THE 
 
 ANCIENT ARCHITECTURE 
 
 OF 
 
 ENGLAND, 
 
 INCLUDING THE ORDERS DURING 
 
 THE BRITISH, ROMAN, SAXON, AND NORMAN ERAS; 
 
 AND UNDER THE REIGNS OF 
 
 HENRY III. AND EDWARD III. 
 
 ILLUSTRATED BY ONE HUNDRED AND NINE ENGRAVINGS. 
 
 JOHN CAETEE, F.A.S. 
 
 A NEW AND IMPROVED EDITION WITH NOTES AND COPIOUS INDEXES, 
 
 BY 
 
 JOHN BRITTON, ESQ., F.S.A., Etc. 
 
 AUTHOR OF THE ARCHITECTURAL AND CATHEDRAL ANTIQUITIES OF GREAT BRITAIN, AND OF VARIOUS OTHER GRAPHIC 
 ILLUSTRATIONS OF BRITISH TOPOGRAPHY AND ANTIQUITY. 
 
 LONDON: 
 
 HENRY G. BOHN, 4 YORK STREET, COYENT GARDEN. 
 
 (REPRODUCED FROM THE ORIGINAL PLATES) 
 
 1887 . 
 
PREFACE. 
 
 Whilst so many professional men have presented to the world systematical illustrations of 
 Roman and Grecian Architecture, the study of the Ancient Architecture of this country has, in a 
 manner, been wholly disregarded : except by some artists, who, struck with the picturesque 
 beauties of our castellated, and religious buildings, either in a state of repair, or in ruins, have 
 published them in a variety of engravings, in geometrical plans, elevations, or perspective views. 
 These efforts seem to answer no other purpose than merely to give satisfaction to the admirers 
 of scenic effect, or to the collectors for county histories, &c. Of late, the Society of Antiquaries 
 have gone more into these pursuits, by bringing into notice our cathedrals, made out by plans, 
 elevations, sections, &c. drawn to a large scale, yet without entering on any regular system, so 
 as to advance the knowledge of the rise and progress of their various styles of workmanship. 
 And further, no one has hitherto endeavoured to prove, that the species of design, wherein the 
 Pointed Arch is the most prominent feature, and all its attendant peculiarities, which bear so 
 great a share in the above edifices, originated in England; having been deterred from the trial 
 probably by an assertion, arising from vulgar prejudice, that such Architecture is an importation 
 from foreign climes. True it is, that in many countries, there are faint traces of this mode of 
 work, such as the simple outline of the pointed arch, and a few other particulars; yet those are 
 materially different in the mass of building from the remains within our island. Allowing that 
 in Normandy many structures bear strong resemblance to those which ennoble this kingdom: 
 still such structures, it is well known, were erected by Englishmen. In Flanders, there are also 
 copies from our originals, copies taken evidently on the same principle as that on which we have 
 endeavoured to proceed in imitating the Roman and Grecian methods of building, which, 
 though tolerably correct in some instances, yet in others shew a want of true style, and strict 
 attention. 
 
 The disregard evinced for more than a century past towards our National Architecture, and 
 that contempt in which the genius of our ancestors has been held, first arose from the introduction 
 of fantastic, new-fangled, designs in Architecture, brought from the Continent in the sixteenth 
 century; a love of novelty being the characteristic of that age. In the seventeenth century, the 
 popular architects, by their writings , 1 and by their constant endeavours to transform, and disfigure 
 the old magnificent fabrics , 2 gave the final blow to the feeble veneration then left for our anti¬ 
 quities. In these days an attention to such subjects is revived, in the minds of a few, who, by 
 every means consistent with men of learning and true discernment, seek to preserve, and hold 
 them up to general estimation ; at the same time that an affected sort of respect among profes¬ 
 sional people is set forth, under the specious pretext of restoring our cathedrals, and other 
 splendid works: we see, by what they have done , 3 that the desire for free liberty to make an 
 entire change in the first arrangements of these piles, in chapels, tombs, &c., in order to bring forth 
 their own ideas of church decoration, and church parcelling out is the sole end, and aim, of all 
 their undertakings. Nay, their mock partiality is more fully expressed, by foisting on the 
 uninformed, their unclassical and grotesque designs, which they pretend are after the manner of 
 our Ancient Architecture; thus deceiving and misguiding the conceptions of those who are 
 induced to credit and encourage such vague and uncertain labours . 4 
 
 Witnessing these errors on every side, and being anxious to do away, though but in the smallest 
 degree, this false taste, and to lay down a system to guide in some measure those desirous of 
 being instructed; I have presumed to produce, in this Architectural Collection, examples taken 
 from our ancient buildings, in different parts of the kingdom, by actual drawings, and measure¬ 
 ments, necessary to elucidate and establish the same. 
 
 To enter on our Treatise in a regular manner, and prove the native growth of the Pointed Arch 
 style of Architecture among us, the first part of this work is divided into the distinct orders of 
 Architecture prevailing during the British, Roman, Saxon, and Norman teras. Of the materials 
 relating to the two first dominions, few specimens remain; but of those appertaining to the 
 two latter, the specimens are numerous, and magnificent: hence, by these means, the two orders, 
 the Saxon and Norman, are made out into classes, to shew their several degrees of workmanship, 
 from the plainest performance, up to the highest portion of embellishment. 
 
 The absolute necessity of a publication of this nature being set about at this hour, will be 
 evident to many, when the unrestrained rage given way to on all occasions, either for a partial 
 alteration of the features of our ancient edifices, or for their entire demolition, is considered. In 
 a few years more, a compilation of this sort would have been impracticable, or at best imperfect 
 and unsatisfactory. I have looked for the joint concurrence of my professional brethren in for¬ 
 warding this undertaking, but in vain. They (some few excepted) who, for the glory of their 
 
 1 Sir C. Wren, Evelyn, &c. s Old St. Paul’s, ifcc. 
 
 * Examine the efforts in this way, in various parts of the kingdom. 
 
 3 Salisbury, Litchfield cathedrals, &c. 
 
PREFACE. 
 
 country should have been the most forward in rendering due honour to the traces of departed 
 genius and inviting the restoration of long neglected science, turn from the investigation, and bid 
 the unavailing theme be heard no more ! And why ? The greater part of our Architects seem to 
 have come to a determination of never slavishly adhering to the Architecture of their ancestors, 
 (although at times imperious commands may urge them to give designs on such plans), but of 
 altering and improving each particular, according to modern taste, and modern skill. Others too 
 there are who from an unconquerable and fixed aversion for our Antiquities, maintain, that such 
 fabrics as were raised for purposes incompatible with the manners of the passing day, ought not 
 in any wise to find too near an interest in our breasts, lest they might cause, in susceptible minds, 
 
 returning sympathy, or too pious a regard. , . ,, ,. . , , „ , 
 
 Which way soever the balance of true decision inclines, I yield to public opinion, and shall at 
 the conclusion of the Second Part of this Treatise, (if the all-powerful Ruler of men’s actions 
 permit me to arrive at that period,) retire with this consolation, not to be taken from me : that 
 iny exertions have been employed for the glory and elucidation of our ancient Architecture, and 
 bestowed as a tribute of gratitude to the memories of the founders and builders of our august 
 and venerable structures, civil, military, and ecclesiastical. 
 
 JOHN CARTER. 
 
 Fnoumsnra Vi.w of Port of th. Remain. of th. Wool Front of the Abbey Church of M.lm.aburj, Wiltohiro, founded 675. The Intor- 
 ■oction of th. Semi-circular Aroho. clucidat.. tho Origin of th. Pointed Arch. In th. di.t.nc. i. th. Window of th. present West Front 
 erected circa Henry VIII. 
 
CONTENTS. 
 
 PART I. 
 
 Part of the remains of the west front of the Abbey 
 church, Malmesbury, Ac. . . Frontispiece 71 
 
 Doorway, St. Mary, Redcliff church, Bristol 
 
 Title Page 71 
 
 Nine Ladies, and Erections ou Miningle-low-hill, near 
 
 Winster, Derbyshire ..11 
 
 Stonehenge, Wilts ....... 2 2 
 
 Part of a column near Leicester. Roman walls . 5 4 
 
 Hypocaust, Cirencester ..6 5 
 
 Jewry wall, Leicester.7 6 
 
 Altars and a Basso-relievo, from Northumberland, now 
 in the library, Durham cathedral. Altar at Bath. 
 Basso-relievo, from Northumberland, now in Trinity 
 
 College, Cambridge.9 11 
 
 Cells—in CratclifF, near Winster, Derbyshire ; in the 
 rocks, Nottingham . . . . . . 12 12 
 
 Gateway, and connected recesses, Southampton . 13 13 
 
 St, Botolph’s priory, Colchester . . . . 15 16 
 
 Exeter castle . . . . . . . . 16 17 
 
 Sherborn castle, Dorset ..19 21 
 
 Crypt of the castle, Newcastle.21 23 
 
 Keep, Conisborough castle, Yorkshire . . . 23 26 
 
 Holy-water basins — Gloucester cathedral; Rumsey 
 church, Hants; Great Gidding church, Huntingdon ; 
 
 Hexham church, Northumberland . . . 27 32 
 
 Altar of St. Bede, and bishop’s chair for instalment, 
 
 Durham cathedral . . . . . . 29 32 
 
 Outworks, Leeds castle, Kent. 37 42 
 
 Sally-port, or Mortimer’s Hole, Nottingham castle. 
 
 Tower and Landgate, Winehelsea. Chamber, 
 Kenilworth castle, Warwick. Cell in palace, West¬ 
 minster. Kitchen, Raby castle, Durham. Lava¬ 
 tory, Wells cathedral. 37 43 
 
 Chimney-piece, Ashby-de-la-Zouch, Leicestershire. 
 
 Recesses—Canterbury cathedral; on the bridge, 
 
 Barnard’s castle, Durham . . . . . 39 44 
 
 Seat, Abbey church, St. Alban’s. Freed-stool, 
 
 Beverly minster. Tables—Luterell psalter; in 
 basso-relievo, Great Malvern church, Worcester. 
 
 Chests—Bishop’s palace, Durham; sacristy, Wells 
 cathedral. Crosses — from painting, Hexham 
 church, Northumberland ; Shaftsbury. Stone 
 coffins — Abbey church, Pershore, Worcester; 
 
 Abbey church, St Alban’s; from Woodstock; 
 Winchester cathedral. Serpentine cornice, White 
 Friars, Coventry. Chalice in Abbey church, St. 
 
 Albau’s. Cup Sculptured on Prior Richard’s chapel, 
 
 Hexham church . . . . . . . 39 45 
 
 Allington castle. Gateways — G'arisbrook castle, Isle of 
 Wight; water gate, Southampton; St. Owen’s, 
 
 Hereford; St. George’s, Stamford. Palace, Henry 
 I. Oxford. Chamber St. Mary hall, Coventry . 40 47 
 
 Walls, Southampton. Sally-port, Exeter castle. 
 Gates—Couisford, Beer-street, Brazen doors, St. 
 Stephen's, St. Giles’s, St. Bonnet’s, St. Martin’s, St. 
 Austin’s, Fill-bridge, Pockthorpe, Bishop’s ; Broad 
 tower; the Old-boon; Norwich. White castle, 
 
 Monmouth . . . . . . . . 41 48 
 
 Castles—Crick-Howel, Brecknockshire; Abergavenny, 
 
 Monmouthshire; Goodrich, Herefordshire . . 41 49 
 
 Chepstow castle and gateway, Monmouthshire . 42 50 
 
 Martin’s tower, Chepstow, and Caldicot castle, Mon¬ 
 mouthshire . .. 43 51 
 
 Avenue adjoining St. Helen’s church, London. Angle- 
 sea abbey, Cambridgeshire. Laud-gate, Rye, Sussex. 
 
 Westgate, Winchester . . . . . . 43 52 
 
 Gateway, Hexham castle, Northumberland. Raby 
 
 castle, Durham. 43 53 
 
 Gateway, Newcastle. Lumley castle, and Bishop’s 
 palace, Durham . . . . . . 44 54 
 
 Interior of the great kitchen to the monastery, 
 
 Durham cathedral . . . . . 45 55 
 
 Recesses in edifice adjoining St. Helen’s church, 
 
 London. Holy-water niches—Egham church, 
 
 Surrey; Hexham church, Northumberland; Crick- 
 Howel church, Brecon; Hitchenden church, Bucks; 
 Longuoville church, Northampton ; Abergavenny 
 church, Monmouth. Crypt, Gloucester cathedral; 
 
 Chepstow castle, Monmouth; Burford church, 
 
 Oxford. Altars—Priory church, and Prior Richard's 
 chapel, Hexham; Luterell psalter. Seats — Here¬ 
 ford cathedral; Luterell psalter; from painting, 
 
 Hingham church, Norfolk. Desks for prayer— 
 painted in Hexham church ; sculptured on a tomb, 
 
 Raby church, Durham. Table, Luterell psalter. 
 
 Chest, Hexham church . . . . 46 58 
 
 Tombs—Salisbury cathedral; Laycock nunnery, Wilts; 
 
 Rippon minster. Stone coffins—Wells cathedral; 
 painted in Luterell psalter. Lamp, Wells cathedral. 
 
 Chalice, Salisbury cathedral. Buttress, Southamp¬ 
 
 ton. Hanging buttress on walls of Close, Salisbury 
 
 cathedral. Hanging parapet, Raglan castle, Mon¬ 
 mouthshire. Hand-rails to stair-oases—Salisbury 
 cathedral; Abbey church, St. Albnn’s . . . 47 59 
 
 Conduit, near Gloucester. Arches in the wall, Bury, 
 
 Suffolk. Laver in York cathedral. Chapter-house, 
 
 Durham. 48 60 
 
 Buildings near Peterborough. Abbey-gate, Reading. 
 
 Monmouth castle. 48 61 
 
 Ouse bridge, York. Warwick castle. . . . 49 62 
 
 Castle and Chimnies, Chepstow. West gateway and 
 south side of close, Peterborough minster . . 49 63 
 
 Groins in edifice adjoining St. Helen’s church, London 50 64 
 
 Bishop’s palace, Farnham, Surrey. Kitchen, St. 
 
 Mary’s hall, Coventry.51 65 
 
 St. Robert's chapel, Knaresborough, Yorkshire . . 52 67 
 
 Crypt, Grantham, Lincolnshire. 52 68 
 
 Crypt, Waverley abbey, Surrey. Chapter-house, 
 
 Llandaff cathedral, Glamorganshire. Avenue and 
 
 crypt, Wells cathedral. 52 69 
 
 Ashby-de-la-Zouch castle, Leicestershire . . . 53 70 
 
 Holy-water niches — Abbey church, Glastonbury, 
 
 Somersetshire; Salisbury cathedral . . . 56 76 
 
 Monuments—Tickencote church, Lincolnshire; Salis¬ 
 bury cathedral. 56 77 
 
 King John’s cup, King’s Lynn, Norfolk . . . 56 78 
 
 PLANS, ELEVATIONS, SECTIONS, 
 AND THEIR DETAIL OF PARTS. 2 
 
 Nine Ladies and Erections on Miniugle-low hill, near 
 Winster, Derbyshire ...... 
 
 Stonehenge, Wilts ....... 
 
 Roman walls—Brough, near Castleton, Derbyshire; 
 Northumberland; Vemlam, near St. Alban’s. 
 Foundation of a Roman bridge, Northumberland . 
 
 Hypocaust, Cirencester. 
 
 Jewry Wall, Leicester .. 
 
 Temple, Bath. Fragments composed into an order, 
 according to the Corinthian style .... 
 
 Archways—East Dereham church, Norfolk; Abbey 
 church, Westminster, London ; York ; Hitchenden 
 church, Bucks ; Southwell minster, Nottingham . 
 External and internal divisions, Abbey church, St. 
 Albau’s ........ 
 
 Archways — Peterborough cathedral; Stamford ; 
 Priory church, Clerkenwell, London. Flying 
 gallery, Gloucester cathedral . . . 
 
 Internal divisions—St. Botolph’s priory, Colchester; 
 Gloucester cathedral; Canterbury cathedral; 
 Christchurch, Aldgate, London .... 
 
 Towers — Abbey church, St. Alban’s. Internal 
 division, Winchester cathedral .... 
 
 External and internal divisions, Durham cathedral . 
 Internal divisions, Abbey church, St. Albau’s . 
 Avenue, Gloucester cathedral. Colonnade, St. Peter’s 
 church, Northampton. Arcade, Rochester cathedral. 
 External division, Christchurch, Aldgate, London . 
 Interior of chapel in the Tower, London . 
 
 Internal division, St. Bartholomew the Great. Ditto, 
 East front, Tickencote church, Lincolnshire . 
 
 West front, St. Leonard’s chapel, Stamford 
 Porch, Sherbom minster, Dorset .... 
 
 Chapel, Bishop’s palace, Durham .... 
 
 Internal division, Oxford Cathedral .... 
 
 Internal divisions—St. Nicholas’s chapel, near Canter¬ 
 bury; ruined church, north side of Canterbury 
 cathedral. Stairs to Registrar’s office, Canterbury 
 
 cathedral . . . . 
 
 Remains of west front, St. Augustine’s abbey church, 
 
 Canterbury cathedral .. 
 
 External recess, Peterborough cathedral. Internal 
 recesses—Rumsey church; Canterbury cathedral. 
 Internal division, Allwaltou church, Huntingdon. 
 External aud internal divisions and arch, St. 
 Joseph of Arimathea's chapel, Abbey church, 
 Glastonbury, Somersetshire ..... 
 Internal division, Canterbury cathedral . 
 
 Arches, Winchester cathedral ..... 
 West front, Priory church, Dunstable, Bedfordshire . 
 Examples of walls — Abbey church, Westminster; 
 Durham and Savoy palaces, London; Tamworth 
 castle, Staffordshire; Wells cathedral; relic of 
 palace, Woodstock, Oxfordshire; Coventry. Arch, 
 Allington castle, Kent. Internal arch, Canterbury 
 cathedral. Outworks, Leeds castle, Kent 
 Remains of Priory church, Coventry. Hanging but¬ 
 tresses — Priory church, Coventry; Lambeth 
 
 palace, Surrey. 
 
 Old Bridge, Exeter. 
 
 Gateway, Leeds castle, Kent. Avenue, Wrotlinm, 
 church, Kent ....... 
 
 1 1 
 
 2 2 
 
 5 4 
 
 6 5 
 
 7 6 
 
 9 10 
 
 13 13 
 
 14 14 
 
 14 15 
 
 15 16 
 
 16 17 
 
 17 18 
 
 18 19 
 
 21 23 
 
 22 24 
 22 25 
 
 24 27 
 
 25 28 
 
 25 29 
 
 26 30 
 
 32 36 
 
 33 37 
 
 34 38 
 
 35 40 
 
 37 43 
 40 46 
 
 41 
 
 47 
 
 1 Objec 
 
 iwu geometrically. 
 
VI 
 
 CONTENTS. 
 
 Caldicot oaatle, Monmouthshire ■ 
 
 Avenue, Canterbury cathedral. 
 
 Gate of entrance, Lumley castle, Durham. Gateway, 
 Christchurch, Aldgate, London . . • • 
 
 Exteriors—Prince’s chamber, Westminster ; tower of 
 
 _church, near Abergavenny; chapel at Bedford 
 
 Bridge, Weston, Huntingdonshire. Buttress and 
 
 turret, Chichester cathedral. 
 
 Tunbridge castle, Kent ...••• 
 Buildings attached to St. Helen’s church, London . 
 Internal division, church at Dunchurch, Warwick¬ 
 shire. Arches, Goodrich castle, Herefordshire 
 Painted chamber, externally and internally, palace, 
 
 Westminster. 
 
 The nave, Abergavenny church. Internal division in 
 great gateway, Abbey church, St. Alban’s 
 External and internal divisions, little cloisters, 
 Canterbury cathedral. Recess, Abbey church, 
 St. Alban’s. Crypt, bishop’s palace, Peterborough. 
 Internal divisions of Wootou church, Huntingdon¬ 
 shire . .. 
 
 Avenue, Abbey church, Westminster, London. 
 
 Porch, west front, Chichester cathedral 
 External divisions—Canterbury cathedral; cloisters 
 and chapter-house, Salisbury cathedral. 
 
 External and internal divisions, Salisbury cathedral . 
 Tower, St. Mary’s church, Stamford . 
 
 West front, Salisbury cathedral . . . ■ 
 
 *43 "In 
 
 43 52 
 
 44 54 
 
 45 55 
 
 48 60 
 48 61 
 
 50 64 
 
 51 65 
 51 66 
 51 67 
 
 52 68 
 
 53 70 
 
 54 71 
 54 72 
 
 54 73 
 
 55 74 
 
 DECORATIONS AND ENRICHMENTS. 1 
 DOOR-WATS. 
 
 Durham cathedral; Hunmauby church, Yorkshire; 
 
 Milbom Port, Somersetshire; Essington church, 
 Gloucestershire . . . • • • . 15 15 
 
 Axminster church, Devonshire; Essondine church, 
 
 Lincolnshire.. 18 20 
 
 Kenilworth church, Warwickshire; Rumsey church, 
 
 Hants; bishop’s palace, Durham . . . . 27 31 
 
 Deanery, Gloucester cathedral; Allwalton church, 
 
 Huntingdonshire, Gloucester cathedral . . 34 38 
 
 Ketton church, Lincolnshire; cloisters, Peterborough 
 
 cathedral. 35 39 
 
 Priory church, Clerkenwell, London ; cloisters, West¬ 
 minster abbey; St. Mary hall, Coventry; palace, 
 Westminster; Priory church, Daventry, North¬ 
 amptonshire . . . . . • . 38 44 
 
 Priory church, Abergavenny, Monmouthshire; Wells 
 cathedral; Leeds castle, Kent; Chepstow castle, 
 Monmouthshire; in the close, Salisbury cathedral; 
 St. Dunstan’s church, Canterbury; buildings north 
 side of Canterbury cathedral; painted chamber, 
 Westminster; Allington church, Kent; Abbey 
 churches, Tintem and Llanthony, Monmouthshire; 
 Upton church, Hants; Laycock nunnery, Wilts; 
 Salisbury cathedral; Shipston church, Warwick¬ 
 
 shire ; Aylverton church, near Bristol . . . 45 56 
 
 Salisbury cathedral; Dutling church, Kent; Dun- 
 church, Warwickshire; St. Dunstan’s church, 
 Canterbury; St. Peter’s church, St. Alban’s; Ba- 
 blake church, Coventry . . . . . 46 57 
 
 Stamford, Lincolnshire; St. Michael’s church, Coven¬ 
 try; Durham, Winchester, and Wells cathedrals; 
 Brazen-nose college, Stamford; Rumsey church, 
 
 Hants. 56 76 
 
 WINDOWS. 
 
