
 
 288 
 26-128 
 
 231 
 
 231-232 
 195-196 
 
 277-279 
 
 157-159 
 
 360 
 
 311-312 
 
 3!4-3i6 
 132 
 
 nave has been destroyed, and a hideous mock 
 Gothic edifice erected on the site ; the Bishop's 
 was destroyed in 1830, St. Mary Magdalen's 
 Chapel having been destroyed eight years 
 before. St. John's Chapel is now a vestry. 
 
 Now destroyed, and the site occupied by 
 various wharves, warehouses, manufactories, 
 and other buildings. 
 
 The old leaden spires to the west front were 
 removed in 1801. Church restored 1851-75, 
 under direction of Evan Christian. Chapter- 
 house restored in 1882. This church is really 
 of not much earlier date than that of Edward 
 III., although placed as Saxon in the text. 
 
 The remains of this Benedictine foundation 
 consist of five bays of the Norman nave and 
 the west end. 
 
 Restored 1859. 
 
 Reseated and partly restored 1857. 
 
 Restored in 1857. 
 
 The church was restored in 1881. 
 
 The church of St. Giles was restored in 
 1876. The remains of Queen Eleanor's Cross 
 have quite disappeared. 
 
 Restored in 1877. 
 
 The castle has been fitted up and turned 
 into a dwelling-house. The church was 
 partially restored in 1870-72. 
 
 Sadly neglected. The remains are incon- 
 siderable, consisting only of the keep, a 
 circular bastion, another embattled tower form- 
 ing part of the entrance, and fragments of the 
 wall enclosing the fortified area. No attempt 
 has been made at preservation. 
 
 Has been thoroughly restored recently, and 
 is in a good state of preservation. 
 
 The church was repaired and enlarged in 
 1867. Titchfield House, which replaced 
 Titchfield Abbey, is now in ruins. 
 
 The church was re-roofed some years ago by 
 the late J. H. Lee Wingfield, of Tickencote 
 Hall. 
 
 Is being preserved, and is at present in good 
 condition (1889). 
 
 This was built in 1600 by Dean Wood, in 
 place of a wooden one then much decayed. 
 The cement structure mentioned in the text is 
 a practically new one. The cement has since 
 been replaced by Bath-stone (Robinson's 
 " Tottenham," i. 91). 
 
 This is fourteenth century work. This chan- 
 try was destroyed (on account of its dangerous 
 condition), and rebuilt in facsimile in 1847. In 
 1888 the interior was restored. 
 
 Partially restored in 1864. 
 
 Partially destroyed by fire in 1 871 ; restored 
 1874. 
 
Notes. 
 
 Warwick Church - 
 
 Waverley Abbey 
 Westminster, Abbey of 
 
 Westminster Hall 
 
 Westminster, Palace of 
 
 184-186 
 25-58 
 
 Westminster, St. Mar- 
 garet's Church 
 
 15-17, 
 3I3-3H 
 
 60-94 
 
 58-60 
 
 The restoration of the church was com- 
 menced in 1884, but is barely completed. 
 Lady Katherine Leveson left ^40 a year for 
 the preservation of the Beauchamp Chapel. 
 
 These ruins remain (1890) practically as 
 described. 
 
 The building on p. 29, Dean's Yard, was 
 not the dormitory but the granary of the 
 monastery. The division in the cloister, p. 
 31, was the lavatory, and was never open to 
 the Abbey house. In the little cloisters (p. 
 33) many decorative windows existed in 1800, 
 but were then plastered up. The font (p. 37) 
 is now patched up and placed in Henry VII.'s 
 chapel. The " Oliverian " monument (p. 43) 
 is really that of Sir Christopher Hatton. The 
 shield mentioned on p. 49 did not belong to 
 Henry. The coronation chair (p. 51) was 
 made for the stone in London by order of 
 Edward I., and was not brought from Scotland 
 with the stone. The statue set up in the small 
 chapel on the east of the stalls, Henry VII.'s 
 chapel (p. 54), is that of Villiers, Duke of 
 Buckingham, and that in the next chapel is 
 Sheffield, Duke of Bucks. The tomb men- 
 tioned on p. 42 is not of Valence, but of John 
 of Eltham, and on p. 48, not that of John of 
 Eltham, but of Valence. Greater or less re- 
 storation has been practically continued during 
 the whole of this century. Henry VII.'s 
 chapel was restored in 1809 — see 1809, Part i., 
 pp. 430-432. A great part of the front of the 
 north transept was built in 1 828 ; it is now 
 under restoration by Mr. J. L. Pearson. The 
 rose window of the south transept was built in 
 1814. The restoration of the chapter-house 
 was commenced in 1866. In 1809 some of 
 the papers of this series in the Gentleman's 
 Magazine appeared, giving a description of 
 the plates published by the Society of Anti- 
 quaries, from the Islip Roll, 1809, Part ii., pp. 
 II2I-II23 ; 1810, Part i., pp. 30-31. 
 
 The roof was thoroughly repaired in 1820. 
 The west side has been thrown open by the 
 removal of the Law Courts, and in their place 
 an open cloister was built in 1888. 
 
 Further papers in this series on the palace 
 appeared in 1807, Part i., pp. 134-135 ; 214- 
 216; 322-323; 426-428; 531-534; 623-625; 
 733-735 5 799-Soo ; 927-928 ; 1808, Part ii., 
 797-799. Its remains were burnt down on 
 1 6th October, 1834, when the present houses 
 of Parliament were built on its site, the first 
 stone of which was laid in 1840. St. Stephen's 
 Chapel was restored in 1864. 
 
 The plan for the alteration of the east end 
 
3 82 
 
 Notes. 
 
 White Castle 
 Wilton House 
 Winchester - 
 
 Windsor Castle 
 
 Woodstock - 
 
 Wressel Castle 
 York Cathedral 
 
 St. Martin' 
 
 Church 
 Michelgate Bar 
 Booth am Bar 
 Walmsgate Bar 
 
 150-151 
 
 200-202 
 12-13 
 
 254-269 
 
 133 
 
 302 
 293-297 
 
 292-293 
 
 of this church (p. 60) was never carried out. 
 Restored in 1878. J. Carter wrote a summary 
 of the proceedings with regard to this church 
 in 1802, Part ii., pp. 806, 807. 
 
 Properly Llanteilo Castle. It is a complete 
 ruin. 
 
 Residence of the Earl of Pembroke, who 
 keeps it intact. 
 
 Repaired and restored between 1816-34 at 
 cost of ,£40,000, and west front carefully 
 restored between 1858-63 by Mr. Colson, 
 chapter architect. 
 
 The Round Tower was raised thirty-nine 
 feet by George IV. The castle and St. 
 George's Chapel are constantly undergoing 
 renovation. The projected alteration (p. 273) 
 to the west window was not done. 
 
 The north side of the nave was rebuilt in 
 1878, when the gallery was removed. 
 
 This building is still in ruins. 
 
 Roof of choir, etc., burnt by incendiary in 
 1829, and restored by Sir Robert Smirke. A 
 second fire, destroying roof of nave, occurred 
 through carelessness of a workman in 1840, 
 when it, with the wooden vault beneath it, was 
 restored under direction of Mr. Sydney Smirke. 
 From that time restoration of parts of the 
 church have been almost continuous, especially 
 that of the south transept by Mr. G. E. 
 Street in 1874-5. The tower of York, open 
 almost all the way up, is not included among 
 the examples mentioned on p. 276. 
 
 Partially restored in 1875. 
 
 Repaired in 1826. 
 Repaired in 1831. 
 Repaired in 1840. 
 
 ADDITIONAL NOTES. 
 
 2 (page 113). This is a letter signed " Philochthes " in 1800, Part ii., p. 1124 
 but it is of no importance to quote. 
 
 3 (page 346). After describing the restoration, the following note occurs [181 1, 
 Part i., p. 101] : Inner Temple Hall, of which externally, little of the original 
 lines exist, the walls themselves having been altered and cased with modern 
 decorations. Internally, the outline of the room to all appearance has not been 
 trenched upon ; and those particular parts of the first construction yet visible are 
 timber arches, portioning the length of the design into six large divisions ; the rest 
 of the framing for the open worked roof, appropriate to halls, is either destroyed or 
 hid, as the space from arch to arch is filled with a frame of painted square panels, 
 containing flowers, in the style of 1760. The arches themselves tell the time of 
 Henry VII., when no doubt the hall was erected. The original corbels from whence 
 the arches sprung are also lost, or overlaid by the fantastic ornaments of James I.'s 
 reign, The screen, notwithstanding the date 1680 embossed upon it, is evidently 
 
Notes. 
 
 383 
 
 carpenter's work of the date 1760 also. Immediately succeeding the west end of 
 the hall is a most curious and uncommon construction of two stones of crypts, or 
 arched chambers, in two divisions each ; these are beyond a doubt in their style of 
 work coeval with the church. The first division of each crypt contains more 
 minute masonic lines than the preceding ones. They are of the finest masonry, 
 and in the most perfect condition. In the first division of the first story, a chimney- 
 piece, and over it a bracket formed by an angel bearing two shields of arms, have 
 been introduced in the Tudor times. These crypts are used for offices, cellars, etc. 
 
INDEX. 
 
 Abbey House, Bermondsey, 333 
 Abbeys, see " Bermondsey," " Cover- 
 ham," "Fountains," " Howden," 
 " Jervaux," " Kirkstall," " Margam," 
 "St. Albans," "St. Mary, York," 
 "Selby," "Waltham," "Westmin- 
 ster " 
 
 Abergavenny, castle, 144, 371 ; priory 
 church of, 145-147, 371 ; statue of St. 
 Christopher in, 146 ; Herbert Chapel 
 in, 147 
 
 Acoustic properties of old and modern 
 
 buildings, 126 
 Aldborough (near Boroughbridge), 
 
 Roman remains at, 303, 371 
 Aldwark, York, basso-relievo on house 
 
 in, 292 
 
 Altar screen, Beverley Minster, 299 ; 
 Christchurch, 360-361 ; Gloucester 
 Cathedral, 7-8 ; St. Albans, 357 ; St. 
 Katherine's Church, London, 351 ; 
 Westminster Abbey, Henry V.'s 
 Chapel, 48 ; Edward the Confessor's 
 Chapel, 46 ; Winchester Cathedral, 
 13 ; York Minster, 297 
 
 table in cloisters, Westminster, 
 
 33 ; in Henry V.'s Chapel, 48 
 
 tombs, see " Tombs " 
 
 Altars destroyed in St. Stephen's, West- 
 minster, 85, 87, 89, 92 
 
 in chapels at Westminster Abbey, 
 
 42, 43 
 
 ( mediseval, at St. David's, 242 
 
 , Roman, found at Aldborough, 
 
 303 ; St. David's, 241 
 Ambassadors, foreign, coffins of, in 
 
 Henry VII. 's Chapel, 55 
 Ambulatory, Fountains Abbey, 305, 
 
 306 
 
 Amelia (Princess), ceremony at funeral 
 of. 55 
 
 Andre's (Major) monument in West- 
 minster Abbey, 37 
 
 Angels, forms of, in St. Stephen's, West- 
 minster, 92 
 
 Animals, paintings of, in St. Stephen's, 
 Westminster, 92 
 
 Ansel m ( Bishop), statue of, at St. David's, 
 246 
 
 Apostles, statues of, St. David's, 241 
 Aqueduct discovered at Westminster 
 
 Abbey, 36 ; in cloisters of Westminster 
 
 Abbey, 63 
 Arch, pointed, origin of, 166 
 Archbishop's palace, York, 293 
 Arches, construction of, at Peterborough 
 
 Cathedral, 4-5 
 stopped up at Lichfield Cathedral, 
 
 117 
 
 Armour, carvings of, York Minster, 296 
 
 , belonging to Huntingdon family, 
 
 129 
 
 preserved at Penhurst, 273 ; in War- 
 wick Church, 132 ; Wilton House, 201 
 
 (ring), representations of, Howden, 
 
 302 
 
 , represented in tapestry, Painted 
 
 Chamber, Westminster, 72, 75, 76, 
 
 78, 79, 82, 83 
 , unusual, represented in statue in 
 
 Llangham Church, 251-252 
 Armoury at Coventry, 103 
 Arms of City of London in crypt of 
 
 Guildhall, 320 
 of Coventry, 102 ; of Elizabeth at 
 
 Coventry, 102 
 of England, alteration of, on shield, 
 
 in Gloucester Cathedral, 8 
 
Index. 
 
