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 Si. 
 
SPECIMENS 
 
 OF 
 
 iBotttk ^vi^ittttmt ; 
 
 SELECTED FROM VARIOUS 
 
 ANTIENT EDIFICES IN ENGLAND 
 
 .CONSISTING OF 
 
 PLANS, ELEVATIONS, SECTIONS, AND PARTS AT LARGE; 
 
 CALCULATED TO EXEMPLIFY 
 
 THE VARIOUS STYLES, 
 
 AMD 
 
 THE PRACTICAL CONSTRUCTION 
 
 OF THIS CLASS OF 
 
 ADMIRED ARCHITECTURE: 
 
 ACCOMPANIED BY 
 
 matovml antr JBcsiniptibf Strcomttsj. 
 
 VOL. I. 
 
 Bv A. PUGIN, — ARCHITECT. 
 
 SECOND EDITION, WITH ADDITIONS AND CORRECTIONS. 
 
 LONDON 
 
 PRINTED FOR J. TAYLOR, ARCHITECTURAL LIBRARY, HIGH HOLBORN ; A. PUGIN, 105, GREAT RUSSELL 
 STREET, BLOOMSBURY; AND J. BRITTON, 17, BURTOJ*' STREET. 
 
 1823. 
 
LONDON : 
 
 PRINTED BY J. MOVES, GREVILLE STREET. 
 
TO 
 
 JOHN NASH, Esq. 
 
 ARCHITECT TO THE OFFICE OF WORKS, 
 PRIVATE ARCHITECT TO THE KING, &c. &c. 8cc. 
 
 Sir, 
 
 Soon after my arrival in this country, I was very fortunately 
 introduced to you, and prosecuted my architectural studies in your 
 office, with much gratification and advantage to myself. It is, 
 therefore, with no small degree of pleasure that I inscribe to you 
 the present volume of Specimens, which none, better than yourself, 
 know how to appropriate and to appreciate. Indeed, from your 
 friendly and judicious counsel I have already profited much ; and 
 I trust that the present AVork, as well as any other I may here- 
 after be induced to undertake, may merit the approbation of so 
 distinguished a judge. 
 
 I remain. 
 With great respect and gratitude, 
 
 Your obedient servant, 
 
 A. PUGIN. 
 
 June, 1821. 
 
PREFACE 
 
 THE SECOND EDITION. 
 
 The destruction of all the copies, remaining on sale, of the first volume of " Specimens 
 OF Gothic Architecture*," having rendered a new impression necessary, the pro- 
 prietors, notwithstanding their loss, have anxiously attended to various important 
 improvements for this new edition. The deficiency of literary illustration to some 
 Plates at the end of the volume has been supplied and enlarged ; various inaccuracies and 
 defective passages corrected ; the " Glossary " has been revised, and considerable 
 additions made to it ; and the whole of the Plates are now arranged according to a 
 regular distribution of subjects, the same as in the second volume. 
 
 Thus improved, this first volume is again submitted to the public, with more satisfaction 
 than at its first publication, which some circumstances conspired to render, in a few parts, 
 irregular and incomplete. 
 
 This collection of " Specimem of Gothic Architecture " will undoubtedly prove of 
 great use to architects, as well as to gentlemen who study the subject as a liberal accom- 
 plishment ; no previous publication having presented so many details of mouldings 
 and ornaments, adapted to actual practice. The study of that beautiful style which 
 
 * By fire, which destroyed Mr. Taylor's premises, 59, High Holborn, in the night of Nov. 23, 1822. 
 An extensive and valuable stock of books and prints of Architecture, MSS. &c., perished at tlie same time. 
 
VI PREFACE. 
 
 we are accustomed to call Gothic, appears to advance in its interest with the British 
 pubhc; and the adaptation of it to modern purposes, so frequently attempted with imper- 
 fect success, bids fair to be completely effected at the present day, by the aid of accurate 
 and tasteful delineations from the finest antient examples ; advantages which the 
 architects of the last generation did not possess, and which, whilst they excuse, in some 
 measure, the imperfect manner in which they imitated the true Gothic style, leave 
 no apology for a repetition of such barbarous designs. 
 
 E. J. W. 
 
 Lincoln, January, 1833. 
 
LIST OF PLATES. 
 
 *,* The first iiue of small Arabic numerals correspond with figures engraved at the right hand corner, at the bottom of 
 each Plate, and are intended to direct the arrangement of the Plates : these are regularly described in this 
 numerical order in the accompanying letter-press. 
 
 PLATES. 
 
 DESCRIBED, PAGE 
 
 DOORWAYS. 
 
 1. — I. Various Modes of forming Arches- • 1 
 
 2.— II. Jews' House, Lincoln, Window and 
 Door 4 
 
 3. — IV. Ancient Gateway, St. Mary's Guild, 
 Lincoln 5 
 
 4. — lit. Ancient Doorway, Atherton Place, 
 Lincoln 6 
 
 5. — III.* New Shoreham Church, Sussex, 
 
 East End 7 
 
 6. — V. Doorway, St. Mary's Church, Lin- 
 coln • 7 
 
 7. — LIV. Specimens of Doorways, from 
 different Buildings ■ 8 
 
 8. — LXVII. Four Specimens of Doorways, 
 from Westminster and Lincoln 8 
 
 9.— XXXIX. Door of the Bishop's Palace, 
 Lincoln ■ 8 
 
 10. — XL. West Door of the Collegiate 
 Church, Tattershall, Lincolnshire 9 
 
 11. — XLI. South Door of the same Church 9 
 
 12. — LIX.* Entrance to the Canon's Refec- 
 tory, Windsor Castle 10 
 
 WINDOWS. 
 
 13.— LII. St. Mary's Church, Lincoln, 
 Windows and Details 10 
 
 14. — XLII. John of Gaunt's Palace, Lin- 
 coln, Oriel Window 11 
 
 15. — XLIII. Arched Window of the Same 
 Palace, &c. 12 
 
 16. — LIX. Specimens of Windows at Lin- 
 coln, &c. 14 
 
 PLATES. DESCRIBED, PAGE 
 
 17. — LXIX. An Oriel, and other Windows, 
 
 at Oxford 14 
 
 18. — LXXIII. Specimens of Buttresses at 
 
 Oxford 15 
 
 19.— LXXV. Other Specimens at Oxford- • 15 
 20.— XXVII. York Minster, lower Part of a 
 
 Pinnacle 15 
 
 21. — XXIX. York Minster, upper part of 
 
 the same 15 
 
 22.— XXXI. MuUions of Windows from 
 
 York and Beverley Minsters 16 
 
 23. — LXII. Brackets and Pedestals, from 
 
 Westminster and Lincoln 16 
 
 24.— LXVIII. Pinnacles, &c. at Oxford •• 16 
 25. — LXXIV. Parapets and Battlements at 
 
 Oxford, &c. 17 
 
 26.— XXVIII. Font in St. Mary's Church, 
 
 Lincoln 17 
 
 27. — XXX. Stone Screen in Lincoln Minster 17 
 28. — LV. Specimens of Panels on the Sides 
 
 of Tombs, &c 18 
 
 29. — LX.* Tracery in the Spandrils of 
 
 Arches at Westminster Abbey, &c. •••• 18 
 30.— LXXVII. Groined Vaults at Lincohi 
 
 and Westminster 18 
 
 31.— XXXVI. Bishop Fleming's Chapel, 
 
 Lincoln Minster, Elevation of Part of the 
 
 Front, with Details, &c. 19 
 
 32.— XXXIl. Westminster Hall, Section, 
 
 and Parts of the Roof 22 
 
 33. — XXX 111. Ditto, Compartment of the 
 
 Roof, &c. 22 
 
 34.— XXXIV. Ditto, Elevation of the great y 
 
LIST OF PLATES. 
 
 PLATES. DESCRIBED, PAGE 
 
 North Window • 23 
 
 35. — XXXV. Ditto, Side Window, Brackets, 
 &c. 24 
 
 36.— LXXII. St. Mary's Church, Oxford ; 
 Plan, Elevation, and Section of the Spire 24 
 
 37.— XXXVII. Tattershall Castle, Fire- 
 place 25 
 
 38.— XXXVIII. Ditto, another Specimen.. 25 
 
 39.— LIII. Windsor Castle, two Fire- 
 places 26 
 
 40.— LVI. Chimney-Shafts at Windsor and 
 Lincoln 27 
 
 41.— LXVI. Ditto at Eton College, Buck- 
 inghamshire 27 
 
 42. — XLII. Crosby Place, London, Parts of 
 the Roof of the Council Chamber 28 
 
 43.— XLII.* Ditto, Window, and Part of 
 the Roof of the Hall 29 
 
 44. — XLIV. Ditto, Sections, &c. of Parts 
 of the same Roof 30 
 
 45.— XLIV.* Ditto, Oriel-Window in the 
 Hall, with Details 30 
 
 PLATES. DESCRIBED, PAGE 
 
 46. — XLV. Chancellor's House, Lincoln, 
 
 Gateway in the West Front 31 
 
 47.— LVIII. Ditto, Oriel, or Bay -Window 32 
 48.— XLIII.* St. George's Chapel in Wind- 
 sor Castle, Niche in South Aile 32 
 
 49.— XLIX. Ditto, Door and Window 33 
 
 50. — L. Ditto, two Doorways 34 
 
 51. — LI. Ditto, Parapets and Battlements 34 
 52. — LII. Compartmentof A Idworth Chapel 35 
 53.— Title. Henry VII.'s Chapel, West- 
 minster, Part of the North Aile 36 
 
 54. — LVII. Ditto, Specimen of Tracery •• 36 
 55. — LX. Ditto, Part of the Brass Screen 
 
 round the Founder's Tomb 36 
 
 56.— LXI. Ditto, Tracery in Panels 36 
 
 57. — LXIV. Ditto, Door and Window, with 
 
 Details 37 
 
 58. — LXV. Ditto, Flying Buttress, and 
 
 Turret 37 
 
 59.— LV. Bishop Longland's Chapel, Lin- 
 coln-Minster, Part of the Front, &c. • . • . 38 
 60.— LVI. Ditto, Parapet, Pinnacle. &c. 39 
 
REMARKS 
 
 ON 
 
 AND ON MODERN IMITATIONS. 
 
 The history of what is usually termed Gothic Architecture affords one of the 
 most eminent instances of the fluctuations of public taste. After reigning, 
 acknowledged throughout the principal countries of Europe, as the most 
 beautiful and convenient style of building, during almost four centuries, com- 
 mencing our epoch from the full establishment of the pointed arch ; and after 
 filling Germany, France, England, &c., with edifices of such lightness and 
 sublimity of effect as the world had never before witnessed ; an over- wrought 
 refinement in elaborate details at length brought the whole style into disre- 
 pute : the ornaments appropriate to its principal members became neglected : 
 and imperfect details of Italian Architecture took place of them ; the admirers 
 of which, without attempting to bring forward complete examples of the rival 
 style, applied its ornaments to buildings of decidedly different character. 
 Nothing could be more barbarous than such mixtures : for the leading forms 
 of both these very different manners of building became violated by their 
 being brought together. Pilasters and columns, borrowed from the Grecian 
 orders, were worse than useless, when placed between windows of a breadth 
 far beyond what the style they belonged to admitted ; and those windows, as 
 if to heighten the incongruity, divided into numerous small lights by mullions 
 of stone ; as at Longleat House, Wiltshire, &c. Turrets, pinnacles, and open 
 battlements, could have no legitimate afliinity to Doric or Corinthian entabla- 
 tures ; and yet such indiscriminate mixtures were practised, not merely by 
 ignorant and inferior artists, but by the most eminent architects of the time. 
 
 b 
 
X REMARKS ON GOTHIC ARCHITECTURE. 
 
 The changes in religious opinions, which took place in the sixteenth century, 
 had a great eftect upon Architecture, and its sister arts. The adoption of the 
 new doctrines was everywhere ushered in by the demolition of monasteries ; 
 many of whichjiad churches, halls, cloisters, and other buildings, of great mag- 
 nificence : whilst even cathedral and parochial churches were rudely despoiled 
 of the statues of saints, and all their most valuable ornaments. The destruction 
 of so many grand establishments, where Architecture, Sculpture, and Paint- 
 ing, had always been warmly cherished ; and, indeed, where alone they had 
 found protection during the stormy periods of feudal warfare, gave a terrible 
 blow to those arts " that adorn and soften life." From the death of Henry VIII. 
 to the restoration of Charles II., almost all the great houses built by the English 
 nobility exhibit a mixed style, such as we have described. A few, but very 
 few, examples of pure Italian Architecture were produced by Inigo Jones ; 
 the most celebrated of which was the Banqueting-House of the projected 
 palace of White-hall. The few churches that were erected within that time 
 exhibit much the same mixture of styles as the great houses. Arched and 
 mullioned windows retained their place ; but columns of the Jive orders, and 
 other members of incompatible design, were blended with them indiscrimi- 
 nately. Even Inigo Jones disfigured the decayed cathedral of St. Paul, 
 London, by casing its old Norman walls with rustic work, decorated with 
 obelisks, and Doric triglyphs ; and a spacious portico of Corinthian columns 
 was added by him to its western entrance. The " Godly, thorough, Reforma- 
 tion," effected by the opponents of the unhappy king, Charles I., destroyed 
 many splendid remains of ecclesiastical Architecture. In the choirs of almost 
 every cathedral in England, the episcopal throne, and the rich screens and 
 tabernacles where the high altars had formerly stood, were broken down with 
 furious zeal. Upon the re-establishment of the monarch, and of the clerical 
 hierarchy, these outrages were repaired in the taste of the day. Corinthian 
 columns and cornices were then erected amidst rows of prebendal stalls, 
 crowned with tapering pinnacles and fretted tracery*. A pedantic affectation 
 of Italian taste had branded the pointed arch, and all the buildings constructed 
 on its principles, with the opprobrious term, Gothic; an epithet inconsiderately 
 
 * Wren himself gave designs for such incongruous ornaments as these at Winchester and Lincohi 
 Catliedrals; and at the latter he replaced one side of the quadrangle of the cloisters with a portico 
 of semi-circular arches, raised upon columns of the Italian Doric ; the other three sides of the square 
 being of the style of Edward the First's reign. 
 
REMARKS ON GOTHIC ARCHITECTURE. XI 
 
 applied, merely as designating something barbarous, and devoid of regular 
 design. Our great national architect. Sir Christopher Wren, following the 
 prejudices of his contemporaries, gave his suffrage to the general censure ; 
 and deservedly as his talents were esteemed, it is no wonder that his judgment 
 was applauded, and re-echoed as unquestionable. And yet how unable has 
 he shown himself to imitate the style he condemned! What are the towers he 
 added to Westminster Abbey ? Clumsy copies of those of Beverley-Minster, 
 overlaid with cornices and other members, borrowed from Roman Archi- 
 tecture. The octagonal tower, erected by him over the chief entrance of 
 Christ Church, Oxford, and such of the churches which he repaired or rebuilt 
 in London, where any imitation of the Gothic style was attempted, exhibit 
 such imperfect and poor designs, as no living architect, of any reputation, 
 would now risk his credit upon. From that time down to the reign of 
 our late venerable sovereign, Italian Architecture maintained undisputed 
 ascendancy : all that was called Gothic remained proscribed and neglected. 
 The rise and establishment of a more liberal taste would form an agreeable 
 subject for details of greater length than our limits will admit of; the design 
 of this work being rather to assist the actual imitation of Gothic Architecture, 
 than to give a full history of it. 
 
 Although it was not till the reign of George III., as observed above, that 
 any critical investigation of our ancient buildings was entered upon, "yet some 
 imperfect efforts at imitation had previously been made, which indicated a 
 returning partiality for the once favoured style. The evident failure of Sir 
 Christopher Wren in all that he had designed as imitations of Gothic style, 
 might very fairly deter ordinary architects from attempting what had baffled 
 a man of his eminence. He must have felt the inferiority of his works to their 
 models, and seldom ventured on such things. But where new buildings were 
 planned, en suite, with ancient ones, some conformity of style seemed neces- 
 sary to avoid very discordant effects ; and this, though too often disregarded 
 by Wren himself, could not always be dispensed with. It was the case at 
 All Souls College, Oxford ; where the library, and other modern buildings, 
 form a quadrangle with the chapel and hall, built by the founder. Archbishop 
 Chicheley, in the reign of Henry VI. The library was begun in 1716. Its 
 outside bears some accordance with the chapel. The east side of the 'square 
 has two lofty turrets, and was also designed to be Gothic, as far as internal 
 convenience would allow ; together with the cloister and gate which range 
 along the front. Of this quadrangle. Lord Orford remarks, with his charac- 
 
XU REMARKS ON GOTHIC ARCHITECTURE. 
 
 teristic acuteness, that " it has bhindered into a picturesque scenery, not void 
 of grandeur* ;" which must be allowed: but the parts are wretchedly made 
 out. Nicholas Hawksmoor, a scholar of Wren's, and associate with him in 
 several of his principal works, was the professional architect ; but Dr. George 
 Clarke, a member of the college, assisted in designing these buildings ; which 
 deserve notice as amongst the earliest and most considerable of those imita- 
 tions, the inaccuracies of which eventually led to a thorough investigation of 
 ancient examples, and a more perfect revival of their style. The impropriety 
 of altar-screens, episcopal thrones, &c., of Italian Architecture, when placed 
 in our cathedrals, was at length perceived ; indeed nothing but undistinguish- 
 ing partiality could ever have tolerated such incongruous ornaments. The 
 choir of York Minster had a throne for the archbishop of most unsuitable 
 design, which was set up in place of the ancient one destroyed under the rule 
 of the presbytery : this was removed in 1740, and a new one erected, together 
 with a pulpit, and other furniture, in professed imitation of the ancient stalls-f. 
 About the same time a stone screen was built at the entrance of the choir of 
 Beverley Minster, in a style of intended resemblance to the works of the 15th 
 century J. The screens which enclose the upper end of Westminster-Hall 
 for the Courts of Chancery and King's Bench, were designed by Kent, in the 
 reign of George II. || All the above works are miserably deficient in fidelity of 
 
 • Anecdotes of Painting, &c. : where these buildings were at first attributed to Gihbs, the 
 architect; a mistake which is corrected by a subsequent note. The whole quadrangle was not 
 completed in less than 40 years. 
 
 t As Kent had been consulted by Lord Burlington for the patterns of the variegated pavement 
 laid down in 1736, in York Minster', it seems highly probable that he was concerned in the design 
 of the above furniture for the choir. However miserable his attempts in Gothic Architecture, Kent 
 was a man of extraordinary mind; and his talents were applied to every species of design. The 
 introduction of a new style of laying out ornamental grounds was chiefly eflfected by him, though 
 prompted by the fine taste of Pope. 
 
 : The date of this erection is not in the published accounts of Beverley ; but it was about the 
 time above mentioned. The workmanship is excellent: and the design shows great genius, though 
 spoilt by a total ignorance of proper details. It was probably a work of Kent's. 
 
 II These have been recently taken down, and new courts are building on the west side of the hall, 
 from the skilful designs of Mr. Soane. We learn, with much pleasure, that many innovations and 
 barbarous additions to that most noble hall will be removed, and its pristine Architecture, in a great 
 measure, restored. 
 
 ' Huge Etruscan scrolls made out with old marble slabs, cut into narrow slices. Archbp. Bowett's 
 tomb was actually stripped, as well as many others, to furnish materials for this display of taste ! 
 
REMARKS ON GOTHIC ARCHITECTURE. XUl 
 
 details, and altogether unworthy of notice, except as evidences of right feel- 
 ing in those who designed them. An artist, with the advantages of the 
 present day, who should venture to display such barbarous things, would de- 
 servedly be hooted with contempt : but we must bear in recollection, that 
 when Hawksmoor and Kent produced them, the Italian had for so long a time 
 been thought the only Architecture worthy of the study of scientific men, 
 that all knowledge of the beautiful style which it superseded in this country 
 had fallen into oblivion. The dates of most cathedrals, and of some other 
 principal buildings, stood recorded in history : but such records gave 
 mere dates ; and hardly ever entered into specific details. It could never 
 become unknown that circular arches and ponderous columns, the st^le of 
 Durham Cathedral, were of older fashion than the pointed arches and light 
 shafts of that of Salisbury : but all discrimination of the changes which Archi- 
 tecture had received during the I3th, 14th, and 15th centuries, was in a 
 manner lost ; as we may see in the gross blunders which occur in many 
 descriptions of those fabrics, even by antiquaries who were profoundly ac- 
 quainted with ancient history, — such as Browne Willis*, and others. Sir 
 Christopher Wren, on occasion of being employed to survey Salisbury Cathe- 
 dral, in order to its repair, amongst much scientific observation on the fabric, 
 published the most wild and inconsistent theories on the style in which it is 
 built f. He was then at the head of his profession, a man of learning, and 
 conversant in the first circles of men of knowledge. His failures, wherever he 
 attempted anything in the Gothic style, have been already noticed. His 
 immediate successors in that way were not more happy ; indeed it had become 
 impossible for any individual, however powerful or fertile his genius, to effect 
 anything worthy to associate with original works in that style, beyond the 
 mere copy of some part. 
 
 That lively and acute genius, the Hon. Horace Walpole, contributed so 
 much to spread a taste for the beauties of Gothic Architecture, especially 
 amongst people of fashion, both by his writings, and the construction of his 
 celebrated Villa of Strawberry-Hill, that his name cannot be silently passed 
 over. His education, first at Eton, and subsequently in King's College, 
 Cambridge, at both which places the poet Gray was his intimate companion, 
 
 • See his Histories of Lincoln, York, and other Cathedrals, 4to. 1729, &c. 
 t Parentalia. These theories have been refuted in Bentham's History of Ely ; and since then, 
 more fully, by Dr. Milner, in his Treatise on the Architecture of the Middle Ages. 8vo. 1811. 
 
XIV KEMARKS ON GOTHIC ARCHITECTURE. 
 
 may be thought to have inspired him, as well as his friend, with a predilection 
 for the florid style of ecclesiastical Architecture. His verses to the memory 
 of king Henry VL, written at Cambridge in 1738, are full of admiration of the 
 sublime chapel of King's College*. Strawberry-Hill was incredibly admired 
 for several years ; though, in point of Architecture, it is a heap of inconsist- 
 encies, and altogether a mere toy. The place was purchased by him in 1748 ; 
 and he shortly after began to embellish it in the Gothic style. Various apart- 
 ments were added to the old house at dilFerent times, as late as the year 
 17761. When he began to build, Mr. Walpole visited many ancient castles 
 and mansions, and his letters of 1752 and 1753 contain some beautiful de- 
 scriptive sketches of what he saw. In the preface to " A Description of 
 Strawberry-Hill," printed at his private press there in 1774, after stating that 
 " the Description originally was meant only to assist those who should visit 
 the place," he adds, " A farther view succeeded, that of exhibiting specimens 
 of Gothic Architecture, as collected from standards in cathedrals and chapel- 
 tombs, and showing how they may be applied to chimney-pieces, ceilings, 
 windows, balustrades, loggias, &:c." And further on, " I did not mean to 
 make my house so Gothic as to exclude convenience and modern refinements 
 in luxury. The designs of the inside and outside are strictly ancient, but the 
 
 * Tlie following lines of the above poem strikingly display the taste of that time, when a young 
 writer felt himself obliged to apologize for the want of Italian rules of proportion in King's College 
 Chapel : — 
 
 " When Henry bade this pompous temple rise. 
 Nor with presumption emulate the skies, 
 Art and Palladio had not reached the land, 
 Nor methodized the Vandal builder's hand ; 
 Wonders unknown to rule, these piles disclose ; 
 The walls as if by inspiration rose," &c. 
 Gray's " Ode on a Distant Prospect of Eton College," was written in 1742. 
 
 t In the designs for Strawberry-Hill, Mr. Walpole was assisted by Mr. Richard Bentley, only 
 son of the celebrated critical scholar, Dr. Richard Bentley. John Chute, Esq. was also consulted, 
 a gentleman of congenial taste, who embellished his sent at the Vine, in Hampshire, with some 
 elegant architectural works. In the style of his curious mansion, Mr. Walpole was prompted, very 
 likely, by a house which Richard Bateman, Esq. had built at Old Windsor about the same time. 
 Mr. Walpole resided at Windsor the summer before his acquisition of Strawberry-Hill. Mr. Bate- 
 man's house was intended to resemble a monastery; it was lately occupied by the dowager lady 
 Onslow. Some of its antique furniture was eagerly purchased for Strawberry-Hill, on Mr. Batenian's 
 death. 
 
REMARKS ON GOTHIC ARCHITECTURE. XY 
 
 decorations are modern ; and the mixture may be denominated in some words 
 of Pope, "A Gothic Vatican of Greece and Rome*," 
 
 A short essay on the ancient Architecture of England was published in 
 1762, by the Rev. Thomas Warton, in his " Observations on the Fairy-Queen 
 of Spenser," which exhibited a better chronological sketch of different styles 
 than had been previously done ; though the authority of Sir Christopher 
 Wren led him into some mistakes. His favourite studies had made Mr. 
 Warton intimate with many curious descriptions of Architecture contained in 
 the writings of Langland, Chaucer, Lydgate, and other old poets ; and in his 
 great work, " The History of English Poetry," of which the first volume 
 appeared in 1774, are many valuable notes on such descriptions f. The 
 information aftbrded by Mr. Warton, was in a manner superseded by the 
 " History of Ely Cathedral," published in 1771, by the Rev. James Bentham. 
 The knowledge of ancient Architecture displayed in this work far exceeded all 
 that had been published before on that subject. The cathedral of Ely, where 
 Mr. Bentham was beneficed, had furnished him with examples of almost every 
 variety of style, from the Saxon era to that of the Reformation. The peculiar 
 ornaments of each were carefully studied by him, and his numerous quotations 
 from ancient authors prove his diligence in historical research. In this work 
 was first brought forward the presumed origin of the pointed arch, the chief 
 feature of the Gothic style, and on which the whole style seemed to be formed. 
 This, Mr. Bentham derived from the intersection of two semi-circular arches, 
 such as are seen on the walls of buildings erected about the period of the 
 Norman Conquest; an opinion that has given occasion to much dissertation 
 and debate, the result of which seems to have convinced most practical men 
 
 * Few men have had their talents so severely criticised, and variously estimated, as Horace 
 Walpole. His concern in the revival of Gothic Architecture, is all that we have to do with ; and 
 considerable merit must be claimed for him. His letters, and many passages in the Anecdotes of 
 Painting, were very useful in correcting public taste, which had sunk into mere pedantry, and 
 a blind partiality for particular rules. His imitations at Strawberry-Hill are hardly to be called 
 Architecture ; but he had the generosity to acknowledge its deficiencies, and to bestow unreserved 
 praise upon more successful efforts, when Gothic Architecture became better understood. 
 
 t In 1760, Mr. Warton had published, without his name, " A description of the City, College, 
 and Cathedral of Winchester," 12mo. In this work, some such glaring mistakes occur in ascertain- 
 ing the age of certain parts of that cathedral, as show that he could not then have paid much 
 attention to the study of ancient Architecture ; but the essay above mentioned displays much better 
 critical knowledge. — See Milner's " History of Winchester," 2 vols. 4to. in which Warton's errors 
 are delected and cleared up. 
 
XVI REMARKS ON GOTHIC ARCHITECTURE. 
 
 of its being' well founded, though there are many speculative writers who wish 
 to find a higher origin for the Gothic style. 
 
 The Preface to Captain Grose's " Antiquities of England and Wales," 
 followed shortly after Bentham's History of Ely ; and added some useful 
 remarks to what had been given in that work, by extending the comparison of 
 English buildings to foreign ones ; but without venturing to dispute the in- 
 consistent theories of Sir Christopher Wren. Large quotations were taken 
 by Grose from Warton, Bentham, and Bishop Warburton ; the latter of whom 
 had published some fanciful observations, in his notes to Pope's Epistles. 
 
 The " History and Survey of the Antiquities of Winchester," by Dr. 
 Milner, 2 vols. 4to. 1798, brought a grand accession to the knowledge of old 
 English Architecture. The church of St. Cross Hospital, near that city, had 
 been noticed by Bentham for the curious combinations of circular and pointed 
 arches displayed in its construction ; and the historian of Winchester, 
 adopting the same opinion, strengthened it by concurrent arguments and 
 observations. His description of the cathedral, college, and other buildings 
 at Winchester, cleared up the mistakes of preceding writers, and evinced a 
 complete acquaintance with the Gothic style of Architecture, and its various 
 alterations. 
 
 The exertions of literary men in ascertaining the history of Architecture, 
 enabled practical artists to select proper models for imitation ; the specimens 
 of different ages became better known, and the impropriety of blending the 
 ornaments proper to works of distinct periods, as had been previously done, 
 began to be felt. Mr. James Essex was the first professional architect whose 
 works displayed a correct taste in imitations of ancient English Architecture. 
 He was born at Cambridge in 1723; and educated in the school of King's 
 College, where his constant sight of the magnificent chapel is thought to have 
 determined his taste to that style of Architecture, which is there so enchant- 
 ingly displayed. He was employed to make architectural drawings for the 
 historian of Ely, so early as the year 1757, and remaining ever after in 
 friendship with Mr. Bentham, he undoubtedly acquired much knowledge from 
 him on the history of his art. Mr. Essex was also acquainted with Gray the 
 poet, Gough, Tyson, Cole of Milton, Horace Walpole, and other antiquaries: 
 his modesty and amiable temper being no less admired than his talents. The 
 works of this architect in the Gothic style were not numerous. The choir of 
 Ely Cathedral was removed to the east end under his direction in 1770; and 
 he effected very extensive repairs on that church, in carrying on which nearly 
 
REMARKS OX GOTHIC ARCHITECTURE. XVil 
 
 20 years were employed. After this he was engaged in repairing Lincohi 
 Minster, where an altar-piece of stone was erected after his designs, and 
 some very great repairs effected*. King's College Chapel was repaired also 
 by him, and he designed the stone screens about the altar there, which was then 
 removed to the east end, and a space originally behind it taken into the choir. 
 An elegant Cross at Ampthill was erected from a drawing by Essex, in memory 
 of the abode of Queen Catherine of Arragon at that place; besides improve- 
 ments at Madingley, an ancient mansion in Cambridgeshire, together with the 
 design of windows, and other minor works. 
 
 Death closed the labours of Mr. Essex just about the time when a new 
 master in modern Gothic Architecture appeared, who soon " eclipsed all 
 former fame.'" Mr. James Wyatt, whose skill in Grecian Architecture had 
 long before placed him at the head of his profession, was consulted in 1782 by 
 Thomas Barrett, Esq. for the improvement of his seat at Lee, near Canterbury. 
 " Wyatt designed several plans, some Grecian, some Gothic. The latter was 
 adopted ;" and the success of the imitation soon made both the place and the 
 architect highly celebrated. This was Mr. Wyatt's first work in the style of 
 our old English Architecture ; and, as such, it deserves particular notice, 
 although he afterwards produced several much more sumptuous specimens of 
 that style. Mr. Barrett was a man possessed of elegant taste, and knowledge 
 of the fine arts ; and not only attended very carefully to the correctness of his 
 new buildings, but consulted several friends, and particularly the Hon. Horace 
 Walpole, whose approbation of Lee was thus expressed with equal warmth 
 and judgment: — " The house at Lee, which was but indifferent before, has 
 been, by the skill and art of Mr. Wyatt, admirably improved in the disposition 
 of the apartments ; amongst them is a very beautiful library, finished in the 
 most perfect style of Gothic taste. The three fronts of the house convey 
 the idea of a small convent, never attempted to be demolished, but partly 
 modernized, and adapted to the habitation of a gentleman's family -f ;" and in 
 
 * The general form of tliis altar-piece was probably copied from the monument of Bishop Wm. 
 De Luda, in Ely Cathedral ; enlarged and modified. It has a chaste and suitable effect, although 
 liot large and sumptuous enough to fill its place worthily, in so magnificent a church. The works 
 of Mr. Essex in the Gothic style, cannot be exceeded in their fidelity to ancient examples; but are 
 deficient in boldness, and spirit of design, and his details are loo often meagre, as is apparent in this 
 and other works of his. 
 
 t The above passage was published in Hasted's History of Kent, Vol. III., and has been copied 
 into other works. In the Bibliograp/iical Decameron, the author, the Rev. T. F. Dibdin, tells us, 
 
 C 
 
XVIU REMARKS ON GOTHIC ARCHITECTURE. 
 
 the later editions of The Anecdotes of Painting, be again takes occasion to 
 praise Mr. Wyatt's success in this his first essay. " Mr. Wyatt, at Mr. 
 Barrett's at Lee, near Canterbury, has, with a disciple's fidelity to the models 
 of his masters, superadded the invention of a genius. The little library has 
 all the air of an abbot's study, except that it discovers more taste *." The 
 superiority of Lee to Strawberry- Hill was beyond comparison, and no one 
 acknowledged it more readily than the noble owner of the latter, whose taste 
 contributed to this superior perfection of Lee -)". For a full description of 
 Lee, we must refer to the works mentioned in a note ; remarking only one 
 circumstance in the idea of its style, which deserves the attention of every 
 imitator of ancient Architecture, viz. a propriety and consistency in the 
 character it assumes as an ancient work, "a small monastery, — partly 
 modernized, and adapted to the habitation of a gentleman's family:]:." The 
 situation is happily suited to the appearance of monastic seclusion, but obvious 
 convenience required some deviations from strict adhesion to antieut forms ; 
 particularly in the windows, on which, however, the beauty of Gothic build- 
 ings mainly depends §. Mr. Wyatt 's subsequent works in imitation of the 
 
 that this passage Kas ■written by Lord Orford himself, " and had it not been deemed necessary a little 
 to vary and curtail it to adapt it to the historian's plan, would have appeared more advantageously." 
 Decameron, III. p. 457, note. 
 
 • Vol, III. of Lord Orford's Works, 4to. p. 433. In a letter published in Vol. VIII, of Nichol's 
 Literary Anecdotes, he says, " I have seen, over and over again, Mr. Barrett's plans, and approve 
 them exceedingly. The Gothic parts are classic ; you must consider the whole as Gothic modernized 
 in parts, not as what it is, the reverse. Mr. Wyatt, if more employed in that style, will show as 
 much taste and imagination as he does in Grecian." [A.D. 1782. N.B. The new buildings began 
 the next year.] 
 
 t See Lord Orford's Correspondence, Vol. V. of his Works, p. 668, where, in a letter dated 
 1788, addressed to Thomas Barrett, Esq., he acknowledges the defects of Strawberry-Hill, and 
 tells his friend, " My house was but a sketch by beginners, yours is finished by a great master." 
 
 X This consistency vpas wanting in Strawberry-Hill, where the designs vacillated between the 
 style of a castle, and that of a convent. See Descriptions of Lee in Hasted's Hist, of Kent, Vol. III. 
 665. Beauties of England, Vol. VIII. p, 1092. Angus' Views of Seats, 1787, where is a neat 
 engraving; and Bibliographical Decameron, Vol. III. 457, where is a vignette and description, &c. 
 