 Castle Hedingham church, Essex; Barfreston church, 
 
 Kent. 27 31 
 
 Ryton church, Warwickshire; St. Dunstan’s church, 
 Canterbury; Bameck church, Lincolnshire . . 38 44 
 
 Abbey church, Tintem, Monmouthshire; White 
 Friars, Coventry; church near Abergavenny; Bar¬ 
 freston church, Kent; Waverley abbey, Surrey; 
 Merton college, Oxford; Charlton church, near 
 Malmesbury; Abergavenny church, Chepstow 
 
 castle. 46 57 
 
 Abbey church, Margan, Glamorganshire; palace, St. 
 
 David’s, Pembrokeshire; Rumsey church, Hants . 56 76 
 
 Barneck church, Northamptonshire; Hitchenden 
 
 church, Buckinghamshire . • • . 56 77 
 
 TABLETS. 
 
 From Northumberland, now in library, Durham 
 cathedral . . • ■ • • . 10 11 
 
 SEATS. 
 
 Allwalton church, Huntingdonshire . . . . 46 58 
 
 Staindrop church, Durham . . • . 56 77 
 
 GRAVE STONES, OR LIDS OF STONE COFFINS. 
 
 Castor church, Northamptonshire; Elton church, 
 Huntingdonshire; Rochester cathedral; Peter¬ 
 borough cathedral . . . • . 35 39 
 
 Exeter cathedral; Abbey church, St. Alban’s ; Stain- 
 drop church, Durham ; Castor church, Northamp¬ 
 tonshire ; Wells cathedral . . . . . 39 45 
 
 Abbey church, St. Alban’s; Southwell minster, Not¬ 
 tinghamshire ; Rumsey church ; crypt, Wells 
 cathedral . . . . • • • . 47 59 
 
 MISCELLANEOUS. 
 
 Door ring, Hexham church; rings for fingers, dug up 
 at York; mirror in a carving, Ripon minster; 
 key from Barnard castle, Durham. . . . 40 45 
 
 Door ring Wells cathedral; rings for fingers, Salisbury 
 cathedral; keys, from Wells cathedral and Dover 
 castle 47 59 
 
 Door ring, Tickencote church, Lincolnshire . . 56 78 
 
 PARAPETS. 
 
 Ifley church, Oxford; Rumsey church ; Peterborough 
 
 cathedral . . . . ■ • • . 30 35 
 
 Salisbury cathedral. . . • • . 47 59 
 
 TURRETS. 
 
 Peterborough minster. 30 35 
 
 ARCHITRAVES. 
 
 Canterbury cathedral; Rumsey church; Rochester 
 cathedral; Durham cathedral; Hedingham church, 
 
 Essex; Tickencote church, Lincolnshire. . . 30 34 
 
 Abergavenny church; Ludlam’s cave, Abbey Church, 
 
 Waverley, Surrey; Chepstow castle . . . 47 59 
 
 Abbey church, St. Alban’s; Salisbury cathedral; 
 
 Wells cathedral . . . ■ • • . 66 78 
 
 STRINGS. 
 
 Durham cathedral; Canterbury cathedral; Peter¬ 
 borough cathedral; Rochester cathedral; Barfres- 
 
 ton church, Kent. 30 34 
 
 CORNICES. ENTABLATURES. 
 
 Temple, Bath 8 8 
 
 Barfreston church, Kent. 30 35 
 
 Abergavenny church; Chepstow castle, Monmouth¬ 
 shire ; Abbey church, St. Alban’s; Abbey church, 
 
 Llanthony, Monmouthshire. 47 59 
 
 Oxford cathedral; Salisbury cathedral; Wells cathe¬ 
 dral . . . . • ■ • ■ . 56 78 
 
 BLOCKINGS. 
 
 Abbey church, St. Alban’s; Hexham church, North¬ 
 umberland . . . . . • . 39 45 
 
 BASES. 
 
 Temple, Bath ........ 7 7 
 
 Ditto.8 8 
 
 Gloucester cathedral; Canterbury cathedral; Abbey 
 church, St. Alban’s ; Castor church, Northamptou- 
 shire; Peterborough cathedral; Barfreston church, 
 
 Kent; Rochester cathedral . . . ' .29 33 
 
 Salisbury cathedral; Canterbury cathedral . . 56 78 
 
 COLUMNS AND PILASTERS. 
 
 Temple, Bath ........ 7 7 
 
 Ditto..88 
 
 Durham cathedral; Canterbury cathedral; Priory 
 church, Dunstable, Bedfordshire; St. Peter’s church, 
 Northampton . . . . . . . 29 33 
 
 NICHES. 
 
 Chapter-house, Bristol; Norwich cathedral . . 31 35 
 
 Abbey church, St. Alban’s; Salisbury cathedral . 56 77 
 
 CHIMNEY-PIECES. 
 
 Ashby-de-la-Zouch oastle, Leicestershire . . . 38 44 
 
 Allington castle, Kent; Abbey church, Glastonbury . 46 58 
 FONTS. 
 
 Ifley church, Oxfordshire; Broxboum church, Hert¬ 
 fordshire ; Arthirigton church, Devonshire . . 18 20 
 
 Eaton Bray church, Bedfordshire; Coleshill church, 
 Warwickshire; Winchester cathedral . . . 27 32 
 
 Hexham church, Northumberland; Upton and Con- 
 
 nington churches, Huntingdonshire . . . 35 39 
 
 Aldworth church, Berkshire; Ryton church, Warwick¬ 
 shire ; Wrotham church, Kent; Staindrop church, 
 
 Durham; St. Peter’s church, Shaftsbury . . 38 44 
 
 Long Compton church, Warwickshire; C'serwent 
 church, Monmouthshire; St. Michael’s church, 
 
 Coventry . . . . . . . . 46 58 
 
 1 Drawn geometrically. 
 
 BANDS TO DITTO. 
 
 Abbey church, St. Alban’s; St. Peter’s church, North¬ 
 ampton; Barfreston church, Kent; Rochester castle 29 33 
 
 CAPITALS. 
 
 Temple, Bath ........ 8 8 
 
 Canterbury cathedral; Gloucester cathedral; Peter¬ 
 borough cathedral; Rumsey church ; Barfreston 
 church, Kent . . . . . . . 29 33 
 
 Woodstock church, Oxfordsh. ; Laycock nunnery, 
 
 Wiltshire; Wells cathedral; Oxford cathedral; 
 
 Salisbury cathedral . . . . . 56 78 
 
 ABAOUSES. 
 
 Abbey church, St. Alban’s; Durham cathedral; Canter¬ 
 bury cathedral; Rochester cathedral; Ely cathedral 30 34 
 
 ORNAMENTED COMPARTMENTS. 
 
 Temple, Bath.7 7 
 
 Ditto.from 8 8 to 9 10 
 
 Durham cathedral; Rochester cathedral; Canter¬ 
 bury cathedral . . . . . 31 35 
 
CONTENTS. 
 
 vii 
 
 Rochester cathedral; Exeter cathedral . . . 35 39 
 
 Anglesea abbey, Cambridge ; Elstow church, Bedford 40 45 
 Wells cathedral; Salisbury cathedral . . . 57 79 
 
 SPANDRILS. 
 
 Rochester cathedral.31 35 
 
 Wells cathedral; Hexham church, Northumberland; 
 
 Hereford cathedral; Salisbury cathedral . 57 79 
 
 RIBS. 
 
 Rumsey church; Oxford cathedral; Ifley church, 
 near Oxford; Durham cathedral . . . . 30 35 
 
 Fiuchale abbey, Durham . . . . . 40 45 
 
 Laycock nunnery, Wiltshire; Chepstow castle, Mon¬ 
 mouthshire ; Salisbury cathedral . . . . 56 78 
 
 BOSSES. 
 
 Ifley church, near Oxford. 30 35 
 
 Salisbury cathedral; Oxford cathedral; Wells cathe¬ 
 
 dral . 57 79 
 
 ORNAMENTED DOORS. 
 
 Durham cathedral.31 35 
 
 Wells cathedral. 57 79 
 
 CORBELS, OR BRACKETS. 
 
 Bristol cathedral; Barfreston church, Kent . . 31 35 
 
 Hexham church, Northumberland; Allwalton church, 
 
 Kent. 47 59 
 
 Chepstow castle, Monmouthshire ; Laycock nunnery, 
 
 Wiltshire ; Wells cathedral; Salisbury cathedral . 56 78 
 
 SHIELDS. 
 
 Wells cathedral; Hereford cathedral . . . 39 45 
 
 GLAZING OF WINDOWS, AND PAINTED GLASS. 
 Canterbury cathedral; Wells cathedral . . 57 79 
 
CONTENTS. 
 
 viii 
 
 vrEws. 
 
 East-gate, Lynn. Keeper’s hospital, Durham. Babe- 
 well friary, St. Edmund’s Bury. St. Giles’s church, 
 Thetford. Gateshead church, Newcastle. St. 
 Petronell’s chapel, St. Edmund’s Bury. Kirkliam 
 Priory, Yorkshire. Upper close gateway, Norwich 
 Cloister of the White Friar's monastery, Coventry . 
 Little Maplestead church, Essex .... 
 Piscinas—Trinity church, Coventry ; Malmesbury, 
 Wiltshire ; St. Alban’s Abbey church . 
 
 Font, St. Peter’s, Northampton .... 
 Lavatories—Durham and Norwich cathedrals . 
 Piscina, Llangham church, Pembrokeshire. Font, St. 
 Dunstan’s church, Canterbury. Baptistery, Luton 
 church. Altai-, York cathedral. Reading-desks— 
 East Dereham, Norfolk; St. Mary Ottery church, 
 Devonshire. Seats—Durham cathedral; St. Mary 
 Ottery church ; Exeter cathedral. Bishop’s throne, 
 
 Exeter cathedral . .. 
 
 Niches—St. Stephen’s chapel, Westminster; St. 
 Alban’s Abbey church; York cathedral. Bishop 
 Hatfield’s throne, Durham cathedral. Casket, 
 Wells, Somersetshire. Oak chest, St. Mary’s hall, 
 Coventry. Monuments — Staindrop church, Dur¬ 
 ham ; Salisbury cathedral; Winchelsea church, 
 Sussex ........ 
 
 PLANS, ELEVATIONS, SECTIONS, 
 AND THEIR DETAIL OF PARTS. 
 Westminster Abbey church, division of north cloister. 
 
 Exterior and interior plans and details . 
 Westminster Abbey church, one division of nave. 
 Elevation, section, and details of exterior and in- 
 
 Westminster Abbey church, south transept. Eleva¬ 
 tion of interior, and details. 
 
 Westminster Abbey church, doorways and decora- 
 
 Westminster Abbey church, chair, tombs, enrich¬ 
 ments ......... 
 
 Cloister of White Friar’s monastery, Coventry. Plan, 
 elevation, section, and details .... 
 
 Little Maplestead church, Essex. Plan, section, ele¬ 
 vations, and details ...... 
 
 Tower of St. Mary Overy church, Southwark. Sec¬ 
 tion and details. 
 
 Fifefield church, Essex. Plan, elevation, and details 
 of part of ....... 
 
 St. Alban’s Abbey church, wall of cloister 
 Westminster Abbey church, divisions of east cloister 
 Waltham Abbey church, part of west front. Eleva¬ 
 tion, plan, and details ...... 
 
 St. Alban’s Abbey church, interior division of nave. 
 Elevation, plan, and details ..... 
 
 York cathedral, interior and exterior divisions of nave. 
 Elevation, plan, and details ..... 
 
 Ditto ditto ditto .... 
 
 St. Stephen’s chapel, Westminster, interior and ex¬ 
 terior. Plan and elevations, with restorations 
 Ditto ditto ditto .... 
 
 Ditto ditto ditto .... 
 
 DECORATIONS AND ENRICHMENTS. 
 
 DOORWAYS. 
 
 Westminster Abbey church ..... 
 St. Alban’s Abbey church; St. Stephen’s chapel, 
 Westminster; Bridgewater church, Somersetshire ; 
 Westminster Abbey cloister. 
 
 II. 
 
 York cathedral. 
 
 Ditto. 
 
 St. Mary Redcliif s church, Bristol Title Page, Part I. 
 
 GRAVESTONES, TOMBS, MONUMENTS, &C. 
 
 Westminster Abbey church ..... 
 
 Ditto ......... 
 
 Ditto, tomb, brackets, mouldings, iron-work 
 Tiutem Abbey church ; St. Alban’s Abbey church; 
 Conniugton church; St. Margaret's church, Lynn . 
 
 Edward Confessor’s chapel, Westminster . 
 
 STRINGS. 
 
 Westminster Abbey church ..... 
 
 BASES. 
 
 Westminster Abbey church. 
 
 CORBELS. 
 
 Westminster Abbey church. 
 
 York, Durham, and Exeter cathedrals 
 
 ORNAMENTED COMPARTMENTS. 
 Westminster Abbey church ..... 
 
 BOSSES. 
 
 Westminster Abbey church ..... 
 
 ARCHITRAVES. 
 
 Westminster Abbey church ..... 
 York cathedral ...... 
 
 WINDOWS. 
 
 Fifefield church, Essex; Malmesbury Abbey church ; 
 Mickleham church, Surrey; Chichester cathedral; 
 Merton College chapel, Oxford ; Winchester palace, 
 Southwark ........ 
 
 Merton College chapel, Oxford; Dorchester church, 
 Oxfordshire ........ 
 
 CROSS. 
 
 On gable of a church at Norwich .... 
 
 CHIMNEY-PIECES. 
 
 House at Burford, Oxfordshire ; Caldecot castle, Mon¬ 
 mouthshire ........ 
 
 MISCELLANEOUS. 
 
 Door-rings—St. Gregory’s church, Norwich ; Durham 
 cathedral. Crosier, New College chapel, Oxford. 
 Key, Hitchenden church. Candlestick found in 
 York cathedral ....... 
 
 BUTTRESSES. 
 
 Malmesbury Abbey church; Bablake church, Coventry; 
 York cathedral, chapter-house .... 
 
 PARAPETS. 
 
 St Alban’s Abbey church; Malmesbury Abbey 
 church ; Barneck church ..... 
 
 CORNICES. ENTABLATURES. 
 
 St. Alban’s Abbey church; St. David’s cathedral; 
 York cathedral ....... 
 
 PART 
 
 64 8 
 
 64 9 
 
 65 10 
 
 71 23 
 
 71 23 
 
 71 23 
 
 71 24 
 
 72 25 
 
 59 1 
 
 60 2, 3 
 
 61 4 
 
 62 5 
 
 62 6 
 
 64 9 
 
 65 10 
 
 65 11 
 
 66 12 
 
 66 12 
 
 66 12 
 
 66 13 
 
 67 14 
 
 67 15 
 
 68 16 
 
 68 17 
 
 69 18 
 
 69 19 
 
 62 5 
 
 70 20 
 
CHRONOLOGICAL TABLE. 
 
 PART I. 
 
 BRITISH ERA. 
 
 Nine Ladies, a circle of stones, and Miniugle-low, a cromlech, 
 near Wiuster, Derbyshire; i. 1. Stonehenge, Wiltshire; 
 
 ROMAN ERA. 
 
 Memorial column near Leicester; wall at Brough; Severus’ 
 wall; basso relievo near Newcastle ; wall at Yerulam; foun¬ 
 dation of bridge, Northumberland ; iv. 5, 6. 
 
 Hypocaust at Cirencester, v. 6. 
 
 Jewry wall at Leicester, vl 7. 
 
 Fragments of sculpture, columns, <tc. at Bath, vii. vm. is. 
 x. 7, 8, 9. 
 
 Inscription and sculpture, Northumberland and Durham, xi. 
 9, 10, 11. 
 
 SAXON ERA. 
 
 Cell near Winster, and Excavations at Nottingham, xn. 12, 
 13. 
 
 Class I.—Arches—at East Dereham; cloisters, Westminster 
 abbey. Gateway and arches in the walls of Southampton ; 
 sin. 13. 
 
 Class II.—Gateway, Micklegate-bar, York. Arches—Hitchen- 
 den church, Bucks; Southwell; Abbey church, St. Alban’s; 
 cloister, Peterborough cathedral; Stamford; St Benedict’s 
 nunnery, Clerkenwell; flying gallery, Gloucester cathedral; 
 doorway, Durham cathedral; Hunmanby church; Milboru 
 Port; Essington church; xiii. xiv. xv. 13, 14, 15. 
 
 Class III.—St. Botolph’s Priory church, Colchester. Arches 
 and columns from choir and crypt, Gloucester cathedral. 
 Column and mouldings, Christ church priory, Aldgate ; xvi. 
 15, 16. Entrance of Exeter castle. Towel's of St. Alban’s 
 abbey, xvn. 16; transept, Winchester cathedral, xvn. 17. 
 Nave, Durham cathedral, xvm. xix. 17,18. 
 
 Doorways—Axminster and Essondine churches. Fonts—Iffley, 
 Broxbourn, and Arthington churches; xx. 18, 19. Avenue 
 in cloister, Gloucester cathedral. Colonnade, St. Peter’s 
 church, Northampton. Ruins of Sherborn castle. Arcade, 
 Rochester castle. Arch of Christ church priory, Aldgate; 
 xxl 19,20. Chapel in the Tower of London, xxn. 20, 21. 
 East end of Tickencote church. Crypt of Castle, Newcastle-on- 
 Tyne ; xxiil 21, 22. West front of St. Leonard’s chapel, 
 Stamford, xxiv. 22. Porch, Sherbom minster, xxv. 22, 23. 
 Keep, Conisborough castle, xxvi. 23, 24. Chapel in Bishop’s 
 palace, Durham, xxvii. 24, 25. Transept of Oxford cathedral, 
 xxvm. 25. Column, St. Nicholas’ chapel, Harbledown. 
 Part of ruined church adjoining Canterbury cathedral. 
 Stairs to registrar’s office, Canterbury; xxix. 25, 26. St. 
 Ethelbert’s tower, Canterbury, xxx. 26. 
 
 Class IV.—Doorways—Kenilworth; Rurnsey; Bishop’s palace, 
 Durham. Circular windows—church at Castle Hedingham ; 
 Barfreston church; xxxi. 27. Piscinas—Gloucester cathe¬ 
 dral, Rurnsey, Great Giddiug, Abbey of Hexham. Fonts— 
 Eaton Bray and Coleshill churches, and Winchester cathe¬ 
 dral, xxxii. 27, 28. Altar of Venerable Bede, and Bishop's 
 chair of installation, Durham cathedral, xxxii. 28, 29. 
 
 Enrichments. Plinths—Rurnsey and Barfreston churches, 
 
 xxxui. 29. 
 
 Bases of columns. Gloucester and Canterbury cathedrals; 
 
 Rurnsey church ; St. Alban's Abbey church; Castor church, 
 Northamptonshire; Peterborough cathedral; Barfreston 
 church; Rochester cathedral, xxxui. 29. 
 
 Shafts of columns. Durham and Canterbury cathedrals; Dun¬ 
 stable Priory church; St. Peter’s, Northampton ; XXXUL 29. 
 
 Bands of shafts. St. Alban’s Abbey church; St. Peter’s, 
 Northampton; Barfreston church ; Rochester cathedral; 
 xxxui. 29. 
 
 Capitals of columns. Canterbury, Gloucester, and Peterborough 
 cathedrals; Rurnsey, Barfreston, Dunstable Priory, and All- 
 walton churches ; Christ church, Oxford ; xxxui. xxxiv. 29, 
 30. 
 
 Abacuses. Abbey of St. Alban’s; Chapter house, Durham 
 cathedral; Canterbury, Rochester, and Ely cathedrals; 
 xxxiv. 30. 
 
 Architraves. Canterbury cathedral; Rurnsey Abbey church; 
 Rochester and Durham cathedrals; Hedingham and Ticken¬ 
 cote churches; xxxiv. 30. 
 
 String courses. Durham, Canterbury, Peterborough, and 
 Rochester cathedrals ; Barfreston church, xxx iv. 30. 
 
 Parapets. Iffley and Rurnsey churches; Peterborough cathe¬ 
 dral, xxxv. 30. 
 
 Turrets. Peterborough cathedral, xxxv. 30. 
 
 Cornices and blockings. Barfreston church, xxxv. 30. 
 
 Consoles, or brackets. Bristol cathedral, Barfreston church, xxxv. 
 30. 
 
 Bibs of Groins. Rurnsey church, Oxford cathedral, Iffley church, 
 Durham cathedral, xxxv. 30, 31. 
 
 Niches. Bristol and Norwich cathedrals, xxxv. 31. 
 
 Doors and panels. Durham cathedral, xxxv. 31. 
 
 Compartments. Durham, Rochester, and Canterbury- cathedrals, 
 xxxv. 31. 
 
 NORMAN ERA. 
 
 STYLE L—From 1086 to about 1245. 
 
 Recesses. Peterborough cathedral, Rurnsey church, Leighton 
 Bromswold, Canterbury cathedral, xxxvi. 32. 
 
 Columns and arches. Allwaltou church; Rurnsey Abbey church, 
 Glastonbury; xxxvi. 33. Interior of east end, Canterbury 
 cathedral, xxxvii. xxxvni. 33, 34. 
 
 Doorways. Gloucester cathedral, Allwaltou church, xxxvni. 
 
 34. Ketton church, Peterborough cathedral, xxxix. 35. 
 
 Fonts. Hexham, Upton, and Connington churches, xxxix. 35. 
 
 Gravestones, parts of tombs, dec. Castor church, Northampton¬ 
 shire ; Elton church; Rochester, Peterborough, and Exeter 
 cathedrals; xxxix. 35. 
 
 West front of Dunstable Priory church, with details, xl. xli. 
 
 35, 36. 
 
 STYLE IL—From 1245. 
 
 Class I.— Foundations. Westminster Abbey church, xlii. 36. 
 
 Walls, in construction. Bishop of Durham’s palace, London 
 (1345); Savoy palace (1505); Tamworth castle; xlii. 37. 
 Westminster Abbey church; Wells cathedral; palaceatWood- 
 stock ; Coventry; xlii. 37. 
 
 Views of Allington and Leeds castles, xm. 37. 
 
 Elevations, Views, Plans, dr. Coventry priory (1043), Notting¬ 
 ham castle, tower and landgate at Winchelsea, Kenilworth 
 castle, Westminster palace, Raby castle. Lavatory, Wells 
 cathedral. Buttresses at Lambeth palace and Coventry, 
 xliii. 37, 38. 
 