 385 
 
 Arms, statue of priest bearing, Beverley 
 
 Minster, 299 
 and devices sculptured in West- 
 minster Hall, 69 
 Arundel, 191-194, 371 ; Castle, 191, 
 
 192 ; Collegiate Church, 192-194 
 Ashby-de-la-Zouch Church, 1 28- 1 3 1, 37 1 
 Athelstan, basso-relievo of, Beverley 
 Minster, 299 
 
 , tomb of, Malmesbury, 166 
 
 Attitudes of offence and defence repre- 
 sented on tapestry, 76 
 Audley (Bishop), chantry chapel of, 214 
 Aumbry in St. Stephen's, Westminster, 
 92 
 
 Babelake Church (so called), Coventry, 
 
 109 ; Hospital, in 
 Battle scenes on tapestryat Westminster, 
 
 72-80 
 
 Bagpipes, carving of minstrel playing 
 on, Beverley Minster, 299 
 
 Banners with bells, represented in 
 tapestry, 76 
 
 Barfreston Church, doorway at, 195 
 
 Basingstoke, Chapel of the Holy Ghost 
 at, 180-181, 371 
 
 Basso-relievos (Scriptural) at Malmes- 
 bury, 165 ; Tenby Church, 231, 232 
 
 of the resurrection -at Llandaff, 
 
 223 ; St. David's, 241 
 
 Bath, abbey church of, 162, 371 
 
 Bath, ancient, at Laycock Abbey, 170 
 
 Beauchamp Chapel, Salisbury Cathe- 
 dral, 210, 212, 216 
 
 Beaufort (Cardinal), monument of, at 
 Winchester, 13 
 
 Becket, Thomas a, doorway raised by, 
 in Painted Chamber, Westminster 
 Hall, 73 
 
 Beckford (Alderman), statue of, in 
 
 Guildhall, London, 322 
 Beckinfield (Archbishop), finger-ring of, 
 
 York, 296 
 Beckington (Thomas de), St. Kathe- 
 
 rine's Church built by, 348 
 Bedfordshire, ^"Dunstable" 
 Bedroom made in St. Stephen's Chapel, 
 
 86 
 
 Bell Tower, Salisbury, 206 
 Berkshire, see "Windsor" 
 Bermondsey Abbey, destruction of, 331 ; 
 
 gateways of, 331, 332, 371 
 
 , parish church of, 333 
 
 Beverley, 17-21, 297-301 ; gateways of, 
 
 297 ; St. Mary's Church, 298, 371 ; 
 
 Minster, 297-301, 371 
 VOL. X. 
 
 Beverley, carvings on ancient house in, 
 298 
 
 Bevis (Sir), portrait of, at Southampton, 
 196 
 
 Bibury Church, 174, 371 
 
 Bilbury Church, 288, 372 
 
 Birth customs depicted on tapestry, 82 
 
 Bishop, monument of, at Llandaff 
 
 Cathedral, 222 
 Bishop's palace, Llandaff, 219; St. 
 David's, 235 ; Salisbury, 205 
 
 prison, York, 293 
 
 Bishops of Chichester, portraits of, 190 
 Blackfriars, Canterbury, entrance gate of 
 
 monastery, 1 1 
 Black rood of Scotland, 303 
 Blanch of the Tower, tomb of, at 
 
 Westminster Abbey, 42 
 Blyth (Bishop), monument of, 213 
 Bolton (Prior), pew of, St. Bartholo- 
 mew's Priory, 356 
 Bosses, carved, Ripon Cathedral, 305 
 Bouchier (Lord), tomb of, in West- 
 minster Abbey, 42 
 Bo wet (Archbishop), finger-ring of, 
 York, 296 ; monument of, in York 
 Minster, 296 
 Bowmen represented in tapestry at 
 
 Westminster, 79 
 Brackets, shield-crowned, in West- 
 minster Hall, 69, 72 
 Bramber Castle, remains of, 329 ; 
 
 church, 329, 372 
 Brass folding-doors in Henry VII. 's 
 
 Chapel, 53 
 Brasses in Wensley Church, 308 ; in 
 Westminster Abbey, 42 ; in Islip 
 Chapel, 43 ; in Edward the Confes- 
 sor's Chapel, 50 
 Bray (Sir Reginald), chapel of, Windsor, 
 265 
 
 Bray (Sir Richard), architect of Henry 
 
 VII. 's Chapel, 52 
 Brecon Castle, 252, 372 ; priory church, 
 
 252 
 
 Breconshire, see " Brecon," " Crick- 
 Howell " 
 
 Brick buildings, temp. Charles II. , 61 
 Brickwork, early English, in the Holy 
 
 Ghost Chapel, Basingstoke, 181 
 Bridewell at Bury St. Edmunds, 243 
 Bridge, defensive, at Carisbrooke, 199 
 
 , Goodrich Castle, 152 
 
 Brighton or Brighthelmstone, 323-326, 
 
 372 ; Pavilion, 324 ; church, 324-326 
 Bristol, 161 -162, 372 
 Broadwater Church, 328-329, 372 
 
 25 
 
3«6 
 
 Index. 
 
 Buckinghamshire, see " Stoney Strat- 
 ford " 
 
 Bugle-horn of Ripon Corporation, 305 
 
 preserved in York Minster, 296 
 
 Buildings, ancient, represented in 
 tapestry at Painted Chamber, West- 
 minster, 72, 74, 76, 77 
 Burford, buildings of, 174 ; church of, 
 174, 372 
 
 Burial by torchlight in Westminster 
 
 Abbey, 47 
 Burlington (Lord), cupola erected in 
 
 Beverley Minster by, 298 
 Bury St. Edmunds, 243, 372 
 Buttresses, destruction of, at St. 
 
 Stephen's Chapel, Westminster, 65, 
 
 66 
 
 Caerleon, 218, 372 
 Caermarthen Castle, 229 
 
 , priory church of, 229-230, 373 
 
 Caerwent, Roman station at, 160-161 
 
 Caldicot Castle, 159-160 
 
 Cambridge, construction of King's 
 
 College Chapel, 171, 173 
 Canopy of state in Prince's Chamber, 
 
 Westminster, 81 
 Canterbury Castle, Roman arch at, 12 
 Cathedral, 9, 372 ; groining of 
 
 Angel Tower, 275 
 
 , monastery of Blackfriars at, 1 1 
 
 , St. Augustine's, 10- 11 
 
 , holding of Knole by See of, 269 
 
 Canute, palace of, Southampton, 197 
 Caps worn by figures, represented in 
 
 tapestry, 100 
 Cardiff, 219, 223 ; castle, 223, 372 ; 
 
 church, 223 
 Carew Castle, 233, 234, 372 
 
 , cross at, 234 
 
 Carisbrooke Castle, 199-200, 373 
 Carvings on ancient house, Beverley, 
 
 297 
 
 at St. Mary's Hall, Coventry, 102, 
 
 103 
 
 at New College, Oxford, 135 
 
 Caryatides, at Odiham, 182 
 
 Castles, Abergavenny, 144; Arundel, 
 191 ; Ashby-de-la-Zouch, i30;Bram- 
 ber, 327 ; Brecon, 252 ; Caermar- 
 then, 229; Caldicot, 159; Canter- 
 bury, 12 ; Cardiff, 223 ; Carew, 234 ; 
 Carisbrooke, 199 ; Conisborough, 
 285 ; Crick Howel, 149, 253 ; Farn- 
 ham, 183 ; Harewood, 309 ; Haver- 
 fordwest, 249 ; Kenilvvorth, 131 ; 
 Knaresborough, 309 ; Manorbeer, 
 
 232 ; Middleham, 307 ; Monmouth, 
 140 ; Narbeth, 230 ; Newark, 282 ; 
 Newport, 219; Nottingham, 312; 
 Old Sarum, 203 ; Picton, 250 ; Pon- 
 tefract, 257 ; Porchester, 195 ; Raby, 
 22 ; Raglan, 141 ; Roch, 234 ; 
 Sandal, 312 ; Tamworth, 126 ; 
 Tenby, 231 ; Warmborough, 182 ; 
 Warwick, 132 ; W 7 hite Castle, 150; 
 Windsor, 254 ; Wressell, 302 ; York, 
 289 
 
 Cathedrals, Bristol, 161 ; Canterbury, 
 9 ; Chichester, 187 ; Gloucester, 
 7; Hereford, 5; Lichfield, 115; 
 Llandaff, 219 ; Oxford, 133 ; Peter- 
 borough, 3, 4, 6 ; Ripon, 303 ; 
 Rochester, 6 ; St. Albans, 357 ; St. 
 David's, 237 ; Southwell, 282 ; Win- 
 chester, 12 ; York, 293 
 
 Catherine, Queen of Henry VIII., 
 monument of, 6-7 
 
 Catherine window destroyed at St. 
 Katherine's Church, London, 350 
 
 Ceiling of tower, St. Mary Overy, 
 Southwark, 337 
 
 in Painted Chamber, West- 
 minster, 73 
 
 Ceilings, timbered, in St. Stephen's, 
 Westminster, 85,, 89 
 
 Cellar, vaulted, at Chepstow Castle, 155 
 
 Centaurs on capitals of porch, St. 
 Margaret's Church, York, 292 
 
 Ceremonies, religious, represented in 
 tapestry at Westminster, 77 
 
 Chair of state in St. Mary Hall, 
 Coventry, 102 
 
 Chairs, coronation, in Westminster 
 Abbey, 51 
 
 Chambers (Dr. J.), cloisters of St. 
 Stephen's Chapel erected by, 84 
 
 Chancel arch, Tickencote, 278 
 
 Chantry of John de Holland in St. 
 Katherine's Church, London, 348 
 
 , St. Albans, 358 
 
 Chapel, Arundel Church (monumental), 
 193 
 
 , Basingstoke (Holy Ghost Chapel), 
 
 180-181 
 
 , Cowdry House (destroyed), 186 
 
 , Goodrich Castle, 153 
 
 , Grantham (destroyed), 280 
 
 , Margam (Notre Dame du Boir), 
 
 226 
 
 , Peterborough Cathedral, 4 
 
 , Porchester Castle, 195 
 
 , St. Bartholomew's Priory, Smith- 
 field, 354, 355 
 
Index. 
 