 § Many of the best designed modern Gothic mansions are spoilt by their windows, as Lee is. 
 Turrets, battlements, pinnacles, in short, almost every ornament of the Gothic style, may easily be 
 applied to modern houses, for external decoration, without departing from the ordinary mode of 
 fitting up the rooms within ; but windows in rows of the simple Grecian opening, destroy all har- 
 mony on the outside, and if forms appropriate to the exterior be adopted, the inside must be in 
 some degree conformable, and fresh difficulties arise in the furnishing and fitting up of rooms. As 
 
REMARKS ON GOTHIC ARCHITECTURE. XIX 
 
 antient Architecture of England are too well known to need description, and 
 too numerous to allow of it here. Several of these buildings were far more 
 extensive and sumptuous than any such works previously executed ; but the 
 praise of beautiful imitations of this style cannot be allowed to this celebrated 
 architect, without, at least, a regret for the destruction of some valuable 
 original specimens in three of the cathedrals submitted to his taste ; Lichfield, 
 Salisbury, and Durham. His genius was fully gratified in florid details, without 
 always attending to antient rules ; and too much is claimed for the fame 
 of Mr. Wyatt, when he is said to have " revived in this country the long- 
 forgotten beauties of Gothic Architecture *." Since the first works of Mr. 
 Wyatt, the Gothic style has been adopted in numerous residences of the British 
 nobility and gentry; which have been built, or refitted in that style, with 
 different degrees of fidelity and success. Several churches and chapels have 
 been also raised with very good effect ; this style having peculiar advantages 
 for such structures. The repair of our cathedrals, those invaluable monuments 
 of antient taste and skill, has in late years been attended with less violation of 
 their original style than at any period since the introduction of Italian Archi- 
 tecture. Several incongruous works of a barbarous taste have been removed 
 from their venerable interiors, and correct imitations of a proper style erected 
 in their place. During the last twenty years numerous publications have 
 issued from the press, some to develope the obscure history of Gothic Ai'chi- 
 tecture, others to display its various beauties. Artists of first-rate talents 
 have been employed to delineate and engrave the most beautiful and curious 
 remains, and the works in this kind of the present day will be eagerly sought 
 for, and carefully prized, a century hence. The general enlargement and 
 improvement of public taste, resulting from these works, is undeniable. The 
 respective beauties and conveniences proper to the Grecian orders in their 
 pure state, or as modified by the Romans, and their successors, in the 
 Palladian school, may be fully allowed, without a bigoted exclusion of the 
 
 to snsli windows with their bars tortured into pointed arches, such carpentry is absolutely con- 
 temptible, and much more disgusting than common undisguised forms; nor can frames of cast iron 
 ever successfully fill the place of stone mullions ; the want of substance preventing such a frame 
 from ever appearing " a lightened part of the structure itself," as a proper Gothic window has been 
 happily described. See " Metrical Remarks on Modern Castles and Cottages," &c. London, 1813. 
 The Preface to this smart satire is full of judicious remarks on our ancient Architecture, and its 
 adaptation to modern dwellings. 
 
 * See Gentleman's Magazine, Sept. 1813. Also Monthly Magazine, for Oct. of the same year. 
 
XX REMARKS ON GOTHIC ARCHITECTURE. 
 
 style we are accustomed to term Gothic. Nor ought its merits to be asserted 
 to the disadvantage of classic style. Each has its beauties ; each has its 
 proportions ; which ought never to be applied to the other. The use of 
 antient Architecture, either Grecian or Gothic, may not inaptly be compared 
 to that of the dead languages. Both have become obsolete, and must be 
 determined by original examples. The rules of construction are fixed in 
 both : and the proportions and ornaments of architecture require to be 
 thoroughly studied, and strictly followed, no less than the metres and 
 phrases of the classic tongues. The architect must evince his judgment 
 in the use he makes of the best models of the style he adopts ; and in 
 invention, he must endeavour to think in the manner of the original inventors. 
 These precepts may be thought to restrain modern practice to a servile 
 imitation : but that is more than is intended. The scholar is left at full 
 liberty to express his ideas in classic language; and the architect is not 
 less at liberty to build in the antient styles : only let his models be attended 
 to, remembering that a licentious departure from original rules produced the 
 execrable Gothic of Batty Langley * ; more contemptible than the most 
 barbarous Latin of the feudal ages. 
 
 EDWARD JAMES WILLSON. 
 
 * About sixty years since, this artist invented, and unfortunately published, "^ve orders of Gothic 
 Architecture ;" being hideous caricatures of Italian columns and entablatures, disguised by strange 
 mouldings of what he thought Gothic. The impudence of such attempts to impose on public 
 taste would now be in small danger of misleading the most ignorant carpenter or mason; but 
 antient examples were then little studied, and this man's books produced some shocking barbarisms 
 iu Architecture. 
 
Specimens 
 
 OF 
 
 GOTHIC ARCHITECTURE 
 
 No. 1. — Plate I.* Various Modes of forming Arches. 
 
 J HE Arch being the distinctive feature of all structures of the middle ages, 
 as the column was of those of classic antiquity, the first Plate of this Work 
 is devoted to an elucidation of various forms of Arches, beginning with 
 such as are found in buildings of the Norman, or Saxon stylet, and then 
 proceeding through the principal varieties of pointed Arches. 
 
 1. The semi-circular Arch was the principal one used in all buildings, 
 until about the middle of the 12th century, though a solitary instance of the 
 pointed Arch may now and then be proved to be of earlier construction. 
 
 2. Arch described from one centre placed above the base-line. — This 
 form has been denominated the horse-shoe ; it is common in some buildings 
 of eastern countries, and examples of it occur in Romsey-Abbey Church, and 
 in others of the Norman style. 
 
 3. Semi-circular, but including a portion of the perpendicular jambs 
 above the imposts. — This form is seen in a side-arch of the rood-tower of 
 Malmsbury Abbey Church, where the transepts being narrower than the 
 nave and choir, two of the four arches were limited to a less breadth, 
 though required to equal the others in height. Other examples are found 
 in the transepts of Winchester Cathedral, St. Alban's Abbey Church, &c. ; 
 in short, the Norman architects frequently raised their Arches above the 
 imposts in this manner. 
 
 • The No. and small figure will be found at the right hand corner, bottom of each Plate. 
 
 + These national denominations are used indiflferently ; it appearing, after great research, and 
 many attempts to distinguish characters peculiar to the buildings raised in this country before the 
 Conquest, that the Normans did not introduce a new style, though they enlarged the scale of 
 our churches, and other public buildings. See Vol. II. p. xi. 
 
2 SPECIMENS OF GOTHIC AUCH ITECTUllE. 
 
 4 and 5. Elliptical Arches, described from three centres. — Arches of this 
 form are not only found in Norman buildings, mixed with the semi-circular, 
 but frequently over doors and windows in the early part of the fifteenth 
 century, along with the pointed Arch, and the other characteristics of the 
 style of that period. The entrance-tower to the deanry of Lincoln has 
 gateways of this form, and several other instances might be adduced. 
 
 6. Semi-circular Arches intersecting each other. — Some instances occur 
 of intersecting pointed Arches, and others, of Arches, if they may be so 
 called, described by strait lines, forming a series of intersecting triangles 
 raised on one base : these M-ere merely ornamental, as may be seen in 
 the ruins of St. Augustine's Abbey at Canterbury. 
 
 7. Semi-circular and Lancet Arches combined. — Such mixture is commonly 
 found in buildings of the twelfth century, when the pointed Arch began 
 to prevail. 
 
 8. Three-centred imnted. — Arches formed on this principle, began to come 
 into fashion at the beginning of the fifteenth century, growing gradually more 
 obtuse at the point*. 
 
 9. Moorish. — This form may be classed with the Horse-shoe, No. 2. 
 It is described from two centres placed above the imposts. Arches somewhat 
 of this form, are occasionally met with in buildings of the early pointed, 
 or Gothic style f ; they are only found placed over narrow apertures. 
 
 10. Elliptical, resembling a pointed Arch, only rounded at the top. 
 
 11. Lancet Arch, described from two centres on the outside of the 
 Arch.— The term lancet has been happily applied to the tall, narrow windows 
 which enlighten the structures of the thirteenth century. Salisbury Cathe- 
 dral is the most complete specimen of that style. These lights have each a 
 pointed Arch at top, and the Arch is frequently raised on strait lines above 
 the mouldings of the impost, where such mouldings occur ; this is, indeed, 
 the lancet form, comparing the Arch to the head of a lancet. 
 
 * See Vol. II. p. xiv. note i. 
 
 + We have not scrupled to use the term Gothic, it having become invincibly connected with 
 that style of building, of which the pointed Arch is the distinctive feature. The impropriety of 
 the term is acknowledged on all hands, and it is never applied now as contemptuous. The attempt 
 to appropriate this beautiful style to our own country, by designating it English Architecture, was 
 made without due regard to the noble monuments of it remaining in France, Germany, and Flanders. 
 Pointed Architecture, in allusion not only to its characteristic Arch, but to its pinnacles, spires, &c., 
 seems the most appropriate term, and most expressive of its character. 
 
VARIOUS FORMS OF ARCHES. O 
 
 12. Equilateral, where the points of the base and crown form an equi- 
 lateral triangle. — This may be called the standard form of the pointed 
 Arch, and is perhaps the most beautiful. 
 
 13. Four-centred pointed. — Some beautiful varieties of decoration were 
 struck out from this form, but it must still be regarded as less perfect than 
 the simple Arch struck from two centres. — See the Arch No. 8, and the note 
 referred to in Vol. II. 
 
 14. 15, and 16. The combination of circles, and portions of circles, 
 being so infinitely diversified in specimens of florid tracery, especially in the 
 larger windows of the fourteenth century, it would be in vain to attempt to 
 analyze all their principles. We may observe, however, that most of them 
 were divided at first into a few large forms, and these again subdivided into 
 as many openings as the space would allow, so that the openings were never 
 broader than those of the perpendicular lights of the window, and seldom less 
 than one-half of the breadth of one of these. In proportioning the void and 
 solid parts of windows, we seldom find the muUion exceed one-third of 
 the light in the larger divisions, nor smaller than one-fifth. 
 
 17. Mode of describing a pointed Arch by the crossing of strait lines. — 
 This Arch may be classed with the four-centred, being of flatter curve in 
 the upper part than the lower. Many actual examples of Arches appear 
 to have been struck out, by the intersection of strait lines, in specimens 
 of the later periods. 
 
 18, 19, and 20. Four-centred Arches, whose centres must be upon the 
 same diagonal lines, which are found by dividing the base-line of the Arch 
 into more or less parts, according to the fixed height of the Arch. — These 
 are some of the various forms of what has been called the Tudor Arch ; being 
 chiefly found in buildings, erected under the reigns of our princes of the 
 house of Tudor ; we find, however, that this flattened Arch was used more 
 than fifty years before the accession of Henry VII., the first English sovereign 
 of that name. 
 
 21. Ogee. — This, with No„ IG, give an ornamental variety of Arch, which 
 was sometimes used over doors and windows in the reigns of Edward II. and 
 III.; as in Caerphilly Castle, &c. The inflected curves necessarily weaken 
 it too much to allow of its application on any large scale, and only small 
 specimens are found of this sort of Arch. 
 
 22. Four-centred pointed, of the same class as Nos. 18, 19, and 20, but 
 differently described. 
 
4 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 23. Rampant pointed, described by the intersection of strait lines. — See 
 what is said of No. 17. 
 
 24. Shows one mode of proportioning the diagonal lines of a groined vault, 
 to Arches of the sides. In this example, the side Arches are semi-circles, 
 the diagonal ones of an elliptical curve. Where the sides are pointed Arches, 
 the diagonal curve was frequently a semi-circle. The consummate skill 
 evinced in many roofs of buildings of the fourteenth and fifteenth centuries, 
 make them deserving of the most minute and careful examination. 
 
 25. This example may be classed with No. 23. The lines of the joints 
 are described in this. 
 
 No. 2. — Plate II. Jew's House, Lincoln, — Windom' and Door; 1140. 
 
 The specimens represented in this Plate, are taken from a private dwelling 
 in the city of Lincoln, called tlie Jew's House*, and belong to that period 
 when the Norman style had attained to its highest ornament ; immediately 
 after which, the pointed Arch began to supersede the semi-circular one, 
 inducing a total revolution in architectural taste. The wiudoic, which forms 
 the first subject, belongs to the upper story, and remains in good preserva- 
 tion, none of its members being wanting but the column in the centre. 
 We have fully displayed it in an elevation, a perpendicular, and a horizontal 
 section, with parts of the outer moulding of the Arch, and of the wreathed 
 torus or string-course, on an enlarged scale; and here it maybe observed, 
 that the string-course runs along the whole front, and the other moulding 
 is continued to a window corresponding with the one here engraved, but 
 now mutilated. 
 
 The door, which forms the other specimen, gives entrance to the lower 
 story of the same building. This must be considered as very curious, being- 
 constructed so as to serve for the base of a chimney, which we shall briefly 
 describe. The elevation, and corresponding section, will, together, show 
 the peculiar form of the Arch ; its projection upon two carved trusses, its 
 
 • This name was acquired by its having been the residence of Belaset de Wallingford, a Jewess, 
 who suffered death for chpping the silver coin of the realm, when this house was confiscated, IS". 
 Edward I. It afterwards came into the hands of Canon William de Thornton, and was by him 
 assigned to the Dean and Chapter of the Cathedral, as part of the endowment of a chantry, and it 
 still remains their property. The Jen's Huune stands at some distance from that where the murder of 
 the Christian child, Hugh, was perpetrated, in 1255, by certain Jews, who were then numerous 
 in this city, and many of whom had grown rich by usury. 
 
ANCIENT GATEWAY, LINCOLN. 5 
 
 outer sides sloping upwards to the breadth required for the body of the 
 chimney, which stands out from the front like a broad pilaster, and is 
 hollowed withinside for a fire-place*. All the inner part is blocked up 
 and altered ; and the original shaft above the front is replaced by common 
 brick-work : luckily, however, a sketch taken by one of the brother artists 
 named Buck, in 1724, has preserved its form, as it then stood nearly entire. 
 It was a tall circular tube, with a square base, having a small triangular 
 gable at each of its sides : the top was shattered, and wanted its proper 
 finish. 
 
 The plans beneath the elevation and section show the curves in the 
 mouldings of the jambs. A portion of the interlaced ornament of the inner 
 Arch is given on a large scale, with a section ; a section of the outer, or 
 projecting Arch, is placed next to it ; beneath it, views of the front and 
 side of one of the little clustered leaves with which the jambs are studded ; 
 and at the edge of the Plate a portion of the abacus, or moulding, which 
 covers the capitals. The shafts of the two columns are wanting, and the 
 lower parts of the sides have perished, and been rebuilt with rude stone. 
 The comparative size of this door is greater in the original, a scale smaller 
 than that used for the windows being necessarily adopted for the sake of 
 a better display of both. 
 
 No. 3. — Plate III. Ancient Gateway, Lincoln ; 1150. 
 
 The subject of this Plate exhibits another specimen of the most finished 
 Norman style, where a conjunction of the semi-circular and pointed Arch is 
 seen, no uncommon mixture in the buildings of the twelfth century. The 
 building it is drawn from appears to have been the Hall of St. Mary's, or The 
 Great Guild, of Citizens, and it is now held by lease under the Mayor and 
 Corporation of Lincoln f. The original elevation of the front has been 
 
 • A similar chimney built over a door was standing, within memory, in front of a house not far 
 from this. That house is said to have also belonged anciently to a Jew. The fire-place, and 
 all above, is destroyed, but the entrance remains, with an Arch projecting exactly like this, only not 
 decorated so richly. Quaere, whether chimneys so placed were peculiar to the dwellings of thp Jews 
 at any period? We know that they were obhged to distinguish themselves by their habit. 
 
 + The designation oi John of Gaunt a Stables was applied to this building by Mr. Gough, in his 
 enlarged edition of Camden's Britannia, without any good authority. That prince had indeed a 
 palace in the same street, which occasioned this mistaken conjecture. John Lord Hussey was 
 taken from this building to execution, having forfeited his life for heading an insurrection against 
 king Henry VIII., and hence it is frequently called Lord Hussey s House. 
 
 B 
 
6 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 reduced to about the height of what is shown in the engraving, but there 
 has been another story, and a range of windows may be traced above the 
 cornice, A. which appear to have resembled that of the Jews House in 
 Plate II. The gateway occupies one of the four divisions into which the 
 length of the front is separated by pilasters, or flat buttresses. No. I. in the 
 Plate gives an elevation of the gateway in front; No. 2, a section. The most 
 remarkable feature is the flat Arch, formed probably for convenience, 
 by reducing the height of the doors, so that they might turn back under 
 the vaulting within, which has been destroyed*. The curious mode of 
 arranging the joints of this Arch will be understood from the Plate, where 
 the centres are marked t. Parts of the enriched moulding are shown on 
 a larger scale beneath the elevation ; viz. A. a portion of the cornice upon 
 which the upper windows were placed. B. one of the pateras engraved in 
 the face of the outer moulding of the Arch. C. C. one of the flowers in 
 another moulding of the Arch; this may be compared with an ornament 
 in the door of the Jews House. D. E. F. G. other portions of the cornice A, 
 which is curiously wrought in foliage and figures of animals, and being formed 
 of hard stone of the Lincoln quarries, the carving has preserved all its original 
 sharpness and perfection. The bottoms of the jambs of the gate are hidden 
 by the accumulation of soil, which probably has buried about three feet from 
 the original basement. 
 
 No. 4. — Plate IV. Ancient Doormay, Lincoln ; about 1120. 
 
 This doorway belongs to an ancient mansion in the Close of the Cathedral, 
 called Atherton-Place : it was the front entrance of the hall, originally a vast 
 apartment, now modernized, and forming a separate house. The doors have 
 been taken away, and the opening walled up ; they are restored in the Plate, 
 from existing instances of the same age. The Plate represents an elevation 
 and section of the whole, wdth plans to both. The details of ornament are 
 fully exhibited, with all their measurements, on the right hand of the Plate X- 
 
 * The north door of the parish church of Fiskerton, near Lincoln, has a flat Arch placed within 
 a semi-circular one, in the manner this is. 
 
 t The joints between the two radii, which describe the sweeps, are struck from the point of 
 intersection of those two lines : the joints below those lines converge in the centres of the sweeps. 
 
 I The two heads terminating the outer moulding of the Arch resemble that of the crocodile, or 
 rather some of the serpent tribe. This ornament, which is exceedingly common in Saxon or 
 
NEW SHOUEHAM CHURCH: ST. MARYS, LINCOLN. 
 
 No. 5. —Plate III.* New Shoreham Church, Sussex,— East End. 
 
 The church from which this Plate is drawn, contains many curious examples 
 of semi-circular and pointed Arches intermingled, each decorated with its 
 peculiar ornaments. It is not unlikely that the construction of this building 
 might occupy a considerable period, so that the new style growing more 
 into fashion whilst the work was carrying on, the parts last erected would 
 be made conformable to the prevailing style. Such gradual variations may 
 be traced in most large fabrics, not only where the building suffered some 
 interruption, but even where the work was continually advanced, as in 
 Salisbury Cathedral, for instance. The east end of Shoreham Church has 
 been selected as a specimen of the mixed style, which intervened between 
 the Norman, and Early Pointed, or Gothic. The details on the right hand 
 refer to the lower windows, A. where we may notice that the mouldings, 
 and little columns, are of the early Gothic, though the Arches are circular. 
 The enrichment, B. is rather uncommon. The circular window is an example 
 of the early wheel-form, filled with small shafts and semi-circular Arches, 
 converging to one centre*. 
 
 No. 6. — ^ Plate V. St. Mary's Church, Lincoln, — Doorway on 
 
 THE South Side. 
 
 This doorway forms a pleasing example of the early Pointed, or Gothic 
 style. The ornament, marked A. in the Plate, was most extensively used 
 in buildings of the first half of the thirteenth century, but seems to have gone 
 out of fashion before the reign of Edward I. We see abundance of it in 
 Lincoln and Salisbury Cathedrals, but scarcely any in Westminster Abbey. 
 This enrichment, sometimes called t/ie Dog's Tooth, though really made up 
 of a series of flowers, each formed of four small leaves, seems to have been 
 
 Norman buildings, may originally have had a reference to the mythology of the northern nations. 
 In some examples such heads are more appropriately joined to a round moulding, wreathed, 
 or carved in a sort of scales. 
 
 * See some Italian instances of such wheel-windows in Archseologia, Vol. XVI. They are not 
 uncommon in England, in Norman buildings. Some of these have the little columns, with their 
 bases diverging outwards. The large window in the south gable of the transept of York Cathedral 
 is formed on the same principle ; consisting of two series of pointed Arches, with columns 
 converging to one centre. The French architects were extremely fond of circular windows, many of 
 their principal churches having one over the west door of the nave ; no instance is found in England 
 of this. 
 
O SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 only an alteration of a Norman pattern ; such little clustered leaves are 
 seen in the preceding Plates II. and III. but are there set at intervals, 
 here in immediate connexion. This ornament wants an appropriate name. 
 
 No. 7. — Plate LIV. Specimens of Six Doorways; with Square 
 Heads, Hood-moulds, and various shaped Arches. 
 
 1. Doorway in the Long Stables of the Vicar's Court, Lincoln, with blank 
 shields in the spandrils, and a hood-mould. A window from this building is 
 shown. No. 16. — Plate LIX. The next doorway was properly a window in 
 a building between the Cathedral and Chapter-house at Lincoln. The follow- 
 ing specimen is from the Cluincellors House, at the back of the building, 
 whence Plates XLIV. and LVIII. were taken. The doorway of Tattershall 
 Castle forms the chief entrance to the great tower. The doorway, from Horn 
 Church, Essex, with its panelled door, is a fine specimen, and is probably 
 about the date of 1440. By the plan and section it will be seen, that some of 
 the mouldings are bold and deep. In the examjjle from Oulton, Norfolk, 
 about 1400, are some elegant ornaments within the arch and spandrils. The 
 two latter examples are from drawings by J. A. Repton, Esq., Architect. 
 
 No. 8. — Plate LXVII. Three Doorways from Westminster Abbey 
 Church, and one from Lincoln. 
 
 Nos. I and 2. Doorways in the passage leading from the Dean"s-yard to the 
 Cloister ; No. 3. The entrance doorway to the chapel of St. Erasmus, on the 
 north side of Edward the Confessor's Chapel, Westminster; No. 4. On the 
 east side of the Cloisters, Lincoln Cathedral. This doorway was barbarously 
 enlarged some years back, by cutting away the inner mouldings of the arch 
 and jambs. The original door, of very strong oak, embellished with tracery, 
 was taken away at the same time. It was built about the beginning of 
 the sixteenth century. 
 
 No. 9. — Plate XXXIX. Bishop's Palace, Lincoln, Dooravay, with 
 
 carved Doors, &c. ; 1440. 
 
 The specimen before us, besides its merit in point of design, obtains historic 
 importance from the circumstance of its date being ascertained within a 
 very few years by the arms upon it * ; thus fixing one example of the 
 
 * These belonged to bishop William Alnwick, who was translated from the see of Norwich to 
 that of Lincoln in 1436, where he sat till his death in 1449. His name was recorded on the stained 
 
DOORWAYS OF TATTEKSHALL CHUKCH. i) 
 
 progressive changes in style, which our ancient architecture was continually 
 receiving. The arch is not flattened, as began to be the fashion about that 
 time, and as was done in those of other doors, and some windows of the same 
 fabric. The square turn of the label was a mode introduced not much before 
 this instance, and continued in use to the very latest examples of the pointed 
 arch. The mouldings of the different members are neatly curved, so as to 
 produce smart lines of shade, which have a very good effect in the original. 
 The Plate gives an elevation in front, with corresponding sections, taken 
 upright, and across : as also these details. — A. Tracery of one panel of 
 the doors. — N.B. The outward one on each side is narrower than the others. 
 B. Section and return of the label, or hood-mould. C. Capital to one of the 
 little columns in the jambs, with its plan. The shaded lines are for the shaft 
 and moulding on its inner side, next to the doors. D. Mouldings of the base, 
 to the same columns. 
 
 No. 10. — Plate XL. Tattkrshall Church *, Lincolnshire, — West 
 
 Doorway ; 1455. 
 
 This specimen has, in the actual example, a remarkable effect from the 
 contracted size of the door, and the depth of its recess within the jambs. 
 The tracery round the outside was intended to take off the disproportion 
 between it and the window above ; which it does so well, that the whole has 
 a rich and pleasing appearance. The Plate contains an elevation of the 
 entrance, in front ; an upright section, and a plan, showing the mouldings of 
 the jambs, &c. On the left hand, two enlarged portions of the tracery 
 are delineated, with their sections, A. B. The shields above the doors are 
 all plain. C. is one of the little bases drawn on a larger scale. 
 
 No. 11. — Plate XLL South Doorway of Tattehshall Church. 
 
 The town lying on the north side of the Church, the southern porch was 
 not so much regarded as the opposite one, which was the principal entrance. 
 
 glass of the chapel windows adjoining the tower to which this door belongs, which was also 
 built by him. 
 
 * Tattershall Church was erected into a collegiate establishment by Lord Crotawell, builder of 
 the castle, who rebuilt the church also. The fabric of the church remains of its original dimensions, 
 though the cloisters, &c. are entirely demolished. The fate of its choir, which was ruined by being 
 despoiled of its fine painted glass in the last century, is well known from Mr. Gough's relation. 
 It is built in the form of a cross, with a low tower over the western end of the nave. It was in 
 course of building when Lord Cromwell died, in 1455. 
 
10 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 This was nevertheless adorned in a corresponding style, if not so elaborate, 
 and its simplicity makes it capable of more easy imitation. The crossing of 
 the mouldings in the outer angles of the jambs may be noticed as a refinement 
 of execution peculiar to late examples. This may cost the workmen more 
 labour than the simple junction of the diagonal line, and sometimes without 
 producing a good effect. The doors are not studded with nails, which were 
 less used in this century than in the preceding one. 
 
 No. 12. — Plate LIX.* Entrance to the Refectory, Win-dsou. 
 
 The entrance to a small inner court in the Lower Ward of Windsor Castle is 
 here represented. It leads to the refectory intended for the chaplains and 
 choristers of the Collegiate Chapel, as the inscription in the head of the door 
 declares, Edes pro Sacellanorum et Choristarum conviviis, Ex- 
 TRUCTE 1519. The date gives a peculiar value to this specimen. The niche 
 over the door is remarkably broad for its height, and was probably designed 
 for an equestrian statue of the patron St. George. Above this niche is an 
 accumulation of ornaments, elegant in detail, but heavy and ungraceful in the 
 general effect ; a censure which many more considerable works of that era of 
 architecture may be thought to deserve. The elevation shows the entrance, 
 and as far as an angle made by the return of the wall, where another niche is 
 set. The swelling frieze of foliage over the broad niche was an ornament of 
 late invention, but a very beautiful one ; we see it repeated on the pedestal. 
 At a. is a plan of the niche. 
 
 b. Moulding of the door-jamb at large. The same combination of curves, 
 more or less repeated, will be found to make up the mouldings of most 
 examples of late style. 
 
 A section taken through the centre of the door, and the plan beneath the 
 elevation, will completely elucidate the whole composition. The wall is of 
 brick ; the ornamented parts of freestone. 
 
 No. 13. — Plate LIl. St. Mary's Church, Lincoln, — Window and 
 
 Details. 
 
 The form of this window was very commonly used throughout the whole 
 of the fourteenth century, and later. We find windows of various dimensions 
 with their upper parts traceried in this pattern ; some small ones of a single 
 light in breadth : domestic apartments frequently had them of two lights, 
 and where larger windows were required, we see the pattern extended to 
 
ORIEL WINDOW, LIXCOLK. 11 
 
 five, and even six lights, or bays. This window has been selected as an 
 example of considerable elegance, produced by lines of great simplicity. 
 The label, or hood-mould *, is terminated by forms which will be best 
 understood by the engravings : there are examples of such an ornament 
 in some arched windows at Lincoln, of the age of Edv^^ard I. The details 
 at A. B. show a portion of the tracery, enlarged. C. gives a section of the 
 upright mullions. D. The string-course, remarkable for its simple form. 
 Such mouldings not only relieve the flat surface of a wall, but help to 
 throw off the wet, and so protect it from the injuries of weather. 
 
 No. 14. — Plate XLII. Oriel Window, John of Gaunt's Palace, 
 
 Lirs'COLN. ♦ 
 
 The curious investigator of domestic antiquities will not fail to appreciate 
 this remnant of a once splendid habitation f. In delineating its form and 
 enrichments, most scrupulous care has been taken to give a full and exact 
 portrait : such an interesting specimen being very rarely seen. The elevations 
 of the front and profile exhibit no more than what actually exists, except the 
 tops of the pinnacles, which being broken off level with the foliage between 
 them, are here restored in a style corresponding with the other ornaments : 
 it may be also proper to notice, that the three lights, which, no doubt, were 
 once " cloised well with roiall glas," (Old Romance of the Squire of Low Degree) 
 are now blocked up, and the mouldings partly obscured by plastering. The 
 
 * In counties where free-stone is the usual building material, especially Yorkshire, which 
 abounds with quarries, several of the old masonic terms remain in use : hood-iiiuuld, the projecting 
 moulding of a door or window which covers the other mouldings, is one of these. 
 
 f Prince John, of Gaunt, having acquired the earldom of Lincoln by marriage, appears to have 
 been much attached to the place, where, and at Bolingbroke Castle, in the same county, he often 
 resided. Lincoln Castle was an official residence of his; but this liouse, which stands in a more 
 sheltered situation, was most probably built for the Lady Katherine Swynford, to whom he was 
 many years attached, and who at length became his wife. She survived him from 1399 to 1403, 
 and lies interred in the choir of Lincoln cathedral. This palace must have been built on an extensive 
 plan, as the foundation and different remains have shown. The front next the street was pretty 
 entire when Buck published a View in 1726, but has since been quite altered, and deprived of all 
 ancient ornament, except this window, which is attached to the south end : another ancient window 
 or two are left, with several busts, and figures pierced for spouts, at the back. When Buck's view 
 was taken, the royal arms of France and England, quarterly, were sculptured on a large shield on 
 the front, which Dr. Stukeley also noticed in his Itinerarium Curiosum. 
 
12 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 bracket which sustains the frame of the window, is covered with sculpture, 
 divided by plain mouldings into four tiers. The lowest of these consists 
 of a single figure, representing an angel, serving as a bracket. The next 
 has three masks, or faces ; viz. at the right, a queen ; in front, a king ; on the 
 left, a bearded man, rather defaced. Above these runs a course of foliage, 
 displayed in large leaves. The uppermost division has six figures, one 
 beneath each of the little abutments, which guard the angles of the window. 
 Against the wall on the right hand, is a man covered with hair, and witli 
 a long beard, holding a bird in one hand, in the other a branch ; next to him, 
 an angel playing upon a cithern : then a king with a long beard : on his left 
 hand, an old man clothed in a mantle : beyond this figure, a youth in a 
 close robe : and lastly, against the wall, a bearded man, rather disfigured. 
 A plan, or horizontal section, taken at two different heights, is drawn in the 
 upper part of the Plate, D. E. : below is an enlarged section of the bracket, 
 showing the projection of all its mouldings, with their several measurements. 
 These details are also represented separately, with letters referring to the 
 elevations. Fig. B. Head upon the little bracket of one of the niches, in the 
 two blank lights. C. A panel, with section, of those beneath the lights. 
 F. Coping of a buttress. G. Enrichment on the front of each buttress. 
 H. Finial rising from the crockets over every light. All examination of the 
 interior of the oriel is unfortunately obstructed by a modern chimney, built up 
 within it. 
 
 No. 15. — Plate XLIII. Window of John of Gaunt's Palace, Lincoln ; 
 
 AND ONE FROM SoUTH CaRLTOX ChURCH, NEAR LiXCOLN'. 
 
 The first of these specimens remains in part of the same building in which the 
 beautiful oriel represented in the preceding Plate is situated. The apartment 
 it belongs to has been so much altered, that its original size and form cannot 
 be made out ; it is on the ground floor, and this window faces the south ; 
 there is no appearance of this room having ever been a chapel. The elevation 
 comprehends half the window, represented in a perfect state ; some parts of 
 the original having been rudely hacked and broken, which are restored 
 here from a careful examination of what is left entire. On the left hand jamb 
 is shown a section of the pier which divided this window from one which has 
 been pulled down. The bust above served for the arches of both windows, 
 the two hood-moulds resting upon it. The profile of this bust is shown by 
 
JOHN OF GAUNT's PALACE, LINCOLN. 13 
 
 the side of the front view : the features are old ; the head-dress that which 
 ladies wore in the early part of the fifteenth century, to which date this 
 window must be referred*. 
 
 a. Refers to an enlarged detail of the little battlements over the middle 
 tier of lights : it is moulded withinside in the same manner as on the outside. 
 b. Tracery in the heads of the upper row of large lights. This tracery is 
 mostly cut away. c. Head of one of the lower lights, filled with glazing of 
 the original pattern, as made out from ancient panes scattered about in the 
 window |. d. One of those panes, which are quarrels, or lozenges of clear 
 glass, stained with yellow, and diapered with lines, &c. in bistre : the effect 
 altogether must have been very pleasing, and better adapted to a habitable 
 room than rich colours and figures. 
 
 The second of these specimens is brought forward as an example of 
 similar style, though much smaller, and less enriched. We find the upper 
 parts of both divided into narrow lights, half the breadth of those below, 
 with thinner muUions, and moulded and pointed alike: the same sort of 
 embattled transom crosses both : the arches of both form nearly the same 
 sweep, only that this is a simple curve, whilst the other is rounded at 
 the springing: in short, they may safely be pronounced of the same age. 
 The elevation takes in rather more than half the breadth of this window : there 
 being two larger lights, and four smaller ones. 
 
 a. Section of the little battlements, which are worked the same on the 
 inside as in front. 
 
 A section of the jamb is shown in outline : and the forms of the mullions 
 are shaded, the upper ones being moulded on both sides ; the lower one left 
 square, for the better fitting of the wooden shutters, which went no higher 
 than the battlement %. 
 
 * This part of the palace was certainly of later erection than the first buildings. 
 
 t The. Jieurs-des-lys over these lower lights form an elegant ornament: they, not improbably, 
 might be adopted in compliment to Henry V. when conqueror of France, and the conjecture is 
 countenanced by the arms of France and England, quarterly, which were carved on a large shield 
 in front of the palace, the former arms being represented in the manner first borne by him : viz. with 
 only three fleurs-des-li/s. 
 
 X The mullions of the other window in this Plate are also square withinside, as high as the 
 battlements, and iron hooks for tsvo tiers of shutters remain in the stonework. After a close 
 examination of the Carlton window, it appears not to have been originally designed for a church, 
 but rather for domestic use, and very probably was brought from a mansion adjoining, anciently the 
 
 C 
 
14 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 No. 16. — ^Plate LIX. Specimens of Square-headed Windows. 
 
 These windows are of forms proper for domestic buildings. 1. Is taken 
 from a decayed house built of stone, in the city of Lincoln. The room 
 to which this window belongs is wainscoted with oak, in small square panels, 
 with a chimney-piece carved in the Romanesque style, prevalent in the reign 
 of Queen Elizabeth. The window resembles one in front of a timber house at 
 Tunbridge, in Kent, on which is the date 1593, probably about the date of this 
 building. 
 
 2. Is taken from the gable of a building, erected in the fifteenth century, 
 for granaries, stables, and other offices to the College of Vicars in Lincoln 
 Cathedral. 
 
 3. The Stone-Bow is a very spacious gate-house, built across the High 
 Street of the city of Lincoln. This window belongs to the upper story, 
 in which is the Guild-hall. The windows are set two and two together, each 
 pair divided by a narrow pier ; the lights are uncommonly spacious, and are 
 well designed. 
 
 4. Is a window of very late style, rather massy, but well moulded. 
 6. The proportions of this single light are very neat. 
 
 No. 17. — Plate LXIX. Oriel-Window, and parts of other Windows, 
 
 FROM Oxford. 
 
 No. 1. Part of a window from the porch of the church of St, Peter's in the 
 East at Oxford. No. 2. with plan and sections, from Magdalen College, 
 Oxford. Two or three such windows have been projected from the fronts of 
 different chambers, as improvements of the original lights. This window 
 appears, by its style, to be of the early part of the sixteenth century. 
 No. 3. A window of singular pattern from Christ-Church. No. 4. An arched 
 window from the same college. No. 5. An arched window in Magdalen 
 Church. Compare the two last specimens with those in Plate XXVI. Vol. II. 
 described at page 15. The sections are pointed out by letters of reference. 
 
 residence of the noble family of Monson, who continue to bury here, which mansion was destroyed 
 about the time of the civil wars. There are two windows of this form, which stand within arches 
 formerly opening into an aile now pulled down. We have been thus minute in describing the 
 peculiar forms of these wiudovi's, as specimens of ancient domestic architecture are not common, 
 nor so well understood, as they deserve. 
 
YORK CATHEDRAL. 15 
 
 No. 18, 19. — Plates LXXIII. LXXV. Buttresses from Oxford. 
 
 The buildings whence these are taken, as well as corresponding letters of 
 reference to elevations and plans, are engraved on the Plates. 
 
 No. 20. — Plate XXVII. — York Cathedral, — Lower Part of a 
 Pinnacle on the South Side of the Nave. 
 