 Doorways. Clerkenwell priory; Westminster abbey; St. 
 Mary’s hall, Coventry; Daventry prioiy xuv. 38. 
 
 Windows. Ryton church, near Coventry; St. Dimstan’s 
 Canterbury; Bameck, near Stamford ; xliv. 39. 
 
 Chimney-piece. Asliby-de-la-Zouch castle, xliv. 39. 
 
 Recess. Barnard’s castle, xuv. 39. 
 
 Fonts. Aldworth, Ryton, Wrotham, Staindrop, Shaftesbury, 
 xliv. 39. 
 
 Altar Table, Seats, Tables, Chests, Crosses, Stone Coffins, Lids of 
 Coffins or Gravestones, Rings, Blockings, Shields, Groins, dec. 
 Altar table, St. Alban’s abbey. Seats—York, Sawtry, Beverly 
 minster. Tables—from the Lutterell psalter, Great Malvern 
 church. Chests—Durham castle, Wells cathedral. Crosses 
 —Hexham, Shaftesbury. Stone coffins. Pcrshore, Godstowe, 
 Winchester. Lids of coffins or grave-stones—Exeter cathe¬ 
 dral, Staindrop, Castor church, Wells cathedral. Rings— 
 Hexham; Roman palace, York; Archbishop Sewall’s. 
 Mirror, Ripon. Key, Barnard’s castle. Chalice, St. Alban’s. 
 Cup, Hexham. Cornice, Coventry. Shields, Hereford 
 cathedral. Groins, Finchale abbey. Basso-relievo, Auglesea 
 abbey, Cambridgeshire. Cross, Elstow. xlv. 39, 40. 
 
 Class II.—Bridge at Exeter; Galilee to Durham cathedral; 
 Pontefract castle; West-gate, Exeter; gateway, Warwick ; 
 Allington castle, (temp. Edward I.); xlvi. xlvii. 40. Gate¬ 
 way, Carisbrooke castle; Water-gate, Southampton; St. 
 Owen’s gate, Hereford; gateway, Leeds castle; St. George’s- 
 gate, Stamford ; palace of Henry I. at Beaumont; St. Mary’s 
 hall, Coventry; Wrotham church; xlvii. 40,41. Walls, 
 Southampton; Sally-port, Exeter castle; gates and towers, 
 Norwich; White castle; xlvui. 41. Crick Howell castle; 
 Abergavenny castle; xlix. 41, 42. Plan and views—Goodrich 
 castle ; xlix. 42 ; Chepstow castle ; l. li. 42, 43 ; Caldicot 
 castle; li. 43. Avenue, Canterbury cathedral; St Helen’s, 
 Bishopsgate; Anglesea abbey; Land-gate, Rye, Sussex; 
 West-gate, Winchester ; m. 43. Gateway, Hexham castle; 
 Raby castle ; lul 43. Gateway at Newcastle; Lumley 
 castle; Christ church priory, Aldgate; Bishop’s palace, 
 Durham (William I.); liv. 44. Prince’s chamber, West¬ 
 minster; tower near Abergavenny ; chapel, Bedford ; kitchen 
 in the monastery, Durham; lv. 45. 
 
 Doorways and doors. Abergavenny ; Wells cathedral; Leeds 
 castle ; Chepstow castle ; Salisbury cathedral; St Dunstan’s 
 church, Canterbury; Painted Chamber, Westminster ; Alling- 
 ton church ; Tintern and Lanthony abbeys; Upton church ; 
 Laycock abbey; Shipston and Alverton churches; lvi. 45,46. 
 Salisbury cathedral; Dutliug church; Dunchurch ; St. 
 Dunstan’s, Canterbuiy; St. Peter’s church, St Alban’s; 
 Bablake church, Coventry; lvii. 46. 
 
 Windows. Tintem abbey, Coventry; church near Abergavenny; 
 Barfreston church ; Waverley abbey ; Merton College, Oxford; 
 Charlton church ; Abergavenny priory; Chepstow castle ; 
 lvii. 46. 
 
 Crosses, Chimney-pieces, Piscinas, Ambreys, dec. Barnsley ; Lay- 
 cock; Allington castle; Glastonbury; White castle; St. Helen’s 
 Bishopsgate ; Egham church ; Hexham; Crick Howell, Hitch- 
 enden, and Longueville churches ; Abergavenny; Gloucester 
 cathedral; Chepstow castle ; Burford church ; LVin. 46, 47. 
 
CHRONOLOGICAL TABLE. 
 
 Fonts. Long Compton church ; Caarwent church, Monmouth¬ 
 shire ; St. Michael’s church, Coventry; Lvm. 47. 
 
 Altars, Seats, Tombs, Coffins, Gravestones, Buttresses, Parapets, 
 Architraves, Cornices, Entablatures, Corbels, and Miscellaneous, 
 Lvni. lix. 47. 
 
 Conduit, Lanthony abbey; bridge, Weston; arches in wall, 
 Bur}' St. Edmunds; laver, York cathedral; turret, Chichester 
 cathedral; chapter-house, Durham; lx. 48. Ancient build¬ 
 ing near Peterborough ; abbey gate, Reading; Monmouth and 
 Tunbridge castles ; lxi. 48. 49. Ouse bridge, York; Warwick 
 castle ; Lxn. 49. Chepstow castle; gateway, and whole of 
 south side, of close, Peterborough ; lxiii. 49, 50. 
 
 STYLE in. 
 
 Class I.—Buildings at St. Helen’s London, lxiv. 50. Farnham 
 palace ; St, Mary’s hall, Coventry; church at Dunchurch, 
 near Coventry; double arches, Goodrich castle; lxv. 51. 
 Old palace, Westminster; lxvi. 51. Priory church, Aber¬ 
 gavenny ; St. Alban’s abbey ; St. Robert’s chapel, Knares- 
 borough (excavated) ; lxvii. 51, 52. Crypt, Grantham ; 
 cloister, Canterbury cathedral; recess, St. Alban’s Abbey 
 church; crypt, Bishop’s palace, Peterborough ; chancel, 
 Wootou church ; Lxvin. 52. Crypt, Waverley abbey (1128); 
 
 chapter-house, Llandaff cathedral (1120) ; crypt, chapter- 
 house, Wells (beginning of 13th cent.); lxix. 52. 53. 
 Avenue to chapter-house, Westminster abbey (1049); castle, 
 Ashby-de-la-Zoucli; poroh, Chichester cathedral; lxx. 53. 
 South side of Canterbury cathedral (1080) ; cloisters, Salis¬ 
 bury cathedral (1258) ; side of chapter-house, Salisbury 
 cathedral; lxxi. 54. 
 
 Class II.—North side of Salisbury cathedral (1258), lxxii. 54. 
 Interior (adjoining clustered columns of centre tower), Salis¬ 
 bury cathedral, lxxh. lxxiii. 54. South front, St. Mary’s 
 church, Stamford, lxxiii. 54. West front, Salisbury cathedral 
 lxxiv. lxxv. 55. 
 
 Doonvays, Windows, and Piscinas, lxxvi. 56. 
 
 Fonts. Barueck and Hitchenden churches, lxxvii. 56. 
 
 Altar, Seats, Niches, and Monuments. Altar, Durham cathedral. 
 Seats and niches—Staindrop church, Durham ; St. Alban’s 
 abbey; Salisburycathedral. Monuments—Tickencote church; 
 Salisbury (1237) and Winchester cathedrals ; lxxvii. 56. 
 Grave-stones, architraves, and cornices, lxxviii. 56. Bases, 
 capitals, ribs, corbels, spandrils, Arc. lxxviu. 57. Compart¬ 
 ments, bosses, and ornamented door in crypt of chapter-house, 
 Wells cathedral ; glazing of windows, and painted glass, 
 from Canterbury cathedral; lxxix. 57. 
 
 PART II. 
 
 Reigns of Henry III. and Edward III. 
 
 Reign of Henry III. 
 
 Class I.—Exterior and interior of north aisle of cloisters, 
 Westminster Abbey church, I. 59. 
 
 Class II.—Exterior and interior division of nave of Westminster 
 Abbey church, n. iil 60. 
 
 Class III.—Interior of south transept, Westminster Abbey 
 church, iv. 61. 
 
 Doorways and Decorations. Westminster Abbey church, and 
 cloisters, v. 62. 
 
 Old coronation chair in St Edward’s chapel, Westminster Abbey 
 church, vl 62. 
 
 Tombs. John of Eltham, Sebert, &c. vi. vii. 62, 63. 
 
 Strings, architraves, bases and capitals of columns, corbels, ribs, 
 spandrils, compartments, bosses, and an iron perforated 
 parapet, Westminster Abbey church, vii. 63. 
 
 Reign of Edward IIL 
 
 Class I.— Views. East gate, Lynn; Keeper’s hospital, Durham; 
 Babewell friary, Bury ; St. Giles’s church, Thetford ; Gates¬ 
 head church ; St. Petronell’s chapel, Bury ; gateways — 
 Kirkham priory and Upper close, Norwich ; vra. 64. White 
 Friars cloister, Coventry, ix. 64. Little Maplestead church, 
 x. 65. Great tower, St. Mary Overy church, Southwark 
 (14th cent.) xl 65. 
 
 Class II.—Basement, Fife-field church; interior of cloister, St. 
 Alban’s abbey; exterior of cloister, Westminster abbey ; xii. 
 66. West front, Waltham abbey church, xiii. 66. Interior 
 of nave, St Alban’s abbey church, xiv. 67. Exterior and 
 interior of nave, York cathedral (1340), xv. 67. 
 
 Class III.—Exterior and interior division of St Stephen’s 
 chapel, Westminster, xvn. 68, 69. Transverse section of 
 ditto, xviii. 69. Details of existing parts of ditto, xix. 69. 
 
 Doorways. St. Alban’s abbey; crypt, St. Stephen’s chapel; 
 porch, Bridgewater church; York cathedral; refectory, West¬ 
 minster abbey ; xx. 70. St. Sepulchre’s chapel, York 
 cathedral; Norwich cathedral; chapter house, York cathedral; 
 xxi. 70. St Mary, Redcliff, Bristol; xxii. 71. (See Title- 
 page of Part 1.) 
 
 Windows. Fife-field church, Essex; Malmesbury abbey, (See 
 Frontispiece of Part I.); Mickleham church, Surrey; Lady’s 
 chapel, Chichester cathedral; north side of Merton college 
 chapel, Oxford; Winchester palace, Southwark; xxn. 71. 
 Merton college chapel, and Dorchester church, Oxford ; cross 
 on porch, Norwich ; xxm. 71. 
 
 Chimney, Burford ; chimney-piece, Caldicot castle ; piscinas, 
 Malmesbury ; Trinity church, Coventry, and St. Alban’s 
 abbey; xxm. 71. 
 
 Font, St. Peter’s church, Northampton; lavatories— cloisters, 
 Durham cathedral, and Norwich cathedral; xxm. 71. Piscina, 
 Llangham church; font, St. Dunstan’s Canterbury; baptis¬ 
 tery, Luton; xxiv. 71. 
 
 Altar, Seats, Niehes, Thrones, and Monuments. Altar, Our 
 Lady’s chapel, York cathedral. Seats—Durham cathedral; 
 St. Mary Ottery’s church, Devonshire. Niches—screen, St. 
 
 Stephen’s chapel, Westminster; St. Alban’s abbey ; Wells 
 cathedral. Bishop’s throne, Exeter cathedral. Monuments 
 —Staindrop ; Durham; Salisbury ; Winohelsea; xxiv. xxv. 
 
 Grave-stones; buttresses and parapets; architraves, cornices, 
 and entablatures; bases and capitals; corbels; ribs; crockets 
 and fiuials; compartments, foliages, bosses, and tiles; painted 
 glass, from chapter-house, York cathedral (portrait of Edward 
 III.); xxvi. xxvii. 72, 73, 74. 
 
THE 
 
 ORDER OF ARCHITECTURE 
 
 DURING THE 
 
 BRITISH HRA. 
 
 All authors agree in supposing, that the earliest monumental memorials and structures erected 
 by the inhabitants of this island, are those we at this day have still before us : there are many 
 striking instances, though they generally are confined to two specimens of this natural art, namely, 
 upright stones, either single, or placed together in various designs ; or upright stones, so disposed 
 as to bear other stones laid horizontally upon their tops ; and if we may judge from one surprising 
 effort to this purpose, which in great part still remains, (all-wonderful Stonehenge!) they must have had 
 among them some very astonishing erections, far beyond anything which we at present can conceive. 
 Vain have been the attempts to prove the real purposes for which these piles of stones were origin¬ 
 ally raised, in different parts of the kingdom ; in all likelihood, doubt and uncertainty will ever 
 attend such investigations; nevertheless, owing their origin to our forefathers, (at a period ere 
 foreign arts took place,) they undoubtedly claim the name of British Architecture. 1 
 
 Plate I. 
 
 UPRIGHT STONES. 
 
 Among the many instances of the upright stones, the following example is selected, as being of 
 the most simple kind. 
 
 A. South-west view of the Nine Ladies, near Winster, Derbyshire, consisting of nine small upright 
 stones, placed in a circle of about thirty-two feet diameter: at a short distance from them is a 
 single stone, called the Musician : their situation is on Hartlemoor; a dreary scene, and, as usual, 
 commanding an extensive, uncultivated view. Although no certain use can be discovered for 
 this design, we may suppose it of the memorial or monumental kind. 2 
 
 B. Plan shewing the disposition of the several stones, and their affinity to the points of the 
 compass. In the centre of their area, it is said, there once was a well, which is expressed by a 
 dotted circle. Stone 10, is that called the Musician. 
 
 C. The elevation of the stones, drawn on a horizontal line ; the figures 1, 2, &c. referring to the 
 plan; the dotted line in the centre shews the place of the supposed well. The scale of twenty 
 feet refers to the plan and elevation. 
 
 D. The uprights of the several stones drawn to a larger scale, and taken from the inside view 
 of each stone ; of which some judgment possibly may be formed by their proportions, and various 
 shapes, if ever they were all of one exact size, or if reduced to their present irregularity by time, 
 and the various attacks of chance and weather; or if they are still in their original rude state. 
 Opinion has a wide field for conjecture in objects of this nature. 
 
 For an example of upright stones, with others laid horizontally upon them, take the following : 
 which, like the foregoing specimen, is of the simple kind. 
 
 E. North-east view of one of the stone erections on Mingle-low hill, near Winster, Derbyshire . 3 There 
 were several more, which have been destroyed of late years, in hopes of finding hidden treasures ; 
 though only bones and rubbish repaid their ill-timed curiosity. Three of them are tolerably 
 entire. The area of the s umm it, of the hill is about one hundred and thirty feet diameter, and is 
 
 1 Since this account was written and printed in 1795, the subject of Celtic or British antiquities has been much discussed and illustrated by 
 many eminent antiquaries and artists. Sir R. C. Hoare, in his “ Ancient Wiltshire,” two vols. folio, and Mr. Britton, in “ Beauties of Wiltshire,” 
 three vols, Svo., in “ Rees’s Cyclopasdia," in the “ Penny Cyclopedia,” and in other publications, have entered fully and critically into the origin, 
 appropriation, and constructive characteristics of the two large and interesting temples of Avebury and Stonehenge, in Wiltshire. The Rev. Edward 
 Davies published two large octavo volumes on “ Celtic Researches,” in 1804, and on “ The Rites and Mythology of the British Druids,” in 1809. 
 The volumes of the “ Archtoologia ” contain many essays and engravings, illustrating the same class of autiquities. Godfrey Higgins, in a quarto 
 volume (1809), under the title of “ Celtic Druids," endeavours to prove that the Druids were the priests of oriental colonies, who emigrated from 
 India, and were the introducers of the first, or Cadmean, system of letters, and the builders of Stonehenge, of Carnac, and of other Cyclopean 
 works in Asia and Europe. In Brayley’s “ Graphic and Historical Illustrator,” 8vo., 1834, is a series of essays on the study of antiquity, which 
 relate particularly to British or Druidical monuments. B. 
 
 - An account of this small circle is given in the “Beauties of England and Wales,” Vol. III. p. 502. Derbyshire, We are not inclined to 
 consider this circle as one of a sepulchral class, but as a small temple. The former were mostly, if not always, either heaps of stones, called 
 cairns, barrows, or cromlechs, such as Mingle-low. Plate I. E. B. 
 
 s This View, with one of the Nine Ladies, the Editor drew from W. Bray, Esq. 1782; and they are now, by his permission, introduced 
 into this work. (Mr. Bray published a Tour in Derbyshire, 8vo., second edition, 1783; with nine plates, drawn and etched by Mr. 
 Carter.) B. 
 
2 
 
 THE ORDER OF ARCHITECTURE 
 
 enclosed by a modern stone wall. That here exhibited, is the most perfect. It is composed of five 
 upright stones, seven feet in height, surrounded and nearly hid by the earth ; and on their tops is 
 laid one horizontal stone, nine feet by seven feet: the two stones on the north side do not rise to 
 the height of the others, but leave sufficient room (as is here seen) for any one to descend into the 
 open space between them. Their forms are most irregular, and, beyond a doubt, always were so. 
 
 ‘The circumstance of bones being found in the destroyed erections, furnishes ample authority for 
 terming the present a sepulchral monument. 
 
 F. General plan. Nos. 1, 2, 3, the three remaining erections. No. 4, the enclosing wall. The 
 scale of fifty feet refers to this plan. 
 
 G. Plan of No. 1, drawn to a larger scale. The line surrounding the five stones, shews the form 
 of the horizontal stone on the top of them. The dotted line from east to west, shews the course 
 of the section. 
 
 H. Elevation of No. 1, from east to west, shewing the opening on the north side, and the 
 horizontal stone. The dotted lines shew those parts of the stones which are hid by the ground. 
 
 I. Section of No. 1, from east to west, cutting through the ground, through the west stone, and 
 the stone on the top, giving the inside elevation. The scale of five feet refers to the enlarged plan 
 of No. 1, to the elevation and section. 
 
 Plate II. 
 
 STONEHENGE. 
 
 Another instance of the upright stones, divested in some respects of any covering, is that 
 stupendous work, Stonehenge, the incomprehensible wonder of this kingdom. 'Writers of former 
 ages, and in our own times, have constantly been engaged in tracing its origin, use, and design; 
 but in vain. One of the greatest architects of the last century used much study and labour for that 
 purpose ; and a late learned divine, conspicuous for his knowledge in antiquities, has undermined 
 that system which the former had raised. 1 Whoever in future tries the same adventurous task, 
 will still behold Stonehenge, as a phenomenon, in a far different light from that in which his 
 predecessors have seen it; thus almost realizing the received opinion, that supernatural agents 
 erected this most surprising object, and that, as protecting genii of their hallowed spot, they still 
 hover round, and by delusive arts lead each beholder into the labyrinth of wild conjecture and 
 perplexity. 2 
 
 A. View of Stonehenge, taken from the inside, looking south-east. In the foreground is the fallen 
 stone 27 (see Plan,) with the broken stones near it; in the centre is the sloping stone 30, seeming 
 to be supported by the smaller upright stones before it; on the left are the two stones 32, 33, with 
 the horizontal stone on their tops; on the right are the stones 28, 29, with their horizontal 
 stone ; 3 before them are the small upright stones ; and behind the sloping stone, is the stone 12. 
 
 B. View of Stonehenge, taken from the inside, looking south. In the centre, is the fallen horizontal 
 stone 36, lying on what is called the altar, 37 ; on the right, is a profile view of the sloping stone, 
 with the assisting smaller one; in the centre, beyond the fallen stone, are the stones 35, 34, 33, 
 and 32, with their horizontal stones ; before them, are the smaller ones; behind, are the stones 
 19, 20, 21, 22, 23, and 24, the first four having also their horizontal stones. 
 
 C. General plan shewing the remains. The stones shaded all over, are the plans of those now 
 standing, in their original situation ; the stoness haded in part, are those which are fallen down ; 
 the dotted lines shew the construction of the work, and its affinity to the points of the compass ; 
 those dotted lines which occasionally project from the standing ones, point out the several horizontal 
 stones. The general dimensions (allowing for the present irregularity of the several parts,) are — 
 
 D. the trench twenty-four feet in width; E. the area from the trench to the structure, is one hundred 
 and eighteen feet; F. the structure itself, consisting of four circles, is one hundred and three feet 
 in diameter; the stones of the outer or first circle, are seven feet by three feet; distant from each 
 other three feet six inches ; the stones of the third circle, seven feet six inches by four feet; distant 
 from each other in the smaller intervals, one foot: in the larger intervals, seven feet six inches ; 
 the remaining stones in the area 39, 40, 41, some four feet by one or two feet; and the stone 38, 
 twenty-one feet by seven feet; the stone 42, without the trench, is seven feet by three feet. 
 
 G. The road from Ambresbury to Warminster. 
 
 1 The architect here referred to was Inigo Jones, whose work on Stonehenge was published in 1655. The late learned divine was the Rev. 
 William Cooke, who published “An Inquiry into the Partriarchal and Druidical Religion, Temples,” Ac. 4to. 1755 ; which included accounts of 
 Avebury, Stonehenge, and other British antiquities. In the different plans of Stonehenge, given by Mr. Cai-ter iu Plates II. and III., he is certainly 
 in error with regard to the number and situation of the groups of stones in the third and fourth ranges. The tallest stones, consisting of two 
 uprights and one impost, have been generally called Trilit/ions, of which there were five, not six, as in Carter’s and Jones’s plans. The arrange¬ 
 ment was elliptical, not circular. The inner range of small stones was also clliptically placed. In the representation, Plate III. C., there is 
 more of fancy than fact in showing it to resemble a Druid, or old man, with long beard, &c. B. 
 
 2 A common tradition is, that the stones were brought to and raised on this spot by “Old Nick; ” and another equally absurd tradition is, that 
 no person can count them. B. 
 
 :l This trilithon, or group of three stones, shown in plate II. A., and marked in Plan C. 28, 29, and consisting of two uprights and one horizontal 
 impost, fell down in the year 1827, and it is the only alteration that has ever been recorded of this monument. Dr. Maton wrote a particular 
 account of this event in “ Arclueologia," Vol. XIII. B. 
 
_ 
 

s 
 
 DURING THE BRITISH iERA. 
 
 Plate III. 
 
 STONEHENGE. 
 
 ( Continued.) 
 