 387 
 
 Chapel, Wakefield Bridge, 311 
 
 , Wressell Castle, 302 
 
 Chapel Rock, Tenby, 231 
 
 Chapels, St. David's, bishop's palace, 
 336 ; chapter-house crypt, 249 
 
 , Westminster Abbey, 39, 44, 46- 
 
 53 ; in Edward the Confessor's 
 Chapel, 46-51 ; in cloisters (early), 
 31, 33 ; to Henry VII. 's Chapel, 54 
 
 , St. Stephen's, Westminster (pri- 
 vate), 85, 86 
 
 , monumental, erected in giver's 
 
 life-time, 14 
 
 Chapter-house, Fountains Abbey, 305 ; 
 Howden Collegiate Church, 15, 
 302; Kirkstall Abbey, 311; Mar- 
 gam Abbey, 226 ; Netley Abbey, 
 198 ; Ripon Cathedral, 305 ; St. 
 David's Cathedral, 240, 249 ; Smith- 
 field (St. Bartholomew's Priory), 354; 
 Southwell Minster, 283 ; Westminster 
 Abbey, 35-36 ; York Minster, 295 
 
 Charles I., bronze bust of, in West- 
 minster Hall, 68 
 
 , bust of, at Chichester, 188 
 
 Charles II., Westminster Palace tetiip., 
 61 
 
 , wax figure of, in Henry VIL's 
 
 Chapel, 53 
 Charleton Church, 171, 373 
 Chastity, trial for, St. Wilfred's Chapel, 
 
 Ripon Cathedral, 304 
 Chatham (Earl of), statue of, in Guild- 
 hall, London, 322 
 Chaucer, supposed monument to, in 
 
 Westminster Abbey, 40 
 Chimeras on capitals of porch, St. 
 
 Margaret's Church, York, 292 
 Cheney, Sir John, monument to, in 
 
 Salisbury Cathedral, 213 
 Chepstow Castle, 153-156, 373 ; church, 
 
 156, 157, 373 5 walls, 156 
 Chest, carved, in treasury of York 
 
 Minster, 297 
 containing ashes of Edward the 
 
 Confessor, 50 
 
 in Lancing Church, 329 
 
 , ironbound, in Temple Church, 
 
 London, 343 
 Chichester, 187-191 ; market cross at, 
 
 187; cathedral, 188-191, 373 
 Chipping Ongar Castle, destruction of, 
 
 346, 373 
 
 Church, 347, 373 
 
 Chimney-pieces at Chepstow Castle, 155 
 
 , Conisborough Castle, 286 
 
 Chimney-pieces, temp. Henry VII., in 
 
 Painted Chamber, Westminster Hall, 
 72 
 
 Chimneys, Reading Palace, 257 ; 
 
 Southwell, 283 
 Choir of Westminster Abbey, 44-46 
 screen, Howden, 302 ; York 
 
 Minster, 294 
 Christchurch, high-altar screen, 361- 
 
 362, 373 
 
 Church decoration in Reformation 
 times, 7 
 
 Churches, faults in construction of 
 
 modern, 171- 173 
 , models of, in Westminster Abbey, 
 
 49 
 
 Cirencester, church at, 174, 373 
 Citizens, representations of, Tenby 
 
 Church, 231 
 Cittern, carving of, Angel Inn, Gran- 
 tham, 279 ; All Hallows' Church, 
 York, 293 ; see " Gittern " 
 Clifford's Tower, York Castle, 289 
 Cloisters, see Coventry (White Friary), 
 112; Kirkstall Abbey, 310; Netley 
 Abbey, 198 ; St. David's Cathedral, 
 2 37 '■> Salisbury Cathedral, 206 ; 
 Southwark (St. Bartholomew's 
 Priory), 353, 355 ; Tintern Abbey, 
 159; Waverley Abbey, 184; West- 
 minster Abbey, 31, 33 ; Westminster 
 (St. Stephen's Chapel), 84-89 
 Clytha House, architecture of, 142-143 
 Coffins, stone, i'n St. Mary Overy's 
 Church, 338 ; Temple Church, 341 ; 
 Tickencote Church, 279 
 Columns, clusters of, at St. Mary's Hall, 
 Coventry, 99 ; St. Stephen's, West- 
 minster, 89 
 Combat, statue of knight in, 251 
 Conisborough Castle, 285, 373 ; tomb at, 
 287 
 
 Cope, ancient, used as frontal, St. 
 
 Margaret's Church, York, 292 
 Coronation chairs in Westminster 
 
 Abbey, 51 
 Costume of a pilgrim at Ashby-de-la- 
 
 Zouch Church, 128 ; of lady, temp. 
 
 1623, 128 ; of Huntingdon family, 
 
 129-130 
 
 temp. Elizabeth, represented in 
 
 tapestry, 81 ; temp. Henry VIII., 82 
 
 , Roman and Greek, used by 
 
 modern sculptors, 57 
 
 Costumes represented in tapestry at 
 Coventry, 99-101 ; in Painted Cham- 
 ber, Westminster, 72, 7479, 82, 83 
 
 Council chamber, old, at Coventry, 103 
 25—2 
 
3 88 
 
 Index. 
 
 Court of Requests, at King's Palace, 
 
 Westminster, 63 
 Coventry, 97-115, 373 
 Coverham Abbey, 308, 374 ; doorways 
 
 of, 308 ; tombs in, 308 
 Cowbridge, vestiges of ancient walls at, 
 
 224 ; castle near, 224 
 Cowdry House, 186-187, 374 
 Crewth, carving of, in St. Mary's, 
 
 Beverley, 298 ; in Beverley Minster, 
 
 299 ; Grantham (Angel Inn), 279 ; 
 
 All Hallows' Church, York, 293 
 Crick Howel, 149, 253, 374 ; castle of, 
 
 149 ; church, 149 
 Cromwell at St. David's Cathedral, 248 
 Cross, inclined, Bermondsey Abbey, on 
 
 wall of gateway, 331 
 Cross, Market, Chichester 187 
 
 , Ewenny, rich carved, 225 
 
 , Laycock, 168 
 
 , Middleham Market, 307 
 
 , St. David's, 241 
 
 , Salisbury Market, 205 
 
 , Tadcaster, carved sepulchral, 288 
 
 , Tickencote Church, carved on 
 
 stone coffin, 279 
 
 , Tottenham High, 359-360 
 
 Cross-bow, represented in tapestry, at 
 
 Westminster, 79 
 Crosses erected to memory of Queen 
 
 Eleanor, 358 
 — — , religious, at Llantwitt, 224 
 Crouchback (E. ), monument to, in West- 
 minster Abbey, 45 ; of Aveline, his 
 
 wife, 45 
 
 Crozier, 17th century, York Minster, 296 
 Crucifixion, basso - relievo of, St. 
 
 David's, 242 
 Crypt, Grantham, St. Wulfran's Church, 
 
 282 
 
 , London, Guildhall, 320 ; St. 
 
 Bartholomew's Priory, 354 
 
 , Penshurst House, 273 
 
 , St. David's Cathedral, 249 
 
 , Southwark, bishop's palace, 334 
 
 , Waltham Abbey, 316 
 
 , Waverley Abbey (dormitory), 185 
 
 , Westminster (House of Lords), 80 
 
 , York (in Mint Yard), 292 
 
 Custom of having fires on pavements in 
 ancient halls, still in use at universi- 
 ties, 69 
 
 Customs of 14th century depicted in 
 tapestry at Westminster, 74-80 
 
 Datchet Church, mullioned windows in, 
 257 
 
 Daventry Church, 97, 374 
 
 Deanery at Salisbury, 205 
 
 Decorations of Beverley Minster, 18 
 
 Defences, mititary, at Goodrich Castle, 
 152 ; at Chepstow Castle, 154 
 
 Demolition, intended, at St. Stephen's, 
 Westminster, 90-93 
 
 Destruction at chapter-house, West- 
 minster, 35 
 
 Devonshire, see " Charleton " 
 
 Discipline, statue of, in Guildhall, 
 London, 317 
 
 Domesday Book at. chapter-house, 
 Westminster, 36 
 
 Domestic offices at Ragland, 142 
 
 Doncaster, St. George's Church, 285, 
 374 
 
 Doors, Dunchurch Church, 97 
 
 , Lichfield Cathedral (ancient), 1 16 
 
 , Tamworth Castle, 127 
 
 , Westminster Abbey, 29 
 
 , Wressell Castle (carved), 24 
 
 Doorways, Chipping Ongar Church 
 
 (worked in Roman tiles), 347 
 
 , Coverham Abbey, 308 
 
 , Llandaff Cathedral, 220 
 
 , London, St. Bartholomew's 
 
 Priory, 353 
 
 , Penshurst Place, 273 
 
 , St. David's Cathedral, 239 
 
 , Steyning Church, 330 
 
 , Tenby Church, 231 
 
 , Westminster Hall, ancient, 68, 
 
 69, 73 ; modern, 68, 69, 72, 73 
 , Westminster, St. Stephen's 
 
 Chapel, 64, 87, 89, 92 
 
 , York Minster (great west), 294 
 
 , York Cathedral offices (carvings 
 
 on), 293 
 
 Dormitory, Fountains Abbey, 305 
 
 , Waverley Abbey, 184 
 
 Dragon, carving of, in York Cathedral, 
 294 
 
 Dryden's monument in Westminster 
 
 Abbey, 41 
 Ducking-stool, St. Stephen's, West- 
 minster, 88 
 Dugdale (Sir W.), "History of St. 
 
 Paul's," 118 
 Dulcimer, carving of, Angel Inn, 
 
 Grantham, 279 ; All Hallows' 
 
 Church, York, 293 
 Dunchurch, church, 97, 374 
 Dungeon of Chepstow Castle, 155 ; in 
 
 bishop's prison, York, 293 
 Dunstable priory church, demolition at, 
 
 94-95, 374 
 
Index. 
 
 389 
 
 Durer, Albert, picture by, at Wilton 
 
 House, 202 
 Durham, see " Staindrop Church," 
 
 " Raby Castle " 
 Durham Cathedral, central tower of, 276 
 
 Earthworks of Chipping Ongar Castle, 
 
 346 ; at Old Sarum, 203 
 Edward the Confessor, building by, at. 
 