 The subject illustrated by this Plate, and that numbered XXIX., exhibit a 
 fine specimen of the style of the fourteenth century, in its earlier period, not 
 later than the reign of Edward II.* These Plates, together, display one of 
 the tall pinnacles rising above each buttress, on the south side of the nave of 
 York Cathedral. On the left hand of Plate XXVII. is an elevation of the 
 body of the buttress, immediately above the parapet of the aile, a section 
 of which is given at the foot of the elevation f. The western side of the 
 pinnacle is represented with an open tabernacle for a statue, which stands in 
 front attached to it. An elevation of the canopy of the same tabernacle, 
 as seen in front, is also given. In these elevations, the plans of the little piers 
 are shown, with one of them at large. P. The interior form of the niche, with 
 the groins of its roof, are also explained by lines. J. Section of mouldings of 
 one jamb of the panels on the sides of the pinnacle. K. L. M. N. refer 
 to horizontal sections of the ornaments, explaining the forms to which the 
 materials require to be reduced, before they are wrought into foliage. 
 O. Section taken across one of the little pinnacles of the tabernacle, showing 
 its size, with the crockets, &c. 
 
 No. 21. — Plate XXIX. is a continuation of the former Plate. 
 
 An elevation of the pinnacle, in its upper stage, is placed on the left side. 
 The plan is shown in a section at G. one angle of which is given on a large 
 scale in the shaded outline G. — A. Section of the tinial, showing the pro- 
 jections of its different parts. B. Neck-mould. C. Refers to the section 
 
 • The Nave was rebuilt between the years 1291 and 1330, but some of the outward finishings, 
 particularly the open battlements of the upper story, are of later style. See Britton's " Cathedral 
 Antiquities," where Plate XVIII. of the illustrations of York Cathedral, gives an elevation of the 
 whole buttress and pinnacle, here displayed in parts. 
 
 t The whole elevation of the pinnacle and buttress, measures 101 feet. That of the body of 
 the pinnacle is cut out in our representation, in order to bring it within the compass of a Plate, 
 witliout reducing it to a scale of minuteness. 
 
16 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 of the pinnacle among the details. D. Section of a finial, taken in the same 
 manner as A, and explaining the position of the crockets, three in each of 
 the three tiers. E. Neck-mould of the same finial. A plan of the finial 
 is placed above, in further illustration of D. The use of these dissections 
 is well known to practical men, for whose use they are calculated. F. Section 
 of the hood-mould in the little crocketed gables. H. belongs to Plate 
 XXVII., being a horizontal section of the finial referred to by that letter 
 in the above Plate. I. Neck-mould to the same. 
 
 No. 22. — Plate XXXI. Sections of the Mullions of Windows in 
 York and Beverley Minsters, reduced to one fourth of the real size. — 
 York : — Nos. 2 and 3. Larger and smaller mullion of the upper window of 
 the nave; 4. Window of the south aile of the nave; 5. Tracery of ditto; G. 
 and 7. Window in avenue to the Chapter-House; 8. and 9. Chapter-House 
 window; 10. Rib groining in the nave. — Beverley : — 11. Cornice of the 
 screen behind the altar ; 13 and 14. Large and small mullion of the north 
 Avindow of the nave. 
 
 No. 23. — Plate LXII. Brackets and Pedestals from Westminsteh, cS:c. 
 
 No. 1. Pedestal in an octagonal niche, Henry VII. 's chapel; 2. Bracket, 
 St. Nicholas' Chapel, Westminster Abbey ; 3. Ditto ; Bishop's Palace, Lin- 
 coln ; the arms belong to Bishop Wm. Alnwick, mentioned under Plate 
 XXXIX.; 4. Pedestal in north front, Westminster Hall; 5. St. Edmund's 
 Chapel, Westminster; 6. Henry V.'s Shrine, ditto; 8. Bishop Flemyng's 
 Chapel, Lincoln ; 9. Norwich Cathedral. 
 
 No. 24. — Plate LXVIII. Pinnacles and Turret. 
 
 No. 1. Pinnacle with niche of statue, plan, and parts of the open battlement, 
 from Magdalen College, Oxford ; No. 2. Octangular stair-turret, with pinnacle, 
 &c. to the tower of the same College. The lofty bell-tower of Magdalen 
 College forms a principal object in the views of Oxford. It was finished 
 in 1498. Four octagonal turrets, finished by crocketed spires, rise at 
 the angles ; and four pinnacles, each having a statue standing within a taber- 
 nacle in front, are placed between them ; the battlements are perforated ; and 
 the whole composition appears with very fine eff'ect. Part of the battlements 
 is delineated in Plate LXXIV. No. 3. Pinnacle with tracery and parapet, 
 to All Souls' College, Oxford, 
 
LINCOLN CATHEDRAL. 17 
 
 No. 25. — Plate LXXIV. Parapets and Battlements from Oxford, 
 —with sections and references to the buildings whence taken. No. 2. is com- 
 posed of two specimens of very different ages. The heads, and the little arches 
 above them, belong to the original fabric of the church. The parapet, built 
 upon them, is part of extensive embellishments added to the old structure in 
 the fifteenth century. 
 
 No. 26. — Plate XXVIII. Foxt in St. Mary's Church, Lincoln*. 
 
 Without pretensions to distinguished elegance or richness, the composition 
 of this font will be found to have been well understood. In some instances, 
 we find fonts of a corresponding age and style finished with lofty canopies 
 of wood wrought in pinnacles and open-work. Two of uncommon height 
 are represented in the Vetusta Monumentat. This has lost its original cover. 
 The Plate gives an elevation, section, and plan of the whole. At A. is a 
 detail of one of the little buttresses, with a corresponding section ; the tops 
 of these being cut off without any finish of ornament, look as though intended 
 to be continued upward, by the pinnacles of a cover such as we have 
 noticed above. B. Section of the mouldings on the base. The eight sides 
 of the bowl are all sculptured in the same style as the three represented. 
 
 No. 27. — Plate XXX. Lincoln Cathedral, — Stone Screen ; 1340. 
 
 The screen, which forms the subject of this Plate, stands in front of one 
 division of an aile on the eastern side of the transept of Lincoln Minster. 
 There are three of these screens in each arm of the cross, or transept, 
 each of which had anciently an altar; the other screens are of wood, this 
 is executed in stone. The Plate gives an elevation of the centre, with 
 a part of the sides, which are continued in the same style as what is 
 here drawn, up to the ends. The section shows the thickness of the 
 different divisions in this elevation, which is very light and well contrived. 
 Of the details, A. shows the finish of a little buttress at the sides of the 
 door, with a section. B. Section of mouldings on the base. C. Top 
 
 *The actual date of this font is unknown; from a more attentive consideration of its ornaments, 
 we are inclined to think it not so old as the date put upon the engraving, 1340; and suppose it 
 to be of the fifteenth century. One of the shields upon its sides is charged with bendy of seven, 
 probably the arms of the donor. The other shields are plain. 
 
 t See Vol. III. Plate XXV. See a variety of fonts in Archseologia, Vol. XVI. 
 
18 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 of one of the little pinnacles in front of the lower part. D. Little cornice 
 in the upper part, studded with flowers. 
 
 The exact date of this specimen is not known ; but, besides the style 
 of its ornaments, we may judge of its age by the arms sculptured upon 
 the shield beneath the uppermost niche, which are the bearings of Old 
 France and England, quarterly, as assumed by Edward III., with the 
 title of King of France, in 1338*. The other shields, which profusely deco- 
 rate the upper parts, are all plain. Within the arch of the door is inscribed, 
 with some contractions, Oremus pro Benefactoribus istius Ecclesi^, 
 alluding to the purposes of the endowment anciently belonging to this chapel, 
 which was, to pray for the benefactors to the church, both living and dead. 
 The four little statues kneeling at the sides, represented the chaplains who 
 served The Works Chauntry, as it was called: these have had their 
 heads mischievously broken off. Upon the point of the door-arch sits the 
 figure of a bishop in full costume. The three niches on the top of the centre 
 undoubtedly contained statues ; and other figures of smaller size were 
 intended, at least, to range in pairs above the embattled parapet on the sides ; 
 but of all these moveable ornaments not a fragment is left. 
 
 No. 28. — Plate LV. Specimens of Panels. 
 
 No. I. From St. Erasmus' Chapel, Westminster Abbey Church; 2. St. Paul's 
 Chapel, ditto ; 3. Exterior, North Front, Westminster Hall ; 4, 5, 6, 8, 
 16. Henry VH.'s Chapel; 7. Henry V.'s Monument, Westminster Abbey; 
 9, 10, 11, 15. Bishop Longland's Chapel, Lincoln Cathedral; 17. Norwich 
 Cathedral; 12, 13, 14. Sir .Tames Hobart's Monument, temp. Henry VH. in 
 the nave of Norwich Cathedral. 
 
 No. 29. — Plate LX.* Spandrils from Westminster. — Nos. 1, 2, 4, 
 G, 7, 9, and 10. Henry VH.'s Chapel; 3, 5, 8. from the Abbey Church. 
 
 No. 30. — Plate LXXVH. Groining from Westminster Abbey, &c. 
 explaining the mode of forming centres. — No. 1. Horizontal and perspective 
 views of a fourth division of one compartment, or severy of a vaulted roof, in 
 
 * Charles the Sixth reduced the arms of France to three fleurs de lis ; after whose example our 
 king Henry the Fifth altered the old bearings of France in his quarterings. 
 
FLEMYNGS CHAPEL, LINCOLN MINSTER. 
 
 19 
 
 the south side of the cloisters, showing the manner in which the centres 
 of each rib are to be found. The centres of all the arches, or parts of arches, 
 are placed on the line of the spring. The point L is the centre of the 
 arch MH. The height FH is equal to RH, QG to UO, DK to WV, and SM 
 to CM : and from the centres N, Z, T, D, the arches EH, EG, KX, and MK, 
 are formed. No. 2. One fourth of a compartment in section and horizontal 
 in the roof of an aile of Henry VH.'s Chapel, Westminster. No. 3. Vault 
 under the vestry of Lincoln Minster. The arches of this crypt are circular. 
 No. 4. A boss in the centre of one bay of the vaulting, in the nave of Lincoln 
 Minster. The foliage is highly relieved, and under-cut. 
 
 No. 3L — Plate XXXVL Bishop Flemyng's Chapel, Lincoln Minsteu. 
 
 The specimens detailed in this Plate are parts of a chantry attached to the 
 north aile of Lincoln Minster, near the east end. It was built as a sepulchral 
 monument for the prelate whose name it bears*. This little chapel, which in 
 its situation may be compared to those which range along the sides of 
 Kings College Chapel, Cambridge, is, like them, bounded in its lenoth 
 by two buttresses of the larger building to which it is attached, and in its 
 height also by a window of the church which looks over it. The inner front 
 towards the church presents a small entrance, very prettily adorned ; and the 
 tomb of the founder placed under a flat arch. His effigies rest upon the tomb 
 in his pontifical vestments ; and beneath is the figure of a wasted corpse 
 wrapped in a winding sheet j". 
 
 The elevation on the left hand of the Plate gives half of one bay, or 
 division, of which there are three in front ; the projection of the buttresses is 
 shown at the return of the angle. The appearance of this front is very 
 pleasing; none of its ornaments are elaborate, but the whole is neatly 
 compacted, and of good proportions. The tabernacles, or niches, of which 
 every buttress has one in front, are the most delicate of the ornaments. 
 
 * Richard Flemyng presided as bishop of Lincoln from 1420 to his death in 1430. Dr. Robert 
 Flemyng, a relative of the bishop's, was dean of this cathedral from 1451 to 1483, and made some 
 endowment for this chapel, but the bishop's tomb seems evidence of its being built before that 
 endowment. 
 
 t This memorial of the frailty of our mortal state, prompts a silly story of the bishop's liavino- 
 died in consequence of rigorous fasting in Lent: the same is related of similar figures in other 
 churches, both here and in France. 
 
50 SPECIMENS OF GOTHIC A UCHITECTURE. 
 
 These are separately delineated on a larger scale than the elevation. The 
 statues are entirely gone. 
 
 Details : — f. Plan of the jamb of the windows, with g. a muUion of the 
 same. b. Elevation of the base and canopy of one of the tabernacles, with 
 plan of the same underneath. Perpendicular section of a tabernacle in its 
 entire height, h. Portion of the embattled parapet; with a section, e. Section 
 of the bracket in the niche, a. Section of the bottom mouldings of. the 
 window, with the sur-base. c. d. Base and cap of the little shafts at the sides 
 of the tabernacles, i. Part of the plan. 
 
 No. 32, 33, 34, 35. -Plates XXXII., XXXIII., XXXIV., XXXV. 
 
 Westminster Hall. 
 
 Westminster-Hall, though generally looked upon as nothing more than a 
 court of justice, was antiently the great dining-room of the royal palace. 
 It was first erected by King William Rufus*; but about three centuries 
 afterwards was rebuilt by Richard II., who, on its completion in the year 
 1399, solemnized Christmas by a feast held in it with characteristic profusion : 
 and it is commonly stated, that he and his guests sat down every day to the 
 number often thousand. Excepting the north end, which, being the principal 
 front, was adorned with a rich porch, and a number of tabernacles and 
 statues, Westminster-Hall presents but little external beauty. Its deep roof 
 resembles some huge barn ; but though its sides have been stripped of their 
 lead covering, and mean-looking slates substituted, it has yet an air of 
 
 » The lower parts of the side-walls are remains of this elder building, which was probably sup- 
 ported by two ranges of pillars, no roof of that period being capable of covering so great a breadth 
 in one span. The hall of the episcopal palace at Lincoln was so divided by two rows of stone 
 arches, with columns of Purbeck marble. It was raised in the reign of Richard I. The hall of the 
 antient royal palace at Eltham in Kent, resembles this of Westminster ; but is much smaller. The 
 next age reduced the pitch of their roofs to a much lower angle. The roof of the refectory, built by 
 Cardinal Wolsey for his college at Oxford, is the finest specimen of the low-pitched roof. That 
 of the hall built by King Henry VIII., at Hampton Court, rises with a steep pitch, but is cut oft' 
 obtusely : such a form was contrived to gain internal capacity, without extravagant height. [.See 
 Vol. II. of this work.] The decorations of that roof are more florid than those of any other in the 
 kingdom. The hall of the Middle-Temple, raised in the time of Queen Elizabeth, has a lofty roof in 
 the antient style, but finished with Roman mouldings. At Lambeth-Palace is a hall, with a roof in 
 imitation of that of Westminster, built in the reign of Charles II.; and it is a fine piece of work, 
 though spoilt, like that of the Temple, by incongruous ornaments. 
 
W£STMINSTER-HALL. 21 
 
 grandeur inseparable from such dimensions. The interior, however, makes 
 ample amends for any external want of elegance. An extent equal to a 
 cathedral church is presented in one view, unbroken by pillars : and the roof 
 delights the scientific spectator with the intricate and skilful arrangement of 
 its timbers; in which lightness, strength, and ornament, are combined in the 
 happiest manner. The object of this work being to reduce the forms of 
 antient art within the compass of imitation, leaving to others the lighter task 
 of representing scenic effects ; two of the Plates illustrative of Westminster- 
 Hall are filled with geometrical delineations of the chief parts of the roof, 
 which principally claim our admiration ; and the other two with elevations of 
 windows, and other prominent features. The angle of the roof is formed 
 on what country workmen still term covimon pitc/i ; the length of the rafters 
 being about three-fourths of the entire span. The cutting off the girders, or 
 tie-beams, which, crossing from wall to wall in common roofs, restrain all 
 lateral expansion, was the first circumstance peculiar to this construction. 
 To provide against lateral pressure we find trusses, or principals, as they are 
 technically designated, raised at distances of about 18 feet, throughout 
 the whole length of the building. These trusses abut against the solid parts 
 of the walls, between the windows, which are strengthened in those parts by 
 arch-buttresses on the outside. Every truss comprehends one large arch, 
 springing from corbels of stone, which project from the walls at 21 feet below 
 the base-line of the roof, and at nearly the same height from the floor. The 
 ribs forming this arch are framed at its crown into a beam which connects 
 the rafters in the middle of their length. A smaller arch is turned within this 
 large one, springing from the base-line of the roof; and supported by two 
 brackets, or half-arches, issuing from the springers of the main arch. By this 
 construction of the trusses, each one acts like an arch ; and by placing their 
 springers so far below the top of the walls, a more firm abutment is obtained : 
 subordinate timbers co-operate to transfer the weight and pressure of interme- 
 diate parts upon the principals; and thus the whole structure reposes in 
 perfect security after more than four centuries from its first erection. The 
 above brief analysis of this stupendous frame, it is hoped, may render the 
 Plates better understood by gentlemen not practically versed in Architecture; 
 otherwise our opinion is, that verbal descriptions of elaborate buildings 
 too generally fail of conveying intelligible ideas : and the reader is not likely 
 to be gratified by rhapsodies of indiscriminate admiration, though the writer 
 may. 
 
 D 
 
22 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 No. 32. — Plate XXXII. A transverse section of half the roof, showing 
 the elevation of so much of one principal, is here exhibited. The principles of 
 construction having been explained, but little need here be added, beyond 
 specifying the parts referred to : — A. Large timber arch, framed at top 
 into the beam, d *. F. Above the bracket, or half arch, is seen to diverge 
 from the larger curve, terminating in the figure of an angel, from whence the 
 inner arch takes its spring. E. One of the upright timbers, or queen-posts f, 
 standing upon the end of the girder where it is cut oft', and entering the 
 principal rafter at the same point with the wind-beam, d. H. Arch-buttress. 
 
 Details: — A. A. Sections of the arched and upright timbers at their 
 junction. E. Section of a rib of the inner arch. F. Section of the arch at 
 its springing. H. Section of the stone-arch of the buttress, b. Tracery of 
 one space of the screen-work, with which the main timbers are filled in. 
 N. B. This screen-work is a great ornament to the roof. c. Ridge-tree, 
 d. Section of a mullion of the screen- work. g. Tracery in the spandril 
 of the bracket. 
 
 No. 33. — Plate XXXIII. A. Longitudinal section of one bay J of the 
 roof, showing a window beneath it, &c. This, with the preceding delineation, 
 will explain the construction of the whole roof. We see the entire height of 
 the timber-work formed in three divisions. The lowest rests upon corbels of 
 stone, ranging with the cornice beneath the windows, and reaches to the top 
 of the walls. The next division reaches up to half the height of the rafters; 
 where the arched ribs, and other ornamental parts, finish. The upper part 
 from hence is left all plain, as being very little seen from the floor. The 
 windows, with wooden frames in the middle division, probably did not make 
 part of the original design ||; they have, nevertheless, a good eft'ect, by 
 admitting light where it is much wanted ; and are become necessary, since 
 
 • Such a timber is called, in old accounts, and still by country carpenters, a unnd-beam, fiom its 
 usefulness in staying a steep roof against violent winds. 
 
 ■t Where a single upright rises to the ridge of a roof, it is called a king post ; where a pair are set 
 up at the sides, they are called queen-posts. 
 
 X A bay, in this sense of the term, is taken for the space between two principals. Buildings are 
 described in old surveys, as consisting of so many bavs. 
 
 11 St. George's Hall, in Windsor Castle, had windows of this sort above the walls. The roof 
 and whole interior of this hall were modernized by King Charles II. ; but a view of it, before that 
 alteration, is engraved in Ashmole's History of the Order of the Garter. 
 
WESTMINSTER-HALL. 23 
 
 many of the windows below have been blocked up by modern buildings raised 
 against the walls, which have sadly obscured the upper end of the hall 
 by this means. 
 
 Details : — a. b. — a. b. Elevations in front, B. and at the side, C. of the 
 ornamented head and base, which finish the sides of the queen-post. This 
 sort of pilaster resembles a slender turret, and forms a very neat decoration. 
 
 D. Profile of one of the angels which ornament the brackets. 
 
 E. Fore-shortened view of the same. These figures form the most striking 
 decoration of the roof; they have a bold and fine effect, whether looked up to 
 directly, or viewed in a range perspectively. Each one holds a large shield, 
 bearing Old France and England quarterly, the royal arms of the founder. 
 
 F. Tracery of a spandril. 
 
 G. H. Views of a carving which finishes the hood-mould of a window. It 
 represents a deer lying down to rest, with the head of an old man in a cowl, 
 like a hermit, looking over it : it seems to allude to a story in the legends of 
 the saints. The same subject is repeated in different parts of the hall. 
 
 No. 34. — Plate XXXIV. A. External elevation, and B. Section of the 
 great window on the south side of Westminster-Hall ; with its plan, D, D. 
 
 This noble light is an early specimen of a new mode of tracery, which, 
 about the period of its erection, superseded the ramified patterns which filled 
 the great windows of the fourteenth century. Here the tracery is confined by 
 perpendicular lines, continued upwards from the mullions of the chief lights *. 
 The whole breadth of the window is distributed into three chief divisions ; 
 which are again divided into three subordinate ones. This manner of arran- 
 ging the different lights was followed inseveral of the principal windows of the 
 succeeding century, after the flattened arch became fashionable. The hood- 
 mould of the arch is terminated by sculptures of a hart collared and chained, 
 the badge of King Richard II. 
 
 ♦ The great Western Wimlotu of York Minster is a most beautiful example of ramified tracery ; 
 but is exceeded by the eastern window of Carlisle Cathedral ; which may be pronounced the finest 
 piece of that sort in the kingdom. Durham has a fine one at the west end : and a circular one at 
 Lincoln is eminently beautiful in tracery, resembling the fibres of a leaf. Of the style exemplified in 
 the north window of Westminster-Hall, the eastern window of York Minster is beyond dispute the 
 finest in the world. Very fine specimens are seen in the eastern window of Beverley Minster, &c. : 
 and of the same description, under flattened arches in St. George's Chapel, Windsor; King's College 
 Chapel, Cambridge, &c. — See Britton's Architectural Antiquities, and Cathedral Antiquities. See 
 the term Perpendicular, in Introduction to Vol. II. p. xiv. 
 
24 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 No. 35. — Plate XXXV. A. Internal elevation of a side-window of 
 Westminster-Hall. 
 
 D. Plan of the same; with its miillions, B. separately detailed. 
 
 C. Section of the window ; taken perpendicularly. 
 
 a. Elevation of the bases of the columnar mouldings attached to the 
 window on the inner side. Beneath is a plan of the same. 
 
 G. H. Views of the front and profile of a piece of sculpture at the ends of 
 the hood-moulding-. It represents the white hart, the founder's cognizance, 
 the same as on the great northern window, and other parts of the building; 
 but in this instance, a tasteful addition is introduced of pales, as of a park 
 fence, which, placed beneath ihe animal, form a support to it. 
 
 .7. K. Elevations of the front and one side of a stone corbel from which the 
 timber arches spring. The arms are those attributed to King Edward the 
 Confessor, supported by two harts. Richard II. assumed these arms ; some- 
 times bearing them together with those of France and England, in veneration 
 of his sainted predecessor. Beneath each of these corbels a sort of half- 
 column, or canted pier, has been built ; at the same time a casing of stone 
 was affixed to the walls. This was done about the year 1781, when some 
 repairs were made on the roof, &c. The necessity of these additions has been 
 questioned by some men of science ; and since they certainly deform the 
 building, it were to be wished they might be taken down, if found un- 
 necessary. The northern front of Westminster-Hall is now undergoing 
 complete repair. The whole surface is to be restored with new work ; 
 and all the ornaments re- worked. We have only to hope that it may be 
 faithfully executed. 
 
 No. 36. — Plate LXXII. Spike of St. Mary's Church, Oxford. 
 
 This spire, rising from its clustered pinnacles at the four angles of the tower, 
 is generally admired as one of the best formed specimens in England. " By 
 richly clustering this steeple at the base, and leaving the shaft plain, the 
 
 whole elevation is striking and beautiful." " The perfection of a 
 
 spire and a tower is formed upon a directly opposite principle in appearance, 
 but the same in fact. It is, that the shaft of each should be plain, and 
 the ornaments clustered, forming a capital or base, as inversely applied." — 
 [Dallaway's " Observations on English Architecture," pp. 122 and 123]. 
 The validity of the principle in the above observation seems to stand opposed 
 to several fine examples, especially of towers, where the ornaments are 
 differently disposed. The date of St. Mary's tower and spire is attributed to 
 
TATTERSHALL CASTLE, L[ XCOLXSH I RE. 25 
 
 the reign of Henry VII. in the work just quoted ; but the style of architecture 
 in both evidently belongs to a period considerably earlier. From the canopies 
 to the tabernacles, the windows, and the hollow moulding [a casement, see 
 Glossan/] studded with small round knots, which is abundantly made use of 
 in the ornamental parts, it may pretty safely be referred to the middle of the 
 iburteenth century, and not to a later period. The same moulding is used in 
 the details of Salisbury steeple, in the upper part of the tower. — [See 
 " Cathedral Antiquities."] The western steeples of Lichfield Cathedral 
 resemble this of St. Mary's in some details. — [See " Cathedral Antiquities."] 
 Dr. Plott tells us that the battlements of this steeple " were repaired, and 
 thus thick-set tvith phmacks," by Dr. King, Dean of Christ Church, then Vice- 
 Chancellor of the University*. — [History of Oxfordshire, folio, p. 271.] This 
 can hardly be referred to anything but a restoration of some parts, perhaps 
 damaged by a storm. The upper pinnacles might indeed be the first added, 
 but it seems unlikely. The elevation, section, and plans, of this beautiful 
 spire need no verbal description |. 
 
 No. 37, 38. — Plates XXXVII., XXXVIII. Tattershall Castle, 
 Lincolnshire, — Tavo Fire-Places; 1440J. 
 
 These Plates present two fine specimens of embellishment in the residences 
 of our old nobility. The breadth of the spacious hearth seems to rekindle 
 
 • Afterwards Bishop of London from 1611 to 1621. 
 
 t Oxford possesses three steeples of very different dates and styles, forming excellent subjects 
 of coraparison. Christ Church, the modern cathedral, antiently the conventual cluirch of St. Frides- 
 wide, has an obtuse stone spire of very early style, rising from a tower of the same date, probably 
 about the middle of the thirteenth century: the whole well preserved, and unmixed with more 
 modern ornaments, and consequently valuable specimens, though not beautiful ones. The second 
 of this series, the spire of St. Mary's Church, has been fully described. The church of All Saints- 
 is a modern fabric, designed by the celebrated Dr. Hen. Aldrich, Dean of Christ Church ; and its 
 spire-steeple is an instance of the violence done to Grecian columns, and entablatures, whenever 
 they have been piled up to rival Gothic spires. The spire of All Saints' " han feuer ohjectionahle 
 parts" than almost any of such compositions, but that is very moderate commendation. — Dallaway, 
 p. 150. 
 
 t Tattershall Castle was erected in the reign of Henry VI., by Ralph Lord Cromwell, who 
 resided at it in all the magnificence of feudal power, and deceased in 1452. The principal building 
 is a most stately tower of red brick, with walls of vast strength, and admirable constiuclion. 'I his 
 castle appears never to have been inhabited by its noble possessors after the death of one of the 
 Clintons, Earls of Lincoln, in the reign of AVilliam IH. ; and the great tower from whence the subjects 
 
26 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 the huge wood fires of those hospitable ages; and the pompous display 
 of heraldic insignia on the mantle-piece, records their pride of high descent, 
 so jealously maintained by the great of feudal times, before the wealth of 
 commerce had asserted its pretensions against their claim to exclusive 
 homage. The rich effect of the carvings is strikingly set off by the bare walls 
 around them ; now, not only stripped of the rich hangings of tapestry which 
 once covered their nakedness, but exposed to the stains and injuries of 
 weather. The arras refer to the pedigree of the founder : the purses record 
 his dignity of Lord-Treasurer : and of the two legendary compartments in the 
 first specimen, one represents St. George fighting the dragon; the other 
 a man in combat with a lion, a feat of chivalrous prowess related of Hugh de 
 Nevil, one of the crusaders who served under King Richard I. The architec- 
 tural members will be fully explained by the Plates. The arches in the walls 
 above the stone-work, were constructed for relieving the weight, lest the 
 mantle-pieces should be broken by it ; and, with this precaution, they might 
 be put up after the walls were finished, and perhaps were so, Plate XXXVIII. 
 is taken from the lowest of four grand chambers : XXXVII. stood immediately 
 over it ; and still higher are two other fire-places, now become inaccessible by 
 the decay of the floors. 
 
 No. 39. — Platk LIII. Two Chimney-pieces in Windsor Castle. 
 
 The taste for highly-embellished architecture which distinguished the fifteenth 
 century, lavished its decorations upon every feature of building. A fire-place 
 beino- the principal feature in the habitable apartments of our climate, was 
 sure not to be left unadorned. Two grand examples from the baronial castle 
 of Tattershall have been exhibited in Plates XXXVII. and XXXVIII. This 
 Plate displays two others of rather smaller size, and of later style, from the 
 royal castle of Windsor. The first belongs to a room in the upper ward. It 
 seems, by the form of certain parts, to be of as late a date as the reign of 
 Henry VIII. 
 
 A. Elevation of the front; with a plan and section. C. A panel in the 
 frieze, on a larger scale, with a section of its mouldings. The united badges 
 
 of the above two Plates have been drawn, is divested of its roof, and loft to ruin. — See a View of the 
 Castle, with historical and descriptive Account, in Brilton's Architectural Antiquities of Great 
 Britain; also two Plates drawn by Girtin, in Howlett's " Selection of Views in the county of 
 Lincoln," published in 4to. 1797. A short account of Tattershall Castle is given in that work. 
 
CHIMNEY-SHAFTS FROM ETON. 27 
 
 of the houses of York and Lancaster, the two roses, decorate its centre. 
 D. Enlarged details of the jambs. Their retiring sides are well adapted 
 to their purpose, and worth notice. 
 
 Two of the foliage ornaments are drawn separately in the right hand 
 corner of the Plate. 
 
 B. A chimney-piece from some buildings added to Windsor Castle by 
 King Henry VII. This is a specimen of grander design than the preceding 
 one, and may be compared with the first of those in Plate XXXVII. The 
 mouldings here are deeper and more relieved, though the hearth is of less 
 breadth than that in Tattershall Castle. The port-cullis, the badge of the 
 Beaufort family, from whom Henry VII. was descended by his mother, 
 forms the chief heraldic ornament. Several mouldings, &c. about this 
 chimney-piece, correspond to parts of the same king's sumptuous chapel 
 at Westminster. The two octangular shafts being detached from the jambs 
 is something uncommon ; their position is shown in the plan, and also in 
 the section. 
 
 E. Panel, with its section, at large. F. Capital of one shaft, shown both 
 in front and in profile. G. Section of mouldings in the jambs. 
 
 Comparing these specimens with those which are now set up to adorn our 
 best rooms, we may remark, that here the greatest skill, both in design and 
 workmanship, was bestowed on common stone : " Materiam superat opus" 
 might then truly be said ; whilst we seek the rarest foreign marbles, and are 
 contented to see them in slabs of the most shapeless form. 
 
 No. 40. — Plate LVI. Chimney-Shafts of Stone from Windsor 
 
 AND Lincoln. 
 
 No. 1. From the Castle; No. 2. St. George's Chapel; and No. 3. From 
 a private house in Lincoln. 
 
 No. 41. — Plate LXVI. Four Chimney-Shafts from Eton. 
 
 These are executed in brick of fine texture, and skilfully wrought. They 
 were probably built early in the reign of Henry VIII. although the college 
 and chapel were begun by Henry VI. Many curious particulars respecting 
 the building, &c. of Eton College, with two Plates, are given in the 
 " Architectural Antiquities of Great Britain," page 3 of Vol. II., and the two 
 Plates of similar chimneys there described. 
 
28 SPECIMENS OF GOTHIC ARCHITECTUKE. 
 
 Nos. 42, 43, 44, 45.— Plates XLII., XLII.*, XLIV., XLIV.* Crosby Hall, 
 
 London; 1460. 
 
 The remains of Crosby-Place have become so much obscured by modern 
 buildings, that no piece of antiquity in the metropolis, of equal interest, is less 
 seen by strangers. Here was a sumptuous mansion erected by Sir John 
 Crosby, a wealthy merchant and citizen of London, about the year 1470. 
 Richard, Duke of Gloucester, resided in it at the time the two infant princes, 
 sons of Edward IV., were lodged in the Tower, under his protectorship. It is 
 not known who succeeded him in the occupation of Crosby-Place, after 
 Richard III. had acquired the crown; but it seems to have continued a long 
 time after in the royal possession, as Queen Elizabeth lodged certain foreign 
 ambassadors there. Subsequently to that time, part of it was long used for 
 a place of religious worship ; but at present the two great apartments, all that 
 remain of the original building, are used as a packer's warehouse. The first 
 of these stands on the east side of a narrow court, and was the hall. 
 The other building adjoins the hall, looking into the court toward the south ; 
 it is of the same height, but consists of two stories. 
 
 No. 42. — Plate XLII. belongs to the latter building, consisting of 
 details from the roof of what is still called " The Council-Chamber," which 
 occupies the upper floor. A. Exhibits one half of a timber arch at the east 
 end of the room, opening into the hall. B. Shows the elevation of one bay, 
 taken at the central rib. The form of this ceiling is simple, being of an 
 elliptical curve springing from a level cornice on each side, and without any 
 groin. Arched ribs cross it between the windows; and lighter ribs divide the 
 spaces into panels, which are variously fretted and enriched. The character 
 of these enrichments will be best explained by the engravings. They were 
 all finely executed in wainscot, and decorated with gilding: in short, the 
 original must have been of the most splendid description. C. Gives the 
 pattern of the tracery in one panel ; with a section of the depth of its 
 mouldings. D. A corbel beneath the springing of one of the arched 
 ribs, with part of the cornice in continuation : a section of the cornice is 
 placed next to it. N.B. These parts are of stone. E. Section of one of 
 the arched ribs. F. Shield and ornaments in a small spandril within the 
 arch. G. Enlarged portion of the arch A. H. Another little spandril from 
 the same arch. 
 
CKOSBY-HALL, LONDON. ^9 
 
 Nos. 43, 44, 45. — Plates XLII.*, XLIV , XLIV.* 
 
 These three Plates are filled with details of the Architecture of the hall 
 of this palace ; a short description of which may be thought necessary to 
 accompany the delineations. The front towards the court has a range of 
 arched windows, with an oriel, or bay-window, projecting into the court : the 
 original entrance has been destroyed, and a public passage broken through 
 the lower end of the hall. The interior measures 69 feet by 27 ; and the 
 height in the centre of the roof is about 38 feet*. The view within this mag- 
 nificent apartment is quite defeated by a floor which now divides it into two 
 stories ; not to dwell upon other injuries which have defaced and mutilated its 
 various rich decorations. The roof is admirably wrought in oak timber; and 
 though sullied with smoke and dirt, preserves an air of great beauty and 
 dignity. It is ceiled in form of an arch, like the Council-Chamber ; but the 
 hall being a much loftier apartment, the ornaments were designed in a bolder 
 style, and without so many florid details. Three ranges of pendants form the 
 prominent features ; ornaments which require to be considerably elevated 
 above the spectator to produce a proper effect. The windows at the sides are 
 placed at a great height from the floor, as was common in such halls, the walls 
 beneath them being usually hung with tapestry at solemn feasts. 
 
 No. 44. — Plate XLIV., which may better be explained first, in treating 
 of the roof, shows part of one arch, or principal of the roof, in a transverse sec- 
 tion, including rather more than half the span. The spandrils of the little 
 arches which connect the pendants are filled with tracery, pierced through : — 
 
 a. Stone corbel attached to a pier between two windows, from which the 
 timber arch springs, b. b. Pendants, worked at the bottom in forms corre- 
 sponding to the stone corbels, e. Line of the ceiUng, which forms a flattened, 
 pointed arch : above this the rafters are quite out of sight ; not exposed as in 
 
 * About 12 feet in length of the south end of the hall roof are not ceiled like the rest, but left 
 unadorned : and it is remarkable that two windows on each side, beneath this part, are placed 
 in pairs, so that the roof could not have had springers between them as the rest has : some have 
 supposed this part to have been originally separated from the hall. Beneath was undoubtedly 
 a screen, enclosing a passage behind which the principal doors opened, as well as those leading to 
 the kitchens, butteries, &c. : above the screen was usually a gallery for music ; but this might 
 be partitioned off to form a chamber. At the other end of the hall a large breach has been opened 
 to a room, communicating with a staircase and outward door. 
 