 A. Elevation from north-east to north-west, the line of which cuts through the trench od the 
 left, shews the stone 41 next the area; shews the outside of the structure, having an opening 
 between the two stones 1 and 25 in the centre, over which, as well as over the stones 2 and 24, are 
 three of the horizontal stones ; on their left, are the stones 23, 22, 21, and 20, the two last having 
 a horizontal stone ; on the right, are the stones 3 and 4 ; the stones 5 and 6 are fallen down ; stones 
 7, 8, 9, are next seen, and the horizontal one on the two last; behind, are seen the stones 26, 27, 
 the sloping stone 30, and stones 33, 34, and 35, with their horizontal stones; the line is continued 
 along the area on the right, to the stone 39, and then through the trench. 
 
 B. Section from north-east to south-west, the line of which cuts through the trench on the left, 
 on the right, and through the area on each side of the structure, which comprehends the stones 
 on the south-east side of the central dotted line in the plan (Plate II.); on the left of them are 
 seen the stones 25, 24, with their horizontal stones; the stones 23, 22, 21, are next seen, the two 
 last having their horizontal stone ; passing to the right are the stones 35, 34, 33, and 32, with their 
 horizontal stones. It is to be observed, that these stones of the third circle (unlike those of the outer 
 or first, circle,) are of different heights, owing, no doubt, to some of their foundations having given 
 way, and the stones sinking, of course, deeper into the ground ; before these large stones rise the 
 smaller upright stones of the inner, or fourth circle ; on the right, and just before stones 32 and 
 33, is the fallen stone 31, which is broke in half; the fore part lies on the stone or altar, 37; still 
 more to the right, is the remaining part of the fallen stone 13, absolutely bearing on the smaller 
 stone before it, behind which, and the fallen stone, are the stones 15 and 16. The scale of a 
 hundred feet refers to this elevation and section. 
 
 C. View of the stone 42. This most remarkable stone stands without the trench, and is on 
 the edge of the road leading from Ambresbunj to Warminster, presenting to the imagination a lively 
 idea of a venerable Druidical figure, with a flowing beard, in an attitude of devotion, bending 
 towards the sacred pile ; its height is sixteen feet. 
 
 D. View of the upper part of the stones 1 and 2, taken on the inside, with their horizontal 
 stone on the top of them ; the angle of the stone on the right having been sliced oft', exposes the 
 mortise and tenon, which unite the several stones ; and serves to shew, by a corresponding tenon 
 in the other part of the said stone, and a mortise in the adjoining horizontal stone, how scientifi¬ 
 cally the whole work was put together. 
 
 E. View of the upper part of the sloping stone 30, on the top of which is a perfect tenon 
 remaining. 
 
 F. The horizontal stone 36. This stone lies on the ground, and fortunately on its edge, whereby 
 are seen the two mortises, each intended to receive the tenon in the supporting upright stone. 
 It may be observed, that the stones of the first circle have each two tenons on their tops, that 
 circle continuing the line round the work, while the third circle having many breaks in the line, 
 each upright stone has but one tenon. 
 
 G. Restored plan of the structure. Having given the principal traits of this our so famous 
 Stonehenge in its present state, some opinion may be formed as to the original design, with regard 
 to its form only. The structure is arranged into four circles of upright stones ; those of the outer 
 or first circle, and those of the third circle, are of large and wonderful dimensions, while the second 
 and fourth circles are small, and of equal size. By dividing the first circle into sixteen parts by 
 dotted lines, the geometrical design of the whole is seen. Each of the stones of the second circle 
 stand before each of the stones of the first circle, while those of the fourth are placed, two and 
 two, before each of the stones of the third circle, and two before each of the openings of the said 
 circle. 
 
 H. Restored elevation of the several stones. Draw the uprights of the stones 2, 1, 25, 24 (on 
 the inside), to their dimensions, seven feet in width, and eighteen feet in height, distant from 
 each other three feet six inches, and their horizontal stones, three feet in height, and ten feet six 
 inches in length ; then raise the smaller stones, eight feet in height, and two feet in width, in the 
 centre of each of the foregoing ones; next draw the uprights of the stones 33, 32 (on the inside), 
 to their dimensions, seven feet six inches in width, and twenty-eight feet in height, distant from 
 each other one foot: their horizontal stone four feet in height, and sixteen feet six inches in length ; 
 and then place the smaller stones in the centre of each ; they are the same proportions as the fore¬ 
 going smaller ones. The mortises and tenons are shewn by dotted lines. The scale of twenty 
 feet refers to the elevation. 
 
 Thus, from this restored plan and elevation, some idea may be formed of the original design ; 
 whether there ever was any entire covering to the top of the work is uncertain, as no traces are 
 left to warrant any such surmise. 
 
 The circumstance of the stones being in a tapering state towards the top, may be easily 
 
4 
 
 ORDER OF ARCHITECTURE DURING THE BRITISH HSR A. 
 
 accounted for, in a natural way—the force of various winds, the effect of weather at different 
 seasons, the rain acting on their upper parts, the drippings from their horizontal stones, See.; 
 therefore perhaps it will not be presuming too far, to make the restored elevation of each 
 upright stone a perpendicular pilaster, and the horizontal stones, placed on the larger stones, their 
 architrave • thus, not only giving a beautiful specimen of the art itself m that early period of 
 time when we generally believe this structure to have been erected, but at the same time an 
 exalted opinion of the astonishing abilities of the ancient inhabitants of this island. 
 
 We may ask, What part of the kingdom produced these stones ? how brought to their present 
 situation* in what manner elevated? and, wonderful to contemplate! what mechanical powers 
 lifted the horizontal stones in the air, and placed them in that order in which we now see them? 
 Here imagination must shrink from the inquiry : however, it may be observed, that, though ages 
 have passed since that mra of achitecture when Stonehenge flourished, yet still the mind of man 
 might shine with the same radiancy then as at the present moment, not only in this our sublime 
 art, but in every other science which Heaven has bestowed on this sublunary world. 
 
THE 
 
 ORDER OF ARCHITECTURE 
 
 DURING THE 
 
 ROMAN TRA. 
 
 Through the progress of this work, what keen sensations, what piercing reflections, will arise 
 to embitter the pursuit; how will the glorious ideas of our ancestors’ skill in architecture be 
 clouded by the sight of the barbarous havoc, made within the two last centuries, and even at the 
 present day, of some of their most admirable works. Neglected, or modernized cathedrals, 
 deserted and ruined castles, crowd the gloomy scene: some, indeed, of our mighty fabrics still 
 stand unaltered, the envenomed foe of ancient art not having yet trod their mazy rounds : may 
 the guardian angels, who still hover over their sacred walls, protect them from his sacrilegious 
 arm; may they stop his fell career, ere a contagious imitative frenzy annihilate all the remaining 
 memorials of our nation’s splendour. 
 
 In all ages, this destroying furor has prevailed ; and we have to lament, that the works erected 
 by the Romans, in various parts of this kingdom, perhaps rivalling Rome itself in magnificence, 
 are now scarcely visible ; yet, however faint the ray, those objects, which time has left us, will, in 
 some degree, point out the architectural grandeur of their day. Their warlike erection, the 
 famous wall which extended from Newcastle to Carlisle, and which was filled with stations, castel- 
 lums, turrets, gates, and all the proud display of a great and conquering people, is now reduced 
 to the lines of the works, and a few courses of masonry, which alone remain to tell the giant tale ; 
 the Jewry wall at Leicester, the late discovered fragments of a temple at Bath, the tesselated pave¬ 
 ments, altars, and decorative ornaments, with which the cabinets of the curious abound, their 
 military ways, all give the mind some idea of that magnificence which they diffused around. 
 
 Plate IV. 
 
 COLUMN NEAR LEICESTER. — ROMAN WALLS. 
 
 The succeeding arrangement of the principal vestiges of the Roman works still existing, will 
 enable us to form a sort of system of their order of Architecture in England ; persevering in the 
 idea, that the earliest erections of all nations, as well as of our own, were upright stones; this 
 sera cannot commence more properly than with the view— 
 
 A. Of part of a column near Leicester, on the road to Newark. The inscription, though incom¬ 
 plete, relates to the Romans who made the road, and serves as a memorial, or monument, of the 
 great acts performed here by that people. 
 
 B. The inscription. 
 
 The scale of two feet refers to this view. As the subjects, introduced into this work, will be 
 drawn of various sizes, so they will require as many various scales, which will always be placed 
 in a conspicuous part under them, referring to their several dimensions; this general observation 
 will prevent a repetition of the reference to the scales. 
 
 The next class, which comes under attention, is the construction of walls, either for defence or 
 convenience ; and, though we have but few examples, yet they are of sufficient consequence to 
 shew the art of the Romans. 
 
 C. Part of a wall at Brough, a Roman station near Castleton, Derbyshire: this wall is a modern 
 fence, the wedge-like stones in different parts of it, have been taken from the original Roman 
 wall of this station; the lines only of which wall are now visible. 
 
 D. One of the wedge-like stones drawn larger. 
 
 E. Supposed consti’uction of the Roman wall; but whether such an union of the wedge-like 
 stones constituted the plan, or elevation, remains to be determined. 
 
 Our attention is now directed to the site of the famous Roman wall in Northumberland, erected 
 by Severus; in its course were numerous military erections, which, as well as the face of the wall, 
 were decorated with richly-ornamented memorials. Within this wall was a military way, 
 bounded by a vallum, made by Hadrian. The whole is now reduced by the despoiling hands of 
 various descriptions of people, for the purposes of building, to a few detached yards of the facing 
 of the wall, and to a kind of doubtful trace of its general lines and various works. 1 In a strict 
 
 1 That the remains of the Roman wall are more considerable than is here intimated, may be soeu by Horsley’s “Britannia Romana,” fol. 1732 ; 
 Warburton’s “Vallum Romanum,” 4to. 1753 ; Roy’s “Military Antiquities of the Romans in North Britain,” fol. 1793 ; and Hutton’s “History 
 of the Roman Wall,” second edition, 8vo. 1813. 
 
6 
 
 THE ORDER OF ARCHITECTURE 
 
 examination of the remains, extending for near thirty miles from Newcastle, the following parts 
 are the most conspicuous, and are at, or near WalmcJc Chesters. 
 
 F. Part of the foundation of the wall, seen bv a pass made through the rubble, or thickness, of 
 the wall; the stones are of the wedge form, and may refer us to the preceding article to remove 
 the uncertainty there raised. 
 
 G. Elevation of part of the wall; the facing-stones, here preserved, are of good workman¬ 
 ship. 
 
 H. Section of the wall; on each side is seen the thickness of the facing-stones, and between 
 them the rubble and mortar; the general thicknesses of the wall, are six and eight feet. Much has 
 been argued with regard to ancient mortar; but, as no determined opinion prevails respecting 
 the materials which composed it, we can only say, that its texture is of an iron hardness and 
 weight; and that the buildings erected by it, stand before us the test of ages : truly is it said, we 
 have now lost the art of making mortar ; view our modern fabrics ; the short space of fifty or sixty 
 years will prove our mixture to be but a sort of rubbish, soon dissolving into air, and threatening 
 a speedy dissolution to those works they should preserve. 
 
 I. Basso-relievo, taken out of the Roman wall near Newcastle, and now in the possession of the 
 Rev. John Brand, (Secretary to the Society of Antiquaries). It serves to point out how much of the 
 wall was erected by the second legion of Augustus; in the centre is the labarum, or standard, of the 
 legion, marked, as well as on the ground of the basso-relievo, with L E G II, for legio secunda : 
 a Pegasus on one side, and a sea-goat on the other, denoting, according to Horsley, the maritime 
 situation of the county on one hand, and the swiftness of the Roman conquests on the other. 
 This rich allegorical memorial, in a pleasing and satisfactory manner, confirms the history of this 
 surprising effort of human power. 
 
 The next example brings us to that celebrated spot, the site of the ancient Vendam, near St. 
 Alban's; inconsiderable pieces of the walls, and vast heaps of rubbish, are all that keep alive the 
 memory of that renowned city. 1 
 
 J. Elevation of part of the wall, consisting of unshaped stones, flints, and tiles, or bricks ; the 
 latter are in regular courses, and of regular forms, their horizontal face being a square; this speci¬ 
 men is not of that pure kind, which marks the Roman workmanship in general; the mixture of 
 materials shewing a bad taste, and having been probably used in the decline of their empire in 
 this country. 
 
 Returning again to the Roman wall in Northumberland, where the river Tyne crosses its lines, at 
 Walwick Chestei-s, we meet with the— 
 
 K. Foundation stones of one of their bridges, which must have been on a grand plan, as the 
 river is there very broad, affording a fine opportunity for a display of their taste and abilities. 
 These stones, though regular in their forms, are of different dimensions ; only one course of them 
 remains, which is of an equal thickness; many have indents on their tops, as if they had been 
 bound together by iron cramps (such being here the received opinion); this, however, must be 
 doubted, these great masters of the art not having occasion for those feeble aids; besides, the 
 corrosive quality of that metal, swelling its parts, would soon have burst the stones asunder: no, 
 the destructive use of cramps was reserved for our days. These stones are bedded in a most 
 singular manner; not lying, as might be supposed, across the stream, but in a slanting direction ; 
 at every second or third range, they are set contrary ways to one another: this method is on just 
 principles, by which they were better enabled to resist the force of the water, and would suffi¬ 
 ciently prevent any parts that might have given way, from affecting the rest. It is much to be 
 regretted, that no more of these stones could be seen, as a more complete idea might then have 
 been formed of this curious foundation. 
 
 Plate Y. 
 
 HYPOCAUST AT CIRENCESTER, 
 
 We now proceed to the consideration of the Roman structures, as far as the very few existing 
 specimens will admit, beginning with a subterraneous building, contrived to warm their chambers, 
 or baths. 
 
 A. West view of the remains of the Hypocaust, as it now appears, at Cirencester. On the left 
 are seen the steps, placed to descend to the level, or floor of the work; in the centre is a small 
 opening, in a bank of earth, made to support the remains ; to the right, are additional supports 
 of earth. Returning to the left is an arch, sinking lower than the above-mentioned level. 
 
 B. Inside view of the Hypocaust, looking south. On the left, is the opening giving admittance 
 into it. From the level, or floor, rise detached pilasters, composed of square tiles, supporting the 
 roof; several of these pilasters having been destroyed, the deficiency is made good by wooden sup- 
 
IV 
 
 J M R C. A E 5 
 D ; i v TtAi a ivp a Pi Red \-t 
 TTAIAIV H ADRIA NAZRG 
 POT IV COS I M\ARAR$ 
 H 
 

DURING THE ROMAN iERA. 
 
 7 
 
 C. Plan of the Hypocaust. D. The surrounding garden-ground. E. Steps. F. The level, or 
 floor. G. Present entrance : this part of the Hypocaust is remaining, in a great degree, perfect. 
 H. The detached pilasters ; those of a lighter shade shew the original continuation of them; the 
 vacancies of which are supplied by wooden posts. I. A second level, dug to get to the arches. J. 
 
 K. Which lead into vaults not yet explored, they being filled with rubbish. 
 
 L. Elevation of the west side. Here are seen the steps ; the small opening; the supporting 
 banks of earth; and the first and second level. 
 
 M. Elevation of the north side, which cuts through the perfect part of the Hypocaust; and 
 the supporting banks, shewing the face of the wall extending on this side. 
 
 N. Elevation of the east side ; shewing the face of the wall, and one of the arches. 
 
 O. Elevation of the south side, shewing the face of the wall, one of the arches, the steps, and 
 cutting through the work, whereby the pilasters are seen; behind which is another arch; and 
 below, is the second level. 
 
 It may be supposed the whole space between the walls was filled with detached pilasters, and 
 that the heat was admitted from the arches into the spaces between them, thus gradually, and 
 equally, warming the building above. 
 
 P. Elevation of one of the arches, (the arch on the south side) to a larger scale. 
 
 Q. Elevation of three of the pilasters; each pilaster being formed by fourteen square tiles, 
 including the cap and base. 
 
 R. The first level, or floor, composed of terrace. S. The roof composed of ditto. T. The depth 
 cut to the second level. As the first level runs nearly to the top of the arch, (shewn by a dotted 
 line,) and, according to the above-mentioned supposition of the means of admitting the heat, but a 
 small portion could enter that way, it necessarily must have issued through the holes in the arch 
 stones. The construction of the arches and pilasters is scientific, and, with the facing of the wall, 
 well executed. 
 
 Plate Y I. 
 
 JEWRY WALL AT LEICESTER. 
 
 The most considerable remains of any edifice are at Leicester, called the Jewry wall, or Holybones, 
 generally thought to have been a temple, dedicated to some of the Roman deities. The south side 
 is of a black hue, warranting the tradition, that it was part of the inside, where the sacrifices were 
 performed ; and, as a further confirmation, bones of oxen are dug up on this spot. The north 
 side is of a greyish tint, like other buildings. 
 
 A. South-east view of the Jewry wall at Leicester. On the left is seen part of St. Nicholas’s 
 church. 
 
 B. Plan of the wall. 
 
 0. Elevation of the south-east side, presenting four irregular arches ; in the centre pier, which 
 is much damaged, the upper part, or head, of a niche is apparent; in the second arch, is faintly 
 seen the head of an interior arch ; the fourth pier is also damaged. Within the fourth arch, are 
 two small arches (probably windows) filled up. The materials are Roman tiles, bricks, and stones, 
 all of various dimensions, the whole worked in unequal courses; the heads of the arches are rounded 
 with tiles, forming an architrave. 
 
 D. Elevation of the north-west side. Here are only two arches: it may be doubted whether 
 they communicated with the other side, as their openings do not correspond. The second arch has 
 its head rounded with tiles. 
 
 E. Elevation of the south-east side restored. 
 
 F. Ditto of the head of one of the arches, on the north-west side, to a larger scale. It is rounded 
 with two courses of tiles, and edged also with tiles. 1 
 
 Plate YII. 
 
 FRAGMENTS OF A ROMAN TEMPLE AT RATH. 
 
 Tradition is one of the greatest guardians of antiquity, and, in many instances, has confirmed 
 doubtful propositions ; but never more clearly than in the recent discovery at Bath of various frag¬ 
 ments of a Roman temple, and of other buildings. History informs us, that the Roman temples in 
 this country were overthrown by the converts to Christianity ; who raised, on their ruins, Christian 
 churches ; of which tradition has handed down to us many instances; particularly in the abbey 
 churches of Westminster 2 and Bath : in the latter instance, the observation has been verified in 
 some degree : as on digging foundations for new houses, near the west front of the church, these 
 fragments were met with. It may be presumed, that under the church is the whole mass of the 
 
 1 These drawings of the Jewry wall were taken for William Bray, Esq. 1782, and are now, by his permission, introduced into this work. C. 
 
 2 Not any remains, older than the Saxon times, have ever been discovered near the site of the abbey church at Westminster. 
 
THE ORDER OF ARCHITECTURE 
 
 destroyed temple, which was dedicated to Minerva, as the goddess of health : may they ever remain 
 in oblivion ; and may this edifice, and particularly the former, continue unaltered, the wonder and 
 delight of those, whose souls are so formed as to be sensible of their divine beauties. 
 
 A. An arrangement of the several fragments of a Roman temple, and other buildings, lately dug 
 up at Bath. 1 
 
 B. Part of a column and a cornice, or bracket, affixed to its side. C. The plan. D. A small 
 column complete, with its base and capital; on the top of which ai’e the traces of a plinth. E. 
 The plan. F. Base of a column. G. The plan. H. Part of a column, and its base. I. The plan. 
 J. Part of the base of a pilaster. K. The plan. The form is incomplete; this representation 
 being but a fourth part. L. Part of a fluted pilaster, with part of a shell on a ground. M. Ditto, 
 evidently part of the preceding article. N. The plan. O. P. Parts of inscriptions. Q. The cap, 
 and part of a fluted pilaster, with part of an inscription adjoining. R. Cap of a fluted pilaster; 
 the rounds in the flutes drop from the cap. S. Part of a fluted pilaster. Here the rounds rise in the 
 flutes, agreeable to the example of the established Roman and Grecian orders. T. Part of a fluted 
 pilaster, and a ground adjoining, on which is a small plinth, supporting the foot of some statue. 
 U. Part of a fluted pilaster, filled with rounds, corresponding with article S. and a ground adjoining, 
 whereon is the lower part of a figure. V. Part of a fluted pilaster, with a ground, and part of a 
 winged figure, holding a sort of fruit. W. X. Y. A continuation of the foregoing grounds, with 
 parts of figures. In W. the figure holds a reaping hook, or bill. These several parts of fluted 
 pilasters are of the same dimensions, and, no doubt, belonged to one building. We shall now 
 proceed to the richer parts of the fragments ; whose beauty, in design and excellence'of sculpture, 
 will form a grand specimen of the Roman order of architecture established among us. 
 
 Plate Till. 
 
 FRAGMENTS OF A ROMAN TEMPLE AT BATH, 
 
 Fragments of a Roman temple, and other buildings, lately dug up at Bath. 
 
 A. The spandril of two arches, which is filled with an entwined band, or true lover’s knot. 
 
 B. Part of a bracket, which, most probably, supported the springing of some arch, as above the 
 cap is seen the vestige of the rib; in its centre is a flower. 
 
 C. A capital, composed of eagles’ heads and fruit, but divested of its mouldings. 
 
 D. The plan. 
 
 E. Part of a cornice, in the Tuscan style. 
 
 F. The base and part of a fluted column of the Corinthian order; the base is without the plinth, 
 and the flutes are filled with rounds. 
 
 G. The plan, shewing the diameter of the shaft, both at the bottom and the top ; the extremities 
 of the mouldings, the flutes with the rounds, and the disposition of the leaves encircling the bell 
 of the capital, I. in this Plate, which is supposed to belong to this column. 
 
 H. A corresponding part of the shaft of the same column, in which the finishing of the rounds 
 is seen. 
 
 I. The lower part of a Corinthian capital. 
 
 J. The upper part of the same capital. It has been conjectured by some, that this part is not 
 in strict unison with the lower part; however, as there is a fanciful variety in the two sides of the 
 ornament, not conformable to the Corinthian order, it may be presumed the two parts were connected 
 in a like unconfined manner, though the damage they sustained, when separated, must have 
 destroyed the small uniting ornaments. 
 
 K. Part of a Corinthian cornice; the enrichments on which, like those on the capital, shew the 
 exuberant taste of the architect more than the rules of the order. 
 
 L. The profile. M. N. 0. Parts of the ornaments in the hollow, taken from other fragments 
 of the same cornice; here again, as in the capital, the smaller parts of the work are varied. 
 
 Plate IX. 
 
 FRAGMENTS OF A ROMAN TEMPLE AT BATH. 
 
 ( Continued .) 
 
 Fragments of a Roman temple, and other buildings, lately dug up at Bath. 
 