 Westminster, 32 
 , chapel of, Westminster Abbey, 46- 
 
 , effigy of, at Westminster Abbey, 39 
 
 , King's Palace, Westminster, 
 
 erected by, 63 
 , shrine of, in Westminster Abbey, 
 
 • 50 v. v.-; 
 
 , tomb of, Westminster Abbey, 44 
 
 Edward I., monument of, in West- 
 minster Abbey, 47 
 
 , statue of, on choir-screen, York 
 
 Minster, 295 
 
 ,St. Stephen's, Westminster, rebuilt 
 
 by, 86 
 
 Edward II., statue of, on choir-screen, 
 
 York Minster, 295 
 Edward III., carving of, Beverley 
 
 Minster, 18, 300 
 , tomb of, in Westminster, 49 ; 
 
 sword and shield of in, 51 ; rebuilder 
 
 of St. Stephen's Chapel, 86 
 , statue on choir-screen of, York 
 
 Minster, 295 
 , paintings at Windsor representing 
 
 scenes in reign of, 262 
 , tetnp., tower of St. Michael's, 
 
 Coventry, built, 104 
 Edward IV., inscription to, St. George's 
 
 Chapel, Windsor, 268 
 Edward, the Black Prince, figures of, 
 
 at Beverley, 18 ; effigy of, at West- 
 minster, 39 
 Effigies of people buried in Islip Chapel, 
 
 Westminster Abbey, 43 
 of General Monk in Henry VII. 's 
 
 Chapel, 53 
 Eggs, roasting, depicted in tapestry in 
 
 Prince's Chamber, Westminster, 82 
 Eleanor, Queen of Edward I., tomb of, 
 
 in Westminster Abbey, 48 
 
 , crosses to memory of, 358 
 
 Eleanor, Duchess of Gloucester, brass 
 
 of, at Westminster, 42 
 Elizabeth, daughter of Henry VII., 
 
 tomb of, in Westminster Abbey, 48 
 Elizabeth, Queen, Westminster Palace 
 
 temp., 60-61 
 
 Elizabethan buildings at Merton College, 
 Oxford, 177 ; at the schools, Oxford, 
 177 
 
 Emma (Queen), statue of, on choir- 
 screen, Howden, 302 
 
 Entablature destroyed, at St. Stephen's, 
 Westminster, 91, 93 
 
 Erldesby (William de), choir of St. 
 Katherine's Church built by, 348 
 
 Essex, see " Chipping Ongar," " Green- 
 stead," " Waltham " 
 
 Estney (Abbot), brass of, in Islip 
 Chapel, 43 
 
 Ewenny Priory, 224-226 ; church of, 225 
 
 Exchequer, rolls relating to, in St. 
 Stephen's. Westminster, 86 
 
 Exeter College, Oxford, modern addi- 
 tions to, 178 
 
 Exeter (John de Holland, Duke of), 
 chantry of, in St. Katherine's Church, 
 London, 348 
 
 Fairfax, tomb of Lord General, Bilbury 
 Church, 288 
 
 Farnham, 183-184 ; castle, 183, 374 
 
 Female attire depicted in tapestry at 
 Coventry, 101 
 
 combatants represented in tapes- 
 try, at Westminster, 76 
 
 Ferrybridge, Roman stone near, 
 287 
 
 Finger pillory at Ashby-de-la-Zouch 
 
 Church, 128 
 Fire, injury to Guildhall by, 317, 
 
 321 
 
 Fishergate Bar (old), York, 289 
 Flaccet (George), tomb of, 43 
 Foliage, painting of, in St. Stephen's, 
 
 Westminster, 92 
 Font, Brighthelmstone Church, 324 
 
 , Charleton Church, 171 
 
 , Malmesbury (Saxon), 163 
 
 , St. David's Cathedral, 241 
 
 , Westminster Abbey (mutilated), 
 
 37, 39 
 Fonthill Abbey, 124 
 Ford's Hospital, Coventry, in 
 Fort defending Netley Abbey, 197 
 Fortitude, statue of, in Guildhall, 
 
 London, 317 
 Fosse, Bermondsey Abbey, filled in 
 
 for a footpath, 332 
 
 , Windsor, rifling up of, 255 
 
 , York, 289 
 
 Fountains Abbey, 305-307, 374 
 Funeral trophies of Henry V. preserved 
 
 at Westminster Abbey, 49 
 
39Q 
 
 Index. 
 
 Gallery, exterior, Westminster Hall, 
 313. 
 
 Gascoigne (Judge), tomb of, Harewood 
 
 Church, 310 
 Gateway, Abergavenny Castle, 144 
 
 , Arundel Castle, 191, 192 
 
 , Bermondsey Abbey, 331 
 
 , Beverley, 297 
 
 , Caldicot Castle, 160 
 
 , Canterbury City, 12 
 
 , Carisbrooke Castle, 199 
 
 , Chepstow Castle, 154 
 
 , Chichester, close, 188 
 
 , Clytha House, 143 
 
 , Coventry, St. Mary's Hall, 98 
 
 White Friars' Hospital, 1 12 
 
 , Crick Howel Castle, 149, 253 
 
 , Farnham Castle, 183 
 
 , Goodrich Castle, 1 52 
 
 , Kirkham Priory, 297 
 
 , Knole House, 269 
 
 , Llandaff, 219 
 
 , Maidstone Collegiate Church, 5 
 
 , Peterborough Cathedral. 3, 6, 7 
 
 , Raglan Castle, 142 
 
 , Southampton Town, 196 
 
 , Southwell Minster, 283 
 
 , Waltham Abbey, 315 
 
 , Warwick, 131-132 
 
 , Windsor Castle, 257, 259 
 
 , Westminster Abbey, 34, 61, 
 
 62 
 
 , York (City), 289 
 
 Geddington Cross, Northamptonshire, 
 358 
 
 Geoffrey of Monmouth, birthplace of, 
 140 
 
 Giraldus, supposed tomb of, Manor- 
 beer, 233 ; at St. David's, 244 
 
 Gittern, minstrel playing on, St. Mary's 
 Church, Beverley, 298 ; Beverley 
 Minster, 299 ; see 11 Cittern " 
 
 Glamorganshire, see " Cardiff," " Llan- 
 daff," " Llantwitt," "Margam," 
 " Neath " 
 
 Glass (old), fragments of, at West- 
 minster, 38 
 
 , stained, rearrangement at Ciren- 
 cester of, 174 
 
 Glastonbury, Abbot's Inn, 364-365 
 
 Gloucester Cathedral, 218, 374 ; ancient 
 altar-screens in, 7, 9 ; groining of 
 tower, 275-276 
 
 Gloucestershire, see " Bibury," " Bris- 
 tol." "Cirencester," "Gloucester," 
 " Tetbury " 
 
 Godiva (Lady), portrait of, 102 
 
 Gog, pasteboard figure of, in Guildhall, 
 
 London, 322 
 Golden Fleece, badge of, on tomb in 
 
 Slebach Church, 251 
 Goodrich Castle, 151-154, 374 
 Gothic architecture, meaning of, 22, 
 
 1 18-126 ; rise of, 108 ; Sir C. Wren's 
 
 opinion of, 122, 123 
 Gower, monument to, in St. Mary Overy 
 
 Church, Southwark, 336 
 Grantham, Angel Inn, 279 ; chapel, 
 
 280 ; church, 281-282, 374 
 Gravestones in Westminster Abbey, 
 
 40-42 ; in cloisters (of abbots), 32 ; 
 
 in Islip Chapel, 43 
 Greenstead Church, 347-349, 374 
 Grey Friars' Gate, Stamford, 277 
 monastery, Coventry, architecture 
 
 of, III 
 
 Groining in church towers, 275-276 
 destroyed, St. Margaret's, West- 
 minster, 60 ; King's Palace, West- 
 minster, 61 
 Guard Room, Windsor Castle, 261 
 Guildhall, London, 317-323 ; renova- 
 tions in, 318 ; crypt, 320 
 
 , York, 292 
 
 Gunpowder plot, 80, 81 
 
 Hall, St. Mary's, Coventry, 98-104 
 
 Cowdry House, 186 
 
 Harewood Castle, 309 
 
 Knole, 270 
 
 Oxford, Christchurch College, 
 
 178 
 
 Penshurst, 273 
 
 Raglan Castle, 142 
 
 St. David's (Bishop's), 236 
 
 Westminster, 67-80 
 
 Wilton House, 201 
 
 Hampshire, see " Basingstoke," " Caris- 
 brooke," "Christchurch," " Netley," 
 " Odiham," " Porchester," " South- 
 ampton," "Tickfield," "Winchester" 
 
 Handel's monument in Westminster 
 Abbey, 41 
 
 Hare (John), brass to wife of, in Temple 
 Church, 341 
 
 Harewood Castle, 309-3 10, 374; church, 
 tombs in, 310 
 
 Harrow Church, 362-363 
 
 Hatfield, statue of William of, York 
 Minster, 296 
 
 Haule (John), gravestone of, in West- 
 minster Abbey, 41 
 
 Haverfordwest Castle, 249, 374 ; 
 monastic ruins at, 250 
 
Index. 
 
 39i 
 
 Helmet, ancient, preserved in Broad- 
 water Church, 329 
 
 Hengist, memorial of defeat of, near 
 Conisborough, 287 
 
 Henrietta, Queen of Charles I., bust of, 
 in Westminster Hall, 69 
 
 Henry L, statue of, on choir-screen, 
 York Minster, 295 
 
 Henry II., statue of, on choir-screen, 
 York Minster, 295 
 
 Henry III., tomb of, in Westminster 
 Abbey, 47 ; statue of, on choir-screen, 
 York Minster, 295 ; monument to 
 memory of children of, 41 
 
 Henry IV., death of, in Jerusalem 
 Chamber, Westminster, 30; muti- 
 lated condition of statue of, York 
 Minster, 295 
 
 Henry V., birthplace of, 140; chapel 
 of, 44 ; tomb of, 48 ; shield and saddle 
 of, 49 
 
 , statue of, in Westminster Abbey, 
 
 48 ; on choir-screen, York Minster, 
 295 
 
 , tomb of standard-bearer of, West- 
 minster Abbey, 42 
 
 Henry VI. represented in tapestry at 
 Coventry, 99 
 
 , houses, temp., at Coventry, 1 10 
 
 Henry VIL, bedchamber of, traditional, 
 62 
 
 , tomb of, in Westminster Abbey, 
 
 54 
 
 , chapel of, in Westminster Abbey, 
 
 27-28, 39, 51-58 
 
 , chimney-piece, temp, of, in Painted 
 
 Chamber, Westminster Hall, 72 
 
 , houses, temp., at Coventry no 
 
 , tapestry, te?np., in Prince's Cham- 
 ber, Westminster, 82 
 
 Henry VIII., bedchamber of, 26 
 
 , fire at King's Palace, West- 
 minster, temp., 63 
 
 , paintings of exploits of, Cowdry 
 
 House, 186 
 
 , portrait of, in Chichester Cathe- 
 dral, 190 ; Knole, 270 
 
 statue of, at Wilton House, 202 
 
 Herbert, — , tomb of, at Crick Howel, 
 150 
 
 Herbert (Dame Joan), tomb of, 149 
 Herbert, Sir John, tomb of, 149 
 Herbert Chapel in Abergavenny Church, 
 147 
 
 Hereford Cathedral, destruction at, 5,375 
 Herefordshire, see " Goodrich," " Here- 
 ford " 
 
 Hermesthorp (John de), choir of St. 
 