 £ 
 
30 SPECIMENS OF GOTHIC A RCH ITECTU HE. 
 
 Westminster and other earlier halls. This fashion was undoubtedly considered 
 an improvement upon the former ; but whatever neatness might be gained by 
 it, a ceiling necessarily prevented that airy lightness which gives such a charm 
 to the open roof. f. g. Part of the jamb of one of the side-windows, 
 c. d. A large hexagonal compartment in the centre of the ceiling, above 
 which the architect undoubtedly intended to raise a lantern ; but which seems 
 to have been removed very early, if ever placed there, as the panels which 
 cover the opening are ornamented with mouldings, &c., corresponding with 
 those of the ceiling ; and we find a large fire-place on the east side of the hall, 
 which appears nearly, if not quite of original antiquity*. 
 
 No. 43. — Plate XLII.* A portion of the roof is here shown in an eleva- 
 tion passing longitudinally through the central rib. The extreme care to fill 
 up every part with appropriate enrichments is here remarkable. The windows 
 have their arches flattened towards the point ; and bear a considerable resem- 
 blance to those in the hall of the old royal palace at Eltham in Kent. The 
 frieze of quatrefoils above them, and the spandrils wrought in tracery, similar 
 to the pendants, have a very rich eflect. In so fine a composition it seems 
 something fastidious to find fault ; but the row of pendants down the centre 
 appears too large, and had better been omitted, or' made subordinate to the 
 two ranges on the sides. B. Plan of a window, showing the deep mouldings 
 worked in the sides and mullion. C. Corbel of a pendant, seen in elevation. 
 D. Plan of the same, with its tracery, little battlements, &c. E. Corbel of stone 
 attached to the side-wall. F. Plan of the same, with its details ; and section 
 of the arched rib springing from it. G. Part of the frieze running along the 
 walls beneath the arched ceiling : it is of wood. H. Section of the same. 
 
 'o 
 
 No. 45. — Plate XLIV.* Oriel Window i. — This window projects into 
 the court from the north end of the front, as was before observed, that being 
 
 * The halls of ancient mansions, colleges, and monasteries, were generally warmed by fires of 
 charcoal in an open iron grate, which stood in the middle of the floor, and had a lantern, or louvre, 
 placed above it, formed like a turret of timber, with the sides perforated to let out the fumes. The 
 hall of the Middle-Temple, London, that of Trinity College, Cambridge, and a few others, retain this 
 usage, which, during the last century, was given up, in most instances, for stoves or chimneys. 
 
 t The Oriel Window was almost always an appendage to the ancient hall, from the fourteenth 
 century down to the reigns of Elizabeth, and James I. Some halls had two, one on each side. They 
 were placed near to the upper end ; serving for side-boards to stand in for the use of the /ligA table. 
 
CHANCELLOKS HOUSE, LINCOLN. 31 
 
 the upper end of the hall ; the fire-place is opposite to it. The whole frame 
 of the oriel is much to be admired, combining strength with an elegant light- 
 ness ; and designed in strict conformity with the structure it is attached to. 
 A great injury has been inflicted upon it, by breaking a door through its upper 
 part above the floor which now divides the hall into two stories ; and its 
 exterior is blocked up by a temporary staircase. 
 
 Figure 1. refers to an elevation of the interior as it opens towards the hall. 
 Fig. 2. gives an elevation of half the outside, as seen in front. Fig. 3. a sec- 
 tion taken through the centre. Fig. 4. plan, with the tracery of the beautifully 
 vaulted roof. 
 
 A. Head of one of the windows on a larger scale than that of the eleva- 
 tions. Some fragments of stained glass still linger in the heads of these lights, 
 memorials of departed splendour. B. C. Roses carved on the intersections of 
 the ribs in the vaulting. D. Plan of one of the angular piers of the oriel. 
 E. A mullion dividing the two lights which illuminate each face of the oriel. 
 
 In concluding the explanation of these specimens of the architecture 
 of Crosby-Place, we cannot help reflecting on the perishable nature of all 
 human labours. To see a noble structure thus mutilated and degraded to the 
 rudest purposes, can hardly fail to fill the ingenious spectator with indignation ; 
 but he must consider, that, in a commercial city, the smallest space is of too 
 great value to be sacrificed to taste, and that his curiosity is freely gratified 
 by the possessors of the buildings, in whose hands they seem likely to be 
 preserved from total destruction. 
 
 No. 46. — Plate XLV. Chancellor's House, Lincoln, — Gateway; 1480. 
 
 This gateway is the chief entrance to the Chancellor's residentiary-house 
 in the Close of the Cathedral. The building it belongs to is of brick, 
 with windows of stone in a style corresponding to this gate ; all of which, 
 with one exception, have escaped the violence of modern fashion. A mantle- 
 piece of stone, sculptured with the arms of bishop Russel, now remaining in 
 one of the chambers, though concealed by wainscot, determines the date 
 
 Tlie great hall at Eltham has two very spacious oriels, or bay-windows, with doors in them commu- 
 nicating with the principal chambers. These are perhaps the earliest specimens of the oriel in 
 a dining-hall, and appear to be of the age of Richard II. or a little later. The hall of Eltham 
 Palace is now degraded to a barn, and waggons are driven through the beautiful remains of these 
 oriels. The hall at Stonyhurst, in Lancashire, is a very late instance of the old plan, having two 
 spacious oriels, one on each side of the upper end, and a screen across the entrance. 
 
32 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 of the building ; M'hich exactly corresponds in style to the tower erected by 
 the above prelate at his palace of Buckden *. The form of the gate needs no 
 farther illustration than what the engraving gives ; where an elevation, section, 
 and plan, are delineated, with enlarged copies of the tracery in the doors, 
 A. B. C. and a section of the label over the arch. The manner of returning 
 this moulding in form of a lozenge was a late fashion, very common in 
 the reigns of Henry VII. and VIII. ; it superseded the necessity of placing 
 a bust or other piece of sculpture, and had a fuller and richer effect 
 than the simple return of the moulding in a straight line, especially in large 
 pieces of work. 
 
 No. 47. — Plate LVIII. Chancellor's House, Lincoln ; — Oriel 
 
 WlNDOAVf. 
 
 This window forms the principal ornament of the building described under 
 Plate XLV. It stands in the middle of the front, and, by its size and 
 bold projection, gains a very good effect. The workmanship and stone are 
 equally good ; both remaining quite firm and perfect. An elevation, a section, 
 and plan, are given in the Plate, with one of the returns of the cornice more 
 at large. [See what is said on the form of ending this ornament in the 
 description of the gateway]. The top of the window is leaded within the 
 battlements, and the cornice is neatly bent at one end, so as to allow a spout 
 to pass under it, to carry off the wet. Withinside is a flat ceihng of wood, 
 divided into panels by narrow ribs. 
 
 No. 48. — Plate XLIII.* Niche to Bishop Beauchamp, St. George's 
 
 Chapel, Windsor. 
 
 This niche, or recess, is wrought within a pier of the arch which terminates 
 the upper end of the south aile, and is supposed to commemorate bishop 
 
 • He was translated from Rochester in 1480, and died in 1494. 
 
 t " The Bowed Mansional Window, by its sweeping form, its height, breadth, and lightened 
 solidity of frame, displays the utmost possible capacity of cheerful illumination. I am much struck 
 with the beauty of this original feature of an old English residence ; with its branching muUions of 
 sculptured stone, it is a constituent part of the building itself, a lightened part of the structure ; in 
 its place and proportion discharging an efficient duty : whereas, the crowded windows of modern 
 Architecture compulsively adapted to our wants of light and air, are awkward holes cut in the wall 
 by the chisel of necessity." — Preface to Metrical Remarks on Modern Castles and Cottages. 8vo, 
 London. 1813. Page 12. 
 
ST. GEORGKS CHAPEL, M'IN'DSOR. 
 
 33 
 
 Beauchamp, who was principally concerned in rebuilding the magnificent 
 chapel of St. George, under King Edward IV.* From its resemblance to 
 a tomb, it has sometimes been described as such, but that appears to be 
 erroneous. Regarding this as the bishop's own design, it is no bad specimen 
 of his taste ; the flattened arch spoilt all the architecture of his age, but here 
 it is managed so as not to produce the depressed effect it generally did, an 
 effect which is no where more lamentably felt than in the magnificent chapel 
 at Windsor. 
 
 Fig. 1. Refers to the elevation of the whole front. 2. Section taken 
 through the centre, uprightly, showing the depth of the recess, its mouldings, 
 and the tracery in its sides. 3. Plan, showing the tracery on the soffit of 
 the arch, tt . 
 
 a. Moulding on the front edge of the table, drawn separately, b. Part of 
 the foliated crest which finishes the top. c. Finial of the crocketted canopy, 
 which is turned very gracefully, and the foliage of the crockets well applied, 
 d. Horizontal section of mouldings, and one shaft, at the side of the recess. 
 
 In the upper end of the P'ate are details of the ornaments within the arch, 
 and lower down, one of the panels in front of the tomb, with its section. 
 
 No. 49. — Plate XLIX. The first specimen on this Plate is a doorway 
 opening into the cloisters of the collegiate buildings in Windsor Castle. The 
 composition is altogether good, and the mouldings well relieved. The trusses 
 which support the outer moulding of the arch, are of uncommon design, but 
 rather too fanciful to look well. The elevation, plan, and section, have 
 nothing to be explained. The window is taken from one of the ailes of 
 St. George's Chapel. In this example we find a closeness and heaviness of 
 
 * Ricliard Beauchamp, bishop of SaUsbury, for his skill in architecture, was accounted " the 
 Wickham of his day." He built the great hall of his palace at Salisbury, and was appointed master 
 and surveyor of the works by King Edward IV. in the rebuilding of St. George's Chapel in Windsor 
 Castle. '1 he preamble of the patent which conferred upon him the office of chancellor to the Order 
 of tlie Garter, recites, " that out of mere love towards the order, he had given himself the leisure 
 dayly to attend the advancement and progress of this goodly fabrick." Two years afterwards he 
 was appointed dean of Windsor ; and dying in 1482, was buried within a chapel built by himself as 
 a sepulchre for his family, adjoining to his cathedral, which has since been destroyed under pretence 
 of its injuring the uniformity of the church. Gough states that this prelate gave a rich missal (more 
 likely an office-book or breviary), to be chained for public use in a niche on the opposite side to that 
 we have represented, where he also placed a crucifix, and an inscription to record his gift. — See 
 Gough's " Sepulchral Monuments," II. 273. — Might not this niche be intended for some such use ? 
 
34 SPECIMENS OF GOTHIC A UCM ITECTU RE. 
 
 design, which must be esteemed degenerate when compared with the windows 
 of the preceding age. This deterioration of beauty was partly occasioned by 
 the lights between the upright mullions being divided into so many heights, 
 or panels ; a fashion which began to show itself in the works of the celebrated 
 William of Wickham, in the nave of his cathedral at Winchester : the obtuse 
 arch was also too often allowed to cut off the varied tracery which so much 
 adorned windows of earlier date. 
 
 Details to the elevation : — a. Section of the hood-mould, b. Head 
 of one of the lights, c. Section of the string-course beneath the window, 
 d. Section of one jamb, with reference to the plan. 
 
 j^o, 50. — Plate L. TwoDoouwavs; St. George's Chapel, Wixdsou. 
 
 The first of these belongs to the chapel said to have been added by King 
 Henry VH. to that of St. George, before he began his celebrated chapel at 
 Westminster*. A comparison of this entrance with one represented in Plate 
 XLI., will show how little change architecture had undergone during the last 
 fifty years of that century. 
 
 A. Elevation. B. Section through the centre of the arch. a. Spandril, 
 at large, b. Capital of one of the little columns, or boltels, at the sides, 
 c. Section of the label, or hood-mould, d. Section of one jamb, at large, 
 referring to the plan above, e. Moulding to cover the edges of the folding 
 doors. 
 
 The second of these entrances exhibits an uncommon composition, par- 
 ticularly in the retiring curve of the jambs. It appears to be of a very late 
 style, not earlier than the reign of Henry VHI. 
 
 A. Elevation. B. Section, e. Jamb at large, with reference to the plan, 
 f. Moulding upon the door. g. Base of one of the shafts, both as seen in 
 front, and at the side. h. Part of the embattled crest, with its section at 
 large. 
 
 No. 51. — Plate LI. St. George's Chapel, Windsor, — Parapets. 
 
 The upper roof of this magnificent structure is guarded by a straight 
 parapet, pierced in compartments; whilst the ailes have an embattled 
 
 * This chapel has generally been called Wolsey's Tomb-house, from a sumptuous tomb of brass 
 which that cardinal prepared for his own burial, but which his sudden misfortunes prevented his 
 ever finishing or occupying. 
 
ST. George's chapel, windsou. 35 
 
 parapet, which is also pierced*. Four varieties of these* are exhibited in 
 this Plate. The cornice is studded with heads, grotesque and ludicrous, 
 agreeably to the fashion of the age in which the building was erected, 
 when exhibitions of masques and mummeries entertained the gravest and 
 most polished characters, no less than the lowest classes of society. 
 
 The elevation and corresponding section of each of these specimens seem 
 to require no explanation. 
 
 No. 52. — Plate LII. St. George's Chapel, Windsor. — Compartment 
 
 OF Aldworth Chapel -j". 
 
 This little fabric has been censured, by no incompetent judge in such matters, 
 as " a bad specimen of architectural design, and an infringement on the 
 uniformity of the chief edifice;};." It occupies a space on the east side of 
 the south transept of St. George's Chapel. 
 
 A. Elevation of its eastern front, as it projects beyond one of the great 
 buttresses. Three such divisions make up the south side. B. Section of 
 the outward mouldings, &c. C. Part of the battlements, at large. D. Section 
 
 • The pinnacles rising from the buttresses of the chapel, were originally finished by figures of 
 animals, holding banners of metal, which turned with the wind : such embellishments were in high 
 fashion at the end of the fifteenth century, and when perfect, and emblazoned with colours and gild- 
 ing, must have made a splendid show. A sharp controversy was carried on through the medium of 
 the Gentleman's Magazine in 181 1, respecting the existence of such vanes on the turrets of Henry 
 VII.'s Chapel, Westminster, as originally finished. The affirmative was supported by the late Mr. 
 John Carter, with his usual ardour, and proved, though his suggestions were not followed by the 
 restoration of the vanes. 
 
 t This little fabric was really built by Oliver King, bishop of Bath and Wells, canon of Windsor, 
 and registrar of the Garter; who died in 1503, and is said to have been buried here; the name of 
 Aldworth has become attached to it since the interment of some of that family within the chapel. 
 Bishop King distinguished himself by rebuilding the abbey church of Bath, one of the cathedrals of 
 his diocese, which, however, he did not live to see completed. 
 
 X See Britton's •' Architectural Antiquities," Vol. III. p. 44. 
 
 The former part of this censure will not be here contradicted. The Plates must vindicate the 
 merits of the design : the charge of " infringing on the uniformity of the chief edifice," has been 
 brought against various appendages of great churches of much more interest and value than 
 this diminutive chapel. The loud and united voices of men the most esteemed for taste and science 
 were raised, not many years back, against certain destructive pursuits of uniformity, which were 
 then making havoc of some valuable antiquities of Durham, Salisbury, and Lichfield Cathedrals : 
 their anathema will go down to posterity, and it is hoped have some effect in deterring such devasta- 
 tions in future. 
 
36 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 of the same, showing its perforation. E. Part of a window, at large, with 
 section of its mouldings, a. Surbase-moulding beneath the window. 
 
 Nos. 53, 54, 55, 56, 57, 58. — Henry VII.'s Chapel, Westmixstek. 
 Illustrated in the Title-Plate, and Plates LX., LXL, LXIV., LXV. 
 
 No. 53. — The Title-Page represents a doorway and screen within the north 
 aile of Henry VII.'s Chapel, Westminster. The details of this screen are very 
 elegant, corresponding to the architecture of the chapel. A part of the 
 exquisite roof is shown in perspective above the screen. 
 
 No. 54. — Plate LVII. Tracery Mouldings of the time of Henry 
 VII. — In this Plate the principal leading mulHon, or rib, is shown in fig. 1. 
 with additional filling, in fig. 2. ; and the whole of the tracery, with the 
 centres for all the circles, and the boss in the centre. No. 3. 
 
 No. 55. — Plate LX. Part of the Monumental Screen. — This in- 
 closure for the royal founder's tomb is made of bronze, and is of most elaborate 
 design and skilful execution. Its elevation is divided into two stories, perfo- 
 rated like windows, with a parapet and crest on the top. An inscription runs 
 round the whole, near the middle. On each side of the doorway are two 
 niches, with statues of saints, all cast in brass. On the right hand side of the 
 Plate is a section of the doorway, and beneath are plans*. 
 
 No. 56. — Plate LXI. Panelling and Tracery Mouldings, — from 
 the same chapel, exhibited in six specimens, selected from various parts. 
 
 • The tomb itself, within the inclosure of brass screens, is built of touchstone, a hard, dark- 
 coloured marble, upon which lie statues of the monarch and his consort, of gilt brass, with angels 
 sitting at the four corners of the tomb, and figures of saints in compartments at the sides. This 
 tomb was the work of Pietro Torregiano, an artist who came from Florence to execute this work, 
 •which he completed in 1519. The style of the tomb, in its architectural parts, is decidedly Italian, 
 and from its total difference to the architecture of the screen, the latter can hardly be supposed to be 
 of his design, though the little statues, or indeed the whole screen, might be executed by Torregiano, 
 and the artists employed under him. The tomb of Margaret, countess of Richmond, on the south 
 side of the chapel, is of Italian style, resembling that of her royal son, Henry Vll. : it was probably 
 another work of Pietro Torregiano. — See Carter's " Antient Sculpture and Painting," Vol. II., and 
 Britton's " Architectural Antiquities," Vol. II. 
 
HENRY THE SEVENTH'S CHAPEL, WESTMINSTER. 37 
 
 No. 57. — Plate LXIV. The Doorway and Screen, fkom Henry 
 VII.'s Chapel, represented on this Plate, enclose one of the chapels, or 
 oratories, on the side of the nave. This is shown in elevation, section, and 
 plan, with measurements of parts. The embowed outline of the plan is 
 remarkable. See A. on the Plate. The window is one of the upper story, or 
 clerestory, a. Embattled transom, b. Panelled tracery, c. Large mullion. 
 f. Small mullion. 
 
 No. 58. — Plate LXV. The Flying Buttress, Turret, &c. exhibited 
 in this Plate, are curious specimens of the architecture of this wonderful 
 monument ; showing how profoundly the architects calculated to provide 
 sufficient solidity, though the whole appears a mass of ornamental sculpture. 
 The foundation stone of Henry VII.'s Chapel was laid by " Abbot Tslip and 
 Reginald Braie," &c. 24th January, 1502 ; and we conclude that the work was 
 regularly continued. The stone was brought from Caen, Yorkshire, and 
 Ryegate ; and as too much of the latter appears to have been used for the 
 exterior, the whole surface gradually decayed, and had fallen into such a state 
 of dilapidation and ruin, that parliament came to a resolution, about ten years 
 back, to have the whole exterior restored with Bath stone *. This work was 
 committed to the charge of Mr. Thomas Gayfere, who has executed it with 
 skill, and attention to the original forms and ornaments f. 
 
 Every part of this sumptuous chapel, both external and internal, is 
 covered with tracery and sculpture, full of most beautiful details ; nevertheless 
 there is a want of repose and harmony in the effect, as a whole : and a little- 
 ness and pettiness is produced by multitude of parts. In a monument, 
 or small oratory, objects that are embraced at once by the eye, and are only 
 appendages to a larger building, such a style of design is appropriate and 
 beautiful J : but in a large building, like the chapel now alluded to, exposed 
 
 * The House of Commons voted the sum of .£3000, for the repair of Henry the Seventh's Chapel, 
 29th April, 1811. 
 
 t The upper pinnacles and battlements were so entirely perished, that no part was left as an 
 example for restoration : and the accuracy of the new parts, in resemblance to the original ones, has 
 been questioned. The late Mr. John Carter demonstrated from various prints, that the straight 
 line of the new parapet differed from the antient work; in which a cral, obtusely pointed, like the 
 battlements of King's College Chapel, Cambridge, rose up in the centre of each bay. — See Gentle- 
 man's Magazine, 1811, Part II. page 417. 
 
 X The chapel represented in Plates LIX. and LX. is an example. A ground-plan, and eighteen 
 
 F 
 
38 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 to a changeable and corrosive climate, a more simple and less ornamented 
 design would have been preferable. This was the climax, or zenith of the 
 florid style; and from the time of erecting this chapel, we find not only 
 a decline, but a perfect revolution in the architecture of this country. 
 
 Nos. 59, 60. — Plate LV., LVI. Bishop Longland's Chapel, Lincoln 
 
 Minster. 
 
 This beautiful little fabric may be regarded as one of the very latest specimens 
 of Gothic Architecture, unmixed with heterogeneous ornaments of the Roman 
 style*. It is annexed to the south aile of the church; and, together with a 
 corresponding chapel erected by Bishop Russel, forms a fine accompaniment 
 to the porch which graces the cathedral on that side. Both these chapels are 
 copies, as to general design, of the one- erected by Bishop Flemyng, on the 
 opposite side of the church f ; but greatly improved, especially Bishop 
 Longland's, which is more elaborate in its ornaments than even Bishop 
 Russell's, though its counterpart in plan and elevation. The inner front 
 of Bishop Longland's Chapel is covered with very delicate carving. The roof 
 is ceiled in panels with wainscot, the beams being fretted, and adorned at 
 their crossings with knots of foliage, &c. There are several tabernacles, and 
 perchesj, withinside, for statues. The walls retain marks of painting, and 
 some coloured fragments of glass remain in the tracery of the windows ; 
 altogether showing what a splendid little oratory this once was. 
 
 No. 59. — Plate LV. The elevation comprehends one-third of the front. 
 The plan of so much of the chapel is shown below the elevation. The section 
 gives the thickness of the wall, and the projections of the different members. 
 As a specimen of the latest refinements in Gothic architecture, this little 
 structure deserves a careful examination. Many of the same forms may be 
 
 other prints, with a full history and description of this chapel, are given in the second volume 
 of Britton's " Architectural Antiquities." See our Vol. II. p. 25, with note *. 
 
 * Archbishop Warham's Tomb, in Canterbury Cathedral, was noticed by the late Lord Orford, 
 as " the last example of unbastardized Gothic." — (Letter to the Rev. William Cole, 1769). — That 
 prelate died, A.D., 1532: Bishop Longland not till 1547. This chapel was erected some years 
 before his death. 
 
 t Plates XXXL, XXXVI. — Bishop Russel died in 1494. His chapel has several ornaments of 
 similar forms to some in King's College Chapel, Cambridge. 
 
 t Perches, projecting corbels, or brackets, to set small statues, lights, or such things, upon. 
 
LONCLAXd's chapel, LINCOLN MINSTER. 39 
 
 traced as in Henry VII. 's Chapel, which may be appealed to as the chief 
 example of the style in question. Every part is studiously finished with all 
 the ornament it could admit of; each moulding is quirked, and deeply curved ; 
 and all the crockets and other foliated ornaments are relieved with the utmost 
 lightness it was possible for stone to bear. 
 
 Details on an enlarged scale: — A. Elevation and section of the 
 moulding which divides the secondary pinnacle into two heights. B. Base 
 of the same pinnacle, showing how it stands diagonally upon the coping of 
 the buttress *. C. Section of the cornice below the battlements f- E. Sec- 
 tion of a muUion in the window. F. Section of a jamb of the same. 
 
 No. 60. — Plate LVI. Details from Bishop Longland's Chapel. — 
 On the left hand of the Plate is an elevation of a principal pinnacle, with the 
 upper part of its secondary, or subordinate one, beneath, a. Horizontal sec- 
 tion of the finial, the shaded part showing the shape of the stalk, the outline 
 that of the crockets, b. Similar section at the neck-mould, c. Another 
 section taken lower down. d. Section across the most elaborate part. 
 
 e. Section of the body of the pinnacle, with the lower finial attached to it. 
 
 f. Refers to the secondary pinnacle, at its neck-mould, g. Section of the 
 same, with its crockets. h. Ditto of the square, or body, of the same ; 
 which we may observe, is almost cut through by the deep mouldings in the 
 sides. 
 
 Battlement. The elevation and plans will need no description. The plan 
 S. shows how the crests are splayed back to prevent their exposing any heavi- 
 ness, and to give a more open effect to the loops^. 
 
 Buttress. The arms are those of the founder ; with his favourite cog- 
 nizance, or badge, the dove with an olive branch. The section and plan of 
 
 * Such secondary pinnacles were evidently part of the design for bishop Flemyng's chapel, but 
 they appear never to have been executed : and we find the buttresses coped with an obtuse point in 
 that part. See Plate XXXII.* 
 
 t The intersection of the arch over the window with the cornice is a vicious refinement of taste : 
 such intricate fancies are common in late specimens. 
 
 X Dr. Plot, Natural History of Staffordshire, 1686, p. 381, describes a large yew-tree, " cut on 
 the top with loop and crest, like the battlements of a tower." The same terms occur in more ancient 
 authorities. The loop is the crenelle or space between two crests, or croupes, as they are frequently 
 termed in ancient accounts. 
 
40 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 this part show the projections of the mouldings belonging to the elevation. 
 The admirers of this specimen will rejoice to know that it remains in fair 
 preservation. The stone, from Ancaster, in the same county, has preserved 
 the mouldings, ^c. without any material loss. The ceiling, which had very 
 nearly fallen to irremediable decay, was repaired by the dean and chapter 
 about ten years since, when all its most minute carvings were restored with 
 great pains : this was effected chiefly in consequence of the good taste of the 
 present sub-dean, the Rev. H. Bayley, B.D. 
 
CHRONOLOGICAL AND HISTORICAL TABLE 
 
 OF THE SUBJECTS AND DATES OF THE RESPECTIVE PLATES IN THE TWO VOLUMES OF 
 
 Pugm'fiS ^pfcimfusi of (gotft ic 9[rd)itrrtiuT ; 
 
 DRAWN UP BY JOHN ADETKEPTON, ESQ. ARCHITECT, F.S.A. AND ADDRESSED TO A. PUGIN:— 
 
 Dear Sir, 
 
 Hare-Street, near Romford, Feb. 18, 1823. 
 
 I HAVE lost no time in preparing the enclosed paper, and have examined the Plates very carefully 
 xing such dates, which are not mentioned in your Work. I have also looked over my books on cathedrals, for their 
 erent styles of architecture, wherein the dates are known, and compared them with your Work. 
 
 In ascertaining the dates of buildings, much must depend upon circumstances : for instance, in the 
 e of the cathedral of Exeter, which was erected as late as the reign of Edward III., the style of the architecture 
 ;he choir was adopted of the date of Edward I., in order to preserve the uniformity of the whole design. The same 
 ervation may be made on the nave of the cathedral of Norwich, to correspond with the old Norman work. In the 
 sters of the same cathedral, which was 133 years in building, the same uniformity of design prevailed of Edward the 
 5t's time, except in the tracery of the windows. 
 
 I remain, Yours truly, J. A. REPTON. 
 
 FIRST PERIOD :— 1100 to 1250. 
 
 Henry I, 
 
 Stephen. Henry II. Richard I. 
 
 John, 
 
 Henry HI. 
 
 1100 
 
 1150 
 
 Vol. I. 
 
 Jew's House at Lincoln 
 
 New Shoreham Church 
 
 Ancient Gateway, Lincoln • 
 
 ^ Ancient Doorway Lincoln 
 
 I Doorway, St. Mary's Church, Lincoln • • • • 
 J( Groining; Lincoln and Westminster" •• -^ 
 
 j Vol. IL 
 
 L Ornaments from Westmr. Abbey, D.E.F.G. 
 
 VI. ItBey Church (south door) •• 
 
 LIX. Capitals; Westminster Abbey, &c. •• 
 
 KV. Triforium ; Westminster Abbey 
 
 SVn. Groining, St. Sariour's Church ..-...• 
 .Will. Capitals and Bases 
 
 1200 
 
 lUO 
 
 11 
 
 1S50 
 
 50 
 
 [iiro to 1180] 
 
 1120 
 
 [1100] 
 
 1230 
 
 [J2 
 [12 
 
 [1220 to 12 
 
 . [1940 to 
 
 [1220 to 12 
 
 1240 
 
 50] 
 
 50] 
 
 50] 
 
 1260] 
 
 50] 
 
 SECOND PERIOD; 
 
 Henry III. Edward 
 
 1250 to 1400. 
 
 Edward I!. 
 
 Edward HI. 
 
 1250 
 h. Vol. I. | 
 ^ and 21. York Cathedral (Pinnacle) . . . 
 
 j^. Ditto (Plans of Mullions) •• [1250 to 
 i. Beverley Minster (Ditto) 
 
 H. St. Mary's Church, Lincoln (Window)....'. 
 
 <i. Lincoln Cathedral (Stone Screen) .• 
 
 j. John ofGaunt's Palace (Oriel Window) .■'. 
 
 [i, 33, 34, 35. Westminster Hall . . . . ► !. 
 
 -. Window in South Carlton Church • . 
 
 |. Doorways, Westminster and Lincoln (1 &2)L 
 
 I '. Ditto Ditto (3 & 4);. 
 
 5. St. Mary's Church, Oxford (Spire) 
 
 i. Buttresses, (Oxford) • • • •- 
 
 1 Ditto Ditto ••. 
 
 Vol. IL 
 ]. Ornament! (VVestminster Abbey) A.B.C- • 
 
 -LIV. Mr. Orraerod's Chest -..^. .. 
 
 JSXI. John ofEltham's Monument ........ 
 
 XXIl. Edward the Third's Monument 
 
 XVI. Windows (1, 4, 5)- • • • -•-•• -. 
 
 ;!CIV. Door to Cloisters, New College' 
 KV. Doorway to St. Stephen's Chapel 
 
 [1350 to 
 i;i250] 
 
 I I 
 
 I I 
 
 1300 
 
 1350 
 
 1400 
 
 [13 
 IS 
 
 13 
 
 00 
 
 13 
 
 00 to 1330] 
 
 00 
 
 00] 
 
 after 1334 
 
 [1320 . 
 [1340 
 
 1340 
 [1340 
 [1340 
 
 13 
 
 00] 
 
 .... 14 
 
 1380] 
 . . 1390 
 [1380 to 1390] 
 . . - 1390J 
 1380 
 1380 to 14!00 
 
 50 
 
 [13 
 
 50 
 
 to 
 
 to 
 
 14 
 
 14 
 
 after 1377 
 . . 1370] 
 . . . 1380-6 
 1360 
 
 00 
 00] 
 
42 
 
 CHRONOLOGICAL TABLE. 
 
 THIRD PERIOD: — 1400 to 1600. 
 
 Henry IV. Henry V. Henry VI. Edward IV. Rich. III. Henry VII. 
 
 I I I I 
 
 lleury VIll. Edw. VI. 
 
 1400 
 
 14S0 
 
 [1400 to 
 
 [1400 
 
 [1400 
 [1400 
 
 1400 
 
 No. Vol. I. 
 
 26. Lincoln (Font in St. Mary's Church)" 
 
 46. Ditto (Chancellor's Gateway | _ _ , _ 
 
 47. Ditto (Oriel Window) ) " " 
 
 9. Ditto (Door of Bishop's Palace). ••• 
 
 59. Ditto (Bishop Longland's Chapel) • • 
 31. Ditto (Bishop I"lemyn<;'s Chapel) •• 
 10 and 11. S. & W. Doors otTattershall Church 
 37 and 38. Tattershall Castle (two Fire-places) 
 
 42, 43, 44, 45. Crosby Hall • - 
 
 7. Six Doors with square heads 
 
 28. Specimens of Panels 
 
 40. Chimney Shafts from Windsor and Lincoln 
 54. Tracery -^ 
 
 16. Specimens of Square-headed Windows 
 23. Brackets and Pedestals • • • • 
 
 41. Four Chimney Shafts from Eton • • - • 
 12. Windsor (Entrance to the Uefecton.') 
 39. Ditto (two Chimney-pieces) 
 
 48. Ditto (Niche to Bishop Beauchamp) 
 52. Ditto (Compartment of Aldworth Chapel) 
 
 50. Windsor (two Doorways) 
 
 51. Ditto (Parapets) •• 
 
 49. Ditto (Window in S. Aile) 
 
 Four Plates from Henry\'ll.'s Chapel ■ ■ • 
 The Monumental Tomb of Ileury X'H. . • • 
 
 29. Westminster Abbey (Spandiils) 
 
 30. Ditto (Gioininj;) • 
 
 23. Ditto (Brackets and Pedestals) 
 
 2 1. Oxford (Pinnacles and Turret) 
 
 17. Ditto (Windows, except No 5.) 
 
 19. Ditto (Buttress of Magdalen College) .•• 
 
 19. Ditto (Pinnacle to Ditto) 
 
 25. Ditto (Battlements) 
 
 N. B. The lower part of fig. 5. is Saxon 
 fi>'. 6. is of the date of Edward II. or lU. 
 
 Vol. II. 
 1. to XIII. Hampton Court (13 Plates) • • • • 
 
 XXXVI. Monument to Fascet (Westmr. Abbey)], 
 
 XXXVII. Monument to Islvp 
 
 XLVIII. Ornaments (A.B.C.) •• 
 
 XXVII. Circular Window in a Square 
 
 XXIII. and XXIV. Monument of Henry V. 
 
 XXXV. Monument of Bishop Dudley 
 
 XVIII. Oxford (Doorway of Merton College) 
 
 XVIII. Ditto (Doorway of Christ Church) ■• 
 XIV. and XV. Ditto (St. Mary's Church) • • 
 
 XXVIII. Ditto (Window in Balliol College) . • 
 
 XXIX. Ditto (Oriel Window, Jesus' College)- • 
 
 XXX. Ditto (Tower, Brazen-Nose College) •• 
 
 XXXIX. Ditto (3 Niches) 
 
 XLIII. Ditto (Stone Pulpit, Magdalen College) 
 
 L. Ditto (Brackets) ♦-.... ..^ 
 
 XLVIII. Capitals and Bases (1, 2, and 4) 
 XXVI. Windows (2 and 3) 
 
 XIX. Two Porches - ]. . 
 
 XX. Gateway to King's College, Cambridge.- . . 
 
 XXIII. Doorwav to St. Mary's Church, Camb.i. . 
 
 XXIV. Door to Edward the Confessor's Chapel 1400 
 
 XLII. Pulpit in Worcester Cathedral • • • . . 
 
 XLVI. Turret at King's College Chapel |. . 
 
 LIII., LIV. Chimney-piece, Queen Elizabeth's! 
 
 Gallery I 
 
 1420 
 
 1440] 
 
 14 
 
 1440 
 
 50] 
 
 1480 
 
 1440 
 
 ■[14 
 
 . to 
 
 [14 
 
 1455 
 
 1460 
 
 50 
 
 to 1470 
 to . . 
 
 50 
 
 [14 
 
 . 1460 
 
 50 to 1470] 
 
 1460 
 
 14'50 
 14 50 
 1450] 
 14 50] 
 14 50 
 
 to 
 to 
 
 to 
 
 14150 
 
 1400 
 
 1492—1431 
 
 after 
 
 [14 
 
 Henry 
 Henry 
 
 [1400 
 ;[1400 
 
 1440 to 
 
 [about 
 
 14 
 
 . to 
 . to 
 
 50] 
 
 1483 
 
 VI. 
 VI. 
 
 1470] 
 50 . 
 
 14 
 
 50 
 
 1500 
 
 1550 
 
 15 
 
 [1591 to 1547] 
 
 .00] 
 
 1510] 
 
 1500] 
 
 Hen ry VII. 
 
 1500 
 
 15 00 
 
 15 00 to 
 1519 
 00 
 
 15 
 
 1490 
 1490 
 
 15 
 
 to 1520 
 
 . 1502 
 1516 to 1519 
 02 
 02 
 
 15 
 
 001 
 
 ool 
 
 50 
 
 00 
 
 1520 
 00 
 00 to 
 
 1525 
 
 15 
 15 
 
 Henry 
 15 
 
 1478 
 
 15 
 
 1540 
 
 1532 
 
 Henry VIII. 
 aflter 1510 
 1316 
 
 1520 
 00] 
 00] 
 
 VII. and VIII. 
 00 to 1534 
 
 1519 
 
 00 
 
 Henry VIII. 
 
INDEX. 
 