 A. Part of a compartment, in which are the rays of the sun. 
 
 B. Part of the tympanum of a pediment, on which is a representation of the sun. 
 
 G. Part of a tympanum of a pediment; in the centre is the head of Diana, encircled by the 
 horns of the moon, on the right of which is a staff with (as far as can be made out) a twisted 
 serpent. 
 
 1 The fragments alluded to were chiefly found in the year 1790, on digging the foundations for the new Pump-room and Baths. 
 
VI 
 
A 
 
 VII 
 

DURING THE ROMAN iERA. 
 
 9 
 
 D. Four corresponding stones, forming part of the tympanum of a pediment, the principal 
 space is filled with a large shield ; 1 in the centre of the shield is a strong resemblance of the head 
 of Medusa, as it seems to be from the entwining serpents, the flowing hair, the wings above the 
 ears, &c.; there is likewise the appearance of whiskers and a beard : hence some doubt arises in 
 respect to the above conjecture; but, perhaps, the sculptor added whiskers by way of giving a 
 more terrific look to the head : the hair upon the upper lip, and chin, may be no more than the 
 flowing extremities of the hair from the head : be that as it may, the original meaning of such 
 marks cannot now be ascertained. Near the head is a wreath of leaves, tied in the centre with 
 ribands; in the mouldings, at the extremities of the shield, is likewise a wreath of leaves and 
 berries. We cannot perceive in what manner they were united at the bottom, but at the top 
 there is a centrical, plain, oval, patera; above this, on the ground of the tympanum, is another 
 representation of the sun. On the right side of the shield is part of the right arm, and of the left 
 hand, of a supporting figure; which, beyond a doubt, together with a corresponding one on the 
 other side, filled the remaining spaces of the tympanum. Here are, likewise, the accompaniments 
 of an owl and helmet; all which decorations are the symbolic ornaments of Minerva, and fur¬ 
 nish just reasons for believing that in this city, the New Troy of the Romans, she was held in the 
 highest veneration, not only in her heavenly character, patroness of the arts, but as goddess 
 of health, the great guardian of this favoured spot of nature. 2 The above representations of 
 the sun and the moon shew, that they were parts of temples, erected here to those deities, con¬ 
 genial, likewise, to the all healing virtues of the several springs flowing within this city’s bounds. 
 
 E. The Plan. 
 
 Plate X. 
 
 FRAGMENTS OF A ROMAN TEMPLE AT BATH. 
 
 ( Continued.) 
 
 Fragments of Roman antiquities, lately dug up at Bath. 
 
 A. Part of a winged figure, in the attitude of flying. B. Part of a figure in nearly the same 
 attitude as the foregoing one : it is not unlikely that these two subjects occupied the sides of the 
 shield in the tympanum in the preceding Plate. C. Part of a basso-relievo, whereon is the upper 
 part of a figure ; and on the left is the resemblance of a snake, from which attribute this figure 
 has been called Esculapius; probably he might also have had a temple here. D. Part of a basso- 
 relievo, of which little more can be said, than that there appears the lower part of the busto of some 
 figure, surrounded by a circle : on the right, is part of a celestial globe, seeming to have connexion 
 with subject E. where is a globe, nearly perfect; on its top rest the feet of a figure, and at its side, 
 is part of the body of another figure, terminating in foliage. F. An altar; on the front is the 
 figure of Jupiter, in full relief, the points of lightning (which is usually so represented) in the right 
 hand of the statues of this deity are very discernible; in his left hand is part of his sceptre, and 
 at his feet are some traces of the accompanying eagle. G. Another side of the same altar ; this 
 figure is designed for Hercules Bibax ; in his right hand he holds a cup, and with the left his 
 club ; over his shoulders is the lion’s skin : the other two sides of the pedestal are plain. 
 
 H. A collection of various articles, among which are several dug up with the foregoing: several 
 sorts of tiles, some single, others formed together into four sides, and two cemented with rubble 
 and mortar; also various bones of animals, supposed to have been sacrificed : on the tiles, to the 
 left, there is a heterogeneous mass; and on the tiles, to the right, a human skull. 
 
 Having thus given all the fragments, we shall now proceed to unite the architectural parts; 
 which, with a very few additions, will form a complete example of the Corinthian style in the 
 following: 
 
 I. Elevation of the several parts of the base, the shaft of the column, capital and entablature ; 
 to the base is added a plinth: the rounds in the flutes of the shaft rise to their proper height, 
 being a third part of the height of the shaft, the upper part of which has been added; in the 
 capital, the turning ends of the leaves, and the volutes, have been added ; in the entablature, the 
 architrave, with its enrichments, the frieze, with the ornaments from Roman altars at Trinity College, 
 Cambridge, and from the library of Durham Cathedral, and the first moulding to the cornice, have 
 likewise been added. 3 
 
 Plate XI. 
 
 TABLETS, ALTARS, BASSO-RELIEVOS. 
 
 The decorative sculptures remaining among us, of this order, are numerous, not only conveying 
 ideas of the profusion of this species of the Roman taste, but casting considerable light upon the 
 
 1 This was, unquestionably, intended to represent the segis of Minerva. B. 
 
 s There appeal's to be no valid authority for the assertion that Bath was ever called New Troy by the Romans. Its Roman name was Aqu^ 
 Solis. B. 
 
 3 For a more particular and complete account of the above remains, the reader will refer to “ Remains of Two Temples, and other Roman 
 Antiquities, discovered at Bath ; ” by the late Samuel Lysons, Esq., published in 1802 ; atlas folio. It contains twelve engravings (tinted), one 
 of which is an ingenious restoration of the portico of the temple of Minerva. The fragments are now carefully preserved in the Balk Lite-,'ary 
 Institution. B. 
 
 0 
 
10 
 
 THE ORDER OF ARCHITECTURE 
 
 history of that period; the present selection presents a series of those subjects from simple to more 
 
 elaborate design. _ . . , , , , 
 
 A A tablet brought from East Denton, in Northumberland; two pilasters are introduced, and it 
 appears to be the stone described by Mr. Horsley, as in his possession, from East Denton, in North¬ 
 umberland, and given by him in his Britannia Romana. A or thumb. IX. P-211. . 
 
 B. A tablet, found in Northumberland, the mouldings have the guilochi, or twisted band; the 
 inscription is supposed to mention the local deity Matunus, which is all that Mr. Horsley says of 
 it. Northumb. XCIX. p. 245. 
 
 C. A tablet, brought from Lanchester (county of Durham), the ancient Roman station 6 -lannibanta, 
 or Longovicus} The form of this tablet is familiar in our modern embellishments; the inscription 
 (Mr. Hensley, Durham XI.) read 
 
 /mperator tear arcus Antoninus Gordianus Pius Pelix Augustus balneum cum basilica a solo 
 instruxit per Gneium Lucilianum %atum Aw/ustalem propr&s torem curante J/arco Awelio Quirino 
 praAecto coAortis primse %ionis (rordianse. 
 
 This en ^raving does not give exactly the same reading, though not materially different, except 
 in the two last words, which seem to be, L E G. P. It furnishes, however, two proofs of the arts 
 and sciences introduced among us by the Romans, commemorating the building from the ground 
 a bath, with a basilica or palace, or town-hall, and it has preserved the name of a propraetor under 
 the Emperor Gordian — Gneius Lucilianus. 
 
 D. Ad altar, which was found at Walwick Chesteis, in Northumberland, the ancient Cilurnum, 
 carried to Hexham by Mr. Warburton, and from thence to the library at Durham, where, with the 
 preceding articles, it now remains : the form of it is simple indeed, (Horsley, Northumb. XXVI. p. 
 217.) It is to be read, 
 
 Pis J/anibus sacrum 
 Fdbie Honor 
 ate Fabius Hon 
 oratus Tribunx is 
 coAortis 1. Fangionura 
 et Aurelice Eglic 
 iane fece 
 runt felie d 
 ulcissime 
 
 E. An altar, dug up at Bath, with the fragments given in the foregoing Plates. This altar is 
 well proportioned, and seems to accord with the Corinthian manner: the inscription is not easy 
 to be read. It purports that it was erected by Gams Calphurnius, who lived to the age of lxxv. : 
 but his profession is not mentioned. 
 
 F. An altar, brought from Lanchester, and now in the library at Durham: the inscription 
 Fortunce Aristas sacrum Publius AeZius Atticus grreefe ctus rotum solvit Zubens merito. 
 
 (Horsley, Durham, XV.) Mr. Horsley says, “ I know not whether or no the figure between the two 
 leaves in the capital can be designed for the sun.” Mr. Hutchinson (Durham, II. p. 360.) says, “ the 
 radiations Mr. Hensley mentions are no other than the marks of the chisel round the cornice.” The 
 present Plate shews that both those gentlemen were mistaken. 
 
 G. An altar, supposed by Mr Horsley (Nenihumb. LV. p. 237.) to have been brought from Little 
 Chesters, a station on the Roman wall. It is thus to be read : 
 
 Fortunce 
 Populi Pomani 
 
 Gams J idius Raltricus centurio Ze^ionis sextee victricis. 
 
 On this and the foregoing altar, th e focus, wherein the fire and incense were laid, is well preserved. 
 The bas-reliefs on the sides, H and I, represent the instrument and vessels used in sacrifices ; the 
 secespita, or sacrificing knife ; the simpulum, or long-handled patera, for pouring out libations; and 
 the simpumum, or pitcher, which contained the wine used on those occasions. 
 
 J. A basso-relievo, brought from Lanchester, and now in the library at Durham / the inscription 
 to be thus read : 
 
 Legio vicesima victrix valens 
 fecit. 
 
 The crown, or garland, is supported by two winged victories, and the boar may relate to some 
 victories gained over the Caledonians by this legion. (Hensley, Durham, XVI. p. 291.) 
 
 K. A basso-relievo, brought from the Roman wall by Sir Robert Cotton to his house, at Connington, 
 in Huntingdonshire and given, with the rest of his collection, by his descendant, the late Sir John 
 
 1 The Roman walls of the station of Lanchester are mostly remaining: they enclose an extensive plot of ground. B. 
 
DURING THE ROMAN iERA. 
 
 11 
 
 Cotton, to Trinity College, Cambridge, where they are fixed up at the foot of the stairs leading to the 
 library. It is to be read, 
 
 Nv/minibus 
 Augustorum 
 Gohors III Gallorwn 
 equitum 
 fecit. 
 
 The emperors commemorated in it are supposed, by Mr Horsley , {Northumb. LXXXVIII. p. 237.) to 
 be Severus and Caracallci, whose busts he conceived were represented over the ornament with eagles’ 
 heads. 1 
 
 We may notice, that the octangular wreath in the centre has four different ornamental designs, 
 each of which is repeated : these varieties consist of the guilochi, the laurel leaf, with and without 
 berries, and the oak leaf; each division is tied with a riband : the square tablet which contains 
 the wreath has in its corners four flowers. On each side of the tablet are shields, above which 
 are heads; that on the left presents at once three faces, one front and two profiles; that head on 
 the right side is not remarkable; below them are snakes twisted into the ornamental true lover’s 
 knot. In the arched recess on the left is a winged victory, with the usual symbols, the palm branch, 
 laurel wreath, and the globe under one foot; in the compartment below, is a stork, &c.; in the 
 niche on the right is a statue in the full warlike dress of the Romans; in his right hand he holds 
 a long staff, with a round head at the top and with his left his shield : the attitudes of these two 
 figures are well displayed. In the compartment below the last figure, is another representation 
 of a stork, a vase, &c. ;—may not they allude to the fable of the stork and the fox? This subject 
 is likewise carved on the arch of the grand porch of St. Margaret’s Church, York ; which porch was 
 originally brought from a building of a very remote date, and, from its general design, nearly of 
 Roman workmanship. 2 
 
 In this basso-relievo we may perceive some faint traces of the manner in which the Romans 
 designed their superb edifices; the arched recess, the niche, the facias, the tablet, the statues, 
 point out very forcibly in what a high style they flourished among us. The continued discoveries 
 of Roman antiquities 3 made in various parts of the kingdom, will, no doubt, in process of time, 
 bring to view sufficient specimens of the various manners adopted by them in their several build¬ 
 ings, confirming the idea which we have already thrown out, that the works of the Romaus in 
 England rivalled Rome itself. 
 
 1 The illustration of these subjects is by R. Gough , Esq. F.A.S. 
 
 2 See Vol. II. of Specimens of Ancient Sculpture and Painting. 
 
 3 At Woodchesler in the county of Gloucester, there have, within these few years, been discovered and explored the vestiges of a Roman struc¬ 
 ture, four hundred feet in extent, the foundation walls of which have been clearly made out; in several of the principal chambers are tessclated 
 pavements, in so rich and fine a taste, that the uprights of the work must have been magnificence itself. The whole of these remains have been 
 drawn and engraved by Samuel Lysons, Esq. F.A.S. and published in 1797, atlas folio. The number of Plates arc forty, most of which are 
 coloured. 
 
THE 
 
 ORDER OF ARCHITECTURE 
 
 DURING THE 
 
 SAXON TRA, 
 
 This Order, which rose on the ruins of the Roman architecture (and which displays some of the 
 broadest marks of that style,) presents to our view, at this day, great and magnificent examples, 
 in many parts of the kingdom, from the most superb and extensive edifice down to the most 
 humble and circumscribed erection ; and is found remaining, in general, in a state of durability, 
 appearing to bid defiance to time, though not to the iron hand of modern architectural innova¬ 
 tion ; under the ruthless power whereof, one of the finest buildings raised by our Saxon ancestors, 
 the cathedral church of Durham, is at this hour suffering. 1 
 
 Saxon architecture prevailed among us till long after the Conquest, for we find the same style 
 pursued in the Tower of London, Rochester castle and cathedral (all the designs of Bishop Gunclulph, 
 who flourished during the reign of Henry I. whose statue, and that of his queen, are on each side 
 the principal entrance of the latter building,) and in other structures of a still later period. 2 It 
 is our intention rather to treat of each Order in its progressive state (by giving examples from 
 the simplest design to the most elaborate,) than to introduce them in an exact historic and 
 chronological arrangement; for by so doing we might very soon be under the necessity of illus¬ 
 trating the richest subject, thereby doing away the instructive part, which is ever best under¬ 
 stood, by a regular and successive mode of information. 
 
 We shall first, then, direct our attention to that epoch when the dawnings of Christianity rose 
 in this country ; its converts then were but few, and the places where they assembled must have 
 been in the most sequestered situations : there, probably, the first Christian altars were raised; 
 and to elucidate this idea we shall consider the subjects on 
 
 Plate XII. 
 
 CELL, NEAR WINSTER, DERBYSHIR E.—C AVES AT NOTTINGHAM. 
 
 A. View of a cell in Gratcliff near Winster, Derbyshire. 
 
 A place at this day with difficulty explored; the vast rock, in which this cell is excavated, 
 rises in a dreary vale, accompanied by other no less tremendous objects. 
 
 The entrance to the cell from the south is by a natural arch: great labour must have been 
 bestowed in hewing out the interior: on the right we perceive the altar, crucifix, &c. which 
 are likewise cut out of the rock. 
 
 B. View of the east end of the cell. 
 
 The altar and crucifix are the principal objects (though much damaged); on the right of the 
 crucifix is a niche for the utensils of the altar. The dimensions are about thirteen feet long, 
 eleven feet broad, and nine feet high. 
 
 C. View of buildings cut in the south side of the rocks west of the castle at Nottingham. 
 
 These excavations evince rather a regular plan for a monastic building, for we meet with a 
 
 chapel, and various apartments, the latter both on a first and second story, with a staircase, 
 chimnies, &c.; they are, however, deprived of their original fronts, as well as some are of their 
 
 1 This refers to the alterations made in Durham cathedral by the late Mr. John Wyatt. Nearly all the “ great and magnificent examples,” 
 which Mr. Carter alludes to in the above paragraph, were certainly erected during the Norman rule in this country, and therefore ought not to 
 be ranked among the productions of the Saxon (era. B. 
 
 2 The 8t ? le of Architecture hitherto attributed to the Saxons, is now, with great reason, considered to be of Norman origin. Mr. Carter is 
 accordingly incorrect in his opinion, that “Saxon architecture prevailed among us till long after the Conquest" since all the larger buildings 
 erected subsequently to that event had a distinctive character, (arising from their massiveness, lofty vaultings, elaboration of ornament, and 
 other qualities,) far removed from the buildings of the Saxon (era. It is true, indeed, that the church of Waltham Holy Cross, founded by Earl 
 Harold, about the year 1060, (m the Anglo-Saxon period,) exhibits, in its curious remains, nearly all the characteristics of Norman architecture: 
 and that the old church of Westminster, which was rebuilt by King Edward the Confessor, in the latter years of his life, was erected on 
 similar principles yet neither of those buildings can justly be referred to any other style than that which the Normans established here after 
 the Conquest. The great intercourse between the two countries, which King Edward so particularly encouraged previously to that event and 
 the preference ho gave to Norman customs and Norman artificers, will readily account for those structures having been executed from Norman 
 designs. The Anglo-Norman historians expressly mention a «new mode” of architecture as having been introduced by the Normans, and they 
 particulariy apply the phrase to Edward’s Church at Westminster, regarding which, William of Malmesbury uses the words, “novum genus 
 ffidincandi, and Matthew Paris, “novum genus compositionis.” B. 
 
THE ORDER OF ARCHITECTURE DURING THE SAXON ./ERA. 
 
 13 
 
 groins or ceilings. The river Lin winds from the west extremity of the rocks, and directs its 
 course to the neighbouring castle and town. In the distance is seen the castle. 1 
 
 D. The general plan. E. The chapel. F. Altar. G. Niche. H. Columns. I. East aisle. J. 
 North aisle. K. Apartments. L. Ditto, whose ceilings are destroyed. M. Chimnies. N. Cir¬ 
 cular openings cut through the top of the rock. O. Staircase. P. Apartment on the second 
 story. Q. Windows. It. Stone seats. S. Communication from east aisle I. which is here 
 broken off. T. Communicating aisle renewed. U. Ditto destroyed again. V. Arch through 
 which the river runs. W. The river. 
 
 X. View of the excavations, looking east. 
 
 In the centre is the chapel; at the end is seen the altar, niche, &c. 
 
 Y. Roman tile. Z. Ditto brick ; the size of the latter is two feet by one foot five inches, and 
 five inches thick ; they are both worked into one of the chimnies. A2. One of the columns in 
 the chapel, with part of the architrave, which sweeps round an arch. 
 
 Plate XIII. 
 
 ARCHES, GATEWAYS. 
 
 Class I. 
 
 We now enter in a more regular manner on the proposed illustration of the Saxon Order; 
 commencing with an elevation of the most simple form and of a certain date, from whence we 
 may presume this Order first began to appear among us. 
 
 A. Archway over the grave where once lay the body of St. Withburga, in the churchyard near 
 the west end of East Dereham church, Norfolk. 
 
 Withburga was the youngest daughter of Anna, king of the East Angles, who was slain a.d. 654. 
 She lived many years after, and was buried at the west end of this church; in process of time 
 (about a.d. 798) her body was found entire, which was then removed into the church in the time 
 of king Edgar. The bishop of Winchester and the abbot of Ely translated it to Ely, a.d. 974. 2 3 
 
 Under this arch now rises a spring of excellent water; within are seen some intersecting 
 arches. At present a brick vault is built before the arch, for the purpose of converting it into 
 a cold bath. 
 
 B. Plan. C. The stream. 
 
 D. Arch leading into an aisle, which divides the crypt under the remains of an ancient building- 
 situated at the south-east angle of the cloisters ol Westminster abbey. The crypt itself is very 
 perfect, where are many enriched columns, &c.; the upper story has been repaired of late years, 
 and is now the college school of this place. It originally was part of the religious edifices built 
 by Edward the Confessor. 
 
 Round this arch a second one takes its course ; both of them are bounded by buttresses of the 
 same simple and appropriate form. It may be necessary to observe, that this work was origin¬ 
 ally part of the west side of the structure, though now converted into an arched avenue leading 
 from the cloisters. 
 
 E. Plan. F. Part of the aisle dividing the crypt. G. Part of the aisle leading from the 
 cloisters. 
 
 H. View of a gateway and connected arched recesses, on the south side of the walls of 
 Southampton. % 
 
 In this scene the first class appears in a conspicuous and pompous manner, and the gate in the 
 centre has the finest effect. 
 
 Class II. 
 
 I. Archway in the inner ward of Micldegate-Bar, York. 
 
 This arch has the second sweep, and both take their springing from an impost of three 
 mouldings; one of the pilasters on the left has a base. 
 
 J. Plan. K. Impost. L. Base. 
 
 M. One of the archways under the tower of Hitchenden church, Buckinghamshire. 
 
 Notwithstanding the general features of this church appear later than the Saxon gera (by 
 reason of the several repairs and alterations made in succeeding ages), yet as there are many of 
 its characters remaining, as this and other arches, the porch and the font, we may reasonably 
 conclude its origin was Saxon. 
 
 1 This was a large building erected (on the site of the ancient castle) by the dukes of Newcastle, in Charles the Second’s reign. It was 
 destroyed by fire during a riot of the town-people in Ootober, 1831. B. 
 
 - See Bentluim’s Hist of Ely. B. 
 
 3 An interesting (illustrated) account of this wall, and of other ancient buildings at Southampton, will be found in Sir Henry Englefield’s 
 “Walk through Southampton;” 8vo. 1805. B. 
 
 D 
 
14 
 
 THE ORDER OF ARCHITECTURE 
 
 This remark may apply to many of our churches (particularly those in remote villages,) where 
 we constantly meet with the same evident marks of antiquity. 
 
 The archway before us appears with an architrave and an impost, the mouldings are the 
 plainest possible. 
 
 1ST. Plan. 0. Impost, and part of architrave. 
 
 P. Archway, entering into the close of the collegiate church of Southwell, Nottinghamshire. 
 These three subjects are drawn to the scale of No. 1. 
 
 The second sweep has an architrave, which is like that in the preceding subject, as are also 
 the imposts. 
 
 Q. Plan. P. Impost, and part of the architrave. 
 
 Plate XIV. 
 
 ARCHES: SPECIMENS FROM ST. ALBAN’S. 
 
 Specimens from the abbey church at St. Alban’s. 
 
 This church was founded by Off a, king of Men-eia, between a.d. 756 and 794, and is one of the 
 earliest productions of the Saxons. 1 It was built out of the ruins of the city of Verulam, 
 which once stood in the adjacent meadows; the materials are bricks and tiles of various dimen¬ 
 sions, and some few dressings of stone. Since that time, it has undergone many alterations, and 
 various styles of architecture meet the eye; however, much of the original design remains, some 
 specimens of which are here brought forward on a construction since followed in all our cathe¬ 
 drals, and in many other religious buildings. 
 