 Katherine's Church built by, 348 
 Hertfordshire, see "St. Albans" 
 Hinckley Church, 131, 375 
 Holbein, adornments to Wilton House 
 
 by, 201 ; picture by, 202 
 Holland (John de), Duke of Exeter, 
 
 chantry of, in St. Katherine's Church, 
 
 London, 348 
 Hollar, engravings of Windsor by, 257, 
 
 258, 259 
 Holyrood, legend of budding, 303 
 Hopeless Well, Llanthony, 254 
 Horse-armour represented on tapestry 
 
 at Westminster, 77 
 Hospital, Babelake, Coventry, in 
 , St. Katherine, London, 348-352 ; 
 
 destruction of, 348 
 
 , St. Leonard, Stamford, 277 
 
 House (ancient) at Abergavenny, 144 
 Houses, temp. Henry VI. and VIL, in 
 
 Coventry, no 
 Howden, Abbey Church, Yorkshire, 
 
 innovation at, 14-15 ; description of, 
 
 301-302, 375 
 Hugolin, supposed tomb of, at West- 
 minster, 33 
 Humphrey, monument of Duke, St. 
 
 Albans, 358 
 Hungerford Chapel, Salisbury Cathe- 
 dral, 210, 216 
 Hungerford .(Lord), monument to, 
 
 Salisbury Cathedral, 210, 212 
 Huntingdon family, tombs of, 129-130 
 
 Ifley Church, doorway in, 195 
 Imitation, architectural, defined, 114- 
 
 Ingulphus, horn of, York Minster, 296 
 Inn, Angel, Grantham, 279 ; Abbot's, 
 
 Glastonbury, 364 
 Inscriptions in St. Stephen's, West- 
 minster, 92 
 Instruments, musical, see "Musical" 
 Ironwork ring, Tickencote Church, 
 279 
 
 Iscapart (Sir), portrait of, at Southamp- 
 ton, 196 
 
 Islip (Abbot), buildings at Westminster 
 
 Abbey by, 29 
 , chapel of, Westminster Abbey, 
 
 43 ; rubbish deposited in, 43 
 
 Jack-boots {temp. William III), at 
 
 Penshurst, 273 
 James I., statue of, on choir-screen, 
 
 York Minster, 295 
 
Index. 
 
 James II., coronation of, Westminster 
 
 Hall, shown in plan, 71 
 
 , bedchamber of, Knole, 270 
 
 Jerusalem Chamber at Westminster 
 
 Abbey, 29, 30 
 Jervaux Abbey, 307, 375 
 Jesse, arrangement of altar-screen at 
 
 Christ church as, 360, 361 
 Jesus College, Oxford, 176 
 John (King), his hali at St. David's, 236 
 , statue of, on screen of York 
 
 Minster, 295 
 , tomb of, at Worcester Cathedral, 
 
 8 
 
 , apparition of, at Warmborough, 
 
 182 
 
 John of Beverley, basso-relievo of, 
 Beverley Minster, 299 
 
 John of Eltham, tomb of, at West- 
 minster Abbey, 42 
 
 , statue of, in St. Edmund's Chapel, 
 
 48 
 
 John of Gaunt, work of, at St. David's, 
 237 
 
 Jones (Inigo), adornments to Wilton 
 
 House by, 201 
 Jorwerth (Bishop), statue of, 246 
 Justice, statue of, in Guildhall, London, 
 
 317 
 
 Keep of Carisbrooke Castle, 200 
 
 Conisborough Castle, 285 
 
 Knaresborough Castle, 309 
 
 Middleham Castle, 307 
 
 Porchester Castle, 195 
 
 Warmborough Castle, 182 
 
 Kenilworth Castle, 131,375 
 Kent, see " Barfreston," " Canter- 
 bury," "Knole," "Maidstone," 
 <{ Penshurst," "Reculver," "Roches- 
 ter" 
 
 Key of Office of Lord Chamberlain, 
 preserved at Knole, 271 
 
 Kings, portraits of, Chichester Cathe- 
 dral, 190 ; Westminster Abbey, 45 
 
 , statues of, in Westminster Hall, 
 
 69 ; on choir screen, York Minster, 
 294-295 
 
 Kirkham Priory, remains of, 297, 375 
 Kirkstall Abbey, 310-31 1, 375 
 Kitchen, Coventry (St. Mary's Hall), 
 99 
 
 , St. David's (Bishop's Palace), 
 
 construction of, 236 
 
 , Westminster (St. Stephen's), 85 
 
 Knaresborough Castle, 309, 375 ; St. 
 
 Robert's Cave, 309 
 
 Knight, tomb of, at Carew, 234 
 
 in combat, statue of, Llangham 
 
 Church, 251 
 and dame, monument in Llan- 
 
 daff Cathedral, 222 
 Knights, armoured, paintings of, at St. 
 
 Stephen's, Westminster, 92 
 , carvings of, used for striking 
 
 clock at York Minster, 296 
 , monumental effigies of, Coverham 
 
 Abbey (altar-tomb of Crusader), 308 ; 
 
 Ewenny, 225 ; Howden (Crusader), 
 
 15; Pontefract (mutilated), 287; 
 
 Slebach, 251 ; South wark, St. Mary 
 
 Overy (oaken), 337 ; Tickencote 
 
 (oaken altar -tomb), 279; York 
 
 Cathedral, 294 
 Knole House, 269-271, 375 
 
 Lady Chapel, Chichester, 189, 190; 
 
 Fountains Abbey, 305 ; Gloucester, 
 
 218 ; Llandaff, 220-222 ; London, St. 
 
 Bartholomew's Priory, 353 ; St. 
 
 Albans, 357 ; St. David's Cathedral, 
 
 238, 242, 243; Salisbury, 209, 2X1, 
 
 216 ; Southwark, church of St. Mary 
 
 Overy, 335, 338 
 Lancing, chest in church, 329 
 Langham, Archbishop, monument of, 
 
 at Westminster, 41 
 Langley (Batty), engravings of Windsor 
 
 by, 258 ; influence on architecture of, 
 
 168 
 
 Lantern, in roof of Westminster Hall, 69 
 Lantony Abbey, 148-149, 171, 375 
 Last Judgment, discovery of painting 
 
 of, in St. Michael's Church, St. 
 
 Albans, 357 
 Lavatory in York Minster, 296 
 Laycock Nunnery, 167-17J, 375 J 
 
 cloisters of, 169, 170 ; great hall 
 
 of, 169; refectory, 169 
 Lead coverings to cathedrals, 1 15 
 Leicestershire, see " Ashby - de - la 
 
 Zouch " 
 
 Lichfield Cathedral, innovation at, 
 115-118, 375 
 
 Lincolnshire, see " Grantham," "Stam- 
 ford," " Tickencote " 
 
 Linen, worn by figures represented in 
 tapestry, 100 
 
 Littlington (Abbot), Jerusalem chamber 
 erected by, 30 ; tower built by, 
 34 ; refectory at Westminster Abbey 
 built by, 34-35 
 
 Llandaff, 219-223 ; cathedral, 220-223, 
 375 
 
Index. 
 
 393 
 
 Llangham Church, 251 
 
 Llanhamlog Church, 253 
 
 Llantwitt, crosses at, 224 
 
 Llanvethrin Church, 151 
 
 London, Allhallows Church, Tower- 
 Street, 365-366 ; Grocers' Hall at, 4 ; 
 Guildhall of, 317-323, 376 ; House of 
 Lords, 80 ; Leadenhall, 306 ; St. 
 Katherine's Hospital and Church, 
 349-353 ; St. Bartholomew's Priory, 
 353-358 ; Temple Church, 341-346, 
 376, 382 ; Whitehall, 364 ; see 
 " Southwark," " Westminster " 
 
 London stone, removal of, 4, 376 
 
 Longspee, Earl of Salisbury, tomb of, 
 212 
 
 Lort (Roger), monument to, in Tenby 
 
 Church, 232 
 Ludlams Cave, 184 
 Lych-gate, Penshurst, 275 
 
 Magnaville (Geoffrey de), effigy of, in 
 Temple Church, 342 
 
 Magog, pasteboard figure of, in Guild- 
 hall, London, 322 
 
 Maidstone, Collegiate Church at, 5-6, 
 376 ; remains of college at, 5 
 
 Malmesbury, 162-167 ; Abbey Church, 
 164-167,376 ; doorway at, 195 ; font 
 at, 163 ; Abbey House, 163 ; market 
 cross, 163, 376 ; oratory at, 163 ; walls 
 of, 162 
 
 Manners of the fourteenth century 
 depicted in tapestry at Westminster, 
 74-80 
 
 Manorbeer Castle, 232-233, 376 
 Margam, 226-228, 376 ; crosses at, 226 
 Margaret, Queen of Henry VI., repre- 
 sented in tapestry at Coventry, 101 
 Margaret, daughter of Edward IV., in 
 
 Westminster Abbey, 49 
 Market Cross, Chichester, 187; 
 
 Malmesbury, 163 ; Salisbury, 205 
 Martin, monument to, Temple Church, 
 
 London, 343 
 Martin's Tower, Chepstow Castle, 155 
 Mary (Queen of Scots), monument of, 
 6-7 
 
 Matilda, Queen of Stephen, foundation 
 
 of St. Katherine's Hospital by, 348 
 Mayoress's parlour, Coventry, 103 
 Measurements of Old St. Paul's, 119 
 Merton College, Oxford, modern addi- 
 tions to, 176 
 Middlesex, see " Harrow," " London," 
 
 "Tottenham," "Westminster" 
 Midhurst, 186-187 
 
 Middleham Castle, 307-308, 376 
 Miserere carvings, choir of York Min- 
 ster, 296 ; Beverley Minster, 300-301 
 Minstrels, carvings of, St. Mary's 
 Church, Beverley, 298 ; Beverley 
 Minster, 299 
 Minstrels' Gallery at St. Mary Hall, 
 
 Coventry, 99, 103 
 Mint Yard, York, crypt in, 292 
 Monastic ornaments, decorations called, 
 124 
 
 remains, Nottingham Castle, 312 
 
 Monk, General, effigies of, in Henry 
 VII. 's Chapel, 53 
 
 Monk's Bridge, York, 290 
 
 Monmouth, remains of Castle, 140 ; 
 gateway at, 140 ; Priory at, 140 ; St. 
 Mary's Church, 141 ; St. Thomas' 
 Church, 141, 376 
 
 Monmouthshire, see " Abergavenny," 
 " Caldicot," "Caerleon," "Chep- 
 stow," "Monmouth," "Newport," 
 "Raglan," " Tintern " 
 
 Montecute, Earl of Salisbury, tomb of, 
 212 
 
 Monument of Cardinal Beaufort 
 
 (destruction of), 13 
 , Llanhamlog Church, of female in 
 
 adoration, 253 
 Monumental objects in Westminster 
 
 Abbey, 37 
 Monuments, Ashby - de - la - Zouch 
 
 Church, 128-130 
 
 , Canterbury Cathedral, 9 
 
 , Ewenny Priory, 225 
 
 , Howden Abbey Church, 15 
 
 , Llandaff Cathedral, 222, 223 
 
 , Llantwitt Church, 224 
 
 , Peterborough Cathedral, 6-7 
 
 , Westminster Abbey, 37, 39, 40, 
 
 41, 42, 43 ; in choir, 45 ; in Edward 
 
 the Confessor's Chapel, 47-51 ; in 
 
 Henry VII. 's Chapel, 53 
 Morgan, Bishop, tomb of, St. David's, 
 
 241 
 
 Mosaic at Edward the Confessor's 
 shrine, 50 
 
 pavement in Westminster Abbey, 46 
 
 Musical instruments, carvings of, at 
 
 Beverley, 19-21 ; at Coventry, 102 ; 
 
 at Harrow, 363; see "Cittern," 
 
 "Dulcimer," " Crewth," "Gittern," 
 
 " Theorbe," " Viel " 
 
 Narbeth Castle, 230, 376 
 Neath Abbey, 228, 376 ; statue of 
 founder discovered at, 229 
 
394 
 
 Index. 
 