 The Numbers refer to the Plates, and are engraved at the right-hand corner, at the bottom of each Plate. 
 
 Ko. Page 
 
 All Soi'Ls' College, Oxford, style of ••• — ••• xi. 
 
 Aldworth Chapel, Windsor 52 35 
 
 Arch, character of: — semicircular; rising from 
 straight lines : — semicircular and lancet com- 
 bined : — horse-shoe • 1 ] 
 
 , intersecting; elliptical, from three centres; 
 
 pointed, three centred ; — lancet: — Moorish 1 2 
 , pointed: four centred; — rampant; — Tu- 
 dor ; — Ogee ; — equilateral • • 1 3 
 
 , a peculiar flat one, under a semicircular- • 1 4 
 
 , ditto, ditto, at Fiskertou g 
 
 , Intersection with cornice, a vicious re- 
 finement of taste note, 25 
 
 , joints of a curious one 3 g 
 
 , wide, and flat to tire places ..... — •••37,38 25 
 
 Arches, vaiious modes of forming, described .... 1 1 
 
 Armorial bearings, at Tattershall 37, 38 25 
 
 Bishop Longland's Chapel. 60 37 
 
 Beauchamp's niche -18 32 
 
 Architecture, Gothic, or English, remarks on the 
 
 term = note, 2 
 
 , modern Gothic x. 
 
 Alnwick, Bishop, his arms . • .• 9 g 
 
 Barrett, his house at Lee xvii. 
 
 Bentham, Rev. James, Essay on Gothic Archi- 
 tecture 
 
 B.iteman's House at Old Windsor 
 
 Bays, term explained •-•• note, 
 
 Beauchamp, Bishop, his Works note. 
 
 Brackets, curious specimen 
 
 — , from Westminster 
 
 Boltels, or little columns, at St. George's Chapel 50 34 
 
 Buttress, fine specimen 59 24 
 
 , Bishop Fleniyng's Chapel.. 31 19 
 
 , flying, Henry VII.'s Chapel 58 36 
 
 , from Oxford — specimens 18, 19 17 
 
 , flat, at the Hall of St. Mary's . • 6 
 
 , in stone screen, Lincoln Cathedral. •• . 27 17 
 
 , at John of Gaunt's palace • • 14 1 1 
 
 , at Bishop Longland's Chapel 59, 60 26 
 
 ———•, to the Aldworth Chapel 52 35 
 
 , York Cathedral. •" 32 22 
 
 , flying, Westminster Hall ib. ib. 
 
 Cathedrals, repairs of xix. 
 
 Chimney,apeculiarone,Jews'House,Lincoln note, 5 
 
 Pieces, two at Windsor Castle 39 26,27 
 
 Shafts, at Windsor and Lincoln • • • . 40 27 
 
 — — ^— , at Eton 41 27 
 
 Chauntry, the Works, statues of Chaplains who 
 
 served \\ 
 
 Corbels, Crosby Hall 43 30 
 
 Crosby Hall, London 42,43,44,45 28-30 
 
 Carlton, South, Church Window from 15 12 
 
 Chapel of Henry VII. 53, 54, 65, 56, 57, 58 36 
 
 , see St. George's, Beauchamp, Longland, 
 
 Flemyng. 
 Crests and Loops, old terms, signifying Battle- 
 ments 40 26 
 
 
 XV. 
 
 
 XIV. 
 
 
 22 
 
 
 33 
 
 49 
 
 32 
 
 23 
 
 16 
 
 Doorways, at Jews' House, elevation, section, 
 and plan ••• • •-• 
 
 , antient one at Lincoln ». • • 
 
 , three from Westminster Abbey, and 
 
 one from Lincoln 
 
 , St. IVlary's Church, Lincoln. 
 
 at Tattershall Church, remarkable 
 
 Ko. Page 
 
 efi'ect of one 10 
 
 , Tattershall Castle •••• 
 
 , example of crossed mouldings, in one 
 
 , to Bishop's Palace, Lincoln • •- 
 
 , two, from St. George's Chapel, Wind- 
 
 2 
 
 4 
 
 4 
 
 6 
 
 8 
 
 8 
 
 G 
 
 7 
 
 10 
 
 9 
 
 7 
 
 8 
 
 11 
 
 9 
 
 9 
 
 8 
 
 50 
 
 34 
 
 
 ib. 
 
 
 8 
 
 
 36 
 
 49 
 
 33 
 
 7 
 
 8 
 
 27 
 
 
 12 10.26 
 
 , one exhibiting an uncommon com- 
 position 
 
 , at Vicar's Court, and Chancellor's 
 
 House, Lincoln • 7, 8.33 
 
 , Horn Church, Essex : and Oulton, 
 
 Norfolk • — 
 
 , in Henry VII.'s Chapel; title page 
 
 , to Cloisters, Windsor -•-••. 
 
 , six specimens -• 
 
 ' , with ogee, crocketted arch ■ 
 
 ■■ - square head •- .-..•... 
 
 Essex, James, architect : remarks on 
 
 Fire-places, two fine specimens, Tattershall Castle 
 
 37, 38 
 
 , ditto, Windsor Castle •• 39 
 
 Finial, in nuve of York C.ithedral 21 
 
 , at John of Gaunt's Palace, Lincoln 14 
 
 , at Bishop Longland's Chapel 40 
 
 , at Bishop Beauchamp's niche, St. George's 
 
 Chapel 48 
 
 Fleur de lis, when adopted, conjecture on- -note, 
 
 Fleming, Bishop, his Chapel at Lincoln 31 
 
 Font, in St. Mary's Church, Lincoln 26 
 
 , two of uncommon height, referred to • • . 
 
 Frieze, offoliage,an ornament of late invention- 
 Gateway, an antient one at Lincoln 
 
 , to Chancellor's House, Lincoln •••-• . 
 
 12 
 
 3 
 
 46 
 
 14 
 
 9 
 
 30 
 ■ tracery of oriel window •.•.. 45 
 
 Gaunt, John of, palace of, at Lincoln' 
 
 Gothic Architecture, remarks on -...•.... 
 
 Groining, mode of forming, from Westminster 
 Abbey 
 
 25 
 26 
 15 
 11 
 
 27 
 
 32 
 13 
 19 
 17 
 17 
 10 
 
 5 
 
 31 
 
 11 
 
 xix. 
 
 18 
 30 
 xvi. 
 
 17 
 13 
 
 Grose, Capt., remarks on English buildings 
 
 Inscription on stone screen, Lincoln 27 
 
 , above entrance to refectory, Windsor 
 
 Castle 16 
 
 Jones, Inigo, his mode of adding to St. Paul's 
 
 Cathedral j. 
 
 Kent, William, Architect . .— xii. 
 
 King-post, term explained .-..-^ note, 22 
 
 Langley, Batty, his five orders reprobated xx. 
 
 Label, or hood-mould, terra explained 11 
 
 , lozenge shaped, return of • • . • 46 32 
 
44 
 
 INDEX. 
 
 Label, square turn of, wlien introduced • • • 
 
 , at door-way of Bishop's Palace, 
 
 coin 
 
 Lincoln Cathedral, stone screen at 
 
 , John of Gauiit's palace at 
 
 , Chancellor's House at 
 
 No. Page 
 9 
 
 Lin- 
 
 9 
 •• 27 
 .. 14 
 • • 46 
 47 
 9 
 59, 60 
 ... 14 
 Longland's, Bishop, Chapel of, at Lincoln, a speci- 
 men of pure Gothic Architecture' 59, 60 
 
 Louvre, or lantern, its use in antient halls • • note, 
 
 Milner,Rev. Dr., character of his writings ••••• 
 Monasteries, demolition of, destructive of Archi- 
 tecture 
 
 MuUions, plans of • • • ' 
 
 -, Bishop's Palace, Door-nay 
 
 -, Bishop Longland's Chapel • ■ 
 
 -, John of Gaunt's Palace, Window in- 
 
 8 
 17 
 11 
 31 
 
 32 
 
 11 
 
 30 
 
 Niche, to Bishop Beaucliamp 
 
 , in Flemyng's Chapel 
 
 , Refectory Door-way, Windsor • 
 
 Norman and Saxon styles, remarks on ■ 
 
 ornament 
 
 Door-ivay ' 
 
 Ornament, called dog's tooth ■ 
 
 , resembling a serpent's head 
 
 X. 
 
 22 16.38 
 
 48 32 
 
 31 19 
 
 12 10.21 
 
 1 
 
 note, 
 
 note, 
 
 42 
 28 
 
 61 32.34 
 31 19 
 
 52 
 59 
 58 
 25 
 44 
 
 ~ finely ornamented, Crosby Hall- 
 
 Saxon and Norman styles, remarks on 
 
 • ornament- 
 
 • note. 
 
 Shoreham Church, new, east end • 
 
 Spandrils, nine specimens ot 
 
 to Door-way, Title Page. 
 
 Spire of St. Mary's Church, Oxford 
 
 4 
 
 5 
 
 29 
 
 Pannels, specimens of 17 different patterns, en- 
 riched 
 
 Parapet and battlements, St. George's Chapel- 
 
 , open, with battlement 
 
 , Aldworth's Chapel 
 
 , open and embattled 
 
 , Henry VH.'s Chapel 
 
 and battlements, Oxford 
 
 Pendants, Crosby Hall 
 
 Perches, term explained note. 
 
 Pinnacles, fine specimens of 59, 60 
 
 from Magdalen College 24 16.37 
 
 , fine specimen of, at York Cathedral 20, 21 
 
 , at Bishop Longland's Chapel, Lincoln 60 
 
 , curious embellishment, at St. George's 
 
 Chapel, Windsor '• note, 35 
 
 , Bishop Flemyng's Chapel 31 19 
 
 Principals or trusses in roofs 32 21 
 
 Quarrels, or lozenges, term applied to glass .... 27 
 
 Queen post, term explained note, 22 
 
 Roofs, pitch of, reduced about 1300 note, 20 
 
 , angle of, called common pitch 21 
 
 ■ of Westminster Hall 32,33 21,22 
 
 42, 43, 44 28 
 
 1 
 
 6 
 
 7 
 
 18 
 
 36 24 
 
 No. Page 
 
 St. Mary's Church, Lincoln, Window and Door- 
 way at '• •■' ■-• • • • • 6 7 
 
 . , Details- 52 35 
 
 , Font in 26 17 
 
 St. George's Chapel, Windsor • 32 
 
 Stone Screen, Lincoln Cathedral ...;.... 27 17 
 
 String, of remarkably sir^ple form, at St. Mary's 
 
 Church, Lincoln- • • 36 
 
 Timber Roofs, see Crosby Hall and Westminster 
 
 Hall. 
 
 Tracery Mouldings, time of Henry VIL 64 34 
 
 Do. 56 36 
 
 , new mode of, Window of Westminster 
 
 Hall 34 
 
 Trusses, or Principals 21 
 
 Turret, Henry VH.'s Chapel 58 35 
 
 , Magdalen College 24 16 
 
 Warton, Thomas, his Sketch of Architecture - • - xv. 
 
 Warham's, archbishop, tomb •- 38 
 
 Walpole, Horace, remarks on 13 18 
 
 Westminster Hall 32,33,34,35 20 
 
 , Account of 20,24 
 
 , Roof of 32, 33 21,22 
 
 , Windows at, >• 34,35 23,24 
 
 Windsor, St. George's Chapel at 48 32 
 
 . — Castle, entrance to the Refectory, 50, 51, 52 34 
 
 , Two Chimney-pieces at 39 26 
 
 — , St. George's Chapel 50 
 
 , Do. 51 
 
 Wind Beam, term explained note, 22 
 
 Wykeham, Will, of, his innovations in Architec- 
 ture 
 
 Windows, at Jews' House, Lincoln, elevation antl 
 
 section 2 4 
 
 , three pointed ; do. semicircular 5 7 
 
 at St. Mary's Church, Lincoln C 7 
 
 , circular ib. ib. 
 
 ^-^— examples referred to, • • note, 7 
 
 at Westminster Hall 34, 35 
 
 , examples of, with fine tracery • • note, 23 
 
 in Longland's Chapel 59 
 
 , St. George's Chapel, Windsor 49 33 
 
 , Oriel, use of note, 32 
 
 — , at Lincoln, an interesting speci- 
 men ' 14 11 
 
 .. , at Chancellor's House, Lincoln 47 32 
 
 — , at Crosby Hall, London 45 30 
 
 at John of Gaunt's Palace, Lincoln •• 15 12 
 
 . • at South Carlton Church ib. ib. 
 
 , the Bowed, mansional, an original fea- 
 ture in old English architecture note, 32 
 
 , change of style by William of Wyke- 
 ham 34 
 
 — , Square-headed ig 14 
 
 , Oriel, and others 17 14 
 
 Wren, Sir Christopher, his style of imitating 
 
 Gothic X. 
 
 Wyatt, James, his designs in Gothic xvii. 
 
 York Cathedral; Pinnacle on south side of nave, 20,21 15 
 
 34 
 
 END OF VOL. L 
 
 J. MOYES, GREVILLE STREET, LONDON. 
 
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I 
 
SPECIMENS 
 
 OF 
 
 ^otj^tc ^vt^ittttmt; 
 
 SELECTED FROM VARIOUS 
 
 ANTIENT EDIFICES IN ENGLAND: 
 
 CONSISTING OF 
 
 PLANS, ELEVATIONS, SECTIONS, AND PARTS AT LARGE: 
 
 CALCULATED TO EXEMPLIFY 
 
 THE VARIOUS STYLES 
 
 THE PRACTICAL CONSTRUCTION 
 
 OP THIS CLASS OF 
 
 ADMIRED ARCHITECTURE: 
 
 ACCOMPANIED BY 
 
 Hifiitorifal anU JBesirriiitilJf ^rount^. 
 
 VOL. IL 
 
 By a. PUGIN,— ARCHITECT. 
 
 LONDON 
 
 PRINTBD FOR J. XAYLOR, ARCHITECTURAL LIBRARY, HIGH HOLBORN ; A. PUGIH, lOS, GREAT RUSSELL 
 STREET, BLOOMSBURTj AND J.^ BRITION, BURTON STREET. 
 
 1823. 
 
LONDON : 
 
 PBINTED BY J. MOYES, GREVILLE STREET. 
 
TO 
 
 ROBERT SMIRKE, Esq. Jun. R.A. F.S.A. 
 
 TO THE 
 
 OFFICE OF HIS MAJESTY'S WORKS AND PUBLIC BUILDINGS, 
 
 &c. &c. &c. 
 
 Sir, 
 
 The number and character of the public and private buildings 
 that have been raised to adorn this country from your designs, — 
 your intimate acquaintance with the styles and forms of those 
 " Gothic Edifices," which still remain to excite our admiration and 
 wonder, — and your obliging readiness to promote and encourage 
 such publications as the one now offered to you, with this humble 
 address, have induced me to inscribe it to you, and declare 
 myself 
 
 Your obliged and obedient servant, 
 
 A. PUGIN. 
 
 Dec. 21, 1822. 
 
PREFACE. 
 
 In submitting to my friends and the public the completion of the present Volume, 
 1 have fully redeemed the pledge made at the conclusion of the last. An Architectural 
 Glossary is published ;— the Plates and Specimens in this Volume are more elaborate 
 m detail, and more expensive in execution, than those in the former ; — the descriptions are 
 more circumstantial and architectural, whence it is hoped they will prove satisfactory ; 
 and every part of the Work has been conducted with scrupulous regard to accuracy and 
 practical utihty. It affords me sincere gratification to have received very flattering 
 approbation from some of the first Architects of the metropolis, and also from many 
 eminent Antiquaries. These testimonials are grateful rewards for past exertions, and will 
 stimulate me to further assiduity and increased solicitude to please. During the progress 
 of this Volume, I have been urged, by gentlemen of science and taste, to continue the 
 Work, and furnish at least another Volume : a gratifying and flattering proof that the 
 matter and manner already produced have given satisfaction. But I must now close this 
 series, and thus preserve my credit with the public. On commencing the Volume, it was 
 my intention to have given more Specimens of ancient domestic, and some of castellated 
 Architecture : but after collecting many materials, I found it impracticable to embrace 
 these subjects in the number of Plates limited. A Work of this nature I trust will be 
 edited by my friend Mr. Britton, as he has been many years employed in collecting 
 Plans, Sections, Views, and Documents respecting these romantic and interesting Edifices. 
 To this gentleman, and to Mr. Willson, of Lincoln, I am under great obligations ; for much 
 practical advice from the former, and for the zealous and judicious manner in which the 
 latter has executed the literary department of the Work. My feelings prompt me to offer 
 public acknowledgments and thanks to the many gentlemen, who either possess, or 
 have charge of the Edifices from which the Specimens in these Volumes have been 
 selected ; and I hope they will accept this testimony of my grateful remembrance of their 
 favours and indulgences. 
 
 Since the publication of the former Volume of these Specimens, a lamentable 
 
V] PREFACE. 
 
 catastrophe has occurred, in which many copies of that Volume have been destroyed, 
 and its proprietors thereby subjected to a serious loss. A destructive fire consumed 
 the whole of Mr. Taylor's house in Holborn, on the night of November 23, with 
 a large stock of valuable architectural books, drawings, prints, and memoranda. Among 
 them were all the unsold copies of thejirst volume, likewise the Glossary, and the Prints 
 belonging to Nos. IV. and V. This severe loss renders a reprint of the whole necessary : 
 for the utility and accuracy of these Specimens are now understood and appreciated by 
 those professional gentlemen who have new buildings to erect, or restorations to execute. 
 With all reasonable expedition the lost parts will be reprinted, and with such correc- 
 tions, &.C. as may be thought advisable. 
 
 In conclusion, I respectfully solicit the attention of my patrons, and the public gene- 
 rally, to a new publication which I have long been preparing, in conjunction with my friend 
 Mr. Britton: it is entitled, " Architectural Illustrations of the Ptiblic Buildings of London;" 
 and will embrace Plans, Elevations, Sections, and Views of the principal Churches, Chapels, 
 Bridges, Matisions, Theatres, Halls, &c., with historical and architectural descriptions of 
 each : a prospectus of this work may be had of tVie publishers of this Volume. 
 
 A. PUGIN. 
 
 1 05, Great Russell Street, Bloomsbury, 
 Dec. 21, 1822. 
 
LIST OF PLATES. 
 
 *,* The number of the Plate, in most instances, will be found on the top, and the letters at the bottom. 
 The series of figures indicate the order in which the prints are to be arranged in the volume, to correspond 
 with the letter-press. 
 
 PLATES. DESCRIBED, PAGE 
 
 XXV.— Title Page, Doorway to St. Ste- 
 phen's Chapel, now the House of Com- 
 mons 15 
 
 HAMPTON COURT PALACE. 
 
 I. — (A.*) Open Parapet over the Entrance- 
 Tower 2 
 
 11.— (B.») Gable of the Great Hall. Gable 
 
 in the West Front 2 
 
 HL — (C.*) Chimney-Shafts in the First Court 3 
 IV. — (Z.) Chimney-Shafts in the First Court, 
 
 and in the Fountain Court 3 
 
 v.— (H.*) Elevation of Part of the Inner 
 
 Court 3 
 
 VI. (W.) Oriel Window above the Second 
 
 Gateway 4 
 
 VII. — (X.) Arch, Groining, &c. to Second 
 
 Gateway 4 
 
 VIIL— (A.) Transverse Section of the Roof 
 
 ofthe Great Hall 5 
 
 IX. — (B.) Longitudinal Section of the Roof; 
 
 with Details of Ornaments • • 5 
 
 X. — (V.) Elevation of the Music Gallery in 
 
 the Great Hall 6 
 
 XL— Doorway opposite the Oriel Window in 
 
 the Great Hall 7 
 
 XII.— (D.*) Elevation ofthe Oriel, &c. in the 
 
 Withdrawing Chamber 7 
 
 XIII. — Ceiling of the Withdrawing Chamber, 
 
 with Plan and Section 7 
 
 ST. MARY'S CHURCH, OXFORD. 
 
 XIV. — Transverse Section of the Nave and 
 South Aile 8 
 
 PLATES. DESCRIBED, PAGE 
 
 XV. — Compartment, &c. of the South Side 
 of the Nave S 
 
 PORCHES AND ENTRANCES. 
 
 XVI.— (T.) South Door of Iffley Church, 
 Oxfordshire 9 
 
 XVII. —(K.*) Western Door of St. Saviour's 
 Church, Southwark 9 
 
 XVIII.— (E.) Doorways to Merton College, 
 Oxford, and to Christ Church 10 
 
 XIX. — Porches of St. Michael's Church, 
 Oxford, and Trinity Church, Cam- 10 
 bridge 
 
 XX. — Two Gateways in King's College, 
 Cambridge 11' 
 
 XXL— <S.) Doorways at All Souls' College, 
 Oxford, and H6tel de Guise, at Calais- • 12 
 
 XXII. — Gateways at the Hotel de Guise, 
 Calais, and All Souls' College, Ox- 
 ford 13 
 
 XXllI. — Doorway of St. Mary's Church, 
 Cambridge 14 
 
 XXIV. — Doors in the Cloisters of New Col- 
 lege, Oxford, and Edward the Confessor's 
 Chapel, Westminster Abbey 14 
 
 WINDOWS. 
 
 XXVI. —(G.) Specimens in St. Mary Magda- 
 len's Church, &c. Oxford I.') 
 
 XXVII.— (K.) Rose, or Catherine - Wheel 
 Window, in the South Transept of West- 
 minster Abbey 1 fi 
 
 XXVII 1.— Windows of King's College, Cam- 
 bridge, and Baliol College, Oxford ■ • • • 16 
 
LIST OF PLATES. 
 
 PLATES. DESCRIBED, PAGE 
 
 XXIX.— Oriel Window of the Hall of Jesus' 
 College, Cambridge 17 
 
 XXX. — Windows, Parapet, and Turrets, to 
 the Entrance -Tower of Brazen-Nose Col- 
 lege, Oxford 17 
 
 SEPULCHRAL MONUMENTS, &c. FROM 
 WESTMINSTER ABBEY. 
 
 XXXI.— (J.) Prince John of Eltham. Obiit 
 
 A.D. 1334. 18 
 
 XXXIL— (L.) King Edward HI. 1377- • . • 19 
 XXXIII. — Section of Staircase Turret to the 
 Monumentof King Henry V. 1422-... 21 
 
 XXXIV.— Elevation, &c. of Ditto 21 
 
 XXXV. — (M.) Stone Canopy on a Tomb to 
 William Dudley, Bishop of Durham, (by 
 mistake called Lady St. John on the Plate) 21 
 
 XXXVI.—(N.) Abbot Fascet. 1500 21 
 
 XXXVIL— (I.*) Part of the Screen to Abbot 
 Islip's Chapel. 1522 22 
 
 TABERNACLES FOR STATUES; 
 STALLS. 
 
 AND 
 
 XXXVIII.— (I.) Niche, or Tabernacle, in 
 
 Henry VII.'s Chapel, Westminster •••. 23 
 XXXIX.— Niches at Oxford 24 
 
 PLATES. DESCRIBED, VAGU 
 
 XL.— (C.) Stall in Henry VII.'s Chapel, 
 
 Westminster 25 
 
 XLI.— (D.) Canopy to the same Stall 9ti 
 
 MISCELLANEOUS SUBJECTS. 
 
 XLIL— Stone Pulpit in Worcester Cathedra! '26 
 
 XLIII. — Stone Pulpit in a Court of Magdalen 
 College, Oxford 26 
 
 XLIV. — (U.) Chest in the possession o< 
 G. Ormerod, Esq. 27 
 
 XLV.— (H.) Triforium, or Middle Story, m 
 the Nave of Westminster Abbey 28 
 
 XLVI. — Turret and Gable of King's College 
 Chapel, Cambridge 2S 
 
 XLVIL— Vaulting in the Lady-Chapel ef 
 St. Saviour's Church, Southwark 29' 
 
 XLVIIL— (O.) Bases and Capitals of Co- 
 lumns 30 
 
 XLIX. — Capitals and Columns 30 
 
 L. — Brackets and Sculptured Ornaments at 
 Oxford 31 
 
 LI. — (Y.*) Sculptured Ornaments from West- 
 minster Abbey 31 
 
 LII. — (F.) Cornices and Parapets of Screens, 
 Westminster Abbey 31 
 
 LIII. — (Q.) Chimney-Piece in Queen Eliza- 
 beth's Gallery, Windsor Castle 32 
 
 LIV. — (R.) Details of Ornaments to the same 32 
 
REMARKS 
 
 ON 
 
 AND MODERN IMITATIONS. 
 
 IN CONTINUATION OF ESSAY IN VOL. I. 
 
 The object of this work being to assist in perfecting the practical know- 
 ledge of Gothic Architecture, it was thought proper to introduce the first 
 volume of " Specimens " by some historical remarks on the decline of that 
 style in England, after the reign of Henry VIII. ; the neglect into which 
 it fell when Italian Architecture became fashionable, with the consequent loss 
 of the principles which had guided its builders ; and, lastly, of the revival of 
 a taste for the Gothic style, in our own times and country. A continuation 
 of those remarks is now proposed, by way of preface to the second volume of 
 " Specimens of Gothic Architecture." 
 
 It has been noticed that a new taste in literature led the way to this 
 revolution in Architecture, in the same way, as we may remark, that an 
 enthusiastic zeal for the diffusion of classical learning had produced a blind 
 admiration of Roman Architecture, until every thing in art, as well as 
 literature, was censured as Gothic or barbarous, which did not accord with 
 classical models. A few of the earliest essays and dissertations on Gothic 
 Architecture have been mentioned, to which a list might be added of greater 
 number than could be fairly noticed in these remarks. 
 
 Unluckily, the authors of too many of these disquisitions were intent upon 
 discovering the origin and invention of the Gothic style, without waiting for 
 sufficient evidence on that obscure question. This injudicious haste has 
 perplexed the subject with much irrelevant argument; and, what is more 
 vexatious to the English antiquary, has given birth to a theory which must 
 appear ridiculous to his brethren on the continent. The political hostilities 
 
 VOL. II. b 
 
X REMARKS ON GOTHIC ARCHITECTURE. 
 
 which, during many years, limited the exertions of our artists and tourists to 
 their native islands, produced a thorough investigation of our own monuments 
 of Architecture ; and the precision with which their respective ages and 
 differences of style have been ascertained, will be of general use in the history 
 of the art: but because Germany, France, and Flanders could not be visited, 
 we ought not to have forgotten that those countries possessed Gothic 
 churches, palaces, and towers, at least as magnificent as those of England ; 
 and yet, disregarding all such rival instances, it was assumed, merely upon a 
 train of ingenious inference, that their builders were only imitators of a style 
 invented and perfected by the English ^. 
 
 It is beyond the purpose of this work to discuss the origin of the Gothic 
 style, further than to express a conviction that it is not of English invention. 
 The pointed arch may have been brought from the East, or it may have 
 resulted from the intersection of two semi-circular arches in some building of 
 Europe: both suppositions have been supported by many arguments, and 
 both are involved in many difficulties'': but we must now confess, that 
 specimens of pointed arches, and Gothic architecture, are found on the 
 continent, of as early dates, and in as high perfection, as any we can show at 
 home. The critical history of English Architecture is not affected by the 
 above question. It is deduced from a series of actual records, verified by 
 analogy. 
 
 ' The national terra English, applied to the Architecture of the 13th, 14th, and 15th centuries, 
 with the Iiypothesis on which it was assumed, was ably opposed by the Rev. G. D. Whittington, who 
 appears to have carefully surveyed the principal churches of France and Italy, in the years 1802 and 
 1803, expressly for that purpose. The death of this gentleman prevented the completion of an exten- 
 sive work on Architecture ; and when a volume was pubUshed from his papers in 1 809, a second period 
 of war had again shut us out from the continent; so that the rival pretensions of French Architecture 
 remained but little known in England till the establishment of peace in 1815. Mr. Whittington's 
 " Historical Survey of the Ecclesiastical Antiquities of France" was severely reviewed by the cele- 
 brated artist, John Carter, in a series of papers published in the Gentleman's Magazine. That 
 champion of English Architecture treated the assertor of the superior beauty and antiquity of the 
 French churches with all the national pride and high disdain of a hero of chivalry ; but not with 
 triumphant success, except in his own heated imagination. 
 
 *■ On this question, see Rev. G. D. Whittington's work above mentioned; theRt. Rev. Dr. Mil- 
 ner's " Treatise on the Ecclesiastical Architecture of the Middle Ages," 8vo. 1811 ; " Two Letters 
 to a Fellow of the Society of Antiquaries, on the Subject of Gothic Architecture, by the Rev. John 
 Haggitt," 8vo. 1813, and " An Inquiry into the Origin and Influence of Gothic Architecture, by the 
 Rev. William Gunn," Svo. 1819. 
 
REMARKS ON GOTHIC AUCHITECTUBE. xi 
 
 A brief sketch of the principal varieties of the Gothic style, as found 
 in English buildings, seems necessary to the completion of this work of 
 " Specimens," though it is not put forth as a history of English Architecture'. 
 
 CHRONOLOGICAL SKETCH OF ENGLISH ARCHITECTURE. 
 
 1. Anglo-Saxon, or Saxon Style, A.D. 597'* — 1066. 
 
 The buildings erected in England during the four centuries preceding the 
 Norman Conquest, have been usually designated Anglo-Saxon, or Saxon : but 
 as the actual remains of any structure of that period have not hitherto been 
 satisfactorily ascertained, many supposed examples having failed of proof', 
 all that can be said of this style is, that it appears to have been a modification 
 of Roman Architecture, similar to what contemporary buildings on the 
 continent exhibit. 
 
 2. Anglo-Norman, OR Norman, A.D. 1066—1189. 
 
 The Norman princes and nobles of the 11th and 12th centuries delighted 
 excessively in building. Their frugality in diet, and ambition of dw^elling in 
 stately castles, is recorded as very different from the taste of the Anglo- 
 
 ' In describing these varieties of style, the want of proper terras is felt very embarrassing, the 
 several writers on the subject having adopted difTerent terms, invented, or borrowed, according 
 to their respective opinions. Most of those terms are here noticed, and some remarks made on 
 such as appear deserving of general adoption; every appropriate term contributinsr to make the 
 subject more easily understood. — See " Prefatory Observations" in the Glossary to this work. 
 
 '' The era of the conversion of the Anglo-Saxons to Christianity. — See the Rev. J. Bentham's 
 Essay on Saxon Architecture, first published in his History of Ely Cathedral, 4to. 1771 ; and 
 since in " Essays on Gothic Architecture," 8vo. London. 1800. Second Edition, 1808. 
 
 " The church of Stewkley in Bucks was confidently pronounced Saxon ; the " Conventual church" 
 at Ely, a ruined church at Orford in Suffolk, another at Dunwich, and a few other remains, are sup- 
 posed to be older than the Norman Conquest. The late Mr. Carter, and Mr. King, [in his 
 " Munimenta Antiqua,"] had no difficulty in distinguishing Saxon Architecture. A few attempts 
 have been made to fix on mouldings and proportions peculiar to the Saxon and Norman styles, 
 but without satisfactory grounds. — See an Essay, by W. Wilkins, Esq., in Archaeologia, Vol. XII. 
 and Dickinson's History of Southwell Collegiate Church, 4to. The pretensions of some of these 
 Saxon remains have been examined in Britton's " Architectural Antiquities." 
 
XU REMARKS ON GOTHIC ARCHITECTURE. 
 
 Saxons. Almost every eminent church in England was rebuilt within this 
 period, and a prodigious number of castles. The style of these buildings 
 is distinguished by strong and ponderous dimensions, round arches, and 
 various mouldings, too well known to need a particular description here. 
 
 The resemblance of many ornaments, and even of the proportions of some 
 buildings of this description, to Roman Architecture, prove that the Norman 
 style resulted from successive modifications of the Roman : and hence it has 
 been contended that this style would more properly be denominated the 
 Romanesque^ . The propriety of this term, in regard to its derivation, seems 
 undeniable, and it deserves the preference, as being equally applicable to 
 every building of this style, whether found in England, Normandy, or any 
 other country. For specimens of this style, see Vol. I. Plates 2, 3, 3,* 4. 
 
 3. A.D. 1189 — 1272. 
 
 The general adoption of the pointed arch, and a change from broad and 
 massy forms to tall and slender proportions, were fully established in the 
 reign of king John : but had appeared a few years earlier, in two or three 
 instances. It is impossible to ascertain exact periods for this and the 
 succeeding changes of style ; but as the reigns of certain kings coincide with 
 sufficient exactness to the times when each style became known, their periods 
 have been computed from the accession of the contemporary kings of 
 England. This period comprehends the reigns of Richard I., John, and 
 Henry III. 
 
 The several appellations of Early Gothic, Simple Gothic, Lancet-Arch 
 Gothic, English, and Early English, have been given to this style. Perhaps 
 the description of this, as well as of the other styles, would be conveyed 
 in the most certain and simple manner, by reference to some well known 
 and authentic example. Thus, Salisbury Cathedral being the most complete 
 specimen of this style, there could be nothing obscure, nor improper, in 
 
 ' This term was first adopted by the Rev. Wm. Gunn, in his ■' Inquiry on Gothic Architecture," 
 mentioned before. In a note, explanatory of this term, Mr. Gunn thus justifies its analogy. 
 " A modern Roman, of whatever degree, calls himself Romano, a distinction he disallows to an 
 inhaliil(i)it of his native city, whom, though long domiciliated, yet, from dubious origin, foreign 
 extraction or alliance, he stigmatizes by the term Romanesco. I consider the Architecture under 
 discussion in the same point of view," p. 80. The fitness of this term is allowed in the Quarterly 
 Review, Vol. XXV. p. 118. 
 
REMARKS ON GOTHIC ARCHITECTURE. XUI 
 
 describing any building of similar character, as " of the SuUsbury sh/le^.^'—See 
 Plates 5, Vol. I. and G.* Vol. II. 
 
 4. A.D. 1272— 1377. 
 
 The 13th century was not completed before the simple style of Salisbury 
 Cathedral became superseded by one of richer character. Westminster 
 Abbey is perhaps the earliest example on a large scale. It was begun in 
 1245, by king Henry III. ; but the windows can hardly have been erected 
 before the accession of Edward I., which is put for the commencement of this 
 style. The eastern part of Lincoln Cathedral is altogether a richer specimen ; 
 and this building was not finished in 1305, though probably begun twenty 
 years earlier''. The chapter-houses of York and Salisbury, and even parts 
 of the latter cathedral, which appear to have been the latest in finishing, are 
 also of this style. 
 
 The windows of this period are extremely beautiful. Their breadth was 
 extended from two lights to three or four, in side windows : and one or two 
 great gable-windows might be mentioned with eight panes, or lights. 
 
 About the middle of the 14th century a new fashion of tracery in the heads 
 of windows became apparent : wherein the curves were blended, in forms 
 something like the fibres of a leaf; beautiful specimens of this foliated, or 
 ramifed tracery, as it has been called, are to be seen in the western window 
 of York Minster, that of Durham, the eastern window of Carlisle Cathedral, a 
 circular window at the south end of the great transept in Lincoln Minster, &c. 
 In the earlier buildings of this style, the tracery was made up of circles, 
 and portions of circles, formed into trefoils, quatrefoils, &c. : as we see in 
 Westminster Abbey, the eastern windows of Lincoln, the nave and chapter- 
 house of York, the chapter-house of Salisbury, &c. This has been termed 
 the Pure Gothic, the Absolute Gothic, and the Decorated English style. — See 
 
 ^ This term may at first be thought Uable to the same objection as that of English; but when 
 used merely in comparison, an English writer might apply it without any national pretensions to a 
 foreign structure. York, Lincoln, Exeter, Durham, and other principal churches, would admirably 
 serve as objects of comparison, and give more prompt and clear ideas than any mere verbal 
 description. 
 
 That part of Lincoln Minster which extends its length beyond the upper transept is incom- 
 parably the richest specimen in England of its date ; and this profusion of ornaments will show the 
 futility of the terms Ornamented, Decorated, Florid, &c. intended to characterize the later styles. 
 York nave is not much later in date ; the nave and choir of Exeter also belong to this style, and 
 exhibit beautiful patterns of tracery in the windows. 
 
XIV 
 
 UEMAIIKS ON GOTHIC ARCHITECTURE. 
 
 Plates 27, 28, 29, 30, 31, 52, 72, in Vol. I. : also Plates G. H. J. M.P. kc, 
 
 in Vol. II. 
 