 A. One division of the west side of the north transept taken on the outside. 
 
 The upright is divided into three stories; the arch on the second story is now filled with a 
 window of a later date, as are all of those on the said story. 
 
 B. Plan. C. Imposts to the arch of the windows on the second and third story. D. String 
 mouldings under the windows of the first story. E. Impost to the windows of the first story, 
 which impost is of stone. 
 
 F. One division of the north side of the nave, taken on the inside. 
 
 In this elevation our primitive forms appear with an air of much grandeur : the piers have 
 many breaks, which rise to the impost mouldings, and then sweep round the arch, through which 
 is seen the window in the said aisle, restored from one in the north transept; the arch on the 
 second story is stopped up. Some of the pilasters to the windows on the second and third stories 
 have bases, and, what is rather singular, the same kind of buttress is seen in the centre of the 
 piers as is on the outside. In the thickness of the wall, on the third story, is a gallery, communi¬ 
 cating along this side of the nave. 
 
 G. Plan. H. Side aisle. I. Section of the arches of the window on the third story, shewing 
 the small communicating gallery. J. K. L. Impost, base, and string mouldings on the second 
 story. M. N. Impost and base to the arch and piers of the first story (the imposts are of stone). 
 The arches of the first and third story have their centres much above the lines of their imposts. 
 
 Plate XV. 
 
 ARCHES — DOORWAYS. 
 
 A. Archway in the wall on the south side of the site of the cloisters of Peterborough minster. 
 
 It has been stopped up, and the lower part of the pier destroyed; the architrave is edged with 
 two rows of quarter circles, placed alternately. This enrichment is of the plainest kind, and is 
 a proper introduction to the long train of Saxon decoration. 
 
 B. Plan. C. Impost, with part of the architrave. D. Inner profile of part of the arch, impost, 
 &c. 
 
 E. Archway on St. Mary’s-hill, Stamford, Lincolnshire. 
 
 The moulding on the pilasters runs through the imposts, making part of the architrave round 
 the arch, in which we see, for the first time, the famous and universal diagonal ornament, or as 
 it is commonly called, the zig-zag moulding. This remarkable trait in the Saxon works is found 
 disposed in two ways, one with its point projecting outwards, and the other with its point laying 
 
 This is erroneous. The original church, or chapel, erected in honour of St. Alban, was built by Germanus, Bishop of Auxerre in the year 
 429. King Offa greatly augmented the officinal building at St. Alban’s, but did not erect a church there. The oldest parts of the present 
 abbey-church, (which are constructed with Roman tiles, and other materials collected from the ruins of Verulam) were raised bv the Norman 
 abbot, Paul, who died in the year 1093. B. ' 1 
 
DURING THE SAXON iERA. 
 
 15 
 
 so as to follow the lines which circumscribe it, either horizontal, perpendicular, or circular; the 
 former disposition occurs in the arch under investigation. 
 
 F. Plan. G. Impost, with part of the architrave. H. Inner profile, in which the diagonals 
 reverse their appearance. 
 
 I. Archway in, the remains of the hall belonging to the nuns of St. Benedict, founded 1100, 
 adjoining the priory church, Clerkenwell. 
 
 In the architrave, the diagonals are in the two situations above mentioned ; the mouldings of 
 the impost differ entirely from any yet introduced, and partake of the Roman manner ; the piers 
 are nearly hid by surrounding rubbish. 
 
 J. Plan. K. Impost, with part of the architrave. L. Inner profile, in which the diagonals 
 reverse their appearance. 
 
 M. One of the flying galleries on the south side of the east end of Gloucester cathedral. 
 
 The origin of this church may be traced as far back as Edward the Confessor; of which time 
 there are many fine parts still existing. The gallery in question, with a similar one on the north 
 side, communicating with those over the side aisles of the choir, and with that at the west end of 
 our Lady s chapel, constitute what is called the whispering gallery. This design is supported by 
 an arch (being part of the segment of a circle,) having a bold architrave; above it is a small 
 cornice, on which rise five compartments with the diagonals, where the two positions equally 
 divide them. Here the unaccountable fancy of the Saxon artist is manifest; for we find them on 
 one face, and in the same sweeping line! Another small cornice finishes the work. 
 
 N. Plan. 0. Inside of part of the gallery (this subject is drawn to scale No. 1). 
 
 P. The diagonals round the centre compartment. 
 
 Having thus given parts of buildings composed of the first and second classes, we shall next 
 present some subjects which may come under the head of decoration in the same modes of archi¬ 
 tecture. 
 
 Q. Doorway in the cathedral church of Durham. 
 
 Its opening is well proportioned ; a kind of pediment rises over the head, from which springs 
 an arch, filled with diamond chequers. 
 
 R. Plan. 
 
 S. Doorway on the south side of Hunmanhy church, Yorkshire. 
 
 The features of the second class are here very conspicuous : the arch is filled with a ground, on 
 which is sculptured a cross. 
 
 T. Plan. 
 
 U. Doorway in the High-street of Milborn Port, Somersetshire. 
 
 The arch here sinks into an oval; its architrave, which is filled with the diagonals, has a 
 corresponding sweeping cornice : the imposts as before; the jambs have the diagonals likewise. 
 
 V. Plan. W. Inner profile ; on the return of the jambs are similar diagonals to those on their 
 fronts. 
 
 X. Doorway on the north side of Essington church, between Fairford and Cirencester. 
 
 The head of this door is formed of part of an octagon, rising from a horizontal torus moulding, 
 which finishes in a spiral direction round two heads; a lion and a griffin fill the space within it; 
 other torus mouldings constitute the architraves to the jambs. 
 
 Y. Plan. 
 
 Plate XY I. — Class III. 
 
 ST. BOTOLPH’S PRIORY, COLCHESTER; GLOUCESTER CATHEDRAL; CHRIST CHURCH 
 PRIORY, ALDGATE. 
 
 A. View in the ruins of the priory church of St. Botolph, at Colchester (looking west). Erected 
 about the end of the eleventh century. 
 
 This church, like the abbey at St. Alban’s, was built out of the ruins of some neighbouring Roman 
 edifice, with the same kind of materials, and much in the same style, with this difference, that 
 the column here is the principal feature, and which constitutes the system of the Third Class of 
 Saxon Architecture. 
 
 B. One division of the north side of the nave (taken on the inside). 
 
 The parts of the capital of the column are made out with the Roman bricks and tiles ; the arch, 
 with the window over it, have the double sweep, and the inside buttress rises from the capital. 
 
 C. Part of the plan of the columns. D. Capital, with part of the double sweep of the arch and 
 buttress; the lines following the sweep shew the courses of the bricks and tiles, which were 
 originally covered with stucco. 
 
 The four following specimens are from Gloucester cathedral. 
 
 E. Section of one of the divisions of the south aile of the undercroft. 
 
16 
 
 THE ORDER OF ARCHITECTURE 
 
 The base and cap mouldings are similar to those in the Second Class; the arch and the ribs of 
 the groins have the single sweep ; and the window is strictly consonant with their simple forms. 
 
 F. Plan. G. Base. H. Capital. 
 
 I. Half of one of the arches in the east aile of the undercroft. 
 
 The column is like the foregoing one; the architrave to the arch has the diagonals, which, with 
 the mouldings, spring from a plinth. 
 
 J. Base. K. Capital, with part of the architrave. L. Inner profile, in which the diagonals 
 reverse their appearance. 
 
 M. Half of one of the divisions of the north-east chapel in the undercroft. 
 
 The column here exhibits a capital after the Roman manner, with an astragal, ovolo, and 
 abacus; though the base, with the other parts of this division, are correspondent to the foregoing 
 example. 
 
 N. Plan. O. Base. P. Capital. 
 
 Q. Section of half of one of the divisions in the south aile of the choir. 
 
 The base to this column now appears with a hollow and torus moulding; the capital resembles 
 the one just noticed, but wants the fascia in the abacus ; the arch has the double sweep, while 
 the arch spreading across the aile has only the single one, and the groins are without any ribs. 
 
 R. Plan of three quarters of the column, the other part having been cut away to unite the 
 later work in the choir. S. Base. T. Capital. 
 
 U. Section of half of one of the divisions in the south aile of the undercroft of Canterbury 
 cathedral, erected soon after the Conquest. 
 
 The base has no plinth, and consists of but one moulding, an ogee reversed : the capital is of 
 the true genuine Saxon form, without any ornament; and though it partakes of the mouldings 
 of those we have now described, yet by giving the abacus alone a greater depth, and a sweeping 
 line at the bottom, the Roman figure is entirely banished, and we are surprised with a new idea, 
 for one of the principal objects in architecture, the capital: the groins are without any ribs; the 
 arch that springs from the capital and spreads over the aile has the single sweep: in the centre 
 of the division, is an arched entrance into the chapel of our Lady: it has the double sweep. 
 
 V. Plan. W. Base. X. Capital. 
 
 Y. Section of half of a division of the west aile of the remains of the south transept of the priory 
 church of the Holy Trinity, called Christ Church, without Aldgate, London, erected by Maud, 
 queen of Henry I. early in the twelfth century. 
 
 This division now belongs to the habitation of a leather-seller, and is but a part of the west 
 aile of the transept: on the north side are three divisions, mostly perfect, and parcelled out into 
 tenements; no other vestige of this once famous church is visible. 
 
 The base of the column is buried in the ground ; the capital is like the preceding, but has some 
 different mouldings: the ribs of the groins have their mouldings ornamented with pateras, and 
 between them lai’ge beads. 
 
 Z. Plan. A2. Capital, with part of the rib. B2. Soffit of the ribs, taken from the centre of 
 them. 
 
 Plate XYII. 
 
 EXETER CASTLE; ST. ALBAN’S ABBEY; WINCHESTER CATHEDRAL. 
 
 A. South-east view of the original entrance into the castle at Exeter, supposed to have been 
 erected by the West Saxon kings, and afterwards the residence of Richard Earl of Cornwall, son of 
 Henry III. 
 
 The altitude of the outer arch is particularly striking; the inner one which has been filled up, 
 and converted into apartments, is supported by double columns: the groins or roofing of the 
 design are destroyed. 1 
 
 B. A small tower, on the south-west angle of the south transept of the abbey church at St. 
 Alban’s. 
 
 A column, which supports two small arches, circumscribed by a larger one (of which there are 
 four in the circumference of the tower), and a small cornice, give the whole of the design; the 
 battlements are evidently of later times. 
 
 C. Half of the plan. D. Base. E. Capital. F. Cornice. 
 
 G. Half of the south side of the great tower of the abbey church at St. Alban’s. 
 
 Its height is divided into four parts ; the first part rising from the pitch of the roof of the south 
 transept, contains the heads of the great arches within, which support this tower; the second part 
 
 1 This gateway formed a part of the castle which was built here by William the Conqueror; the Saxon castle had been wholly destroyed by 
 the Danish King, Swayne, in 1003. Vide Oliver’s “ History of Exeter,” pp. 20 and 138. 8vo. 1821. B. 
 
DURING THE SAXON A3RA. 
 
 17 
 
 is the ringing room, lighted by circular openings; the third part is a gallery, communicating 
 round the tower, through the thickness of the walls, with stone seats, constructed, no doubt, for 
 the convenience of viewing the surrounding country in a commodious and contemplative manner; 
 the fourth part is the belfry; the arched windows, and the triangular and diamond openings, are 
 well conceived for the purpose of giving due effect to the sound of the bells ; the buttress in the 
 centre at the fourth height, alters its square form into half-rounds, and small angular divisions, 
 as well as at the angles of the tower, where they take one large circular form; the whole is 
 finished with battlements, like the small tower just noticed. 
 
 H. Dado moulding. I. Base : and J. Capital to the gallery. K. Cap. and L. Torus moulding 
 of the arch of the windows of the fourth part. 
 
 M. One division of the north transept of Winchester cathedral, erected by Bishop Walkelyn, after 
 the middle of the eleventh century, (taken on the inside). 
 
 The three stories here appear with columns ; and in the pier one rises to the roof. 
 
 As we have before observed that the three stories constituted one great feature in the uprights 
 of our most considerable religious buildings, so in this design we likewise must point out, that the 
 dividing the arch on the second, or gallery story, into two lesser ones by a column, and two small 
 arches on each side of the window on the third story, is another leading principle, invariably 
 pursued, like the former. 
 
 N. Part of the plan. 0. Plinth. P. Sub-plinth and base. Q. Capital of the columns to the 
 first story. R. Mouldings dividing the height of the great column in the pier at the second story. 
 S. Sub-plinth and base to the column in the centre, and T. Base. U. Capital of the second story. 
 V. String mouldings. "W. Plinth. X. Sub-plinth and base, and Y. Capital, of the third story. 
 
 Plate XYIII. 
 
 DURHAM CATHEDRAL: — NAVE. 
 
 A. One division of the south side of the nave of Durham cathedral, erected about 1093 (taken 
 on the outside). 
 
 It is a mortifying task to inform the reader, that the whole of the west and south fronts (except 
 the great centre tower) of this august fabric have, within these ten or fifteen years, been 
 new faced; the usual consequence of which business is the doing away all the small parts, and 
 substituting a variety of barbarous ideas for the dressings in their stead ; but why repine at this 
 blow, trifling in comparison of the general havoc now going on in every part of the building ? 
 The east front, the Galilee, the chapter-house, bishop’s throne, altar screen, St. Cuthbert’s feretory, 
 the nine altars, (all works venerated by the admirers of ancient aid), are now either receiving a 
 new fangled dress, or falling beneath the workmen’s hands into undistinguished dust! 1 
 
 To return : fortunately the south front of the church remains in its pristine state, from which 
 the minute parts in this upright are restored. 
 
 The buttresses rise to the second story; the space between them have two arched recesses, 
 supported by columns, and small grounds between them ; the architrave to the arches have several 
 mouldings ; three string mouldings divide the height of the first story, the window of which, and 
 that to the second story, are formed like the recesses below; a parapet finished the second story, 
 and its roof rises to the third story; here the buttresses receive a new aspect; they stand on 
 pedestals (capped with a string moulding) and have at their edges columns : the window like the 
 others : the whole terminating with a second parapet, supported by diagonaled blockings. 
 
 Few are the examples left us of the original finishing of the upper parts of Saxon buildings ; the 
 alterations and repairs made in succeeding ages have in most instances given them a far different 
 appearance. 
 
 B. Plan. C. Plinth. D. Sub-plinth and bases. E. Capitals, and part of the architrave to 
 the arch of the recesses, and F. Base. G. Capital, with part of the architrave of the window to 
 the first story. H. String mouldings. I. Base. J. Capital. K. Blockings, and L. parapet to 
 the third story. The parts of the window of which, with that in the second story and first 
 parapet, are nearly the same as the others. 
 
 M. Section of one division of the south side of the nave (taken on the inside). 
 
 The arches are supported by clusters of columns, and a single one alternately; the three 
 columns in the centre of the cluster rise nearly to the third story, from whence spring the arches, 
 which spread across the nave; the single column, whose circumference is of a great span, has 
 round it diagonal mouldings, and the abacus of the capital, by taking an octangular form, gives 
 eight lesser fronts or capitals; these several columns stand on pedestals of many mouldings; the 
 
 1 In the “ Gentleman’s Magazine,” Vol. LXXI. p. 1092, and in 
 
 other volumes of the same Miscellany, under the head “ Pursuits of Archi¬ 
 
 on the alterations made in Durham cathedral, by Mr. James Wyatt. An 
 and details, from Carter’s drawings, was published by the Society of Anti- 
 
 E 
 
18 
 
 THE ORDER OF ARCHITECTURE 
 
 architraves to the arches are enriched with the diagonals in their fascias, and small blockings 
 sweeping round their outer edge : the arches of the second or gallery story, are likewise supported 
 by clustered and single columns, and have in their two fascias diagonals; in the spandrils are 
 brackets supported by human heads, from whence spring the ribs of the groins; they have in 
 their mouldings the diagonals. These groins, by taking a pointed sweep, shew that they are of a 
 different taste from the rest of the work, and prove the tradition here, that they were constructed 
 many years after; the string with the arches in the third story have the diagonals. In a space 
 under the window in the side aile (seen between the columns of the first story) are intersecting 
 arched recesses, supported by double columns standing on a pedestal, which pedestal serves as 
 the continued stone seat of the church. 
 
 In these two examples we see the strict propriety of Saxon design; the external work so well 
 preparing the mind for the more elaborate display within. 
 
 N. Plan of the single and clustered columns. 0. Their pedestal. P. Plinth and base. 
 
 Plate XIX. 
 
 DURHAM CATHEDRAL. —ST. ALBAN’S ABBEY CHURCH. 
 
 Parts in the elevation of the nave of Durham cathedral, given in the preceding Plate. 
 
 A. Half of the capital to the great single column, with part of the column, and the architrave 
 of the arch. B. Part of the plan of ditto, and the architrave. C. String moulding. D. Base. E. 
 
 Capitals and part of the architraves to the arches of the second story. F. String. G. Base H. 
 
 Capital, and part of the architrave of the third story. I. Pedestal. J. Plinth and base. K. 
 
 Capitals and architraves to the double column: and L. String moulding in the said aile. M. 
 
 Plan of the double column, in ditto. 
 
 N. Part of one of the divisions in the south transept of the abbey church at St. Alban’s. 
 
 This specimen is given for the purpose of introducing the columns to the second or gallery 
 story; the lower part and finish of the third story, by comparing them with Plate XIV., will be 
 then made out and found similar; these columns are varied, some plain (like those already seen), 
 and some of them, divided in their heights, by various mouldings. 
 
 O. String mouldings. P. The several columns. 
 
 Plate XX. 
 
 DECORATIONS. — DOORWAYS. —FONTS. 
 
 A. Doorway on the south side of Axminster church, Devonshire. 1 
 
 The work of this example is regular; the diagonals on the grounds on each side of the columns, 
 as well as those in the architrave of the arch, have their points running with the lines which 
 bound them: the outer band of the arch is filled with flowers. The bases of the columns are 
 buried in the ground. 
 
 B. Plan. C. Abacus of the capital. D. Inner profile of the doorway ; within the soffit of the 
 arch are small circles. 
 
 E. Doorway on the south side of Essondine church, near Stamford, Lincolnshire. 
 
 The opening has a square head : the columns are of different diameters and of different heights ; 
 an arch springs from them, in which are irregular diagonals, their points ranging with the line of 
 the arch; in the outer moulding is an enrichment of leaves, and their extremities over the capitals 
 are varied, one of them lying with the line of the capital, and the other pointing upwards. Within 
 the arch is a basso-relievo of our Saviour sitting on the rainbow; his right hand giving the 
 benediction, and the left hand holds a book : on each side is an angel: over the head of that on the 
 left hand, is the monogram of Christ. On the jambs of the door are the figures of Adam and Eve, 
 birds, beasts, &c. The bases of the columns are buried in the ground. F. Plan. 
 
 G. Font in Iffley church, near Oxford. 2 
 
 The basin, circular within, and square without, is supported by a very squat column, with a 
 base and capital: at each angle of the basin are columns, one of them half square and half round, 
 
 1 See Lysons’ “ Magna Britannia,” Devonshire: also for a view of Alphington Font. 
 
 2 Iffley church is an Anglo-Norman structure, and according to Warton, in his “ History of Kiddiugtou,” (p. 11, second edit. 4to. 1783,) was 
 “erected by a bishop of Lincoln, iu the twelfth century.” It is mentioned in a charter of Henry de Clinton, dated in the latter part of Henry 
 the Second’s reign. It is fully described and illustrated in Britton’s “ Architectural Antiquities,” and in Ingram’s and Le Keux’s “Memorial's 
 of Oxford.” B. 
 
XVII1 
 
I 
 
DURING THE SAXON ^ERA. 
 
 19 
 
 with a base of many mouldings ; the other columns have no bases, but are charged with sweeping 
 flutes, and all ot them are without capitals. ® 
 
 The seeming inconsistency observable in this design, of varying from the regularity of archi¬ 
 tectural arrangement, appears to have been guided by some mystery, as in almost all the works of 
 the Saxons, the same extraordinary display is to be met with ; which is a mystery at this day and 
 in all probability, for ever will remain unknown. 5 
 
 H. Half of the plan. I. This dotted line shews the sweep of the interior of the basin. 
 
 J. Font in Broxbourn church, Hertfordshire. 
 
 The basin is supported by nine columns, one in the centre, and the other eight at the eight 
 angles of the basin : these columns have bases, but are without capitals, and stand on an octan¬ 
 gular plinth : the exterior of the basin is octangular, and on each face of it are two arched recesses. 
 This design is simple, and its forms regular. 
 
 K. Half of the plan. L. This line shews the sweep of the interior of the basin. 
 
 M. Font in Alphington church, near Exeter. 
 
 The lower part of the basin has a plinth and base mouldings standing on two octangular sub¬ 
 plinths : complete columns of this Class, with band interlacing architraves, and an exceeding rich 
 frieze of figures and foliage, run round its exterior. This design shews much regularity and 
 grace. 
 
 N. Half of the plan. 0. This dotted line shews the sweep of the interior of the basin. 
 
 P. The frieze of the foregoing font. The foliage is formed of stems encircling figures of men 
 and beasts, &c. In the first encirclement is a lion, in the second a man, thrusting a lance into 
 the jaws of a dragon in the third encirclement; in the fourth an eagle; in the fifth another 
 dragon ; in the sixth a man having just shot an arrow from his bow. (Q. is the continuation of 
 the frieze); in the seventh is a hart; in the eighth, foliage entwined into the device of the true 
 lover’s knot; in the ninth, an ornament; and in the tenth, a man with a hare hung over his 
 shoulders. The extremities of some of the beasts terminate in stems uniting with the rest of the 
 foliage. 
 
 Plate XXI. — Class IY. 
 
 GLOUCESTER CATHEDRAL; ST. PETER’S CHURCH; SHERBORN CASTLE 
 ROCHESTER CASTLE; CHRIST CHURCH PRIORY. 
 
 A. Part of the grand avenue leading from the east cloister into the cemetery of Gloucester 
 cathedral. 
 
 This avenue has on each side a range of columns standing on a sub-plinth ; from their capitals 
 spring arches, with a band architrave; on these architraves springs a semicircular arched 
 headway, the whole length of the avenue from west to east, and entirely plain. The capitals 
 exhibit two sweeping lines, which being the natural variation from the single sweep in the 
 capitals of the Third Class, we shall now commence the Fourth Class, judging this the proper 
 juncture, as the capital here has begun to open to our view the endless train of diversified 
 ornamental ideas, so characteristic of this order. 
 