 Needle, St. Wilfred's, Ripon, 304 
 Netley Abbey, destruction of window, 
 
 106 ; described, 197- 199, 377 
 Nevil, Ralph de, tomb of, at Stain drop 
 
 Church, 21 
 Newark Castle, 282, 377 ; church, 282 
 Newland (Abraham), monument to, in 
 
 St. Mary Overy's Church, South- 
 ward 338 
 Newport Castle, 219 
 Norman architecture, 125 
 Northamptonshire, see " Daventry," 
 
 " Geddington," " Peterborough " 
 Northumberland, Earl of, tomb of, 
 
 Beverley Minster, 300 
 Notre Dame du Boir, Chapel of, 
 
 Ewenny, 226 
 Nottingham Castle, destruction of, 
 
 mediaeval, 312, 377 ; Roman remains 
 
 at, 312 ; monastic remains, 312 
 Nottinghamshire, see "Newark," 
 
 "Nottingham," " Southwell " 
 
 Oak carvings at Coventry, 102, 103 
 
 seats, old, at Dunchurch, 97 
 
 statues in Westminster Abbey, 
 
 48 
 
 tomb at Gloucester Cathedral, 8 
 
 Obelisk in grounds of Bermondsey 
 
 Abbey House, 333 
 Odiham, 182-183,377 
 Ogee doorways in Tenby Church, 231 
 Oliverian monument in Islip Chapel, 
 
 43 
 
 Oneby (John), monument to, at Hinck- 
 ley, 131 
 
 Oratory, Conisborough Castle, 286-287 
 
 , Malmesbury, 163 
 
 , St. Stephen's, Westminster, 85, 
 
 86 
 
 Oriel pew of Prior Bolton, St. Bar- 
 tholomew's Priory, 356 
 
 Oriel windows at St. Mary's Hall, 
 Coventry, 99 
 
 Osmond, Bishop of Salisbury, grave- 
 stone of, 212 
 
 Oxford, 133-140, 175-180, 377 ; All 
 Saints' Church, 175 ; All Souls' Col- 
 lege, 176; Balliol College, 177; Braze- 
 nose College, 177 ; Christ Church 
 Cathedral and College, 178 180; 
 Corpus Christi College, 176 ; Exeter 
 College, 178; Jesus College, 176; 
 Lincoln College, 176 ; Magdalen 
 College, 136-140, 176; Merton 
 College, 176; ceiling of chapel 
 tower, 276; New College, 176; 
 
 Oriel College, 176; St. John's 
 College, 177 ; St. Mary's Church, 
 175 ; Schools, 177 ; Trinity College, 
 177 ; University College, 177 
 Oxfordshire, see " Burford," " Oxford," 
 " Woodstock " 
 
 Tainting and gilding in St. Stephen's, 
 
 Westminster, 89-92 
 , of Last Judgment, discovered in 
 
 St. Michael's Church, St. Albans, 357 
 Paintings, wall, Beverley Minster, 299 
 
 , Coventry, kings and queens, 102 
 
 , St. Mary's Hall, Coventry, on 
 
 windows at, 99 
 
 , Maidstone Collegiate Church, 5, 6 
 
 , Westminster Abbey choir, ancient, 
 
 of kings, etc., in, 45 ; in Henry VII. 's 
 
 Chapel, 55 
 Palace, Archbishop's, York, 293 
 
 , bishop's, of Coventry, site of, 108 
 
 , king's, Westminster, 60-64 
 
 Panelling in St. Stephen's, Westminster, 
 
 8 5 
 
 Paradise, Chichester, 189 ; Salisbury 
 
 Cloisters, 207 
 " Parentalia" of Sir C. Wren quoted, 
 
 118-125 
 
 Parliament, chapter-house, Westminster, 
 
 used for meetings of, 36 
 Passion, instruments of, on shield, in 
 
 Llandaff Cathedral, 223 
 Patrisshaw Church, 253, 254 
 Pavement, Aldborough (Roman), 303 ; 
 
 Caerwent (remnants of Roman 
 
 tessellated), 161 
 
 , St. David's Cathedral, 248 
 
 , Windsor, St. George's Chapel, 
 
 264 
 
 , Westminster Abbey, 46 ; Edward 
 
 the Confessor's Chapel, 50 
 
 Peeping Tom of Coventry, 109 
 
 Pembroke (William Marshall, Earl of), 
 effigy of, in Temple Church, 342 
 
 Pembrokeshire, see " Carew," " Haver- 
 fordwest," " Manorbeer," " Nar- 
 beth," " Picton," " Roch," " St. 
 David's," " Tenby " 
 
 Penshurst House, 271-275, 378; church, 
 275 ; lych-gate of, 275 
 
 Percy family altar tomb at Beverley, 
 18 
 
 Percy (lady), monument to, in Beverley 
 
 Minster, 18, 300 
 Peterborough Cathedral, architectural 
 
 innovations at gate of entrance, 3, 
 
 4-5, 6-7, 378 
 
Index. 
 
 395 
 
 Pews in churches, inconveniences of, 
 146 
 
 Philippa, Queen of Edward III., figures 
 of, at Beverley, 18 ; tomb of, in 
 Westminster Abbey, 49 
 
 Philippa, wife of Edward, Duke of 
 York, tomb of, 42 
 
 Picton Castle, 250, 378 
 
 Picture, ancient, at Gloucester Cathe- 
 dral, 8 
 
 Pilgrim, statue of a, in Ashby-de-la- 
 Zouch Church, 128 
 
 Pillar, with arms and devices, in West- 
 minster Hall, 68 
 
 Pillory in St. Stephen's, Westminster, 
 88 
 
 , finger, at Ashby-de-la-Zouch 
 
 Church, 128 
 
 Pix, trial of the, ceremony at West- 
 minster, 33 
 
 Plantagenet (William), effigy of, in 
 Temple Church, 342 
 
 Plowden (Lord), monument to, Temple 
 Church, London, 343 
 
 Poet's Corner, Westminster Abbey, 40 
 
 Pontefract, ancient house near, 287 ; 
 castle of, 2S7-288, 378 ; church 
 (ruined) at, 288 ; death of Richard II. 
 at, 288 
 
 Poor, Bishop of Salisbury, tomb of, 
 214 
 
 Porch, Burford Church, 174 
 
 , Chichester Cathedral, 189 
 
 , Cirencester Church, 174 
 
 , Guildhall, London, 317 
 
 , Oxford, St. Mary's Church, 175 
 
 , St. David's Cathedral, 240 ; 
 
 King John's Hall, 236 
 
 , Selby Abbey, 303 
 
 , Tickencote Church, 278 
 
 , Westminster Abbey, 26 ; West- 
 minster Hall, 313 ; King's Palace, 
 61 ; Henry VII. Chapel, entrance, 53 
 
 , Windsor, St. George's Collegiate 
 
 Chapel, 264 
 
 , York, St. Margaret's Church, 292 
 
 Porchester Castle, 195, 378 
 Portraits at Knole, 270 ; Penshurst, 
 274 ; Westminster Abbey-House, 30 
 Presentation, basso-relievo of, St. 
 
 David's, 242 
 Pressing prisoners in Bishop's dungeon, 
 York, 293 
 
 Prince's Chamber, Westminster, 81, 84 
 Priory Church, Coventry, 106-108 
 Prisoners, punishment of, in Bishop's 
 prison, York, 293 
 
 j Pulpit, octagonal, Ripon Cathedral, 
 304 
 
 Raby Castle, Staindrop, 22-23, 378 
 "Ragged Regiment," remains of, in 
 
 Islip Chapel, 43 
 Raglan Castle, 141-142, 378 
 Raphael, cartoons of, 83 ; picture by, at 
 
 Wilton House, 202 
 Raherus, Prior, foundation of St. 
 
 Bartholomew's Priory by, 352 ; 
 
 monument of, 356 
 Reading Palace, 257 
 Reculver Church, ruins of, 323, 378 
 Refectory, Babelake Hospital, Coventry, 
 
 in 
 
 , Laycock Abbey, 169 
 
 , Margam Abbey, 227 
 
 , Westminster Abbey, 34-35 
 
 Regalls, carving of, All Hallows' 
 
 Church, York, 293 
 Relics of Richard II., desecration of, 49 
 
 of A.shby-de-la-Zouch Castle, 130 
 
 Religion, statue of, in Guildhall, Lon- 
 don, 317 
 
 Religious ceremonies represented on 
 
 tapestry, 77 
 Requests, Court of, in Westminster 
 
 Hall, 71 
 
 Resurrection, basso-relievo of, St. 
 
 David's, 241 
 Re-vestry, Arundel Church, 192 
 Rhys-ap-Grifhth, tomb of, at St. 
 
 David's, 246 
 Rhys Grigg, tomb of, St. David's, 247 
 Richard I., statue of, on choir-screen, 
 
 York Minster, 295 
 Richard II., murder at Pontefract of, 
 
 288 
 
 , portrait of, at Westminster, 30 ; 
 
 picture of, at Wilton House, 202 
 
 , mutilated condition of statue of, 
 
 York Minster, 295 
 
 and his Queen, tomb of, in West- 
 minster Abbey, 49 
 
 Richmond (Jasper, Earl of), at St. 
 David's, 245 
 
 Riley ( James), obelisk erected in grounds 
 of Bermondsey Abbey House by, 333 
 
 Ring armour, representations of, How- 
 den, 302 
 
 , iron door, Tickencote Church, 
 
 279 
 
 Ripon, collegiate church of, 303-305, 
 
 378 ; monument in, 303 
 Robert of Normandy, confinement in 
 
 Cardiff Castle of, 223 
 
396 
 
 Index. 
 