 5. A.D. 1377-1460. 
 
 The lofty and simple form of the pointed arch, when struck from two centres, 
 on the line of its base, began in the reign of Richard II. to be given up 
 for a lower and more complicated form. In this sort of arch four centres were 
 generally used, but sometimes only three. The nave of Winchester Cathedral 
 has arches of this form; but the simple arch of two sweeps remained pre- 
 dominant in large openings some years after the commencement of the 
 15th century; the compound arch being chiefly used in doors, windows, &c.' 
 The introduction of the compound pointed arch is one mark of the Architecture 
 of this period ; but another characteristic difference between this and the 
 preceding style is found in the tracery of large windows, the interior walls ol 
 churches, &c. The mullions, instead of being turned in curves, interwoven 
 together, are chiefly carried up in perpendicular lines. The two great gable- 
 windows of Westminster Hall, built by king Richard II., are early and fine 
 examples of this tracery. — [See Plate 34, and page 23, of Vol. I.] The western 
 window and front of Winchester Cathedral are of this style. Of windows, 
 that in the east front of York Minster is the finest; that of Beverley Minster 
 is a noble imitation of it. This style has been termed Ornamented Gothic, 
 Decorated English, and Perpendicular English'^. — See Specimens in Vol. I. 
 Plates 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 43,* 44,* 67, 68, 73, 
 74 : also Vol. II. Plates K. L. O. K.* &c. 
 
 ■ The first compound arches rose to about the same height as the semicircle ; those in the nave 
 of Winchester arc nearly of that proportion : two or three doors in Wresehil Castle, built by the 
 Percy family in the reign of Richard II., are exactly half their span in height. In later examples, a 
 much lower proportion in respect to the height was generally used. 
 
 '' The term Perpendicular originated with Mr. Thos. Rickman, Architect, of Liverpool, who 
 applied it to all English buildings erected after the accession of king Richard II., down to the final 
 disuse of the pointed arch. Mr. R. thus explains his intentions in adopting this new term : " The 
 name clearly designates this style, for the mullions of the windows, and the ornamental panellings, 
 run in perpendicular lines, and form a complete distinction from the last style." — See p. 44 of " An 
 Attempt to discriminate the Styles of English Architecture;" second edition, 1819. The sound of 
 this term seems rather barbarous at first; but the analogy on which it is formed is fair and scientific. 
 The extent of its application by Mr. R. seems liable to certain objections, founded on the striking 
 difterence of style which the obtuse arch produced, after the middle of the 15th century ; a difference 
 which is strangely overlooked in his " Discriminatio?" of styles. The term Perp€7u!icular is adopted 
 in Turner's " Tour in Normandy," which will probably give it some currency. 
 
REMARKS ON GOTHIC ARCHITECTURE. XV 
 
 0. A.D. 1460—1547. 
 
 The last period of the Gothic style is marked by the general use of the flat, 
 or compound-pointed arch. The simple-pointed arch was not absolutely 
 disused, no more than the semi-circular, which had occasionally found a place 
 hi every period, together with the pointed arch ; but from the middle of the 
 15th century, the flat arch was predominant. The mullions of windows 
 continued to be carried up in perpendicular lines, in a similar way to those of 
 the preceding period ; but every part was now wrought with increased com- 
 plexity and delicacy, both in moulding and entail. The royal chapels of 
 King's College, Cambridge ; St. George, in Windsor Castle ; and that of 
 Henry VII. at Westminster ; are the grandest examples of this style, which 
 has been designated by different writers in the terms Florid Gothic, Florid 
 English, Highhi-Decorated English, and Perpendicular E)iglish. Numerous 
 specifnens of this style are delineated in this work. — See Plates 42, 42,* 44, 45, 
 49, 50, 51, 52, 53, 54, 55, LV., 56, 57, 58, 58,* 59, 60, 60,* 61, 62, 64, 
 65, 66, 67, &c. in Vol. I. : also in Vol. II. Plates A. B. C. D. E. F. I. N. Q. 
 R. S. U. V. X. Z. A.* B.* C* D.* H.* I.*, &c. 
 
 The Architecture of the middle ages does not appear to have been treated 
 with much attention on the continent before the late peace had opened a free 
 intercourse with England. Since that happy period the " Architectural An- 
 tiquities of Normandy " have been delineated in a series of Plates very boldly 
 and cleverly executed ' ; but the " Monuments of German Architecture of the 
 Middle Ages," published or finished last year, must astonish the untravelled 
 Englishman with the stupendous elevation of some of the cathedrals of that 
 
 ' " Architectural Antiquities of Normandy," by Jolin Sell Cotman ; 2 vols, folio, 1822. 
 This work contains 100 Plates, drawn and etched in a masterly style, but with a good deal of 
 management, by which the subjects appear, in several instances, of grander character than really 
 belongs to them. The elevations of parts are well calculated for the use of practical architects : 
 but the want of a scale of dimensions leaves a perplexing uncertainty as to their actual size. 
 In some Plates, also, the human figures are evidently below the scale of life, and so exaggerate 
 the size of the buildings they are placed against. The descriptive part, by D. Turner, Esq. is very 
 ample in history ; but we should have preferred more crictical remarks on the various buildings repre- 
 sented. The same author has favoured us with " A Tour in Normandy," 2 vols. 1820. The 
 " Tour" was undertaken chiefly for the purpose of investigating the Architectural Antiquities of 
 that province, many remains of which are described in it. 
 
Xvi REMARKS ON GOTHIC ARCHITECTURE, 
 
 coiintry". The important information conveyed in this work, claims for it a 
 particular notice. On seventy-two Plates, of folio size, chiefly in outline, a 
 chronological series of subjects is exhibited, beginning with a Romanesque 
 building of the 8th century, and tracing the progress of Architecture in 
 Germany to the 15th, in which age the Gothic style appears to have attained 
 its highest refinement on the continent. Amongst the most interesting 
 buildings shown in this M'ork, we may notice the following : — A church at 
 Gelnhausen, built in the 13th century, in a mixed style, with pointed arches, 
 and some ornaments belonging to the Romanesque. St. Katherine's church at 
 Oppenheim ; the eastern part built between 1262 and 1317, in a lofty and 
 simple style, similar to Westminster Abbey, but much smaller ; the nave, 
 1439, exceedingly rich in tracery about the windows, the forms of which 
 resemble those of Exeter Cathedral, only more delicate. The steeple of the 
 High Church, at Ulm, in Suabia, begun in 1377, and finished, excepting the 
 spire, in 1478. An elevation of this steeple is given in outline, reduced from 
 an ancient drawing on vellum, about two yards long. The base of the tower is 
 more than 100 feet, and the whole elevation above 500, finished by a statue of 
 the Blessed Virgin, carrying her divine Infant, 15 feet high. The prodigious 
 display of beautiful tracery with which every part of this elevation is covered, 
 exceeds, beyond comparison, every thing in English Architecture. It becomes 
 excusable even to feel a secret pleasure in knowing it could never be com- 
 pleted ; the actual building having only advanced to 237 feet in height"; 
 above which an octagonal lantern, and a spire, both pierced into the most 
 exquisite tracery, would have risen 255 feet more. 
 
 Elevations of three or four other superb towers and spires, are given from 
 ancient working drawings, many of which appear to have been preserved 
 abroad, though not one has been discovered in England. The German pre- 
 tensions are triumphantly exhibited in the two last Plates. Plate 7 1 gives an 
 elevation of the Minster at Freiburg, placed between the Duomo at Orvietto, 
 in Italy, and the Abbey Church of Batalha, in Portugal. The steeple rises 
 about 415 feet of our measure, about one third of which consists of a spire 
 entirely wrought in the richest tracery. Plate 72 exhibits the " Minster " at 
 
 " " Denkmaehler der Deutschen Baukunst."— DargestelltGeorg Von MoWer.- Darmstadt, folio. 
 1821. 
 
 " The German foot exceeds the English: 100 of the former equalling 98 of the latter, or 
 thereabout. 
 
REMARKS ON GOTH IC A RCH ITECTU RE. XVU 
 
 Strasburg, with York Minster on one side, and Notre Dame de Paris on the 
 other. The fa(;ade of Strasburg measures about 180 feet in breadth, and 
 in height nearly 230 feet ; far above the towers of York". The two spires are 
 about 458 feet high; but of these, only the northern one was ever completed. 
 Imperfect as this deficiency makes it, this fabric alone is enough to humble 
 the pretensions of English Architecture. The style of parts is much like 
 York ; but superior in beauty and grandeur above any pretensions of rivalry. 
 It is much to be regretted that the descriptive part of this volume is not 
 accompanied by a French or English translation; since, besides the elucidation 
 of the subjects of the Plates, it contains a disquisition on the general history 
 of Architecture, illustrated by comparison of different fabrics of contemporary 
 dates, and references to some English works on Architecture. From the 
 specimens exhibited in this work, it appears that the German architects never 
 abandoned the style perfected about the close of the 14th century. Their 
 designs of this period were not absolutely different from the English, but 
 much more light and refined. Their steeples were wonderfully light and tall. 
 Very few instances of the perpendicular style appear''; and nothing of the 
 style of Henry VII.'s chapel, and other such buildings of England, beyond 
 small details : the same has been observed of French Architecture ; but 
 we must wait for further elucidations of foreign buildings, before we can fairly 
 estimate their merits comparatively with those of our own country. 
 
 " The western towers of York Minster are 193 feet high, with their pinnacles. The base of the 
 front is about 138 feet broad. The cathedral at Ulm measures, in Rhenish feet, 416 feet long, 
 166 broad, and 141 high. Tlie grandeur of the three western doors corresponds with the rest of the 
 front. The nave must be half as high again as York, to include the great rose wiiiilov; in the centre 
 of the front. 
 
 I" The same is remarked of the Architecture of France by Mr. Turner. " In the religious build- 
 ings, the subject of my last letters, I have endeavoured to point out to you the specimens which 
 exist at Rouen, of the two earliest styles of Architecture. The churches which I shall next notice, 
 belong to the third, or decorated style; the sera of large windows with pointed arches divided by 
 mullions, with tracery in flowing lines and geometrical curves, and with an abundance of rich and 
 delicate carving; This style was principally confined in England to a period of about seventy years, 
 during the reigns of the second and third Edwards. In France it appears to have prevailed much 
 longer. It probably began there full fifty years sooner than with us, and it continiied till it was 
 
 superseded by the revival of Grecian or Italian Architecture." " Nowhere have I been able 
 
 to trace among our Gallic neighbours the existence of the simple perpendicular style, which is the 
 most frequent by far in our own country, nor that more gorgeous variety denominated by our 
 antiquaries after the family of Tudor." — Tour in Normandy, Vol. 1. p. 167. The above observations 
 ippear to apply correctly to the Architecture of Flanders and Germany, as well as France. 
 VOL. II, C 
 
XVlll REMARKS ON GOTHIC ARCHITECTURE. 
 
 Some of the earliest modern specimens of Gothic Architecture have been 
 noticed in the first part of these remarks'^. In late years this style has been 
 thought peculiarly suitable to country seats, and the picturesque scenery 
 which characterizes an English park. The repetition of Palladian symmetry 
 had become so tedious, that relief was eagerly sought in the varieties of 
 the Gothic style. The corresponding parts of every structure were so uni- 
 formly squared and balanced, that, whether the visitor approached a mansion 
 of this regular Architecture by a straight-forward march along one of the old- 
 fashioned avenues, which certainly formed the most appropriate mode of 
 entrance, or through the windings of a serpentine road, the first view of the 
 building told him all that was to be expected ; there was no excitement 
 of imagination'. The flat lines of the roof in such buildings prevented their 
 appearing above surrounding woods with any grace : and of late, an affected 
 simplicity of taste could not even tolerate the cupolas and balustrades with 
 which Wren and his scholars had endeavoured to set off the summits of their 
 buildings : such things were not found in antique remains, and must therefore 
 be barbarous inventions'. 
 
 When the Gothic style first appeared in modern houses, novelty easily 
 gave a charm to many miserable conceits, which, now that the real merits of 
 the style are better understood, can only be looked upon with contempt. 
 Such failures ought not to pass unregarded by the architect who aspires to a 
 lasting name ; they are so many beacons to warn him to steer off from false 
 taste. Most of these failures have been incurred by attempting too much. 
 The strength and grandeur of a feudal castle, or the milder solemnity of 
 an ancient abbey, can very rarely be imitated : and it is quite absurd and 
 
 ■> Vol. I. page xi. 
 
 ' " A certain degree of regularity, .... such as that very subordinate parts, occupying the same 
 situations, and serving the same purposes, as columns, capitals, mouldings, &c. should be of 
 the same form, common sense requires; since, in such instances, no reason could be given for 
 deviation : but that the principal parts should all be regular, and correspond with each other, 
 in situations where all the accompaniments are irregular, and none of them corresponding with each 
 other, seems to me the extreme of absurdity and incongruity." — Knight's Analytical Inquiry into the 
 Principles of Taste. Part II. 
 
 ' The celebrated James Wyatt took off the cupola and balustrade from the top of Belton-house, 
 Lincolnshire, a seat of Earl Brownlow, built by Sir Christopher Wren. At Nocton, in the same 
 county, another house of the same age, the seat of the late Earl of Buckinghamshire, a similar 
 cupola was taken down not many years back. Wanstead-house, in Essex, had also a cupola over the 
 centre in the original design. 
 
REMARKS ON GOTHIC A RCHITFXTURE. XIX 
 
 ridiculous to pretend to such effects in a house of moderate size'. True 
 principles of taste have been sadly overlooked in many imitations of such 
 buildings : showy compositions have been made up of parts indiscriminately 
 copied from castles and churches, reduced to petty dimensions, stripped of their 
 proper details, and the naked outline feebly executed in wood or plaster. 
 
 The difficulties attending a successful imitation of the Gothic style appear 
 to have been much less regarded than they deserve. This opinion will 
 perhaps be ill received by some persons ; and it cannot be expected that 
 those who are professionally engaged in Architecture will readily acquiesce in 
 it : disclaiming, however, all ungenerous feeling towards modern architects- 
 and acknowledging great merit in several of their works in the Gothic style, 
 it is asserted with confidence, that more attention must be paid to such 
 difficulties, both by architects and their patrons, than has generally been 
 done, before any thing truly excellent, and worthy to be associated with 
 ancient examples, can be produced. 
 
 It would be an invidious task to censure particular works. Every man in 
 England may build in whatever style he pleases, provided only that he does 
 not infringe on the liberties of others. The sovereign delights in a palace 
 highly decorated with cupolas and minarets of eastern taste" : his royal father 
 contented himself with building a turreted house of brick and plaster" : we 
 see peers of the realm dwelling in thatched cottages, and city merchants 
 inhabiting castles : and, such is the confident strength of modern law, every 
 subject may now freely bsrnellate, embattle, and fortify his mansion, without 
 suing for license or letters-patent to that effect ''. 
 
 It ought, however, to be remembered, that the same liberty allows each 
 one to publish his opinion ; and since every considerable building is sure to 
 attract notice, both the founder and the architect must feel their credit 
 interested in the public approbation. 
 
 The difficulties alluded to above, may be chiefly arranged under these 
 heads : — 
 
 J. The complexity and perfection of the style itself. 
 
 > The author of " Metrical Remarks on Modern Castles and Cottages, and Architecture 
 in general," [8vo. 1813,] has very cjeverly exposed such absurdities; but he has tailed in showing 
 what style would be more proper. 
 
 " Rather oddly designated " The Pavilion," at Brighton. " At Kew. 
 
 y See the term Kernel in liie " Glossary." 
 
XX Iti.MAUKS ON GOTHIC A llC II IT ECTU KE. 
 
 2. The consequent expense of labour. 
 
 3. The general ignorance of modern artificers, respecting the proper 
 mouldings and ornaments of the Gothic style. 
 
 4. The fastidious delicacy of modern habits, compared with the manners 
 of former times. 
 
 1. The complexity of the Gothic style, especially in ecclesiastical build- 
 ings, was far beyond any thing in Grecian or Roman Architecture. Of the 
 former, indeed, very few remains of any kind are standing; and the simplicity 
 of construction in these is their principal characteristic. Architecture, in the 
 hands of the Romans, became much more complex : but even their works are 
 chiefly distinguished by their grandeur. The exquisite lightness and sub- 
 limity of the cathedrals of the middle ages was the result to " which old 
 experience did attain," after numberless successive essays, each more daring 
 than the preceding one^. The perfection of which this style is capable needs 
 no comment; we have monuments in our own country which can never 
 be equalled by any modern works. The skill displayed by our ancient 
 architects and masons in carrying up pinnacles and spires, poising lofty 
 arches, tier upon tier, on slender shafts, spreading out fretted ceilings, and 
 suspending pendent groins, make imitation almost hopeless. 
 
 " Doomed to hide her banished head 
 
 For ever, Gothic Architecture fled ; 
 Forewarned, she left in one most beauteous place. 
 That much might of her ancient fame be said. 
 Her pendent roof, her window's branchy grace. 
 Pillars of cluster'd reeds, and tracery of lace *." 
 
 2. The expense of labour in works of the Gothic style greatly depends 
 upon the mouldings which adorn the openings and projections. The strong 
 effects of light and shade which delight the eye in the best ancient examples 
 are produced by curves and indentations of the utmost practicable depth : 
 and these are not to be executed without much patience and careful attention. 
 
 ' " Certain it is, that the Gothic churches, whatever be the peculiar manner of their 
 
 sera, present beauties to every eye. We cannot contemplate them without discovering a majestic 
 air, well worthy of their destination, a knowledge of what is most profound in the science and 
 practice of liuilding, and a boldness of execution, of which classic antiquity furnishes no examples.'' 
 — Dallaway's Observations, p. 81. 
 
 * " The Economy of Monastic Life ;" a poem, by the Rev. T. D. Fosbrooke, 4to. 
 
UEMAUKS ON GOTHIC ARCHITFCTIIRE. _, XXI 
 
 Even the ascertaining and setting out correctly the proper curves of tracery, 
 is not always an easy task ". 
 
 3. The disadvantages under which naodern artificers labour, when first put 
 to the execution of Gothic Architecture, can hardly be apprehended by any 
 one but a practical builder. Experience gradually lessens this difficulty; but 
 until workmen can be better educated, it is in vain to expect from them 
 proofs of skill equal to those of their predecessors. Before the disuse of the 
 Gothic style, a fund of practical knowledge existed, which had been accumu- 
 lating for centuries ; every variation of style included some improvement in 
 execution, though not always a better taste, but all the secrets of art which 
 the ancient masons possessed are lost to us*". There can be no doubt that the 
 infinite variety, the spirit, and originality, observable in the knots and small 
 carvings of Gothic buildings, are owing to their having been designed and 
 executed by the same individuals. How poor do the flat casts, stuck about 
 modern buildings, appear, when compared to these ! Such workmen must 
 have had considerable skill in drawing ; and some instruction in that art 
 would wonderfully improve the talents of modern mechanics. In our times 
 the mason and carpenter are of much less consideration than they were three 
 or four centuries back : commerce has superseded their arts, and they have 
 fallen into ignorance. An ingenious lad, the son of a substantial yeoman, 
 when put apprentice to a master-builder, sinks, for a time at least, beneath 
 the rank of his family ; he is hardly company for his brother, who stands six 
 days in the week, in full dress, behind a linen-draper's counter ; and yet 
 he has chosen a profession which requires a hundred times more intellect. 
 A sufficient distinction is not made between the mere laboui-er, who drudges 
 and carries burthens, and the artificer capable of executing the best parts of 
 Architecture. The latter ought to be encouraged to acquire a better educa- 
 tion, and especially some instruction in drawing ; and his pay ought to 
 be proportionally higher, according to his abilities: so that a clever man, 
 though not possessed of a capital to enable him to become a master, might 
 support himself well by steady exertion, and take a respectable place in 
 society. 
 
 » A late eminent architect in the north of England, exclaimed one day in great wrath, " I hate 
 this Gothic style ; one window costs more trouble in designing than two houses ought to do !" 
 
 i* Whatever secrets the mystical fraternity of Freemasons possess, no elucidation of the Gothic 
 style can be expected from them. Inigo Jones and Sir Christopher Wren are both in the catalogue 
 of their grand masters, of course were in possession of all the arcana, and yet both showed their 
 incompetence in what they attempted of this style. 
 
XXll REMARKS ON GOTHIC ARCHITECTURE. 
 
 4. The excessive refinement of modern habits occasions much difficulty in 
 domestic Architecture. So much must be reserved for ih& fitting up of a 
 house, to satisfy fashionable ideas of comfort and convenience, that little more 
 can be allowed for the fabric than naked walls and roof. Even in the interior 
 there is nothing architectural : the entrance is restricted to dimensions of 
 mere convenience ; the staircase has lost all the dignity which bold mouldings 
 and carving had given to the designs of Jones and Wren, and its rails have 
 dwindled into sticks, under notions of lightness ; the rooms are little better 
 the upholsterer, not the architect, is the artist to be consulted, and a profusion 
 of drapery covers every thing. Churches, it might be thought, would pre- 
 serve something of the dignity of Architecture ; but whilst we see the interior 
 of grand ancient churches blocked up with partitions and galleries, enclosing 
 a few snug warm seats, and the rest abandoned as useless, no more 
 space can be allowed to a modern one than is absolutely wanted to contain 
 the people. The above remarks on the difficulties of applying the Gothic 
 style to domestic buildings, have been suggested by a desire of improving 
 modern practice. Let ancient churches furnish models for modern ones ; and 
 ancient mansions serve for the decoration of modern ones. Castles can very 
 rarely be copied with success ; for not only grand dimensions, but a com- 
 manding site, are requisite. The imitation of an abbey also requires certain 
 circumstances of situation and accompaniment, which ordinary grounds will 
 not afford. Amidst trees of venerable age, a large mansion may take all the 
 style of monastic buildings". The towered gate-house, the cloister, the 
 refectory, &c., may serve very conveniently for modern uses, without losing 
 their proper characters : and towers, and stair-turrets, judiciously raised, will 
 give picturesque effect, without appearing as forced conceits. Houses of 
 inferior size must assume a style of less importance ; many country halls of 
 the 10th century may afford useful hints, especially for the exterior; but the 
 grand features of the castle and abbey are generally inapplicable. By a 
 judicious attention to appropriate models, a modern residence, of whatever 
 size or character, may be constructed in the Gothic style, without departing 
 
 ' The great size of the church forbids any representation of tliat part of an abbey. In those 
 monasteries which were inhabited after the dissolution of such religious establishments, the cimrch 
 was sometimes quite pulled down. Fonthill, the grandest imitation of monastic Architecture, has one 
 great inconsistency of plan ; viz. the whole is formed into the resemblance of a church; whereas, 
 the ancient abbeys were planned in courts, and the church was only a part, though the grandest 
 part. 
 
REMARKS ON GOTHIC ARCHITECTURE. XXIU 
 
 irom sound principles of taste. Some modification of ancient precedents must 
 be allowed, for an absolute fidelity will frequently prove incompatible with 
 convenience ; but as few deviations as possible should be gone into ; and, 
 above all, nothing should be attempted which is inconsistent with the situa- 
 tion and character of the place, or which cannot be executed on a proper scale 
 of dimensions. If the making a fortune be the only aim of the young 
 architect, he may content himself with looking well to the profits of his 
 profession : but if he aspires to an honourable name amongst the immortal 
 sons of art, let him compare his designs with the best ancient examples ; and 
 should the expenses necessary to a perfect execution of them be denied him, 
 rather decline an engagement, than disgrace himself by the production of 
 an insipid caricature. 
 
 EDWARD JAMES WILLSON. 
 
 Neufort, Lincoln, 19th Nov. 1822. 
 
f 
 
•jptetmens 
 
 OF 
 
 GOTHIC ARCHITECTURE. 
 
 HAMPTON COURT PALACE, MIDDLESEX. 
 
 CBtiill about the Years 1520 and 1540. J 
 
 1 HERE are few places more interesting to a reflecting mind than the royal 
 palace of Hampton Court. A solemn stillness pervades its spacious courts 
 and chambers of state ; and whilst the visitor surveys them at leisure, a train 
 of affecting incidents, which crowded almost two centuries of its history, 
 seem to pass before him like a dramatic pageant, the scene delightfully 
 closing with " The Rape of the Lock," and all its mimic circumstances, so 
 inimitably portrayed by Pope. 
 
 Hampton Court appears to have been only an ordinary Manor-house till 
 the early part of the reign of Henry VHL ; when Cardinal Wolsey began 
 to erect a most extensive and sumptuous residence for himself and his numer- 
 ous attendants. The rising grandeur of the place exciting the jealousy of the 
 king, Wolsey resigned this new palace to his highness in 1526. The buildings 
 were carried on during several years, and Hampton Court became a favourite 
 I'oyal residence. Charles L was detained here by the parliamentary army in 
 1647. After the extinction of monarchy it was sold by parliament, when 
 Cromwell procured it for his own residence. It reverted to the crown at the 
 Restoration. William III. took down a great portion of the chief apartments, 
 and re-built them according to designs by Sir Christopher Wren, about the 
 year 1690. From the death of George II. this palace has never been the seat 
 of the court ; and the state apartments have remained unoccupied ever 
 since. 
 
 The ancient buildings of Hampton Court are highly interesting to the 
 architect as examples of a very late use of the Gothic style ; the introduction 
 
 VOL. II. B 
 
2 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 of Italian taste being carried no farther than into some ornamental details. 
 The whole of this vast structure is built of red brick*, capriciously interlaced 
 with dark-coloured bricks, in diagonal lines, the windows, doors, and promi- 
 nent ornaments, being of stone. It would be almost impossible to distinguish 
 what was raised by the cardinal ; as the royal arms, with various badges and 
 ciphers appropriate to king Henry, are set upon all the chief buildings : and 
 the royal works appear to have preserved the style adopted by Wolsey. 
 
 Plate I. — (A.*) Parapet and Turrets over the Western Entrance. 
 
 A succession of three gates, with towers over them, leads from the western 
 front to the interior of the palace, where king William's buildings join to the 
 ancient courts. 
 
 The embattled parapet, here represented, has a very light, airy effect ; the 
 tracery being all pierced, as is shown on the plan. The pinnacles, formed 
 into slender copies of the turrets, instead of shooting up into pointed spires, 
 as in earlier buildings, are peculiar to the latest period of Gothic taste. The 
 same sort of pinnacle is seen upon the battlements of the hall, and in other 
 parts of the palace. 
 
 Plate II. — (B.*) Gables of the Great Hall and West Front. 
 
 The Gables of the Great Hall exhibit a very uncommon outline, corresponding 
 to the pitch of the roof, which is cut off obtusely at the apex. The upper 
 part only is here shown, with sections of the open parapet on the top. The 
 o-riffon on the finial was one of the supporters of the royal arms, as borne 
 by Henry VIII. Such figures, holding metal banners as this does, were 
 favourite decorations for buildings at that period f. The two small windows, 
 partly shown, are inclosed within by the timbers of the roof. 
 
 The second subject of this Plate is z. gable in the west front of the palace ; a 
 similar one corresponds to it on the other side of the entrance. The form of 
 these is very picturesque and pleasing. The little turrets resemble those 
 
 * " The effect of brick is gloomy, although partially intermixed with stone; and so overpower- 
 ing is that gloom, that no correctness of architectural form, or distribution of parts, can counteract 
 it, even in such an instance as the palace of Hampton Court." — Dallaway's Observations on English 
 Architecture, 191. The vast extent of Hampton Court, and the grand forms of the ancient build- 
 ings, necessarily produce an imposing effect : but the materials still betray their meanness. The 
 chequered lines of dark brick, very common in buildings of that age, are symptoms of degenerate taste. 
 
 t See Vol. I. page 32, of this work. 
 
HAMPTON COURT PALACE. "5 
 
 upon the entrance-tower ; and the animals, serving as crockets, correspond to 
 the decorations of the hall. 
 
 C. Enlarged section of the cornice beneath the window. D. Section of 
 the coping, on a larger scale than in the elevation. 
 
 The plan of the windows is shown at the bottom. 
 
 Plate III. — (C*) Chimnky-Shafts in the First Court. 
 
 The English mansions of the 15th and 16th centuries frequently exhibit chim- 
 neys of very beautiful forms, and highly decorated. The ancient parts of 
 Hampton Court are much embellished by chimneys, which rise above the 
 battlements like slender turrets, variously grouped. This Plate shows two 
 specimens of these chimneys. They are constructed of fine red brick, 
 moulded and rubbed with the greatest nicety. The fretwork on the shafts 
 shows many different patterns, and the shafts vary in plan ; some being circu- 
 lar, some square, but set together diagonally, some octangular : their eleva- 
 tions do not vary much, and all have the same sort of basement, and embattled 
 capital. The first specimen has the different shafts carried up solid ; in the 
 second, and in most of the rest, these are separate, which produces much the 
 best appearance. 
 
 The letters a. a. b. b. refer to the plans of the shafts ; c. to capitals, of 
 which the curved outlines must be remarked ; these being very prominent in 
 the actual examples, and having a fine effect. 
 
 Plate IV. — (Z.) Chimney-Shafts in the First Court, &c. 
 
 These specimens differ from those in the preceding Plate, as to ornamental 
 details ; but with a general resemblance of form. a. b. refer to the points 
 at which the plans were taken, in both examples. The lines of the plans will 
 be best understood by comparison with the elevations*. 
 
 Plate V. — (H.*) Elevation of Part of the Inner Court. 
 
 This elevation may be taken as a fair specimen of the style of Hampton 
 Court, in its inner buildings ; the outer courts having only two stories, 
 resembling in their windows the upper and lower rooms of this elevation. 
 The liberty with which the old English builders proportioned and distributed 
 their windows is here shown. That scrupulous attention to uniformity, 
 which destroys the internal convenience of many modern houses, only com- 
 
 * These specimens may be compared with those in Plate LXVI. Vol. I. 
 
-4 SPECIMENS OF GOTH IC ARC H ITKCT L' U E. 
 
 menced with the Italian style. The windows of the larger chambers of 
 Hampton Court have two rights, or jxnie.s, in height; those of inferior rooms 
 liave only one ; and both descriptions vary in breadth, from the broad 
 ya>igc-u-i/i(ioir, next to the turret in this plate, to single lights in closets and 
 stairs. They are all framed with stone, and all are without hood-mouUh, which, 
 with cornices so near above the windows, were not required. 
 
 Plate VI. — (W.) Oriel Wixdow adove the Second Gatem'av. 
 
 The front of the gate-tower, between the first and middle courts of the 
 palace, is here represented in part. The oriel, or bay-window, forms the 
 most prominent feature*. Windows of similar construction, but varying a 
 little in detail, are set over the outer and inner fronts of the first gate. The 
 royal arms are carved in bold relief, and extremely well executed. The 
 section of this window shows its projection ; which deserves to be well con- 
 sidered by the practical artist. The arch of the gate beneath is of a rounder 
 sweep than was nsual at that time ; and is perhaps less graceful on that 
 account. 
 
 A. Plan of the window, B. Moulding of the gate, in an enlarged section. 
 
 Plate VII. — (X.) Arch, Groining, &c. to Second Gatemay. 
 
 The form of vaulting, here displayed, has been frequently termed i\\Q. fan- 
 groin, from the manner in which its tracery seems to expand. We find this 
 elaborate form of vault on a grand scale in the royal chapels of King's College, 
 Cambridge; St. George, Windsor; and Henry VII., Westminster: also in 
 the choir of Bath Abbey, &c. The outer gate of Hampton Court has a vault 
 of similar workmanship ; and the oriel of the great hall displays the fan-groin, 
 with pendents on a small scale, with extreme beauty and delicacy. 
 
 The stones of which this vault is formed are marked at the joints; the 
 sweep of the diagonal rib is drawn in dotted lines upon the plan ; with several 
 other particulars necessary to the full development of the construction. 
 
 • This window maybe compared with one in the Chancellor's house, Lincoln. — See Plate LVIII. 
 and page 13, of Vol. I. That window has a much freer and bolder projection, and of course a better 
 effect, of which the elevation does not give a sufficient idea. Tlie gate opposite to this in the inner 
 quadrangle of Hampton Court, has been modernized, the date of 1732 showing the time of the altera- 
 tion. The architect has attempted soinething Gothic, but finding himself unequal to the execution of 
 a vaulted roof like the others, has substituted a wretched imitation in stucco; and instead of an oriel 
 over the gate, has put up a window of his own invention, too contemptible to be described. The 
 disgrace consequent on such inventions should warn modern artists to study the ancient works 
 before they invent. 
 
HAMPTON COURT PALACE. 5 
 
 A. Perpendicular section of the structure. B. Horizontal delineation. 
 C. Plan of the entrance on a small scale. The opening on the left leads, by a 
 spacious flight of steps, from this gate to the great hall. 
 
 Plate VIII. — (A.) Gueat Hall : Transverse Section of the Roof. 
 
 The roof of the Hall of Hampton Court has been noticed as the most florid 
 in its decorations of any in the kingdom. That of the hall of Christ Church, 
 Oxford, built by Cardinal Wolsey a few years earlier, is much more simple, 
 and scarcely less beautiful. The roof of Crosby Hall may also be compared 
 to it, though this is by far the finest ; in richness of effect it can hardly, 
 indeed, be exceeded : in grandeur, Westminster Hall proudly maintains a 
 superior claim*. 
 
 The construction of one principal is shown in this Plate ; half in section, 
 half in elevation. The flattened pitch which it takes at top is very uncom- 
 mon : the Chapter House of Canterbury Cathedral may have been taken as a 
 model, the roof of that structure being of similar shape externally. The 
 principals of this roof follow the distribution of parts adopted in the earlier 
 structures of Eltham and Westminster Halls ; each consisting of an arch, sup- 
 ported by two half-arches. The curved ceilings in the upper part of this roof, 
 with the lesser pendents descending from them, are peculiar to it. 
 
 Plate IX. — (B.) Longitudinal Section of the Roof. 
 
 This Plate, with the preceding one, will explain the mechanism of the whole 
 frame of the roof, which consists of seven bays in length. In the details of 
 ornament, several mouldings and figures partake of the Italian style ; and the 
 royal arms and crown, with various badges, and particularly the initial letters 
 H. J., fix the date of its completion to the years 1536, or 1537; Jane Sey- 
 mour, Henry's third queen, being married to him in 1536, and dying at 
 Hampton Court the next year. 
 
 a. One of the larger pendents, b. c. Pendents of the second and third 
 tiers. The plans of these parts are given beneath the elevations. 
 
 d. One of the stone corbels from which the roof springs. 
 
 • See pages 17, 18, 19, 20, 21, and 22, of Vol. I. ; with the Plates there referred to. The hall 
 of Hampton Court measures 106 feet by 40, and 45 high in the walls. That of Christ Church, 
 115 feet by 40, and 50 high. The hall of Trinity College, Cambridge, is 100 feet by 40, and 
 50 high. It was built in the same reign, and in imitation of that of Christ Church ; but plainer in 
 decoration. 
 
b SPECIMENS OF GOTHIC AKCHITECTURE. 
 
 The east and west ends have each a great gable-window, such as is shown 
 in Plate A. The sides are Hghted by windows similar to that in Plate B. An 
 oriel, reaching from the floor to the roof, projects from the south side, at the 
 upper end of the hall, filling the space of one bay. The panels in the ceilings 
 of the roof were originally painted blue ; the projecting parts showing the 
 colour of the oak. In a late repair the whole has been painted : the panels 
 blue, the frame-work and ornaments of a colour intended to represent oak ; 
 but the tint is far too raw and glaring. The nut-brown colour in Christ 
 Church hall, set off by gilding on the ornaments, would have afforded an 
 excellent pattern. 
 
 Plate X. — (V.) Elevation of the Music Gallery in the Great Hall. 
 
 The chief entrance to the halls of ancient mansions was almost invariably 
 placed on one side, behind a wooden screen, which inclosed the space of one 
 bay, at the lower end of the hall. Other doors, communicating with the 
 kitchen, and its attendant offices, also opened into the passage formed by the 
 screen ; above which m as a loft for the minstrels, who always played at great 
 feasts. The screen was generally divided into three compartments, leaving 
 two openings, through which the company passed, and servants brought up 
 the dishes. 
 