 B. Plan of part of the avenue. C. Profile of the avenue, with half of the arched headway. 
 
 D. Plinth and base. E. Capital; between the two sweeping lines is a leaf. F. Another capital 
 in the same avenue, like the foregoing, but more immediately shewing the alteration from the 
 single sweeping line. , 
 
 G. Part of the colonnade on the second story, on the outside of the north side of St. L eter s 
 
 church, Northampton} . 
 
 The columns and architraves are much after the same manner as those m the piecedmg 
 specimen; above runs a cornice with human heads, ornaments, and various devices. on the 
 cornice, at certain distances, are placed sculptures, for letting off the water from the leads of the 
 
 H. Plan of part of the colonnade. I. Plinth and base. J. Capital. K. Cornice, and one of 
 the sculptures for letting off the water, composed of three heads ; the two m prohle have hands 
 over their mouths. This sign is often to be met with in our ancient works. 
 
 L. View in the ruins of Sherboi'n castle, Dorsetshire . 2 , „ , 
 
 The capital has a break at each angle, whereby twelve faces are presented; the faces on each 
 
 . A particular account of tM. very curio,, church ha, been given i, Britt.,', g 
 
 which the rich Norman .culpture cud ornamental the L2tj.) to who,, good tc.'tc and teal in antiquarian pumuita 
 
 £ k indebted f.r the fuH development of it. antique d.nbl. arch., of Eomen 
 
 This outlet with another at Devize, were erected by Bog.r, Biehop of Saliebury, in the reign of Henry I. B. 
 
20 
 
 THE ORDER OF ARCHITECTURE 
 
 front of the capital are much larger than the others, they having each four sweeping lines, while, 
 the smaller faces have each but one sweeping line. The groins are quite plain. 
 
 M. Base. N. Capital. 
 
 O. Arcade on the third story of the keep of Rochester castle. 
 
 This castle was the work of the great architect, Gundulph, Bishop of Rochester ; and although 
 the keep is now the principal part of what remains, yet it conveys a strong idea of the majesty of 
 the structures of his day. 1 
 
 The keep consists of four stories, which are divided into two parts by a wall, from the base¬ 
 ment story to the parapet, in which are doors of communication to the several apartments. In 
 the third story the wall is cut through by four magnificent arches (the specimen now before us,) 
 and no doubt this story contained the grand chambers for state occasions. An inferior partition 
 wall is brought from column to column ; and in the fourth arch to the right, the partition has a 
 doorway. In the centre between the second and third arch, is a buttress rising the whole height 
 of the building; in its thickness is a well, and on each story is an opening of admittance to it. 
 The opening on the third story is here seen. The first arch is of larger dimensions than the 
 others, which cannot now be termed a singularity, as we repeat again, that Saxon architecture is 
 as well recognized by its seeming want of uniformity of parts, as by its massy columns, semi¬ 
 circular arches, and diagonal mouldings, &c. &c. 
 
 P. Plan. Q. Well. ft. Gallery of communication to the different chambers in the thickness 
 of the walls. S. Section of the gallery of communication. T. Base; at the angles of the plinth 
 is an ornament. U. Capital; its face is divided into eight sweeping lines. V. Architrave ; here 
 the diagonals have their points projecting outwards. 
 
 W. The first story of one of the divisions of the remains of the east side of the north transept 
 of the priory church of the Holy Trinity, (erected by Queen Maud,) called Christ church, without 
 Aldgate, London. This division, with similar ones on each side, (now parcelled out into habita¬ 
 tions) formed the east side of the transept. A flat column, or sweeping buttress, is placed 
 between this division and that on its left side : there are no traces of a correspondent buttress on 
 the right side. Clusters of columns (the centre one being in the return of the archway), support 
 an arch with many sweeps ; the outer sweep appears as an architrave, the half of which on the 
 left side has a plain torus moulding, and the other half on the right side appears with the 
 diagonals. The bases of the columns are buried in the ground. Above the arch runs a torus 
 string moulding. So small a part remains of the second story, that no idea can be formed 
 of its structure. 
 
 X. Plan. The clusters of columns on each side are diversified. Y. Half of the capitals to the 
 cluster of columns on the right side. Z. Half of the capitals to the cluster of columns on the left 
 side. A 2. Architrave to the arch on the left side. B 2. Architrave to the arch on the right side. 
 
 Plate XXII. 
 
 CHAPEL IN THE KEEP OF THE TOWER OF LONDON. 
 
 A. Plan of the chapel in the Keep (generally called the White Tower,) of the Tower of London, 
 built in the close of the eleventh century. 
 
 This keep is another grand example of Bishop Gundulph's knowledge of architecture ; and is at 
 present in a good state of repair: all its various apartments, however, excepting this chapel, have 
 lost their original decorations. This chapel is situated at the south-east angle of the building, 
 and is placed on the third story, consisting of a centre aile, and two side ones, which range round 
 the eastern end. 
 
 B. The entrance, which is from a circular staircase, commencing from the outside of the Keep. 
 
 C. Side ailes. D. Centre aile, or body of the chapel. E. The situation of the altar, ascertained 
 by the notches cut in the two eastern columns. P. Arched recess. It is rather likely that here 
 originally was the grand entrance from the principal chambers of the keep, and that having since 
 been walled up, gives the present recess. G. Window. The dotted lines shew the form of the 
 groins and arches. 
 
 H. Section of the chapel, taken from west to east, and looking north. The columns stand on 
 a sub-plinth; their base mouldings and capitals, though of exact dimensions and of similar forms 
 in the mass, are (as usual) full of variations in their smaller parts ; the arches spring from the 
 capitals, and are without any architraves ; a small cornice of a hollow and band runs above the 
 arches : the ailes are groined, but without any ribs, and a plain fascia sweeps from the width of 
 the pilasters to the columns opposite. The side ailes, seen within the arches, have no windows, 
 
 1 Gundulpli has the fame of building the castle at Rochester, the white Tower of London, and the Norman part of the cathedral of Rochester; 
 all which were erected in the time of the Conqueror. B. 
 
XXI 
 
DURING THE SAXON iERA. 
 
 and only the recesses appear. At the east end is the section of the east window, the pilasters 
 breaks, and the window north of the one just mentioned. On the second story is a gallery cor¬ 
 responding with the ailes below: the arches are plain, and between each is a pier The finish of 
 the design is by a semicircular arched ceiling. The headway to the gallery is a single semicircle : 
 within the fourth arch from the left is seen a door entering into the grand council chamber, still 
 entire, as to its general form and dimensions. At the eastern extremity are windows correspond- 
 ing with those below. 
 
 I. Sub-plinth. J. Plinth and the base mouldings ; and K. Capital to the half column on the 
 north side of the chapel, beginning at the west, and the first seen in the above section: at the angle 
 of this capital is a leaf, ending in a volute, and small squares rise up the middle of it: small squares 
 again appear in the hollow of the abacus, and an architectural form is seen in the centre of the 
 capital. As many of the capitals to the several columns are nearly similar, such only as are 
 materially different are here introduced; the base mouldings are omitted for the same reason, 
 and the example J. is oidy given. L. Capital to the second column ; at the angle is a fan orna¬ 
 ment ; and in the centre is the architectural form. The capitals to the third, fourth, and fifth 
 columns are similar to the foregoing one. M. Capital to the sixth column; here we meet with 
 the single sweeping line, our primitive Saxon capital. The capitals to the seventh and eighth 
 columns are similar to capital L. N. Capital to the ninth column ; the lower part of the bell of 
 the capital has a row of small leaves, and at the angle is the lai’ge leaf terminating in a volute ; 
 in the centre is the architectural form, which in this example (from its being less than the others) 
 the whole of it is shewn, and may be termed a representation of a cross. The capitals to columns 
 ten and eleven, are similar to capital L. O. Capital to column twelve ; here is the double sweep¬ 
 ing line. The capital to column thirteen is similar to the foregoing one. P. Capital to the 
 fourteenth or half column ; at the angle is the leaf terminating in a volute ; in the middle of the 
 leaf is a simple ornament; in the centre of the capital is the architectural form ; in the hollow 
 of the abacus a twisted wreath; and in the fascia of the abacus, are squares with lines diamond 
 wise. Q. R. Two of the caps to the pilasters. 
 
 Plate XXIII. 
 
 ST. BARTHOLOMEW CHURCH—TICKENCOTE CH.—CRYPT IN THE CATHEDRAL OF NEWCASTLE. 
 
 A. One division of the north side of the choir of the priory church of St. Bartholomew the Great, 
 Smithfielcl, London ; erected about 1123, by Rahere, Minstrel to King Henry the First. 1 
 
 The various buildings of this priory must have been very noble and extensive: and there 
 remains at present, the south transept, choir, and west door of the south side aile of the nave of 
 the church; the east side of the cloister, chapter house, refectory, dormitory, the crypt under it, 
 and various parts of less account. The choir now serves for the parish church, and is of Saxon 
 [Norman] work. As there are but few vestiges of their art to be met with in the metropolis, 
 these remains become interesting; and it was within these ten or twelve years that a design was 
 set on foot to pull down the whole of the fabric; but the laudable and spirited exertions of some 
 of the inhabitants saved it at that time from the fate of modern architectural innovation. 2 
 
 The columns stand on a sub-plinth; the capitals have breaks at their angles, and several 
 sweeping lines on their faces: in the architrave of the arch are blockings. The window in the 
 side aile within this arch being of the pointed arched style, is not introduced. The gallery, or 
 second story, is fronted with columns and pilasters; and in the architrave of the arch are 
 blockings. The third story is not introduced as bearing a finish m the pointed arched style. 
 
 B. Plan. C. Moulding to the sub-plinth. D. Base. E. Capital: and F Architrave to the 
 first story. G. String mouldings or cornice to the first story. H. Sub-plinth. I. Base. J. 
 Capital: and K. Architrave to the second story. 
 
 L. East end of Tickencote church, near Stamford, Lincolnshire. 
 
 Since the sketching of this end, it has, with other parts of the buildiug, given way to modem 
 architectural innovation, a circumstance much to be regretted, as it was reckoned by the curious 
 observers of Scum buildings to have been a choice treasure of that style oi aichitecture 
 
 This elevation consists of five stories, divided by columns into four parts on th e basement 
 story; and the other stories are divided by a continuation of most of these columns into three 
 
 ■ Although of ,o early a date, ,1 incidental employment of the pointed ar.h oc.m, in thi. church, at the int.cection of the towe, with th. 
 
 Ucon,, repair, hare h.e. nr.d. to th. interior of th. chumh, by Philip Hardwick, ** Mft Arehite.t, with nn.eh 
 
 ingenuity and skill, whereby a permanency ic given to this cun °h a p'f | nt WO rk was preserved, and other parts imitated. 
 
 • Tickencote church was almost wholly rebuilt in the year 1782 j but mush of the .nonm P „ Pumli „ Aridt,*,,,! 
 
 It was surveyed by Mr. Carter in 1780, and as it then em.ted, was parfeularly d«.r brfju Mm 
 Innovation.”—Gent.’. Mag. for January 1806, p. 34. The very eun.u. entrance arch to th cha-el » rep 
 Norman Antiquities" fob? 1767 , and also in Dr. Stukeley's “ Itmer.nom Curmsum, 1 ol. II. 1776, 
 
22 
 
 THE ORDER OF ARCHITECTURE 
 
 parts. In the basement, or first story, are columns ancl interlacing architraves: the bases are 
 buried in the ground. In the second story is the window lighting the chancel, whose semicircular 
 head breaks into the third story, where are four recesses, with columns, arches, and architraves, 
 enriched with diagonals and squares. In the centre of this story rises a recess from a cornice, 
 supported by human heads into the fourth story : in this recess is a window lighting a room over 
 the chancel; four other human heads are disposed round this recess, and its architrave is 
 ornamented with squares: six other recesses are likewise in this story ; and their architraves 
 have the diagonals. In the fifth story are three oblong small recesses, with diamond enrichments. 
 
 M. Plan of the east end of the chapel. N. Stairs ascending to the room over the chancel. 
 O. Abacus or cap to the column without the capital in the first story. P. Architrave. 
 Q. Capital to the other columns in the first story. R. Architrave. S. String moulding to the 
 first story. T. Base. U. Capital: and V. Architrave to the east window. W. String moulding 
 to the second story. X. Base. Y. Capital. Z. Architrave; and A 2. Side architrave to the 
 
 recesses in the third story. B 2. String mouldings to the third story. C 2. Architrave to the 
 
 recesses in the fourth story. D 2. Cornice to the centre recess : and E 2. Architraves in the third 
 and fourth stories. F 2. Fascia, or string to the fourth story. G 2. Part of the small recess in 
 the fifth story. 
 
 H 2. View in the crypt, or basement story of the keep of the castle of Newcastle, Northumber¬ 
 land ; begun in the reign of William the Conqueror. 
 
 The plan of the crypt is square: in the centre is a column, whose capital has breaks at its 
 angles, from which spring several groins and ribs, arching to brackets in the angles, and on the 
 four sides of the crypt. On one side of the crypt is a door and a window. 
 
 I 2. Base. J 2. Capital. K 2. Rib. L 2. Bracket in the angles of the crypt. M 2. Rib. 
 
 N 2. Bracket on the centre of the sides of the crypt. O 2. Rib. 
 
 Plate XXIY. 
 
 CHAPEL OF THE HOSPITAL OF ST. LEONARD, STAMFORD. 
 
 A. West front of the chapel of the hospital of St. Leonard, Stamford, Lincolnshire. 
 
 There are now no other remains of this religious foundation than this chapel, which at present 
 serves for a barn : the sides and the interior have not any work that needs describing: a few of 
 the Saxon irregularities appear in the centrical objects, they not being placed directly one over 
 the other. 
 
 The basement story has an archway for the entrance in the centre, with clustered columns and 
 rich architraves: on each side are recesses with corresponding decorations, and two plain 
 buttresses, giving the finish at the sides, rise to the pitch of the roof. The second story is fronted 
 with a colonnade, in which are inserted three windows. In the third story is a single window, 
 pointed at each extremity. 
 
 B. Plan of the front of the chapel. C. Plan of the cluster of columns on the left side of the 
 entrance. The dotted lines shew the forms of the astragals and abacuses of the capitals, and of 
 the mouldings of the architraves thereon. D. Sub-plinth. E. Plinth. F. Base. G. Band 
 mouldings uniting the shafts of the columns. H. Capital, entirely decorated with foliage. We 
 are now arrived to that part of this order where the sweeping lines in the capital are succeeded 
 by that profuse display of ornaments so universally to be met with in all the works of the Saxons; 
 and which, while they exist, will ever raise our admiration. I. Architraves ; the several diagonals 
 range with the lines which bound them. J. The capitals and architraves, when seen from the 
 angle K. in the enlarged plan of the cluster of columns. L. String mouldings over the entrance. 
 M. Plinth. N. Base. O. Capital; and P. architrave to the colonnade. Q. Another capital in 
 the same colonnade, and part of the architraves uniting over it; all the other capitals in this 
 colonnade are similar to capital, 0. R. Architrave to the windows in the colonnade. S. Cornice. 
 T. Architrave to the window in the third story. U. V. and W. Capitals to the recesses, on the 
 sides of the entrance. 
 
 Plate XX Y. 
 
 SHIREBURN MINSTER, DORSETSHIRE. 
 
 A. Porch on the south side of Shireburn minster, Dorsetshire ; erected 705. 
 
 This porch is all that is left of the original structure : the present fabric erected on its site is 
 
XXII 
 
DURING THE SAXON A3RA. 
 
 23 
 
 in the pointed arched style of architecture, of very rich and elaborate workmanship, and of very 
 extensive dimensions. The upper part of the porch, having been repaired in the pointed arched 
 style, is here only given in outlines. 
 
 The columns on each side of the archway stand on a continued pedestal; they have no bases, 
 and the inner ones are without capitals : on each side of the columns are recesses; the architraves 
 to the arch have the diagonals sweeping with the lines which bound them : the outer architrave 
 springs from dragons heads, and is divided in the centre by a mask : on each side of the archi¬ 
 traves are other recesses with the diagonals. On the second story are recesses with columns and 
 pilasters: the centre part of this story is obliterated by the subsequent pointed arched work. 
 Within the porch is the entrance into the church ; its head has a flat sweep, in the architrave are 
 the diagonals, and on each side are complete columns, from whence springs an arch with the 
 diagonals ; within this arch is a recess with diagonals also. 
 
 B. East side within the porch ; the pedestal is continued from the archway to the columns at 
 the entrance. C. Plan of the porch. D. Entrance into the church. The dotted lines shew the 
 form of the groins, ribs, and the decorations in the centre. E. and F. Pedestal mouldings. G. 
 Capital on the left side of the archway. H. Capital on the right side of the archway. I. 
 Column without the capital. J. Recess mouldings. K. Architraves ; and L. Mask in the 
 centre of the outer architrave. M. String mouldings over the archway. N. Plinth. 0. Base. 
 P. Capital, and Q. Pilaster, on the second story. R. S. Capitals to the columns in the angles 
 within the porch on the left side, from whence spring the groins and their ribs. T. Plinth. U. Base. 
 Y. Capital, and W. Architrave to the column on the left side of the entrance. X. Architrave 
 to the entrance. Y. Capital on the right side of the entrance. Z. Capital in one of the angles 
 on the right side within the porch. A 2. Architrave to the recesses in the first tier, and B 2. 
 Architrave to the recesses in the second tier, in the sides within the porch. C 2. Architrave to 
 the recesses over the entrance. D 2. Rib mouldings, and the decorations in their centre, of 
 four human heads, devouring serpents. 
 
 Plate XXYI. 
 
 KEEP OF OONISBOROUGH CASTLE, YORKSHI] 
 
 A. South-west view of the keep of Conisborough castle, Yorkshire. 
 
 Of this castle, we now only meet with the keep and some adjoining walls; the access to the 
 keep is by a vast flight of steps : the openings for light, excepting that over the entrance, are 
 very small. In the thickness of the buttress, on the right of the entrance, on the third story, is 
 an oratory; a four semicircular-formed opening within a square admits the light on each side, 
 and a narrow loophole admits it in front. 
 
 B. View within the keep looking west, taken from a doorway on the second story. The 
 several upper floors being destroyed, a view is had of the uprights of each story. On the first 
 story, rather to the left, is the entrance into the hall, or common chamber : in the centre of the 
 floor is a circular opening, giving admittance to the dungeon below, which is coved, and corre¬ 
 sponds in form and dimensions with the chambers above. On the second story, which gives the 
 council-chamber, we see to the left a door leading into a small private room ; more to the right, 
 is the opening to the window over the entrance ; next the opening to the stairs ascending to the 
 third story ; next a chimney-piece, composed of a cluster of three columns on each side, with en¬ 
 riched capitals, and an entablature, wherein the joints of the stones, from them peculiar connexion, 
 render it a pleasing object. It may be remarked, that a complete chimney-piece of a period so 
 remote and of a design not unlike those of the present day, may be considered as a singular 
 curiosity On the third story (which we cannot appropriate to any particular purpose) is seen, to 
 the left, the door entering into the oratory; next, to the right, is the opening from the stairs 
 ascending from the second story ; next is the opening to a window; next, another chimney-piece, 
 in design much like the one below. On the top of the walls of this story are the projecting 
 
 stones, or corbels, which supported the roof. . 
 
 The means used at present to gain admittance into the oratory, is by mounting a ladder to the 
 opening to the stairs, on the left of the chimney-piece on the second story: these stairs bring the 
 visitor to the second opening from the left on the third story, where, by stepping on a large 
 projecting stone, and holding on the edges of this opening and the edges of the door of the 
 oratory on the left, he, by a violent and fearful exertion forces himself into the oratory the 
 singular appearance of which hardly makes him forget the danger he has escaped, and what may 
 not unlikely ensue (his curiosity being satisfied) in his attempt to return. 
 
 C. View in the oratory, looking south-east. „ > 
 
 To stand at this point of view is extremely hazardous, being near the door from whence 
 admittance is given. On the left, at the edge of the view, is seen part of a door,‘° a S ' 
 at the angles, and on the sides of the oratory, are columns supporting the groins. between the 
 
24 
 
 THE ORDER OF ARCHITECTURE 
 
 easternmost columns are almeries, for keeping the utensils of the altar, and above them circular 
 openings for light: at the end is a loophole window, decorated with columns and arches; and 
 under it the situation for the altar. The arch between the two groins has the diagonals. 
 
 D. Plan of the first story: the form is circular, with six splayed buttresses. E. Flight of 
 steps. F. Entrance. G. Stairs ascending to the second story. H. Hall. I. Opening down to 
 the dungeon. 
 
 J. Plan of the second story. K. Stairs from the first story. L. Window above the entrance. 
 M. Chimney-piece. N. Small recess. 0. A privy. P. Opening to the stairs ascending to the 
 third story. 
 
 Q. Plan of the third story. It. Oratory. S. Small vestry. T. Stairs from the second story. 
 U. Window. V. Chimney-piece. W. Small recess. X. Stairs ascending to the parapet. By 
 consulting the situation of the stairs on each story, we find that when admittance was gained to 
 one floor, it was to be crossed to the other side, to gain admittance to the next floor, and so on. 
 
 Y. One of the four semicircular openings for light on the outside of the oratory. Z. Sub-plinth. 
 A 2. Plinth. B 2. Base. C 2. Capitals. D 2. Entablature; and E 2. Plan of the columns to 
 the chimney-piece on the second story. F 2. Capitals. C 2. Entablature: and H 2. Plan of 
 the columns to the chimney-piece on the third story. 
 
 I 2. Capital in the angle on the left of the entrance into the oratory. J 2. Plinth. K 2. Base ; 
 and L 2. Capitals to the single column on the left side of the oratory. M 2. Arch and rib mould¬ 
 ings of the groins. N 2. Profile of foregoing arch mouldings. O 2. Capital; and P 2. Rib mould¬ 
 ings in the left angle, at the end of the oratory. Q 2. Capital; and R 2. Architrave to the end 
 window, as seen in the return of the window. S 2. Capital. T 2. Architrave ; and U 2. Archi¬ 
 trave to the end window as seen in front. Y 2. The lower part; and W 2. Base of the column of 
 the said end window. X 2. Capitals to the single column on the right side of the oratory. Y 2. 
 and Z 2. Ornaments in the centre of the groins of the oratory. 
 
 Plate XXYII. 
 
 B I S H 0 P’S PALACE IN THE CASTLE OF DURHAM. 
 
 Plan, sections, and ornaments of the chapel on the basement story of the bishop’s palace in the 
 castle of Durham, erected by William the Conqueror. 
 