 Robert Curthoise, Duke of Normandy, 
 
 tomb of, 8 
 Robes of Charles II. in Henry VII.'s 
 
 Chapel, 53 
 of deceased persons buried in Islip 
 
 Chapel, 43 
 Roch Castle, 234 
 
 Roch, monument to knight of, in 
 Llangham Church, 251 
 
 Rochester Cathedral, architectural fea- 
 tures at, 6, 378 
 
 Rock Chapel, St. Robert's Cave, 
 Knaresborough, 309 
 
 Rollright stones, 133 
 
 Roman arch at Canterbury Castle, 
 12 
 
 costume, statesmen and soldiers 
 
 depicted in, by modern sculptors, 
 57 
 
 palace, York, site of, 291 
 
 remains at Aldborough, 303 ; 
 
 Nottingham, 312 
 
 stone, Ferry-bridge, 287 
 
 tiles worked in doorway of Chip- 
 ping Ongar Church, 347 
 
 tower, York, 291 
 
 Rood loft, Patrisshaw Church, 254; St. 
 David's Cathedral, 241 ; St. George's 
 Chapel, Windsor, 265 ; modern rood 
 screen, 266 
 
 screen, Southwell Minster, 284 
 
 Roof, timber, of St. Stephen's, West- 
 minster, 89 
 
 Rose window, St. Mary Overy Church, 
 Southwark, 340 
 
 Ross (Robert), effigy of, in Temple 
 Church, 342 
 
 Ross, 218 
 
 Rotunda on central tower of Beverley 
 Minster, 298 
 
 Roubiliac, monuments by, at West- 
 minster Abbey, 38, 40 
 
 Round Church, see Temple Church, 
 London 
 
 Tower, Windsor Castle, 256, 258, 
 
 263 
 
 Rubens, picture by, at Wilton House, 
 202 
 
 Ruthall, Bishop of Durham, tomb of, in 
 Westminster Abbey, 43 
 
 Sacred subjects depicted on tapestry at 
 Coventry, 100- 101 
 
 Sacristy, Salisbury Cathedral, 217 
 
 Saddle of Henry V. preserved at West- 
 minster Abbey, 49 
 
 St. Albans, 357-360 ; Abbey, 276, 
 
 357-358, 378 ; St. Michael's Church, 
 
 357, 379 5 St. Peter's Church, 357,379 
 St. Catherine, basso-relievo of, Tenby 
 
 Church, 231 
 St. Christopher, statue of, in Aber- 
 gavenny Church, 146 
 St. Cuthbert's banner, illustrated by 
 
 tapestry, 76 
 St. David's, 234-249, 379 ; Bishop's 
 
 Palace, 235-237 ; Cathedral, 237-243 ; 
 
 St. David, shrine of, 247 ; St. 
 
 Andrew's Chapel, 242 
 St. George in armour, glass of, St. 
 
 Martin's Church, York, 293 
 St. Hubert, carving of, Wressell Castle, 
 
 302 
 
 St. Ishew, see "Patrisshaw" 
 
 St. John and lamb, statue of, in church 
 
 of St. Laurence, York, 290 
 St. John the Baptist, basso-relievo of, in 
 
 Tenby Church, 232 
 St. John the Evangelist, basso-relievo 
 
 of, in Tenby Church, 232 
 St. Thomas a Becket, shrine of, at 
 
 Canterbury, 10 
 Saints (female) depicted in tapestry at 
 
 Coventry, 101 
 Salisbury, 200-218; Bell Tower, 206; 
 
 Bishop's Palace, 205 ; Cathedral, 206- 
 
 21 8, 379 ; Longspee, Earl of, tomb 
 
 of, 212; Market Cross, 2o5,379;Mon- 
 
 tecute, Earl of, tomb of, 212 ; Sir C. 
 
 Wren's survey of, 122 
 Saltmarsh, Chapel of, Howden, 302 ; 
 
 monuments and tombs of family of, 
 
 Sandal Castle, remains of, 312 
 
 Sarum, Old, 202-204 
 
 Saxon arches in Westminster Hall, 72 
 
 architecture at Dunstable Church, 
 
 94 
 
 at Westminster, 32, 33 
 
 architecture represented on 
 
 tapestry, 74 
 
 work at Clytha House, 143 
 
 ■ workmanship at St. Thomas's, 
 
 Monmouth, 141 
 Schoolroom over Chapter-house, St. 
 
 David's, 240 
 Schools, Oxford, 177 
 Screen, Arundel Church, 192 
 
 , Brighthelmstone Church, 325 
 
 , Howden Abbey Church (choir), 
 
 302 
 
 , Lichfield altar, demolished, 1 16 
 
 , St. David's Cathedral, 248 
 
 , Tadcaster Church (oak), 288 
 
Index. 
 
 397 
 
 Screens, Westminster, altar, Edward the 
 Confessor's Chapel, 46 ; destroyed, 
 38, 41, 42; Henry VII.'s Chapel, 
 54; St. Stephen's (destroyed), 88 
 
 Scullery madein St. Stephen's Chapel, 86 
 
 Sculptures at St. Mary Hall, Coventry, 
 99; Westminster Abbey, 35 
 
 Sebert, tomb of, in Westminster Abbey, 
 45 
 
 Selby, Abbey of, 303, 379 
 
 Sevenoaks, see " Knole " 
 
 Sewell' (Archbishop), finger-ring of, 
 York, 296 
 
 Shakespeare's monument in Westmin- 
 ster Abbey, 40 
 
 Sheldergate, York, 289 
 
 Shield of Edward III. in Westminster 
 Abbey, 51 ; of Henry V., 49 
 
 , hand, represented on tapestry at 
 
 Westminster, 77 
 
 , restoration of a, at Gloucester 
 
 Cathedral, 8 
 
 Shields and arms in St. Stephen's, 
 Westminster, 92 
 
 Ships represented on tapestry at West- 
 minster, 74-75 
 
 Shops, temp. Henry VI., at Coventry, 
 no 
 
 Shoreham (New), Church of, 326-328, 
 379 
 
 Shoreham (Old), ruined church at, 326, 
 379 
 
 Shrine, definition of, 247 
 of St. Thomas a Becket at Canter- 
 bury, 10 
 
 Sidney (Sir Philip), armour of, Pens- 
 hurst, 273 
 
 Singing school at Peterborough Cathe- 
 dral, 4 
 
 Siren with mirror, Ripon Cathedral, 
 305 ; on capital of porch, St. Mar- 
 garet's Church, York, 292 
 
 Slebach Church, 250-251 
 
 Smoke, lanterns used in ancient halls to 
 let out, 69 
 
 Soldiers depicted in Roman and Greek 
 costume by modern sculptors, 57-58 
 
 Somerset pew, Tadcaster, 288 
 
 Somersetshire, see " Bath " 
 
 Southampton, 196-197 ; All Saints' 
 Church, 197 ; Bar Gate, 196, 379 ; 
 Water Gate, 196-197 
 
 Southwark, Bishop's Palace, ruins of, 
 334, 339, 3 g o; St. Mary Overy 
 Church, 335, 379 ; tower of, groining 
 of, 275 
 
 Southwell Minster, 282-285, 380 
 
 Spanish Armada represented on 
 
 tapestry, 81 
 Spire of Grey Friars', Coventry, 112 ; of 
 
 St. Michael's, 104 ; of Holy Trinity, 
 
 io5 
 
 Spires, church, 281 ; antiquity of square, 
 283 
 
 Staffordshire, see "Lichfield," "Tam- 
 worlh " 
 
 Staindrop Collegiate Church, architec- 
 tural innovation at, 21-22 ; Raby 
 Castle at, 22-23 
 Staircase, double circular, at Tamworth 
 Church, 126 
 
 , octangular, at Penshurst, 274 
 
 Staircases in St. Stephen's Chapel, 
 
 Westminster, 85 
 Stall, ancient stone, at Arundel, 192 
 Stalls at Lichfield Cathedral, 117 
 
 , choir, in St. Katherine's Church, 
 
 London, 351 
 
 , St. George's Chapel, Windsor, 
 
 266, 267 
 
 Stamford, parish churches of, 277, 380 ; 
 
 Grey Friars' Gate, 277 ; St. Leonard's 
 
 Hospital, 277, 380 
 Star chambers, Windsor, alterations to, 
 
 259-260 
 
 Statesmen depicted in Roman and 
 Greek costume by modern sculptors, 
 57-58 
 
 Statue, Abergavenny Church, of St. 
 Christopher, 146 
 
 , Ashby-de-la-Zouch Church, of a 
 
 pilgrim, 128 
 
 , Canterbury Cathedral, of Arch- 
 bishop Wareham, 9 
 
 , Chichester Cathedral (on porch), 
 
 189 
 
 , Gloucester Cathedral, of Robert 
 
 Curthoise, 8 
 
 , Llandaff Cathedral (in bene- 
 diction), 221 
 
 , Llanvethrin Church, 151 
 
 , Neath, of a founder, 229 
 
 , Westminster Hall, of knight, dis- 
 covery of, 68 
 
 , knights in armour represented on 
 
 tapestry, 75 
 
 Statues, Arundel Church, monumental, 
 193 
 
 , Ashby-de-la-Zouch Church, of 
 
 Earl and Countess of Huntingdon, 
 129-130 
 
 , Coventry, St. Michael's Church 
 
 (on tower of), 104 
 
398 
 
 Index. 
 
 Statues, Crick Howel Church, monu- 
 mental, 149-150 
 
 , Howden Abbey Church, of 
 
 knights, 15 
 
 , Nevil (Ralph de), destruction of, 
 
 21 
 
 , Oxford, St. Mary's Church 
 
 (virgin and child), 175 
 , Westminster Abbey, Henry 
 
 VII. 's Chapel, 54 
 , Westminster Hall, of kings, 
 
 69 
 
 , King's Palace (destroyed), 61-62 
 
 Statuary at Chepstow Castle, 155 
 Stephen (King), statue of, on choir- 
 screen; York Minster, 295 
 Steyning Church, 329-331, 380 
 Stone cradle in Henry VII. 's Chapel, 
 53 
 
 Stones, ornamented, at Salisbury, 205 
 
 , relic, demolished at Canterbury, 
 
 II 
 
 Stones, Rollright, 133 
 Stony Stratford, church of, 95-96, 380 
 Stoup, Llangham Church, 252 
 Stourton (Lord), tomb of, 212 
 Subterranean passage discovered at 
 
 Westminster Abbey, 36 
 Suffolk, see " Bury St. Edmunds " 
 Surrey, see " Bermondsey," " Farn- 
 
 ham," " Southwark," " Waverley " 
 Sussex, see "Arundel," " Bramber," 
 " Brighthelmstone," " Broadwater," 
 "Chichester," "Lancing," "Mid- 
 hurst," " Shoreham," " Steyning " 
 Swansea, parapet at, 235 
 Sword of Edward III. in Westminster 
 Abbey, 51 
 
 Tadcaster, 380 ; ancient houses at, 288 
 Tarn worth Castle, 127-128, 380 ; church, 
 
 innovation at, 126 
 Tapestry at St. Mary's Hall, Coventry, 
 
 99-101 
 
 at Westminster Abbey, 30 
 
 , Painted Chamber, 71, 73-80; 
 
 House of Lords, 81-82 
 
 , York, St. Martin's Church, 292 
 
 Temperance, statue of, in Guildhall, 
 London, 317 
 
 Templars, building of Temple Church 
 by, 341 ; effigies of, in Temple 
 Church, 341-342 
 