 This elevation shows one opening of such a screen in the hall at Hampton 
 Court. The front of the gallery above has been destroyed*. The cornice 
 
 * This was probably done when a temporary theatre was erected within the hall in 1718, which 
 continued to block up the interior of this magnificent room till 1798. As only a few specimens are 
 taken from the hall of Hampton Court, it may be useful to add in a note the particulars of its descrip- 
 tion already given. The south side occupies the breadth of the inner principal quadrangle of the 
 palace. It is raised upon a low story, designed for cellars, or butteries. The roof has been described. 
 Originally a lantern was raised upon it, over the hearth ; — (see note in page 18, Vol. I. on such hearths 
 and lanterns) and the four turrets, which rise at the angles, were finished by cupolas covered with 
 lead. Deprived of these ornaments, the roof appears rather too prominent ; but it still rises above 
 the surrounding buildings with a most noble eflect. A vast number of interesting old portraits, which 
 now remain in this palace and in that of Kensington, many of them in obscure situations, might be 
 advantageously transferred to this hall. Its walls, despoiled of the tapestry which used to adorn 
 them, now look naked. The hall of Christ Church is thus adorned with portraits, which make a 
 magnificent show. Those now dispersed in the chambers of Kensington and Hampton Court, if thus 
 collected, would make this hall a most valuable national gallery. An interesting view of the 
 Hall of Hampton Court, is engraved by Vardy : and other views, internally and externally, are 
 given in Lysons's " Environs of London." A view of Hampton Court, drawn by Holbein, was 
 engraved by the Society of Antiquaries, for Vol. II. of their " Vetusta Monumenta ;" as also was 
 
HAMPTON COURT PALACE. 7 
 
 seems to have lost some fretwork, the grooves for such an ornament appearing 
 under the mouldings. The sections, &c. of the details require no description. 
 The badges and cipher of king Henry appear amongst the ornaments. 
 
 Plate XI. — Doorway on the North Side of the Great Hall. 
 
 This Door led from the high place of the hall to the great chamber, the drawing 
 room of modern times. The manner in which this door is recessed deserves 
 notice. It produces a very good effect in the actual subject. The door itself 
 is quite plain, having not the least ornament excepting the iron handle, 
 or knocker, which is pierced, and moulded into the form of a portcullis, one 
 of the badges of the house of Tudor. 
 
 Plate XII. — (D.*) Elevation of the Oriel, and two other Windows 
 IN THE Withdrawing Chamber. 
 
 This apartment adjoins to the upper end of the hall, to which it was an imme- 
 diate appendage, serving as a more private room, to which the ladies retired 
 from the noise and parade of the hall; and where suppers and evening- 
 banquets were frequently served. The plan resembled a hall, being entered 
 at the lower end, and having an oriel window near to the high-table. This 
 Plate shows part of the front, of which the oriel is the most distinguishing- 
 ornament. The long window next to it is of very uncommon proportions. 
 Three or four other windows, placed very high, range from the oriel to 
 the lower end of the room. The walls retain their ancient tapestry, part of 
 which is shown in the Plate *. 
 
 Plate XIII. — Ceiling of the Withdrawing Chamber; Plan and 
 
 Section. 
 
 The ceiling of this apartment is formed of wood, painted and gilt. The sur- 
 face is divided into compartments by moulded ribs, the principal intersections 
 
 another view, taken on the side next to the Thames, from a painting belonging to Sir Joseph 
 Banks. Both these views sliow that the buildings taken down by king William were exceedingly 
 irregular, and many of them of later date than those raised by Henry VIII. The turrets on the 
 hall and gates, which now have only battlements on the top, were then crowned with cupolas 
 and finials. One of these leaded cupolas, ornamented with crockets, is yet remaining : many such 
 formerly adorned the royal palace of Richmond, now demolished. 
 
 * Scenes in the siege of Troy, with certain allegories, &c. form the subjects. In that part shown 
 in the Plate are seen the Fatal Sisters carried forward in a chariot, prostrating and bearing down mul- 
 titudes of all ranks in their progress. Over the chimney, on small pieces of tapestry, are the arms of 
 Wolsey, impaled with those of his archiepiscopal see of York. 
 
8 SPKCIMEXS OF GOTHIC A UCH ITECTU |{ p:. 
 
 of which descend iu small pendents, intermixed with carvings of the initials 
 H. J., the rose, &c., in wreaths of foliage ; from which this room appears to 
 be of the same date as the hall. The section shows the depth and outlines of 
 the pendents and ribs. The plan shows the projection of the oriel, which is 
 rather singular in forming a semi-circle *. On the outside it looks very well. 
 The interior of this apartment is altogether grand and interesting. A passage 
 has been erected across the lower end ; a modern door has been cut through 
 the upper end of the hall into it; and the fire-place is modernized; but 
 its ancient state is mostly preserved in other particulars. 
 
 ST. MARYS CHURCH, OXFORD. 
 
 St. Mary's, or the University Church, Oxford, was built in the reign of 
 Henry VI., John Carpenter, bishop of Worcester, formerly president of Oriel 
 College, being a principal benefactor to the workf. It is a spacious, light, 
 and elegant structure ; a fine specimen of the greater parochial churches of 
 the 15th century. Plans, half section, and half elevation of the spire, are 
 given in Vol. I. .^late LXXII. of this work. 
 
 Plate XIV. — Transverse Section of the Nave and South Aile. 
 
 The Transverse Section is taken across the west end of the nave and south 
 aile. The roof, which is of timber, of a very flat pitch, with arched spandrils 
 over every column, is shown in this Plate, together with the thickness of the 
 side-walls and arches, with the windows of the west front, &c. 
 
 Plate XV. — Compartment of the South Side of the Nave. 
 
 The second Plate taken from this church, gives the elevation of the first bay, 
 or " Compartment of the South Side" oi the nave, from the west end. The 
 
 • The Prior's chamber, in Castle-Rising Monastery, had a window of nearly similar plan. 
 
 t The steeple, which constitutes a principal object amongst the magnificent buildings of Oxford, 
 is set on one side of the nave, about the middle of the length of the church. " In the reign of 
 Henry VIl. the university church of St. Mary was built by John Carpenter, bishop of Worcester, 
 and formerly provost of Oriel College. The choir, at least, and the spire, rose in consequence of his 
 benefaction." — Dallaway's Observations on English Architecture, p. 123. This account is evidently 
 erroneous; for bishop Carpenter died in 1477, long before Henry VII. won the crown: and the 
 tower and spire are of a very different style to the church, and appear to be of the preceding century. 
 
 See an Elevation of the whole Steeple, in " Specimens of Gothic Architecture, selected from 
 
 Ancient Buildings at Oxford :" drawn by F. Mackenzie and A. Pugin ; and published by J. Taylor, 
 High Holborn ; 4to. sixty-one plates. 
 
POUCHES AND ENTRANCES, » 
 
 nave and ailes contain seven bays in length. The choir has no ailes. All 
 the details of workmanship have been finished vfiih scrupulous attention, and 
 an effect of great neatness is produced, without the boldness and strength 
 which distinguish the fabrics of an earlier style. 
 
 a. Enlarged plan of a column, b. Section of the mouldings of one of 
 the principal arches : where we may notice, that these arches do not take 
 the flattened sweep of those in the side window, c. Jamb of a window 
 enlarged. * 
 
 PORCHES AND ENTRANCES. 
 
 Plate XVI. — (T.) South Door of Iffley Church, Oxfordshire. 
 
 The church of Iffley, near Oxford, is one of the most curious architectural 
 monuments remaining in the kingdom. The nave, tower, and choir, retain 
 their original forms, with the exception of a part added to the east end of 
 the chancel, and a window or two which have been altered. The style of this 
 interesting fabric is what has often been termed Saxon ; but it appears, from 
 the ornaments, to be scarcely of earlier date than the beginning of the 
 12th century*. The doors are remarkable for the depth and richness of 
 ornament of their jambs and arches. The second moulding, from the outside 
 of the arch in this entrance, shows the parent form of an enrichment, exceed- 
 ingly common in works of the 13th century. — See PI. V. and p. 8, of Vol. I. 
 
 Plate XVII. — (K.*) Western Door of St. Saviour's Church, 
 
 Southwark. 
 
 The style of this entrance indicates its having been erected in the early part 
 of the 15th century; and a more beautiful specimen cannot easily be found. 
 It exhibits the superior elegance of the simple pointed arch, when compared 
 to the compound ones, which prevailed in most works of this century. The 
 bold projection of the arch, and the depth and precision of the many mould- 
 ings which fill it, deserve the study of those who attempt the execution of 
 Gothic architecture. Without adhering to these particulars, nothing better 
 can be expected than such bald and meagre designs as disgrace too many 
 modern buildings. 
 
 The ornaments of wood upon the doors are much mutilated ; but have been 
 carefully made out and delineated. The stone-work is also somewhat 
 
 * See Vol. V. of " Architectural Antiquities," by John Britton, F.S.A., for ground plan, and 
 five other Plates of this church. 
 
 VOL. II. C 
 
10 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 decayed, and blackened with smoke. The label, or hood-mould, being 
 entirely wanting, no attempt has been made to fill up the deficiency, lest the 
 fidelity of these specimens of ancient architecture should be brought into doubt. 
 
 a. Plan of the mouldings and shafts of the jambs, b. Mouldings of the 
 arch. c. Capitals of the shafts, or little columns, with their plan enlarged. 
 
 Plate XVIII. — (E.) Doorway of Merton College, Oxford. 
 Doorway of Christ Church. 
 
 The first of these specimens exhibits a neat and pleasing example, without 
 much ornament. It can hardly be earlier than the 15th century, but has no 
 peculiarity to mark its date precisely. The mouldings of the jambs ought not 
 to end abruptly ; some repair has probably taken away the original plinths. 
 
 a. Section of the mouldings on a large scale. 
 
 The second specimen is taken from the buildings begun by cardinal 
 Wolsey in 1525. This doorway seems to have been enlarged by cutting away 
 part of the inner mouldings of the jambs and arch, which now end rather 
 abruptly : the hood-mould appears too broad, in proportion to the jambs. 
 The cross-keys, carved in one of the spandrils, probably refer to the founder. 
 
 b. Section of the jamb, enlarged : on which, as well as that of the preced- 
 ing subject, and others in this work, it may be observed, that the manner in 
 which the breadth and projection of each moulding is set out by lines, makes 
 them much more easily understood by workmen, whether wood or stone be 
 the material. 
 
 Plate XIX. — Porch of St. Michael's Church, Oxford. Porch 
 OF Trinity Church, Cambridge. 
 
 The porch generally attached to the south door of a parish church, was 
 anciently used in solemnizing matrimony, and for several other rites of 
 the liturgy. Such an appendage affords a most comfortable shelter to the 
 entrance of a church, as well as an appropriate ornament ; and it is to be re- 
 gretted that so many should have fallen under the beautifying hands of tasteless 
 parish-officers. 
 
 The first of these specimens appears to be of a date not earlier than 
 the reign of Henry VIII. ; the style of its elevation wanting that sprightliness 
 and free outline which is found in times of a better taste. The absence 
 of buttresses at the outward angles, the position of the small columns, with 
 the straight cornice above them, the details of the tabernacles, and of the 
 
POUCHES AND ENTRANCES. 11 
 
 principal arch, as well as of the vaulted roof within, have all some indications 
 of a degenerate style. 
 
 A. Elevation of the front. B. Section along the centre of the roof. 
 C. Plan. a. Canopy of the niche, in elevation and section. 
 
 The second of these specimens appears to be of rather earlier date than the 
 preceding one ; and the proportions and general design are much more grace- 
 ful. The buttresses, with their pinnacles, and the sloping lines of the gable, 
 seem to harmonize, and produce a pleasing elevation. The inner doorway has 
 a low arch of four centres. 
 
 A. Elevation of the front. B. Section of the whole porch. C. Ground- 
 plan of one-half. 
 
 Plate XX. — Gateways of King's College, Cambridge. 
 
 The original plan of King's College, Cambridge, was laid out on a scale 
 of extent and magnificence suitable to the chapel ; but the troubles that 
 distracted the reign of its royal founder, and at length deprived him both of 
 his crown and life, prevented his making much progress in its building ; and 
 though, amidst all his misfortunes, the king was careful to settle funds for the 
 future erection and endowment of his college, the utmost security of legal 
 provisions failed to protect his munificent intentions, after his power was 
 wrested out of his hands. Immediately after the deposition of Henry VI. 
 the College buildings were stopped, and no part was ever completely raised 
 excepting the chapel, and that not in much less time than a century from the 
 foundation*. The two specimens in this Plate are taken from a court situated 
 on the north side of the chapel, having buildings on three sides, of the age of 
 the founder. Dr. Fuller says, this " mean quadrant was at first designed 
 only for the choristers']"." Mean undoubtedly it was, compared to the grand 
 quadrangles described in the plan of the college ; and the chief ornament 
 of these buildings, the entrance-tower, never attained to half its proper eleva- 
 tion ; but, imperfect as these buildings are, they exhibit an interesting monu- 
 ment of architectural tastej. 
 
 The first specimen (A.) is taken from the inner front. The mouldings of the 
 
 • The first stone was laid by king Henry the Sixth, in 1441. The choir was not finished in 
 1534. — See Britten's " Architectural Antiquities," Vol. I. Dallaway, Dyer, Harraden's " Canta- 
 brigia Depicta," 4to. 1811. 
 
 + History of the University of Cambridge, p. 73, folio, 1655 : bound with his Church History. 
 
 X See the Will of king Henry VI., in Nichols's " Collection of Royal and Noble Wills :" also 
 the Will of Henry VII. 
 
y^ SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 principal arch are not carried on in the jambs, where only a plain chamfer 
 takes place*. Something stiff and forced is observable in the turn of the 
 upper member of the arch, and the manner in which the finial is carried up 
 into a pedestal to the niche above it. The windows on either side of this 
 niche are remarkable for consisting of single lights only, in breadth : their 
 details are elegant, particularly the casement, studded with knots of foliage. 
 
 a. Section of the archivolt mouldings, b. Perpendicular section of the 
 gateway. 
 
 The second specimen (B.) represents the outward front of the entrance, exhi- 
 biting a much greater display of ornament than the inward one. It is much to 
 be regretted that so beautiful a composition should have been left imperfect. 
 Such a specimen may be compared to " the fair Corinthian porch " of classic 
 antiquity. Nothing could be added to its enrichments ; and yet no part 
 appears loaded with ornaments. Perhaps the curious little figures of angels, 
 which range along the straight line over the arch, had better have been 
 omitted I, leaving the simple moulding to define the two stories: the rest 
 of the composition seems faultless. Unfortunately, the upper story, which 
 undoubtedly made part of the design, as well as the pinnacles and battlements 
 for the top, are totally wanting. The heads of the windows and tabernacles 
 might be perfected, from what is actually finished in the inner front : but a mere 
 fragment as it is, the careful artist may select from it many hints of beautiful 
 design, though such an elaborate work will very rarely be undertaken J. 
 
 a. Section of mouldings to the great arch. b. Perpendicular section of 
 the gateway. 
 
 Plate XXI. — (S.) Doorway of All-Souls' College, Oxford. Door- 
 way OF THE Hotel dk Guise, Calais. 
 
 The College above-mentioned was founded by Henry Chichele, archbishop 
 of Canterbury. The buildings were begun in 1437. Of these but little is 
 
 • The curious gateway to the Inn at Fotheringhay, built in the reign of Edward IV. has such a 
 moulded arch, with plain jambs. — See "Historic Notices " of that place, by Rev. H. K. Bonney, 
 Archdeacon of Bedford. 
 
 + Such figures, on a much larger scale, are found in the royal chapels of St. George, Windsor ; 
 and Henry VII. Westminster. In this manner almost every bold embellishment of architecture may 
 be traced to small and timid essays. 
 
 X The society of King's College have long meditated grand improvements in their buildings ; 
 and it may be hoped, now Gothic architecture begins to be understood, that something worthy of 
 their matchless chapel will be erected : but we shall never see the original plans equalled. 
 
PORCHES AND ENTRANCES. 13 
 
 now standing, undisguised by modern alterations*. The front, towards the 
 High Street, extended nearly two hundred feet in length, in two stories of 
 chambers, embattled, and adorned with several bay-windows, and with 
 two towers of entrance. One of the latter is yet standing, a lofty and grand 
 structure, but little mutilated -f. The rest of this venerable range of 
 building is shockingly disfigured by wooden window-frames, and various 
 alterations of the roof and chimneys. The Doorway in this Plate has nothing 
 to boast of, but neatness and appropriate finishing. 
 
 a. Section of the label, b. Section of the jamb. 
 
 The Doorway copied from the Hotel de Guise, is rather more simply orna- 
 mented in the arch and spandrils, than that from All-Souls. The projection 
 of the base-moulding is rather more than common. Calais being subject to 
 the English government at the time, and long after the erection of this 
 building, its introduction amongst specimens of English architecture cannot 
 seem improper. 
 
 a. Section of the hood-mould, b. Mouldings of the jambs. 
 
 Plate XXII. — Gateavat of the Hotel de Guise, Calais. Gateway 
 OF All-Souls' College, Oxford. 
 
 These entrances are of a greater size than those in the preceding Plate, and 
 their mouldings are proportionably increased : in general style and date they 
 accord with the foregoing specimens from the same buildings. 
 
 The Gateway from the H6tel de Guise is richly moulded, and the plinths 
 and bases are wrought with particular exactness. 
 
 a. Spandril, containing a blank shield, b. Mouldings of the jamb. 
 
 The hood-mould of the Gateway at All-Souls follows the turn of the arch, 
 as well as being carried out in square lines, which reduplication has not 
 a pleasing appearance. It might be adopted as a novelty. The arms are also 
 a needless application of ornament;};, placed as they are : in the spandrils they 
 would have been much more appropriate. 
 
 a. Capital and plan of one of the boltels, or shafts of the jamb. b. Plan 
 of one jamb. c. Mouldings of the arch. 
 
 * The bad style of the new quadrangle in this college has been noticed in the Remarks on Archi- 
 tecture, prefixed to this work, p. xi. 
 
 t It is engraved in " Specimens of Gothic Architecture at Oxford." 4to. 
 
 X The bearings are those of Chichele, impaled with the see of Canterbury. The archbishop died 
 in 1443. The buildings were finished about a year after. 
 
14 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 Plate XXIII. — Dooravay on the North Side of St. Mary's Church, 
 
 Cambridge. 
 
 This Church was begun to be rebuilt in 1478, and finished in 1519, except- 
 ing the tower, which was not completed till 1608. Alcock, bishop of Ely, a 
 prelate well skilled in architecture, greatly assisted in the work : and the 
 interior, at least, of the church is light, and well designed. This Door is a 
 neat example of the latest style. The roundness of the arch, and the panelled 
 doors, are of the fashion prevalent in Henry VIII. 's reign. The badges 
 belonged both to that monarch, and to his father. 
 
 The ornaments, mouldings, &c., are fully displayed in elevations of the 
 inside and outside, and a perpendicular section of the arch. The mouldings 
 of the interior are uncommonly pretty. 
 
 a. Plan of one half. b. Plan of the corresponding side, with half 
 of the arch. c. Mouldings of the jamb. d. Mouldings of the arch. 
 e. f. Base and capital of the shafts in the jambs, g. h. Flowers in the 
 inward mouldings. 
 
 Plate XXIV. — Door in the Cloisters of New College, Oxford. 
 
 Door in the Screen of Edward the Confessor's Chapel, 
 
 Westminster Abbey. 
 
 New College, Oxford, was founded by the celebrated William of Wykeham, 
 bishop of Winchester, 1380, and the society entered the new buildings in 
 1386. This prelate had been much employed by Edward III. in attending 
 to the royal buildings ; and his skill in architecture was a principal cause of 
 his promotion. The style prevalent in his works is distinguished by solidity 
 and bold proportions : exhibiting a happy medium between the severe sim- 
 plicity of the early Gothic, such as we see it in Salisbury and Lincoln 
 Cathedrals, Beverley Minster, &c. : and the gorgeous accumulation of 
 minute ornaments, displayed in the royal chapels at Cambridge, Windsor, 
 and Westminster. 
 
 The little specimen shown in this Plate, is quite in Wykeham's taste. 
 The details of ornament on the door will easily be referred to the elevation, 
 by attending to the letters marked on the corresponding parts. The upper 
 half of this door is perforated, with light bars in the openings. 
 
 The second specimen is of later style, and more richly decorated, but 
 bearing a general resemblance to the door from New College. This is taken 
 from the eastern side of the screen, behind the high altar in Westminster 
 
WINDOWS. 16 
 
 Abbey. There are two such doors, one on each side of the altar. The 
 original lock, and plate for the ring-handle, are ornamented suitably to 
 the wood-work, and have been drawn as part of the details ; such minutiae 
 being requisite to a perfect imitation of the style. 
 
 Plate XXV. — Doora\^ay in the Vestibule of St. Stephen's Chapel, 
 NOW the House of Commons, Westminster. 
 
 St. Stephen's Chapel was a collegiate foundation, appropriate to the royal 
 palace of Westminster, where our ancient kings usually kept their court, 
 when not at their country palaces for the sake of hunting. This chapel was 
 rebuilt in a splendid style by Edward III*. But though the skeleton of the 
 fabric is yet standing, its beauties have been almost totally obliterated by 
 successive alterations. The beautiful entrance, engraved for the title to this 
 volume, remains yet perfect, in the vestibule, or lobby, as it is called, at the 
 west-end of the chapel. It is much in the style of William of Wykeham's 
 architecture. The arch and its canopy are very gracefully curved; the series 
 of quatrefoils round the arch form rather an uncommon ornament. The whole 
 composition is rich, and well supported by appropriate details ; but those are 
 comparatively simple, to the enrichments which the succeeding century 
 exhibited. 
 
 WINDOWS. 
 Plate XXVI. — (G.) Windows at Oxford. 
 
 These five specimens of arched windows are taken from different churches 
 at Oxford. 
 
 Nos. 1 and 4, from the parish church of St, Mary Magdalen, are of the 
 style prevalent in the middle of the 14th century. No. 2 is of the 15th 
 century : this window affords a good example for the chancel of a church. 
 The mullions are remarkably light in proportion to the openings ; the jambs 
 are bold, and deeply recessed. It belongs to St. Peter's in the East, a fabric 
 of venerable antiquity; but altered in many parts at different times. No 3, in 
 the transept of Merton College Churchf, is also of the earlier style of the 15th 
 
 * The new works began in 1330; the embellishments of painting and gilding within the chapel 
 were carried on in 1360.— See the folio Descriptions and Plates published by the Society of 
 Antiquaries: also Hawkins and Smith's " Antiquities of Westminster," 4to. 
 
 t The parochial church of St. John Baptist, in Oxford, was appropriated to Merton College soon 
 
16 
 
 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 century : it forms an elegant window. No. 5, from the choir of the same 
 church, is of older date : the tracery and form of the arch are both rather 
 uncommon. 
 
 Plate XXVII.— (K.) Circular, ok Catheiiine-Wheel Window, 
 
 Westminster Abbey. 
 
 The north and south ends of the transept in Westminster Abbey, have each a 
 large window of this description in the upper story. They are of later style 
 than the fabric of those parts of the church, and were probably added to it in 
 the reign of Richard II. ; at which period a large porch was built at the north 
 end of the transept, since removed. Thqse windows are highly ornamental to 
 the church, especially on the outside. One fourth of the southern window is 
 here engraved, with its details, and the dimensions of every moulding. The 
 outlines of these windows are actually square ; but a circle being the prin- 
 cipal form in the tracery, and all the mullions being arranged according to 
 that figure, they may be fairly classed amongst circular windows, 
 a. Section of one side. b. Mullion. 
 
 Plate XXVIII. — Window of King's College, Cambridge. Window 
 
 OF Balliol College, Oxford. 
 
 The first of these specimens is taken from the buildings, mentioned under 
 Plate XX. the apartments of which, towards the court, have three ranges 
 pretty similar to this. These windows have an air of strength and solidity ; 
 and in the actual elevation look grand and palatial. The arches of those 
 on the principal floors are not flattened as this is, and they are something 
 taller. 
 
 The second, in the hall of Balliol College, Oxford, is of the same date, 
 the reign of Henry VI. The interior of the hall has been modernized ; 
 and nothing of its original architecture has been preserved but the windows, 
 one of which is here shown. The design of this window is very graceful ; 
 
 after its foundation. The choir, which serves for the collegiate body, is said to have been built by 
 William Rede, bishop of Chichester, who died in 1385. The cross-ailes and tower are of rather 
 later style. There is no nave ; but whether that part was always deficient, or has been taken away, 
 is not known. A large arch, under the west front of the tower, shows that a nave was at least 
 intended. It is remarkable that the imperfect plan of this church appeared so convenient to 
 the builders of New College and Magdalen, that both these stately chapels are formed after it ; 
 having each its choir and transept. The same plan was adopted at Wadham College. 
 
WINDOWS. 17 
 
 and the lightness of its details is remarkably contrasted by the other 
 specimen. The crossing of the plain muUion and transom looks rather 
 meagre, and the loss of the iron grating increases the naked effect. 
 
 Plate XXIX. — Oriel Window in the Hall of Jesus' College, 
 
 Cambridge. 
 
 The contention for public favour between the Gothic and Italian styles 
 was carried on for a full century after the first specimens of the foreign 
 manner were erected in England, under Henry VIII, Many buildings of 
 both the Universities were executed in a style decidedly Gothic, as late as 
 the reign of Charles I. The outward court of Jesus' College, Cambridge, is 
 of this era ; but, without evidence of records, would appear to be of the age of 
 Henry VIII. The window here represented has considerable beauty ; the 
 ornaments are very delicate, and well designed, particularly within the arch, 
 and upper part of the window. The Plate gives an elevation of the interior 
 front; a section taken perpendicularly through the centre; and half the 
 soffit, or ceiling*. 
 
 Plate XXX. — Upper Part of the Entuance-Tower, Brazen-Nose 
 
 College, Oxford. 
 
 The buildings of this College were begun about the year 1510, and were 
 chiefly disposed round a spacious quadrangular court, with a grand tower 
 over the eastern entrance. The upper part of this tower is here represented, 
 omitting a part of its breadth, in order to show a section of some of the pro- 
 jecting parts. The gateway has a very flat, pointed arch ; above which rises 
 a screen richly panelled, covering the front of one story, and finishing with 
 the battlements shown in this Plate. The oriel, or compass window, stands 
 behind this battlement, with a small canopied turret on each side. The two 
 tabernacles adjoining, probably contained the statues of the patron- saints, 
 bishops Hugh and Chad ; and that between the highest windows the figure of 
 the Blessed Virgin. The inner front of the tower shows nearly the same 
 arrangement ; and both remain tolerably preserved, excepting that the richly 
 
 * In " Specimens of Ancient Carpentry," drawn by James Smith, and published on thirty-six 
 plates, in 4to. 1787, is an elevation of one principal of the roof of Jesus' College, Cambridge. It is 
 framed after the manner of Eltham and Westminster Halls, in an inferior style ; but filled up with 
 many little semi-circular arches, and swelling balusters, much in the manner of queen Elizabeth's 
 architecture. 
 
 VOL. 11. D 
 
18 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 panelled fronts, immediately over the gates, have been barbarously broken 
 into, and the original windows displaced by wooden frames, a pair of which 
 now disfigures each front. Altogether, the profusion of rich parts gives the 
 entrance-tower a fine appearance ; and its height must have been originally 
 much more striking, before a third story was built upon the chambers on each 
 side 6f it, about a century after their erection *. 
 
 SEPULCHRAL MONUMENTS FROM WESTMINSTER ABBEY. 
 
 Plate XXXL — (J.) Monument of Prince John of Eltham, Earl 
 
 OF Cornwall. 
 
 This young prince was second son of king Edward IIL, and dying at Perth 
 in 1334, was brought to Westminster, and pompously interred. His monu- 
 ment was originally surmounted by a very lofty canopy, formed upon three 
 light arches, with sharp-pointed gables, perforated, and enriched with crock- 
 ets and pinnacles ; with little figures of angels standing upon the finials f. In 
 this state it was one of the most beautiful monuments of the fine architectural 
 taste and skill of the 14th century : but the whole canopy was removed about 
 sixty years back, and nothing but the solid tomb remains ; nor has it escaped 
 injury in many parts J. The Plate gives an elevation of the north side of the 
 
 • The entrance-tower of Magdalen College was partly copied in this of Brazen-Nose. The 
 former is more beautiful, more happily situated ; it is not sullied with smoke, and hitherto 
 quite perfect ; may it never be wantonly mutilated, as the venerable cloister adjoining to it has 
 lately been! 
 
 t A view of the monument, when entire, may be seen in Sandford's " Genealogical History of the 
 Kings of England," folio, 1677, p. 154. 
 
 t Mr. Gough says these ornaments were " all removed by order of bishop Pearce." — Sepulchral 
 Monuments, I. 94. Dr. Zachary Pearce, bishop of Rochester, was at that time dean of West- 
 minster : his feelings towards ancient monuments are severely reflected on in a letter of the Hon. 
 Horace Walpole, 1761, who wrote to the bishop about the removal of anotlier magnificent tomb, 
 that of Ayraer de Valence, earl of Pembroke, which the dean and chapter had actually consented to 
 pull down, to make room for general Wolfe's monument. — See Nichols's " Literary Anecdotes," 
 Vol. HI. p. 745. The canopy of John of Eltham's monument, most probably, was thought tottering, 
 and dangerous, being very light, and so was taken down to save the expense of being repaired. 
 One monument did fall down at the funeral of lady Elizabeth Percy, and a man was killed by the 
 accident. 
 
SEPULCHRAL MONUMENTS. 
 
 19 
 
 tomb, with the statue recumbent upon it. Two of the three compartments, 
 into which the front is divided, are represented without their enrichments, so 
 as to point out the hnes and proportions of the design. A section of one end 
 shows the projections ; and a plan of one end, with various details on a larger 
 scale, fully display the construction of the tomb. The letters refer these 
 details to their respective places ; leaving no occasion for farther description. 
 
 Plate XXXII. — (L.) Monument for King Edward III. 
 
 This monument is one of a range of royal sepulchres which surround the 
 shrine of king Edward the Confessor. The south side of the tomb, shown in 
 the Plate, is raised upon a basement, or lower tomb, which rises as high 
 as the floor of the chapel, above that of the aile. The tomb is built of grey 
 marble, richly overlaid with ornaments worked in brass, which originally 
 were gilt, and enamelled with colours. These ornaments have suffered 
 much from time, and the barbarous hands of plunderers : so that the north 
 side is quite stripped of the curious little metal statues of this monarch's 
 royal progeny, with their enamelled shields of arms. The canopy to this, as 
 well as several other royal tombs, consists of a flat ceiling of wainscot, 
 suspended between two pillars of the church. This monument corresponds 
 exactly in style and materials with that which the unfortunate monarch, 
 Richard II., erected for himself and queen Anne his first consort, close to it*. 
 The Plate gives an elevation of the south side of the tomb, omitting parts of 
 the architectural ornaments, to show their design and proportions more 
 clearly ; also a view of the principal statue, which is of bronze, and lies 
 within a rich tabernacle of the same metal, affixed to the marble slabf. 
 
 Plates XXXIII., XXXIV.-Monument of King Henry V. 
 
 The confined situation of this monument prevents it from being so much 
 regarded as it deserves ; for it is certainly the most elaborate and curious 
 piece of workmanship about the abbey, excepting Henry VII. 's chapel and 
 tomb. The erection of this monument, or at least an enlargement of it, 
 
 • The contracts for that tomb are printed in Rymer's Fcedera, and have been alluded to in the 
 Glossary : see the term Hovel. 
 
 t Edward III. died at the manor of Shene, or Richmond, in June 1377, the 64th year of his 
 age. The countenance of his statue appears much older ; but the king was so decayed, both 
 in body and mind, that it is undoubtedly a faithful portrait. 
 
20 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 has been claimed for Henry VII.*; but the late Mr. Gough adduced 
 evidence to prove that it was executed within ten years of the death of 
 Henry V., in the minority of his son and successor, Henry VI. -j- The tomb of 
 the heroic prince stands within the eastern arch of Edward the Confessor's 
 chapel, completing the semiciicie of royal sepulchres J. The floor of this 
 chapel is raised above the tomb, upon richly fretted vaults, which extend 
 eastward, over the aile that surrounds this part of the church. Two grates of 
 iron, curiously pierced, enclose the king's tomb, on which lies a mutilated 
 iaiage, carved in oak||. The west front has two stair-turrets, wrought 
 i." a style of the greatest richness, being entirely covered with tabernacles for 
 s'situes, or perforated with tracery^. The sides of the upper chapel are also 
 covered with imagery, and its interior was most sumptuously embellished 
 with colours and gilding^. 
 
 * Sandford, Dart, Pennant, &c. 
 
 t " Sepulchral Monuments," Vol. 11. p. 63, &c. 
 
 t The place and peculiar construction of this sepulchre were fixed upon by the king- himself, as 
 is related in a Will made by him in 1113, the third year of his reign, printed in Rymer's Foedera, 
 Tom. IX. p. 289. The following passages are translated from the Latin original : — 
 
 " Also we bequeath our body to be buried in the church of St. Peter, prince of the apostles, at 
 Westminster, amongst the sepulchres of the kings, in the place where now are contained the relics of 
 saints. Where we will, that a lofl [ locum excelsuni] lie built over our body, with an ascent of steps 
 at one end of our tomb, and a descent of steps at the other end ; in which place we will that the said 
 relics be placed. 
 
 " And we will that an altar be founded there, in honour of the Annunciation of the Blessed Virgin 
 Mary, and of all saints, &c. 
 
 " And we will that the said altar, above our tomb, be built in such manner, that the priusts cele- 
 brating at it may be seen by the people, and that their devotion may be more fervently enkindled, 
 and God be more often glorified in his creatures." 
 
 King Henry V. died in 1422, at the Castle of Bois de Vincennes in France. His funeral was 
 most sumptously attended : amongst other ceremonies, " Three chargers with their riders, ex- 
 cellently armed with the arms of England and France, were led, according to custom, up to the high 
 altar at Westminster." — See Gough's " Sepulchral Monuments," H., 59, &c. 
 
 II A warrant for the making of these grates is printed in Rymer, X. 490, and copied by Gough : 
 it is addressed to Roger Johnson of London, Smyth, and is dated 1431. 
 
 § These stair-turrets were described by Pennant, with a strange carelessness, as of " open iron- 
 work." [" Some Account of London"]. The description, in "The Beauties of England," Vol. X. 
 Part III., is very imperfect and incorrect. 
 
 f All the Statues remaining about this chapel, amounting to about sixty, were drawn by the late 
 John Carter, and published in the second volume of " Specimens of Ancient Sculpture and 
 Painting," folio: completed in 1794. 
 
SEPULCHRAL MONUMENTS. 21 
 
 Plate XXXIII. — Elevation of one of the front turrets, with plan, or 
 horizontal section at A.; parts at large at B. over the door; section of 
 pedestal at C. ; and plan at large at D. 
 
 Plate XXXIV. — Section and plans of the same, with measurements and 
 references to corresponding parts. 
 
 Plate XXXV. — (M.) Monument of Bishop Dudley*. 
 
 This specimen is taken from a monument in the chapel of St. Nicholas, on the 
 south-east side of the choir of Westminster Abbey. The central compartment 
 of the front is here delineated ; altogether there are five of these ; three over 
 the recess in which the tomb is placed, and the others above two niches, one 
 at the head and one at the foot of the tomb. A portrait engraved upon a brass 
 plate has been stolen from the table of the tomb, as also have his arms on 
 brass shields in front ; part of his epitaph in brass, upon the verge, is yet 
 remaining. William Dudley was a son of one of the barons Dudley, and died, 
 bishop of Durham, in 1483. The architectural parts of this monument are of 
 good design ; the details bold, and well proportioned, without excessive com- 
 plication of mouldingsf. 
 
 A. Elevation of one compartment over the tomb. B. Section, showing 
 the depth of the recess, and its arched roof. a. Moulding in the gable, on a 
 large scale, b. Plan of a pinnacle, with the mouldings of a panel behind it. 
 c. Plan of part of the soffit of the canopy, d. Ornament beneath the pendents 
 of the front arches ; the rose surrounded by rays, a royal cognizance of 
 Edward IV., who died in the same year as this prelate. 
 
 Plate XXXVI. — (N.) Monument of Abbot FascetJ. 
 