 Temple Church, London, 341-346 ; de- 
 struction of stonework, 344 
 
 Tenby Castle, 231,380 ; church, 231-232 
 
 Tetbury Church, 95, 171-174 
 
 Theorbe, carving of minstrel playing 
 on, Beverley Minster, 299 
 
 Thomas of Woodstock, brass of, 50 
 
 Tichfield, dilapidations at, 196, 380 
 
 Tickencote Church before rebuilding, 
 description of, 277-279, 380 
 
 Tiles, Roman, worked in doorway of 
 Chipping Ongar Church, 347 
 
 Timber ceiling in St. Stephen's Chapel, 
 85, 8 9> 92 
 
 Timber work at Coventry, 102 
 
 Tintern Abbey, 157-159,380 
 
 Tombs, Abergavenny Church, 147 ; 
 Arundel Church, 193-194; Ashby- 
 de-la-Zouch Church, 129; Caermar- 
 then Church, 229 ; Canterbury 
 Cathedral, 9 ; Carew, 234 ; Conis- 
 borough Church, 287 ; Gloucester 
 Cathedral, 8; Laycock, 170; Peter- 
 borough, 5, 7 ; Tenby Church, 231- 
 232 ; Westminster Abbey, 42 
 
 , fragments of, discovered in 
 
 gardens, 7 
 
 , queens in Peterborough Cathe- 
 dral, 6-7 
 
 , Ralph de Nevil, destruction of, 21 
 
 , Warham (Archbishop), in Can- 
 terbury Cathedral, 9 
 Torreggiano, tomb of Henry VII. 
 
 made by, 54 
 Tottenham High Cross, 360-361, 380 
 Tower, Caerleon, 219 
 
 , Chepstow Castle, 154 
 
 , Chichester bell, 188 
 
 , Ewenny, structure of, 225 
 
 , Goodrich Castle (circular), 152 
 
 , Stamford (St. Mary's Church), 
 
 277 
 
 , hexagonal, to Holy Ghost Chapel, 
 
 Basingstoke, 181 
 
 , octangular, Caerleon, 161 ; Warm- 
 borough, 182 
 
 and walls, Westminster Abbey, 34 
 
 Towers, church, 275 
 
 Townshend (Lieutenant-Colonel), monu- 
 ment to, in Westminster Abbey, 39 
 
 Traceried compartments on altar-screen, 
 St. Mary Overy, Southwark, 338 
 
 Treasury, York Minster, 296 
 
 Trinity Church, Coventry, 105-106 
 
 Church, York, gateway of, 290 
 
 College, Oxford, modern additions 
 
 to, 177 
 
 Troy, siege of, wrought in tapestry, in 
 Westminster Palace, 57, 73-80 
 
 Trumpeters represented on tapestry, at 
 Westminster, 76 
 
Index. 
 
 399 
 
 Tudor (Owen), supposed tomb of, at 
 St. David's, 246 
 
 Undercroft of St. Stephen's, West- 
 minster, 87 
 
 (Chapel of the Pyx) in cloisters, 
 
 Westminster, 33 
 
 University College, modern additions 
 to, Oxford, 177 
 
 Usk Castle, 218 
 
 Valence (Aymer de), monument to, 45 
 Valence (W. de), Earl of Pembroke, 
 
 tomb of, 42 
 Vandyke, painting by, at Knole, 271 ; 
 
 at Wilton House, 202 
 Van Eyck, picture by, at Wilton House, 
 
 202 
 
 Vaughan (Sir T.), tomb of, in West- 
 minster Abbey, 43 
 
 Vaughan's (Bishop) Chapel, St. David's, 
 238, 242-243 
 
 Viel, carving of minstrel playing on, 
 Beverley, 299 
 
 Virgin, statue of, destroyed at West- 
 minster, 35 
 
 and Child, carving of, entrance to 
 
 Chapter House, York Minster, 295 
 
 Wainscoting introduced at Lichfield 
 
 Cathedral, 117 
 Wakefield Bridge, chapel on, 311 -312, 
 
 380 
 
 Walbye (Robert de), Bishop of Durham, 
 brass of, at Westminster, 42 
 
 Wales (Prince of), statue to, Brighthelm- 
 stone, 324 ; in Caermarthen Church, 
 229 
 
 " Walking - staff" representation of 
 
 Henry VIII., Knole, 271 
 Wall-sculptures, Beverley Minster, 299 
 Walls of Chepstow, 156 
 of Westminster Abbey, 34 ; old, 
 
 at King's Palace, Westminster, 63 ; 
 
 of House of Lords, 62, 
 Waltham Abbey, dilapidations at, 314, 
 
 380 ; gateway of, 315 ; crypt of, 316 
 Cross, 358 
 
 Waltham (John de,) Bishop of Salisbury, 
 
 brass of, 50 
 Wards of Carisbrooke Castle, 199 
 Ware (R. de), mosaic of, in Westmin- 
 ster Abbey, 46 
 Warham (Archbishop), monument of, at 
 
 Canterbury, 9 
 Warmborough, keep at, 182 
 Warming-pan bed, Knole, 270 
 
 Warwick, gateways at, 131, 132; church 
 at, 132, 381 ; castle, 132-133, 380 
 
 Warwickshire, see " Coventry," " Dun- 
 church," " Kenilworth," " Warwick" 
 
 Water Gate, Southampton, 196 ; at 
 York, ancient, 291 
 
 Waverley Abbey, 184-186,381; church 
 of, 185 
 
 Weapons represented on tapestry at 
 
 Westminster, 72-80 
 Well at Carisbrooke Castle, 200 
 Wells Cathedral, 107 ; groining of cen- 
 tral tower, 275 
 Wells, triple, at Chipping Ongar, 347 
 Wensley Church, basso-relievo in, 308 
 Westminster, architectural innovation 
 at, 15-17 
 
 Abbey, 381 ; architectural features 
 
 of, 25 ; proportions of, 172 ; mutilation 
 of tracery appertaining to, 339 ; Wren's 
 (Sir Christopher) opinion of, 121 
 
 Dean's Yard, 29, 34 
 
 Hall, 381 ; facades of, 16 ; interior 
 
 of, 67-80 ; ornaments of west front 
 destroyed, 314 ; west front of, 313 
 
 Palace, ancient, described, 60-64, 
 
 381 ; temp. Elizabeth, 61 
 
 St. Margaret's Church, 58-60, 381 
 
 St. Stephen's Chapel, 84-93 
 
 scholars, room in cloisters used 
 
 by> 33 
 
 White Castle, 150- 151, 382 
 White Friars' Monastery, Coventry, 112 
 William I., statue of, York Minster, 295 
 William Rufus, founder of St. Stephen's, 
 Westminster, 86 
 
 , statue of, York Minster, 295 
 
 William de Colchester, tomb of, 43 
 William of Windsor, tomb of, at West- 
 minster Abbey, 42 
 Wilton House, 200-202, 382 
 Wiltshire, see " Laycock," " Malmes- 
 bury," "Salisbury," " Sarum (Old)," 
 "Wilton" 
 Winchester Cathedral, 12-13, 363-364, 
 365, 382 
 
 Palace, Southwark, remains of, 
 
 334, 339-340 ; demolition of, 340 
 Windows, architecture of, Trinity 
 
 Church, Coventry, 106 
 
 , East, Gloucester Cathedral, 8-9 
 
 , oriel, Grocers' Hall, London, 4 
 
 , Temple Church, London, 344 
 
 , Canterbury Cathedral, 10 
 
 , Coventry, St. John's Hospital 
 
 Chapel, no; St. Mary's Hall, 98 
 
 99 ; White Friars', 112 
 
400 
 
 Index. 
 
 Windows, Lichfield Cathedral, 116 
 
 , Monmouth Castle, 140 
 
 , Oxford, New College, 135 
 
 , Stony Stratford Church, 95 
 
 , Tamworth Castle, destruction of, 
 
 126 
 
 , Westminster Hall, 68, 72, 73 ; 
 
 Henry VII. 's Chapel, 54; King's 
 Palace, 6r; St. Margaret's Church, 59; 
 St. Stephen's, 64, 65, 66, 85, 87, 89 
 
 , bower, 22 
 
 , circular, of Southwell Minster, 283 
 
 Windsor Castle, 254-269, 382 ; St. 
 
 George's Chapel,. 255 
 
 , engravings of, 257, 258 
 
 Wolsey, tomb-house of, Windsor Castle, 
 
 258 
 
 , porch of, Christchurch College, 
 
 Oxford, 178 
 
 Wood models of churches in West- 
 minster Abbey, 49 
 
 Wooden church, see " Greenstead " 
 
 effigies of persons buried in Islip 
 
 Chapel, 43 
 
 embellishments in Westminster 
 
 Abbey, 45 
 
 Woodstock Church, 133,382 
 
 Wren (Sir Christopher), design for erect- 
 ing rotunda in Old St. Paul's Cathe- 
 dral, London, 298 
 
 , engravings of Windsor Castle by, 
 
 257 
 
 , opinions quoted of Old St. Paul's 
 
 and Westminster, 120, 121 
 
 , " Parentalia " quoted, 118-125 
 
 , work of, at Salisbury, 213 
 
 Wressell Castle, Yorkshire, 23-24, 302- 
 303, 382 ; chapel in, 302 ; church, 302 
 Wyle (Bishop de la), statue of, in Salis- 
 bury Cathedral, 212 
 
 York, 288-297 ; gates of, 289-290 ; walls 
 of, 288 
 
 York, Allhallows' Church, 293 
 
 , Bishop's Palace, 293 
 
 , Bootham Bar, 290, 382 
 
 , Cathedral, 293-297, 382 
 
 , Castlegate, 289 
 
 , Clifford's Tower, 289 
 
 , Fishergate Bar, 289 
 
 , Fosse, 289 
 
 , Guildhall, 291 
 
 , Micklegate, 289, 290, 382 
 
 , Mint Yard, 292 
 
 , Monk Bar, 290 
 
 , Monk's Bridge, 290 
 
 , Monuments in Cathedral, 296 
 
 , Ouse Bridge, 291 
 
 , Roman Palace, 290 
 
 , St. Cuthbert's Church, 290 
 
 , St. Helen's Church, 293 
 
 , St. Laurence's Church, 290 
 
 , St. Margaret's, 292 ; doorway in, 
 
 195 
 
 , St. Martin's Church, 291, 292, 
 
 382 
 
 , St. Mary's Abbey, 291 
 
 , St. Mary's Church, 289 
 
 , St. Nicholas' Hospital, 292 
 
 , St. Olave's Church, 291 
 
 , St. Thomas' Hospital, 289 
 
 •, Sheldergate, 289 
 
 , Trinity Church, 290 
 
 , Walmgate Bar, 289, 382 
 
 , Watergate. 291 
 
 Yorkshire, see " Aldborough," " Bever- 
 ley," " Conisborough," " Coverham," 
 " Doncaster," "Fountains Abbey," 
 " Harewood," " Howden," "Jer- 
 vaux," " Kirkstall," "Knaresborough," 
 "Middleham," " Pontefract," 
 " Ripon," "Selby," " Tadcaster," . 
 "Wakefield," "York" 
 
 Zodiac on capital of porch, St. Marga- 
 ret's Church, York, 292 
 
 Elliot Stock, 62, Paternoster Row, London. 
 
GETTY RESEARCH INSTITUTE 
 
 
 
 
 
 
 
 
 
 
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