 This monument makes part of the screen in front of a chapel, northward of the 
 choir. It is a specimen of the latest Gothic style, the upper part of the 
 canopy being carried on in straight lines of cornice, instead of being covered 
 
 * The Statue of a lady of James the First's time being laid upon this tomb, it has sometimes 
 been erroneously ascribed to her. 
 
 t The style of this monimient is of an earlier Architecture than its real date : from its close re- 
 semblance to that of Sir Bernard Brocas, Knt., in the next chapel, [executed in 1400 for conspiring 
 to restore Richard II.], it seems to have been a copy of it. The tomb of Gower the poet in 
 St. Mary-Overey's, or St. Saviour's, Church, also resembles it. He died in 1402. 
 
 I George Fascet, sometimes miscalled Flaccet, was elected abbot in 1498, and died about 
 Michaelmas, 1500. 
 
22 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 with tabernacles, or gables and pinnacles, as in the preceding specimen. The 
 tomb is neatly ornamented ; the arms are those attributed to Edward the 
 Confessor, those of the abbey, &c., with the abbot's cypher above. The 
 inscription is partly destroyed. 
 
 A. Elevation of half the outward front. B. Section of the whole. C. Plan 
 of half the soffit, showing the tracery within the arch. a. Plan of one angle, 
 at large, in the outward front, b. Plan of one angle, at large, in the inward 
 front. 
 
 A plan oAhe whole, on a small scale, is placed at bottom of the Plate. 
 
 Plate XXXVII. — (I.*) DooR^VAY and Screen of Abbot Islip's Chapel. 
 
 John Islip, prior of the monks of Westminster, was elected abbot in 1500, 
 on the death of Fascet. This abbot was a great favourite with king 
 Henry VII., and laid the first stone of the chapel rebuilt by him ; he superin- 
 tended that building until its completion in the reign of Henry VIII. Abbot 
 Islip was very liberal in repairing and adorning the church of Westminster, 
 which had never been completed. He was engaged in carrying up the 
 western front at the time of his death*: he built a beautiful little chapel for 
 his own sepulchre, within that of St. Erasmus, adjoining to the north aile of 
 the choir : and, as Dart says, rebuilt the abbot's lodgings, afterwards appro- 
 priated to the dean of Westminster. 
 
 The Plate represents about half the front of the abbot's chantry, as high as 
 the floor of the upper story, where was another chapel. This curious little 
 fabric has been treated with equal barbarity towards its merit as an architec- 
 tural curiosity, and the venerable character of the deceased. The door, 
 shown in the Plate, opens at the foot of the stairs leading to the upper chapel; 
 the lower one was originally entered by an inner door, which has since been 
 blocked up, and an entrance broken through the front of the chapel. The 
 interior has been defaced, and filled with lumber ; the abbot's tomb, a marble 
 table set upon four pillars of bronze, pushed from its proper place, and 
 the open tracery of the front blocked up with rough boards f. 
 
 • This happened in 1532, when the works then carrying on at the west front were probably dis- 
 continued, as that part remained broken and imperfect at the top till the beginning of the last 
 century. 
 
 t See Gentleman's Magazine for April 1808, p 300. 
 
 Ihe Society of Antiquaries published, in 1809, five plates from some beautiful ancient drawings 
 of abbot Islip's funeral, representing the following subjects : — 
 
TABEENACLES AND STALLS. 23 
 
 The design of this chapel is very good, considering the late period of 
 its erection. The parapet in front of the upper chapel was much more 
 elaborately decorated than what is here shown : the roof, and whole interior 
 of the abbot's chapel, were rich and well wrought. The entrance, and one of 
 the two chief compartments of the front, are shown in an elevation : the 
 section was taken at the door. 
 
 TABERNACLES FOR STATUES ; AND STALLS. 
 
 Plate XXXVIIL — (L) Niche in Henry VII. 's Chapel, Westminster 
 
 Abbey. 
 
 The five recesses in the eastern part of Henry VII. 's Chapel were intended 
 for so many altars, and two others were to have stood at the upper ends 
 of the ailes : the places for these altars are left quite plain, and above each are 
 three niches, or tabernacles, with statues of saints : the central niche of one 
 of these is shown in this Plate. The sfatue represents St. Ag&,tha,» virgin and 
 martyr*. The tabernacle partakes of the elaborate character of the whole 
 
 The fir^t gives a portrait of the abbot, standing in his monastic habit, within a very rich 
 ornamental compartment. 
 
 The second represents his death-bed, surrounded by his monks and clergy, and visionary figures 
 of saints and angels. 
 
 The third, a lofty hearse, pinnacled at the top with numerous tapers, is standing before the high 
 altar of the abbey, which is shown with its ancient screen, canopy, statues, &c. : the corpse is 
 covered with a pall, and surrounded by attendants, some at prayer, others holding torches. 
 
 The fourth gives a view of the abbot's chapel in its original state, with his tomb, the altar-pieces 
 of the upper and lower chapels perfect, and many other curious particulars. 
 
 In the fifth is a distant view of the abbey-church, with part of the side removed to show 
 the coronation of Henry VIII. as taking place within. The west front has an engine standing 
 upon it for drawing up stones for the building, and an octagonal lantern is set over the centre 
 of the church. The above plates were minutely described by the late Mr. John Carter, in the Gents. 
 Mag. 1809, p. 1121, and 1810, p. 30. In the same publication for 1808, p. 297, Mr. Carter gave a 
 plate of a pretty little screen at the west end of the abbey-church, bearing abbot Islip's device. The 
 enthusiastic zeal of that able draughtsman and antiquary, was undoubtedly effectual in checking the 
 mutilations of ancient monuments ; even the personalities of his censure were useful in making 
 him feared, though they perpetually engaged him in hostilities. We ne'er shall look upon his 
 like again ! In the title page of Britton's " Architectural Antiquities," Vol. V., is an engraving of 
 a very elaborate canopy in Islip's chapel. 
 
 • Tortured and put to death in the persecution of Decius, A.D. 251. Her characters of virgin 
 and martyr are pointed out by her long hair, unbound, and an instrument of torture which she holds 
 
24 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 fabric; its canopy is perforated, and all the inner substance hollowed but; 
 its fretwork is too minute to be truly beautiful : the pedestal is in better 
 taste. 
 
 A. Elevation of the whole in front. B. Section of the same, in profile, 
 a. Upper fret in the pedestal, b. Lower pattern of the same. c. d. jNIould- 
 ings of the top and bottom of the same. e. f Projections on the buttresses at 
 the sides, g. Base-moulding of the same. h. Plan of half the niche, 
 i. Same, showing half of the arched ribs within the canopy, k. Basement of 
 the slender buttresses at the sides of the niche. 
 
 This delineation may be particularly useful in showing the manner of 
 attaching the lesser buttresses to the central one : for, even in such minute 
 details, the ancient artists were careful to adhere to the propriety of each 
 part, and the neglect of such propriety often spoils the consistency of modern 
 imitations. 
 
 Plate XXXIX. — Niches at Oxford. 
 
 The niche, or tabernacle, forms so conspicuous and characteristic an embel- 
 lishment of Gothic Architecture, that its design ought to be well understood 
 by the architect. Three specimens of the tabernacle are given in this Plate, 
 all resembling the stalls in the choirs of great churches. 
 
 The one at Merton College stands over the gate in the north front. The 
 statue represents king Henry III., the reigning sovereign at the time of the 
 foundation of the college. In a corresponding niche stands that of the founder, 
 in his episcopal vestments. The arms at the bottom, held by an angel, are 
 those of Henry V., in whose reign this part of the college was built by 
 the warden, Thomas de Rodeburne, afterwards bishop of St. David's, in 1416. 
 This is an excellent subject for imitation, being of graceful proportions, 
 and elegant in its details, without being very elaborate. 
 
 2. The second niche is one of three that adorn the front of the entrance- 
 tower to Corpus Christi College, built about the year 1516. This is not 
 a specimen of such good design as that from Merton College. The canopy 
 has an air of heaviness, though full of ornaments ; and the separation of 
 the corbel from the bases of the sides, makes the bottom of the tabernacle 
 look imperfect. The statue is wanting, as those of the other niches in the 
 same front also are. 
 
 in her left hand. The lion seated upon the top refers to the royal arms of England ; others of these 
 tabernacles bear the greyhound, &c. — See Glossary at die term Tymbre. 
 
TABERNACLES AND STALLS. 25 
 
 3. The third specimen is taken from the fine entrance-tower of All Souls' 
 College. The statue gives a characteristic portrait of the meek Henry VI., a 
 youth at the time of its erection, about 1440. The effigy of the founder, 
 archbishop Chicheley, occupies a similar niche on the other side. The archi- 
 tectural character of this tabernacle is similar to the first of the three, except 
 in having the statue raised upon a pedestal : the back of this niche is flat, and 
 its want of depth injures the elfect considerably ; the usual plan was a 
 hexagon, half recessed, and half projecting. 
 
 Plate XL. — (C.) Seat, or Stall, in Henry VH.'s Chapel, 
 
 Westminster. 
 
 The Stalls in Henry VH.'s Chapel have been severely censured in some 
 modern descriptions of that exquisite fabric : and it is true that they are not 
 worthy to be matched with it in all points, though many parts of them 
 are very beautiful*. 
 
 A. Front elevation of one of the lower stalls, with the desk of an upper 
 stall on the top. B. Elevation in profile of the same. a. Carved bracket 
 under the seat, representing the Judgment of Solomon between the two 
 harlots, with a soldier about to divide the living child, b. One of the lesser 
 carvings on each side ; the cause of contention, the substitution of the dead 
 child for the living one, is here represented with ludicrous simplicity : it 
 is exactly repeated on both sides, c. Compartment in front, under the desk. 
 d. Bottom part of the same. e. Figure of Henry VH. on a poop of the desk, 
 f. Section, at large, of the mouldings on the arms of the stall. 
 
 • The banners and helmets of the Knights of tlie Bath incumber the canopies of the stalls, and 
 hide part of the Architecture above them. The general view of the interior would be much finer if 
 the ailes were left open to the chapel, or at least only divided by open screens similar to some 
 further eastward: but the stalls are appropriate furniture, and were described in the Will of the 
 founder. The ailes of Henry VH.'s Chapel are extremely beautiful : that delicacy of ornament 
 which appears minute and feeble, when spread over the broad surfaces of the centre, or the exterior, 
 seems happily suited to these narrow dimensions ; but all perspective is defeated by huge and taste- 
 less monuments. What could be in worse taste than those of the celebrated queens, Elizabeth and 
 her victim Mary of Scotland ? It is strange that the late Mr. Pennant could coolly observe, in 
 speaking of these heroines, " The same species of monument incloses both, in this period of the revival 
 of the urts." [" Some Account of London"]. A phrase of more bitter irony could not have been 
 dictated, though the honest gentleman intended no such thing. The two statues of those queens 
 have considerable merit; but the Architecture over them is shockingly out of place, 
 VOL. II, E 
 
26 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 Plate XLI. — (D.) Canopy of a Stall in Henry VII. 's Chapel. 
 
 This canopy belongs to one of the upper or principal stalls. The design 
 seems to have been formed upon the idea of a turret, or tabernacle, perforated 
 with windows, and surrounded by pinnacles and flying buttresses. 
 
 Details to the elevation: — 
 
 a. Part of the tracery in the central tabernacle, b. Crocket of a flying 
 buttress, c. Crocket of a pinnacle, d. Moulding within the crockets, in 
 each front, e. Shaft supporting the canopy, f. Plan of the canopy, taken at 
 two different heights, as pointed out by the letters on the elevation, g. Plan 
 of half the canopy, on a large scale, showing the ribs of the arched roof, 
 hh. Sections of the shaft e., one on a larger scale than the other. 
 
 MISCELLANEOUS SUBJECTS. 
 
 Plate XLII. — Stone Pulpit in Worcester Cathedral. 
 
 In ancient times, sermons were commonly delivered in the open courts 
 of religious houses, the cloisters of cathedrals, &c. This pulpit is placed in a 
 corner of the outward court of Magdalen College, in front of the chapel*. 
 The mouldings are neat; but there is nothing of ornament about the work, 
 excepting the canopy, which is sculptured with the rose surrounded by rays, 
 a cognizance of Henry VI., and two branches of lilies, the favourite badge of 
 the founder, bishop William of Waynflete. 
 
 A. A. Plan of the pulpit, and of the door at the back, B. Section of the 
 mouldings in the lower projection. C. Plan of the canopy, with the flowers 
 in the soffit. 
 
 Plate XLIII. — Stone Pulpit, Magdalen College, Oxford. 
 
 This very curious pulpit was originally placed in the nave of Worcester 
 
 Cathedral, near to the west end ; from whence it was removed about the 
 
 middle of the last century, and affixed to a pillar on the north side of 
 the choir. 
 
 • The university used formerly to assemble here once a year on the festival of St. John 
 Baptist, when this pulpit was used, and the court decorated with green branches ; but of late 
 years the sermon has been preached in the chapel. The buildings of Magdalen College were 
 chiefly erected between the years 1470 and 1490. 
 
MISCELLANEOUS SUBJECTS. 27 
 
 The purity of its design has been violated by a mixture of modern orna- 
 ments, emblems*, &c. : the desk has been raised by the addition of a clumsy 
 cornice ; and a flat tester of wood, carved in a strange style, is suspended over 
 the top. The back represents the New Jerusalem, as described in the 
 Apocalypse; it is of oak, and apparently of the same age as the pulpit; the 
 tabernacle above it is imperfect. 
 
 An Elevation of the whole in front, and a Section of the whole, from front 
 to back, with a Plan of the pulpit, and a Plan of part of the sides on a 
 larger scale, constitute the subjects of this Plate. 
 
 Plate XLIV.— (U.) Cauved Chest. 
 
 This chest is a fine specimen of the rich and durable furniture with which the 
 chief apartments of ancient mansions and castles were furnished. Articles of 
 this sort used to be specified in wills, and to pass from generation to genera- 
 tion, till the lighter pieces of modern manufacture superseded these heir- 
 looms. It is very seldom that such fine architectural ornaments are seen on old 
 furniture : most of the old bedsteads and chests now remaining being covered 
 with enrichments of the mixed style, fashionable in the reigns of Elizabeth 
 and James If. Mr. Ormerod, in his interesting and valuable History, &c. of 
 Cheshire, Vol. III. p. 450, furnishes us with the following particulars respect- 
 ing this chest, in connexion with Nantwich Hospital: — 
 
 " It appears to have been one of the chests used to keep writings and 
 chalices, &c. &c. in ; and is about two feet broad by five in length, and 
 two feet nine inches in height. At each end are two compartments, and in 
 front five, all of which, except the central one, are sumptuously carved in 
 imitation of rich Gothic windows, with canopies, crockets, finials, buttresses, 
 and shrine-work. The ceritre represents the English coronation of Henry VI., 
 and the single rose occurs over the fleur de lis in the ornaments. 
 
 ** From this circumstance, as well as from the style of the Architecture, the 
 chest cannot be referred to the time of Henry VII., and is not likely to have been 
 
 * These are pompously described in Green's " History of Worcester ;" and the same account has 
 been copied in later descriptions. 
 
 t In Carter's " Specimens of Ancient Sculpture and Painting," a few articles of ancient furniture 
 are shown ; and some in his unfinished work on Ancient Architecture : a collection of such speci- 
 mens would be very useful, and serve to correct the vicious taste of modern Gothic inventions for 
 furniture. The front of a chest carved in a similar style to this, but filled with small figures of saints, 
 &c., is in the possession of George Holmes, Esq., F.S.A., at East Retford, Nottinghamshire. 
 
28 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 carved during the ascendancy of the Yorkists, intervening between Henry VI. 's 
 death in 1461, and the accession of Henry VH. The English coronation of 
 Henry VI. took place Nov. 6, 1429 ; but the date may probably be fixed, from 
 the insertion of the rose, between the breaking out of the civil war in 1455, 
 and the year 1461 before mentioned. 
 
 " One of the greatest peculiarities in the architectural details is the design 
 of the four pilasters, which appear originally to have had figures under the 
 canopies, and are ornamented with scales, arranged in the form of fasciae, 
 bends, or chevrons. Oak pilasters, of the same design, are introduced in 
 the choir screen of the collegiate church of Manchester, which is supposed to 
 have been erected by John Huntingdon, warden from 1422 to 1458." 
 
 No. 1. Elevation of one end. No. 2. Elevation of the whole front, with 
 a horizontal section, or plan. a. Compartment in the centre, under the lock, 
 drawn on a larger scale. The figures represent the Holy Trinity and the 
 Blessed Virgin, b. Part of one of the front compartments. The crockets are 
 elegantly turned ; and the tracery, resembling windows, is rich and beautiful. 
 c. Part of the tracery in the chief compartments, showing the manner of 
 its design ; with a section of its mouldings, d. Section of mouldings in 
 the frames of the compartments, e. Section of the central compartment, 
 f. Moulding of the gables, at large, g. One of the front pinnacles. 
 
 Plate XLV. — Triforium in the Nave of Westminster Abbey. 
 
 This Plate shows one division of the triforium, or middle story, in the nave of 
 Westminster Abbey : two such arches fill the breadth of each bay, giving 
 light to the roofs of the ailes*. The chaste style of architecture in this noble 
 church is deserving of great admiration. Unhappily the details of the outside 
 have mostly yielded to decay, and the eff'ect of the interior has been spoilt by 
 filling the lower parts with confused heaps of marble, now grown so numerous 
 that scarcely any one of them attracts particular notice : but wherever a 
 portion of the original architecture remains entire, traces of fine taste and 
 invention never fail to present themselves. 
 
 The plan and section show the double construction of the tracery. The 
 
 • The openings of the middle story have been blocked up in the modern improxemeiits of some 
 cathedrals, to the great injury of the interior view. Galleries for persons to stand in and see grand 
 processions, and other ceremonies, were frequently constructed over the ailes of great churches. — 
 See the word Nunnery in the " Glossary." 
 
MISCELLANEOUS SUBJECTS. 29 
 
 little columns at the back are raised by an additional basement, calculated for 
 the effect when seen from below. 
 
 a. Enlarged section of the front movildings. b. Some of those at the back, 
 c. Two of the squares, wrought with leaves, which enrich the spandrils * ; a 
 section is annexed to the front view. d. Head in a foliated crown, placed as 
 a termination to the outer mouldings of the arches. 
 
 Plate XLVI. — Turret and Gable of King's College Chapel, 
 
 Cambridge. 
 
 The chapel of King's College, Cambridge, has been as much celebrated as 
 any Gothic building in Europe, so that nothing need be said here respecting 
 the general character of its architecturef. This Plate represents the upper 
 part of one of the four lofty turrets which adorn its angles ; with a portion of 
 the adjoining gable. The turrets are carried up without any ornament as high 
 as the battlements of the roof, above which they are beautifully decorated, as 
 is shown in the Plate. The character of these decorations deserves a particu- 
 lar examination; the projections and recesses are bold and decisive, producing 
 a clear and distinct effect, even at the great height they are placed. The 
 fretted compartments in the sides are pierced quite through the walls, giving 
 light to the interior, and making the turrets appear very rich on the outside. 
 The armorial badges and crowns refer to Henry VH., who contributed very 
 largely to the completion of the structure, though it was not effected in 
 his days. 
 
 A. Plan, taken in the lower compartment of the elevation. B. One corner 
 of the same, on a larger scale. C. Mullion. An enlarged elevation of the 
 Cross upon the crest of the gable. 
 
 Plate XLVH. — (G.) Vaulted Roof in St. Saviour's Church, 
 
 SOUTHWARK. 
 
 This specimen of an arched roof exhibits the simplest form of groining; but, 
 plain as it is, the practical architect will feel interested in examining the prin- 
 
 * This sort of enrichment was commonly applied to flat surfaces in the architecture of Edward 
 the First's reign, which was a period of good taste. The Crosses erected in honour of queen Eleanor 
 are thus enriched. The screen in front of the choir of Lincoln Minster is entirely covered in this way 
 between the mouldings : it was erected in the reign of Edward II. The next variety of style had 
 less of foliage in its ornaments, and more of tracery. 
 
 t See the Plates, contracts for building, descriptions, &c. of this magnificent structure, in 
 
i 
 
 \ 
 
 30 SPECIMENS OF GOTHIC AKCHITECTURE. 
 
 ciples of such constructions, which have been exactly laid down in this 
 specimen, with the curvature of the ribs, the inclination of the intermediate 
 courses towards the centre of the groin, &c. It is taken from the low ailes, 
 eastward of the choir of St. Mary-Overy's, or St. Saviour's, Church, built in 
 the 13th century. A part of this church is now rebuilding in close imitation 
 of the original work, under the superintendence of G. Gwilt, Esq., architect. 
 
 Plate XLVIII. — Capitals and Bases of Pillars. 
 
 These specimens are all of a plain description, the capitals being finished 
 with mouldings only, without foliage. No. 2 belongs to the arched roof, 
 shown in the last Plate. The three others are all of later style. The manner 
 in which the arches are set upon the pillars will be found carefully marked, 
 and the size and form of the shafts of each pillar*. 
 
 Plate XLIX. — (P.) Capitals enriched with Foliage. 
 
 Four specimens of foliated capitals are here displayed, with their respective 
 bases. It may be useful to observe, that in designing a capital of this sort, 
 the corps, or solid part, ought to be proportioned before any ornaments of 
 leaves, flowers, &,c. are applied : a small neck-mould is required to distinguish 
 the capital from the shaft, and over the leaves a hood-mould, such as that 
 marked e. in the second specimen. By comparing the letters on the 
 sections with the corresponding ones on the elevations, the whole will be 
 clearly explained. Nos. 1 and 2 are of the latter end of the 14th century ; 
 No. 3 of the early part of the same, or the end of the 13th ; and No. 4 of the 
 beginning of the 13th century. 
 
 Britton's " Architectural Antiquities," Vol. I. 4to. : Lysons' " Magna Britannia," Cambridgeshire: 
 and Harraden's " Cantabrigia Depicta." 
 
 * The columns, or, to use the ancient English term, pillars, of buildings of the middle ages, were 
 never tapered upwards, after the Greek manner ; and their architects showed a sound judgment in 
 preferring the perpendicular form ; since their pillars were always surmounted by arches, whereas, 
 those of the Greeks were overlaid with straight entablatures. A few examples of arches, springing 
 from tapered columns, are found in Roman buildings of degenerate times; and several modern 
 instances of this practice might be mentioned, chiefly of a date when Roman architecture was but 
 imperfectly understood. The quadrangle within the Royal Exchange, London, and the portico 
 under the Library of Lincoln Minster, both works of Sir Christopher Wren, are perhaps the latest 
 examples. The eflect is very bad, the small necks of the columns appearing ready to break under the 
 weight of the arches. 
 
MISCELLANEOUS SUBJECTS. 
 
 31 
 
 Plate L. — Brackets and Sculptured Ornaments at Oxford. 
 
 Nos. 1 and 4 are finials of two pinnacles. 2. a grotesque mask, upon the 
 crossing of two ribs. 3, 6, 9, 10, 11, and 12, are enrichments of cornices. 
 5, 7, 8, pateras, or compartments of leaves, which may be variously applied. 
 13, 14, two rich corbels ; the first sculptured with the figure of an angel, 
 holding a shield * ; the second with leaves, after the form of the capital of a 
 column. 
 
 Plate LI, — ^ (Y.*) Sculptured Ornaments from Westminster Abbey. 
 
 A. A specimen of cornice, in which the casement is covered by a running 
 pattern of foliage, fruit, &c. The projections of the mouldings are shown on 
 the section. B. and C. Two other patterns of similar work. D. E. F. G. Spe- 
 cimens of knots on the intersections of ribs, in roofs. These are all shown in 
 profile, as well as in front. In E. the letters IHS, an abbreviation of the 
 sacred name Jesus, are wrought amongst the foliage. 
 
 Plate LII. — (F.) Cornices from Westminster Abbey and 
 Henry VII. 's Chapel. 
 
 The mouldings of all these cornices take the same turn with that in the 
 preceding Plate : each consisting of a casement, at the principal moulding, 
 with an astragal, or other small projection at the bottom, and a larger projec- 
 tion above the casement : generally this was an ogee, but variously turned. 
 The sections of these specimens are drawn on a larger scale than the front 
 vievP^s, the better to show the turns of the mouldings. 
 
 Nos. 1, 2, and 4, have crests of small battlements above the cornices, 
 and their casements are studded with small ornaments of entail, set at 
 intervals. Nos. 3 and 5, have crests of leaves, arranged according to a pattern 
 of great elegance, and which was very frequently used in the 15th century. 
 The crest of No. 6 appears to have been broken off". This specimen being of 
 wood, the entail is worked on a thin piece, inserted afterwards into the 
 casement. 
 
 • It seems remarkable that the pious notions of those times were not shocked at the idea of 
 an angel being put to such an office ; those celestial beings were very properly represented as 
 playing on musical instruments in churches, or holding scrolls inscribed with some holy text; 
 but the attributes of chivalry ought never to have been applied to them. 
 
32 SPECIMENS OF GOTHIC ARCHITECTURE. 
 
 Plate LIII, — (Q.) Chimney Piece in Queen Elizabeth's Gallery, 
 
 Windsor Castle. 
 
 An architect being sometimes called upon for a design in the mixed style, 
 prevalent in England in the reigns of Elizabeth and James I., one specimen 
 has been delineated. It is impossible to deny the grand effect of this 
 elaborate composition, though nothing could be more misapplied than the 
 Doric triglyphs and Ionic columns, which appear amongst the principal 
 features. The most striking fault was committed in placing two such little 
 spindling pilasters, under so huge a mass of ponderous ornaments : we know 
 that they really have nothing to support ; but to the eye they appear loaded 
 with the whole weight*. 
 
 A. Elevation of the front. B. C. Vertical sections, showing the projec- 
 tions of the columns, pilasters, &c. a. Plan of one half of the upper story, 
 under the imposts, b. Same, above that moulding. 
 
 Plate LIV. — (H.) Details of the Chimney Piece in Queen 
 Elizabeth's Gallery. 
 
 A. One of the pilasters at the sides of the fire-place. An architect of Athens, 
 or ancient Rome, would have been astonished, could he have been shown such 
 a piece of architecture, thus covered with a mixture of drapery, scrolls, a lion's 
 head, &c., and hung about with bunches of carrots and turnips. Undoubtedly, 
 however, they//;e taste of this composition was highly commended when it was 
 new. B. Profile of the same. C. Projection of a pedestal of the upper 
 order, with the cornice, he. beneath it. D. Front of the same. The crovt^ned 
 dove probably had some allusion to the virgin queen, or to peace under her 
 reign. E. Arch of the niche in the centre, with the capital, &c. over it. 
 F. Column of the upper order, with its entablature and plan. G. Compart- 
 ment in the centre of the mantle-piece, fretted with scrolls, fruit, the royal 
 cypher of Elizabeth, &c. H. H. H. H. Four armorial crests, introduced into 
 the metopes of the Doric frieze. 
 
 • See Britton's " Architectural Antiquities," Vol. II. 
 
INDEX. 
 
 The Arabic numerals refer to the printed page, of description: the small Roman figures, or letters, to the pages of the Introductory 
 
 Remarks, and the letters alter PI. to the number of the Plate. ««roauciorj 
 
 All-Souls' College, Oxford, doorway of, 12,13, PI. XXI (S ) 
 XXII. '^ '^ 
 
 Angels holding shields, remarks on, 31. 
 Anglo-Norman sti/le, period of, xi. 
 Anglo-Saxon style, period and distinguishing marks of, xi. 
 
 Bases, specimens of, 30, PI. XLVII. 
 Bracket under seat, 23. 
 
 at Oxford, 31, PI. L. 
 
 Brazen-Nose College, Oxford, part of Tower, 17, Pi. XXX. 
 
 Canopy of stall, Henry VII.'s Chapel, 26, PI. XLI. (D.) 
 Capitals, specimens of, 30, Pis. XL VIII. and XLIX. 
 Casement, 31, PI. XLI. (Y.) 
 
 Chapel of Henry VIL, niche in, 23, PI. XXXVIII. (T.) 
 , remarks on, 25. 
 -, ornaments from, 31, PI. Lll. 
 
 Fotheringhay, curious gateway at, 12, (note). 
 Fonthill Abbey, inconsistency of its architecture, xxii. 
 Freemasons not able to elucidate the Gothic style, xxi. 
 
 Gables at Hampton Court, 2, PI. II. 
 
 King's College Chapel, 3. 
 
 Gelnhausen Church, its style and date, xvi. 
 
 German churches, dimensions of compared with those of 
 
 other countries, xvi. xvii. 
 Gothic Style, (early), examples of, xii. 
 
 , (pure), examples of, xiii. 
 
 ', (ornamented), examples of, xiv. 
 
 (D.) 
 
 , canopy and stall from, 26, PI. XLI. 
 
 — > bracket under seat, 25. 
 
 > seat or stall, 25, Pis. XL. (C.) and 
 XLII. (G.) 
 
 King's College, turret and gable of, 29, Pi. XLVI- 
 
 Chest, carved, account of, 27, PI. .\HV. (U.) 
 
 Chimney piece, queen Elizabeth's gallerv, 32, PI. LlII (S ) 
 
 and Details, LIV. (H.) 
 Chimney shafts, Hampton Court, 3, Pis. III. (C) and 
 
 Christ Church, Oxford, doorway of, 10, PI. XVIII. (K.) 
 Columns and pillars, remarks on, 30. 
 Corbels atOxtbrd, 31, PI. L. 
 
 Cornices from Henry VII.'s Chapel and Westminster 
 Abbey, 31,P1. LII. (F.) 
 
 Cotman's Arthitectural Antiquities of Normandy, observa- 
 tions on, XV. 
 Crests of leaves, 31, PI. Lll. (F.) 
 
 Decorated style, period of, xvii. 
 
 Doorways— All Souls' College, 12 ; Christ Church, 10 ; 
 Hampton Court, 7; Hotel de Guise, 13; Iffley Church, 
 9; New College, 14; St. Mary's Church, 14; St.' 
 Saviour's Church, 9 ; St. Stephen's Chapel, 15; Edward 
 the Confessor's Chapel, 14; Abbot Islip's Chapel, 22. 
 
 English architecture, remarks on the term, x. 
 Entail, specimens of, 31, PI. LI. 
 VOL. II. 
 
 , (florid), examples of, xv. 
 
 , difficulties in imitating, xix. — xxii. 
 
 -, its complexity, xx. 
 
 , modern, remarks on, xviii. 
 
 Groining to arch at Hampton Court, 4, PI. VII. (X.) 
 ■ St. Saviour's Church, 29, PI. XLVI. 
 
 Hampton Court Palace, account of, 1. 
 
 ■ , parapet and turrets over the 
 
 western entrance, 2, PI. I. (A.*) 
 
 ■ • — ) gables of the great hall and west 
 
 front, 2, PI. II. (B.») 
 
 J chimney shafts in the first court 
 
 3, PI. IIL (C) IV. (Z.) 
 
 ) part of the inner court, 3. 
 PI. V. (H.') ' ' 
 
 , oriel window, 4, PI. VI. (W.) 
 — , modernized gate at, remarks 
 
 , arch and groining to second gate- 
 
 on, 4, (note). 
 
 way, 4, PI. Vn.(\.) 
 
 ) great hall, 5 ; transverse section 
 of Its roof, Pl.VJU. (A.); longitudinal section.Pl. IX. (B.) 
 
 . music gallery in great hall, 6; 
 elevation of, PI. X. (V.) 
 
 ■ ) doorway in great hall, 7, PI. XI. 
 
 , modern alterations in great hall, 
 6, (note). 
 
 , elevation of the oriel, and two 
 other windows in the withdrawing chamber, 7, PI. XII. 
 (D.*); ceiling, plan, and section of ditto, PI. XIII. ; 
 tapestry of ditto, 7, (note). 
 
 > engraved views of, mentioned, 
 6, (note). 
 
34 
 
 INDEX. 
 
 H6tel de Guise, Calais, doorway of, 13, PI. XXI. (S.) XXII. 
 
 Iffley Church, observations on, 9; south door ol', PI. XVI- 
 
 (T.) 
 Ishp (abbot) his erections in Westminster Abbey, 2;.' ; 
 
 ancient drawings respecting, 2'2, 23, (note). 
 
 King's College, gateways of, 11, PI. XX. 
 Chapel, turret, &c., from, 29, Pi. XLII. 
 
 Lincoln Minster, the richest specimen of pure Gothic, xiii. 
 
 Werton College, doorway of, 10, PI. XVIII. (E.) 
 Moller's " Monuments of Gerniiin Architecture," obser\a- 
 tions on, xv. xvi. xvii. 
 
 New College, doorway in the cloisters of, 14, PI. XXIV. 
 
 Niche, usual plan of, 25. 
 
 Niches at Oxford, 24, PI. XXXIX. 
 
 Oriel. See Window. 
 
 Parapet, Hampton Court, 2. 
 
 Pavilion at Brighton, xix. 
 
 Pearce (bishop), censured, 18, (note). 
 
 Perpendicular English style, remarks on the term, xiv. 
 
 , not found in France, and 
 
 rarely in Germ:iny, xvii. 
 
 Pointed arch, compound, xiv. 
 
 • , date of its prevalence, xii. 
 
 — — , remarks on its origin, x. 
 
 Pointed style, appellations of, xii. — xv. 
 
 ■ , improvements of, in the 13th and 14th cen- 
 turies, xiii. 
 
 Pulpit of stone, Magdalen College, Oxford, 26, PI. XLII. 
 
 , Worcester Cathedral, 26, PI. XLIII. 
 
 Romanesque, remarks on the term, xii. 
 
 Roof of the hall of Hampton Court, PI. VIII. IX. 
 
 Salisbury style, terra proposed, xiii. 
 
 Seat or stall, Henry VII.'s Chapel, 25, PI. XL. (C.) ; 
 
 canopy of ditto, 26, PI. XLI. (C.) 
 St. Katherine's Church at Oppenheim, account of, xvi. 
 St. John Baptist's Church, Oxford, account of, 15, 16, 
 
 (note). 
 
 St. Mary's Church, Cambridge, doorway on the north 
 
 side of, 14, PI. XXIII. 
 St. Mary's Church, Oxford, 8 ; steeple of, ib. (note) ; 
 
 transverse section of nave and south aile, PI. XIV.; 
 
 compartment of the south side of the nave, PI. XV. 
 St. Michael's Church, Oxford, porch of, 10, PI. XIX. 
 St. Saviour's Church, Southwark, western door of, 9, 
 
 PI. XVII. (K.*) 
 St. Stephen's Chapel, doorway in the vestibule of, 15, 
 
 PI. XXV. 
 Statue of King Henry VI., 25. 
 
 Triforium in the nave of Westminster Abbey, 28, PI. XLV. 
 Trinity Church, Cambridge, porch of, 11, PI. XIX. 
 Turner's " Tour in Normandy," design of, xv. 
 Turret, King's College Chapel, 29, PI. XLII. 
 , Hampton Court, 2, PI. I. 
 
 Vaulting in St. Saviour's Church, Southwark, 29, 
 PI. XLVII. (C.) 
 
 Ulm, High Church of, xvi. 
 
 Westminster Abbey, triforium in nave of, 28, PI. XLV. 
 
 , its chaste style of architecture, 28. 
 
 , sculptured ornaiiients from, 31, 
 
 PI. LI. (Y.) 
 , cornices and ornaments from. .See 
 
 Chapel of Henry VII. 
 , door in the screen of Edward the 
 
 Confessor's Chapel, 14, PI. XXIV. 
 
 -, sepulchral monuments — of Prince 
 
 John of Eltham, IS, PI. XXXI. (J.); of King Ed- 
 ward III., 19, PI. XXXII. (L.); of King Henry V., 19, 
 Pis. XXXIII. XXXIV.of bishop Dudley, 21, PI. XXXV. 
 (M.); of abbot Eascet, 21, PI. XXXVI. 
 
 , doorway and screen of abbot Islip's 
 
 Chapel, 22, PI. XXXVII. (J.») 
 
 Windows from different churches at Oxford, 16, PI. X.WI 
 (G.) 
 
 Window, circular, or Catherine-wheel, 15, PI. XXVIL (K.) 
 
 , from King's College and Bediol College, 16, 
 
 PI. XXVIII. 
 
 , oriel, in Jesus' College, Cambridge, 17 
 
 PI. XXIX. 
 Wyatt (James), on his alterations, xviii. 
 
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