 The situation of this castle is grand beyond description ; it retains much of its original appear¬ 
 ance on the outside, and within, some of the chambers are still in existence; this chapel being 
 the principal part, though now converted into a receptacle for rubbish, among which is thrown 
 a fine whole length statue of one of our ancient kings, who is in an episcopal dress: and the 
 chest which held the body of St. Cuthbert, in his shrine, behind the high altar of the cathedral! 
 
 A. Plan of the chapel. B. Entrance. C. Ailes. D. Steps to the three altars. E. Brackets 
 for the altars. F. Almery. G. Stone seats. H. Windows. I. Damaged part of the pavement. 
 The stones of this pavement are laid in diagonal lines, and is a veiy singular example of our 
 ancient pavements. The dotted lines shew the form of the groins. 
 
 J. Section of the chapel, from west to east, looking north. 
 
 The design rises one story : the capitals are highly sculptured, while the arches and groins are 
 entirely plain : towards the east end is the almery, and in the east wall is seen the section of the 
 centre east window. 
 
 K. Section of the chapel from north to south, looking east. 
 
 In which the three ailes, the steps to the altars, the brackets for the altar tables, and the three 
 windows (though now stopped up), are here exhibited. 
 
 The half capital against the west wall, first seen in the longitudinal section J. is omitted in the 
 following detail, being nearly deprived of its sculpture, therefore we shall begin with the next 
 capital to the right, and so of the rest. L. Base. M. South side of the said capital. N. 
 Springing of the arches and groins. O. P. Q. The other three sides of the foregoing capital; on 
 the south side, are volutes at each angle, united by a sweeping continuation of the outer band ; 
 within the sweep is a mask: the side 0. contains two stages; the side P. presents a man with 
 two dogs in a string, and who is holding the reins of a horse, which is seen in the side Q. R. 
 One of the sides of the third capital, in which is a serpent, diamond compartments, and the 
 volutes. S. One of the sides of the fourth capital, filled with ornaments, and the volutes. 
 T. One of the sides of the fifth capital, filled with a mask, diamond compartments, the volutes, 
 and the astragal, is covered with a twisted band. U. One side of the sixth capital; at 
 the angles are masks, the space between them filled with diamond and plain compartments/ and 
 the astragal is covered with a twisted band. Y. One side of the seventh capital; at each angle 
 is a grotesque figure, and the space between them is filled with flowers. W. X. Y. Z. The four 
 sides of the eighth capital; the first and second sides have lions, the third side a syren, and the 
 fourth an ornament of acorns : nearly all the angles shew the volutes. A 2. One side of the ninth 
 
gaga 
 
DURING THE SAXON AERA. 
 
 25 
 
 capital filled with a mask, compartments of flowers, the volutes, and the astragal, is covered 
 with a twisted band, B 2. One side of the tenth capital, whereon is sculptured, not unlikely, 
 the accusation made by a northern king against St. Cuthbert, relative to the chastity of his 
 daughter; in vindication of the saint’s innocence the princess was swallowed up in the earth. 
 Hence the custom in ancient times of never admitting females into churches dedicated to this 
 samt. This capital has also the volutes. C 2. D 2. E 2. and F 2. Caps to the several pilasters on 
 the north and south sides of the chapel. G 2. Front; and H 2. Profile of the brackets to the 
 
 altars. 
 
 There is much similarity of style between this chapel, and the chapel in the Keep of the Tower 
 of London. See Plate XXII. 
 
 Plate XXYIII. 
 
 OXFORD CATHEDRAL.—PART OF NORTH TRANSEPT AND DETAILS. 
 
 A. One division of the west side of the north transept of the Cathedral church of Oxford ; being 
 
 the eastern part of the church of the monastery of St. Frideswide, rebuilt by King Ethelred after 
 it had been burnt by the Danes, a.d. 1004. 1 
 
 In this design, are arches springing from brackets on each side of the columns, and within the 
 arches, springing from the columns, are colonnades; but without any galleries. Between the 
 architraves of the arches, rises from a console a column, which appears to have once supported 
 groins; the present ceiling is a flat one. On the second story is a gallery. On the left is the 
 great north-west cluster of columns, supporting the great tower of the fabric. 
 
 B. Plan. C. North transept. D. Side aile of ditto. E. Great tower. F. North aile of the 
 nave. G. Plinth and base. H. I. Capitals to the first story. J. Capitals to the cluster of 
 columns of the tower. K. Brackets ; and L. Architrave between the columns of the first story. 
 M. String. N. Plinth. O. Base. P. Capital. Q. Architrave; and R. Column on the right 
 side (which is not introduced in the elevation) of the window, in the side aile of the transept. 
 S. Architrave of the arch of the column of the first story. T. Plinth. U. Base. Y. Capital to 
 the first column; and W. X. The second and third columns of the colonnade within the arches 
 of the first story. Y. Console; and Z. Capital to the column, between the architraves of the 
 arches of the first story. A 2. String mouldings to the first story. B 2. Plinth. C 2. Base. 
 D 2. Capital of the first column, and E 2. F 2. and G 2. the second, third, and fourth columns 
 to the gallery on the second story. H 2. Plinth. I 2. Base. J 2. Capital, and K 2. Architrave 
 to the arch of the first column ; and L 2. Capital to the second column of the first window on the 
 second story. 
 
 Plate XXIX. 
 
 ST. NICHOLAS’S CHAPEL, AND STAIRS TO REGISTRAR’S OFFICE, CANTERBURY. 
 
 A. One division of the north side of the body of St. Nicholas's chapel, at Harhledmm, near 
 
 C °The column to the left (the subject to be described) is octangular, with a peculiar ornament at 
 four of its sides, on the mouldings of the base. The column to the right is circular, as usual. 
 
 Canterbury cathedral. 
 
 
 description of this i 
 3 See Cavelier’s 
 
 1 The Rev. Dr. 
 
26 
 
 THE ORDER OP ARCHITECTURE 
 
 U. Front of the building inclosing the stairs. This design (as there is no other example of the 
 kind left us) is certainly a great curiosity, and presents an air of much grandeur, and the more 
 so, if we may presume that there was originally a corresponding open colonnade on the right 
 side. 
 
 The bases are buried in the ground. 
 
 V. The six small columns of the colonnade. W. Plinth. X. Base. Y. Capital; and Z. Archi¬ 
 trave to the first column of ditto. 
 
 It is to be remarked, that the shaft of the first column, and the base of the sixth column, are 
 octangular; and that the third, fourth, and fifth architraves to the arches, are more enriched 
 than the other architraves. 
 
 A 2. Capital; and B 2. Architrave to the arch of the large columns. C 2. The interior enrich¬ 
 ments of the preceding architrave. 
 
 Plate XXX. 
 
 ST. AUGUSTIN E’S ABBEY CHURCH, CANTERBURY. 
 
 A. The remains of the west front of the abbey church of St. Augustine’s monastery, Canterbury ; 
 erected 605. 1 
 
 Having minutely surveyed the ruins of this once celebrated and splendid pile of buildings, it 
 strongly appeared to me that the object before us, now called St. Ethelbert’s Tower, was part of 
 the north-west front of the church, as there runs in a direct line from it the north wall of the 
 north aile of the nave, with windows, columns, and the springing of the groins, and which are 
 all that now remains of the said church. 2 I further conjectured, that the vast mass of wall, 
 which stood near this tower, towards the south (lately wantonly destroyed), was the remains of 
 the corresponding part of this west front to the south : to strengthen this opinion, at a distance, 
 which we may judge was the extreme length of the church, and exactly in the centre between 
 this tower, and the mass of wall, is another vast heap of ruined wall, which most probably was 
 part of its east front. From these circumstances, I presume to apply a name to this fine specimen 
 of Saxon architecture. 
 
 The design is elevated to six stories, which we see on the left is deprived of the continuation 
 of its several parts. We note (to the left) in the first story a large arch, containing a door, and 
 the vestiges of a window ; the second story has a gallery; in the third story is a window ; in the 
 fourth story are recesses with columns; in the fifth story is a recess with a column and a 
 pilaster; and in the sixth story are recesses with columns. To the right, the design is more 
 perfect, and we are struck with the disposition of the jvoe recesses displayed on the first, second, 
 third, fourth, and sixth stories. The last story shews three sides of an octagon. The infinite 
 variety of forms, and the enrichments of the columns, the architraves to the arches (either 
 circular, diamonded, or triangular), and on the several grounds between them, are particularly 
 interesting, and give at one view, and in one existing example, an almost complete system of 
 the order of Saxon architecture. 
 
 B. Plan. C. First recess. D. Bases, which are formed of the busts of figures. E. Columns. 
 F. Capitals. G. Architraves to the arches, and the enriched grounds. H. Basso-relievo on the 
 side of the outer break of this perfect part of the design : it appears to be a surgeon examining 
 the foot of a dropsical patient. I. Second recess. J. Plinth and base. K. Columns. L. Capitals. 
 M. Architraves to the diamonded arches, and the enriched grounds. N. Third recess. 0. 
 Columns. P. Capitals. Q. Architraves to the triangular arches, and the enriched grounds. 
 R. Fourth recess. S. Capitals. T. Architraves to the arches, and the enriched grounds. 
 U. Y. W. Architraves to the arches, and the enriched grounds of the fifth recess. X. Block 
 cornice over the gallery on the left side of the elevation; with Y. A string, composed of several 
 blocks over the said cornice. Z. Architrave to arch of the window on the third story. A 2. 
 Cornice to the third story. B 2. Architrave and enriched ground to the recess on the fourth 
 story. C 2. String to the fourth story ; and D 2. String to the fifth story. 
 
 1 The Rev. Dr. Milner has pronounced the date of this building to be 1080. B. 
 
 - I pass by the common idea, that the ruined small building on the north side of the above aile, sacrilegiously used as a tennis-court, was 
 the abbey church. 
 


DURING THE SAXON ASRA. 
 
 27 
 
 Plate XXXI. 
 
 DECORATIONS. — DOORWAYS. — CIRCULAR WINDOWS, AND DETAILS. 
 
 A. Doorway at the west front of Kenilworth church, near Coventry. 
 
 Here we must particularly notice the skulls of beasts, the fret moulding in the architrave, and 
 the pateras in the spandrils of the arch; as appertaining much to the Roman manner. The 
 bases are buried in the ground. 
 
 B. Plan of the door. C. Plan of the architrave of the arch. 
 
 D. Doorway, on the south side of the church at Rumsey, Hampshire. 
 
 This design is very regular and perfect, except the figures at the springing of the architrave of 
 the arch. Here we likewise see pateras, sweeping flutes, and other Roman ornaments. 
 
 E. Plan of the doorway. F. Plan of the architrave of the arch. 
 
 G. Doorway in the gallery over the chapel of the bishop’s palace in the castle of Durham} 
 
 Sere we meet with a complete, rich, and chaste design; the several parts are well proportioned ; 
 
 and we find that the small enriched mouldings, before each column, sweep round the architraves 
 of the arch. 
 
 H. Plan of the doorway. I. Plan of the architraves. 
 
 J. Circular window, in the east front of the church, at Castle Hedingham, Essex. 
 
 The architrave is plain, and the divisions are made by columns and arches. The situation of 
 the capitals are curiously changed as they describe the circle. 
 
 K. Outer architrave. L. Inner architrave. 
 
 M. Circular window, in the east front of Barfreston church, near Canterbury. 
 
 The architrave is filled with the chimeras, masks, and grotesque figures, so universally seen in 
 the enrichments of this order. The divisions are made by columns ; the capitals are formed by 
 human heads and ornaments : and the arches have three sweeps, edged with pateras. 
 
 N. Outer architrave. 0. Inner architrave. 
 
 Plate XXXII. 
 
 HOLY-WATER BASINS. — FONTS. 
 
 A. Holy-water basin, (Piscina,) projecting from the wall on the right side of the site of the 
 altar, to a small chapel at the east end of the north aile, on the second story of the choir of 
 Gloucester cathedral. 
 
 This basin was for the purpose of receiving the water used by the priest, which sunk through 
 an opening into the rubble of the wall, and was then lost. This method was adopted to prevent 
 the water from being applied afterwards to any sacrilegious purpose. 
 
 B. Holy-water basin, projecting from the wall on the right side of the site of the altar, to a small 
 chapel at the east end of the south aile of the choir of the church at Rumsey, Hampshire. 
 
 C. Holy-water basin, projecting from the wall on the south side of the body of the church of 
 Great Gidding, Huntingdonshire. It is placed near the door entering into the church; and was 
 for the use of those who had just entered therein, to dip their hands in the water, and sprinkle 
 it on their foreheads, &c. 
 
 D. Holy-water basin and niche, in a small chapel, on the east side of the south transept of the 
 abbey church at Hexham, Northumberland. This church was first erected 674. 
 
 E. Font in Eaton Bray church, Bedfordshire. 
 
 The basin is supported by five columns, one being in the centre ; it is entirely plain, while the 
 capitals of the columns at the angles are enriched with leaves. F. Half of the plan. G. This 
 dotted line shews the sweep of the interior of the basin. 
 
 H. Font in Coleshill church, Warwickshire. 
 
 The basin, which stands on one squat column, is highly decorated with columns, arches, statues, 
 and ornaments; the Crucifixion is on its west front, in viewing which, we present ourselves 
 towards the altar; this font standing in the centre of the church. 
 
 I. Half of the plan. J. This dotted line shews the sweep of the interior of the basin. K. The 
 enrichments on each side of the crucifixion. 
 
 See Plate XXVII. 
 
THE ORDER OF ARCHITECTURE 
 
 L. Font on the north side of the nave of Winchester cathedral. 
 
 The basin stands on five columns, one being in the centre ; the exterior of the basin is square : 
 and in this (east) front are seen three compartments, with birds, &c. The columns at the angles 
 are fluted, except one, which is plain; their capitals have leaves: the column in the centre has 
 horizontal flutes ; its base is enriched, as is the sur-base to the whole design. 
 
 M. Plan. N. The top of the basin. 0. The interior of ditto. 
 
 The several ornaments and basso-relievos exhibited on this font, which has much perplexed 
 antiquaries, may be understood after this way. 1 The doves, emblematic of the Holy Ghost, at 
 the angles on the top, and breathing into phials, surmounted with crosses, that are supposed to 
 contain two kinds of sacred chrisms, made use of in baptism. The irregularity of the twisted 
 bands of beads, are in the true Saxon manner. On the east front the doves are seen again. 
 P. North front: in the centre compartment is a salamander, emblematic of fire : see St. Matthew, 
 c. iii. ver. 11, “ He shall baptize you with the Holy Ghost, and with fire.” In the other two com¬ 
 partments are doves. Q. South front: this representation alludes to the first splendid action in 
 the life of St. Nicholas, bishop of Myra, in Lycia. A man of noble birth having three daughters, 
 being reduced to great poverty, was tempted to make traffic of their virtue, which St. Nicholas 
 (who was possessed of great riches) hearing, threw a considerable sum of money, tied up in a 
 cloth, by night, ipto the father's chamber, who awaking, and finding a sufficient portion for one 
 of his daughters, immediately married her to a person of equal birth. The same circumstance 
 happened on the following night: on the third night, the father being on the watch, discovered 
 St. Nicholas to be the benefactor. The building, in the sculpture, represents the church of Myra ; 
 a good example of the buildings of the time of the Conquest, when this font is believed to have 
 been executed. We see a door with hinges, and a key-hole ; arcades, galleries, and the finishing 
 of the upper part of the design, which terminate with several crosses. Near the building is St. 
 Nicholas ; before him is the father on his knees, receiving with his right hand the portion, which, 
 with his left, he gives to his daughter; she holds out her right hand to her husband, who, by the 
 hawk on his fist, is shewn to be a man of rank: between these two persons is seen the union of 
 another of the daughters, with a man of distinction. The third daughter and her lover are not 
 introduced, there being no room for that purpose. 
 
 R. West front. Here we find introduced the next remarkable incident in the life of St. 
 Nicholas, in bis voyage to the Holy Land; he had foretold a storm, which soon overtook the 
 vessel in which he was, but by his prayers it was quickly appeased, and he arrived in safety at 
 Alexandria. In the sculpture we see a ship (which, being in the Roman fashion, proves that little 
 alteration had been made by the Saxon and Norman people, from the manners and customs which 
 the Romans had introduced into this country); on the top of the mast is a cross. One figure is 
 steering at the helm, another is weeping, and the third is St. Nicholas, who, by the action of his 
 hands, appears to be appeasing the storm. When St. Nicholas had landed at Alexandria, the 
 fame of this miracle, and of another which he had wrought at sea, by restoring to life a mariner, 
 occasioned a great number of persons labouring under various diseases to be brought to him, all 
 of whom he cured. Resorting again to the sculpture, we see St. Nicholas relieving the afflicted 
 people : the lowermost figure alludes to another subject, which will soon be described. We find 
 likewise another celebrated act of St. Nicholas, which was his saving the life of three persons who 
 had been unjustly condemned to death. In the sculpture we notice the three condemned persons 
 in a situation ready to meet the axe of the executioner; behind whom a person appears as a 
 spectator. The figure of St. Nicholas here seen appertains to a miracle ascribed to him after his 
 death.—A certain nobleman being destitute of children, made a vow to St. Nicholas, that if, 
 through his prayers, he should be blessed with a son, he would conduct him, when at a proper 
 age, to the church of St. Nicholas, at Myra, and there offer up a golden cup, as a memorial of the 
 heavenly favour. His vow being heard, he ordered the cup to be made: being much pleased 
 with its workmanship, he ordered another to be made; the first cup he having determined to 
 keep for his own use. Being on his voyage to fulfil his vow, the son, with the first cup, fell 
 overboard. The father here lamented his not keeping to the full extent of his vow, as being the 
 occasion of the loss of his son. However, he pursued his voyage to Myra, and placed the second- 
 made cup upon the altar of St. Nicholas; which, as often as he performed it, was always thrown 
 to a distance. At length the lost child enters the church, and relates, that when he fell into the 
 sea, a venerable bishop had appeared to him, who not only brought him to shore, but had safely 
 conducted him to the city of Myra. The sculpture thus describes this circumstance :—Near the 
 ship we see the child as in the water, with the cup ; and at the extremity of the carving the same 
 child appears, who is conducted by St. Nicholas: in the child’s right hand is the cup. The 
 dresses of the several figures are curious, as giving the modes of dress of so remote a period of 
 our history. 
 
 S. View of the Altar of St. Bede (or, as he is commonly named by authors, Venerable Bede), in 
 the chapel called the Galilee, at the west front of Durham cathedral, erected by Hugh Pudsey, 
 1154, about sixty years after the building of the cathedral. 
 
 See the Rev. J. Milner’s History of Winchester, vol. ii. p. 76 ; also, Britton’s “History of Winchester Cathedral.” 
 
DURING THE SAXON iERA. 
 
 29 
 
 Before the altar is the pedestal, or tomb, whereon once stood the shrine of St. Bede. The altar 
 is within an arch, which is supported by double columns, and has in its front an ambery, for 
 keeping the utensils of the altar in. This altar having remained to this day perfect, no doubt 
 out of the universal respect paid to the name of St. Bede, it is now decreed, with the rest of the 
 ancient decorations of this church, to be destroyed. The famous and magnificent chapter-house, 
 which was, when I surveyed it, in a very perfect state, has already been taken down, and a modern 
 room erected on its site. 
 
 T. The bishop's Chair of Instalment, in the chapter-house. 
 
 The form is simple: some traces of ornament are on the front of the seat: before the chair is a 
 stone step, and on each side is seen part of the stone seats of the building which were for the 
 accommodation of the dignitaries : above the chair is a string with ornaments : on it is seen part 
 of the colonnade which ranged round the building. 
 
 Plate XXXIII. 
 
 ENRICHMENTS.—PLINTHS, BASES, AND SHAFTS OF COLUMNS, CAPITALS, &o. 
 
 A. Plinth and its moulding, to a small chapel at the east end of the south aile of the choir of 
 the church at Rumsey, Hampshire. 
 
 B. Ditto, to the exterior of Barfreston church, near Canterbury. 
 
 C. Base to the columns in the nave of Gloucester cathedral. The first space is the plinth, which 
 takes an octangular form; the other parts are its mouldings. D. Base to the columns of the 
 colonnade on the south side of Canterbury cathedral. The first space is the square plinth ; and 
 the other parts are its mouldings. These distinctions will apply to the other examples of bases. 
 E. Base and sur-base, to the columns in the nave of the church at Rumsey. F. Base to the 
 columns of the gallery, in the south transept of the abbey church at St. Alban’s. G. Ditto. H. 
 Base to an attached column of the doorway in the porch, on the south side of Castor church, 
 Northamptcmshire. I. Plan, shewing the manner whereby the column is attached to the grounds 
 of the doorway. J. Base to a column in the undercroft of Canterbury cathedral. K. Base to an 
 attached column of the door entering from the cloisters into Peterborough cathedral. L. Base 
 and sur-base to an attached column on the left side of the principal doorway, on the south side 
 of Barfreston church. M. Base to an attached column on the right side of the north door of ditto. 
 On the mouldings of the base, and on the angle of the plinth, is the peculiar ornament. N. 
 Plan. O. Base and sur-base to the attached columns of the archway entering into the chancel 
 of the same church. P. Plan. Q. Base to an attached column on the left side of the doorway, 
 on the north side of the same church. R. Plan. S. Base to an attached column on the right 
 side of the principal doorway, on the south side of the same church. T. Plan. U. Base to a 
 column in the first colonnade on the west front of Rochester cathedral; which is composed of the 
 head of a lion. 
 
 Y. Part of the shaft of a column in the choir of Durham cathedral. W. Part of the shaft to a 
 column in the nave of ditto. X. Part of the shaft of a column in ditto. It may be noticed, that 
 in the circumference of this column, there are twenty-four hollows and rounds. Y. Shaft of a 
 column in the undercroft of Canterbury cathedral. Z. Ditto. A 2. Shaft of a column to the 
 colonnade on the south side of Canterbury cathedral. B 2. Ditto. C 2. Ditto. D 2. Ditto. E 2. 
 Shaft of an hexangular column, on the west front of the priory church at Dunstable. F 2. Shaft 
 of a column in St. Peter's church, Northampton. G 2. Shaft of a column to the colonnade on the 
 south side of Canterbury cathedral. H 2. Ditto. I 2. Ditto. J 2. Ditto. K 2. Shaft of a 
 column in the undercroft of ditto. L 2. Shafts of the columns on the left side of the doorway, 
 entering from the nave into the west cloister of Durham cathedral. M 2. Plan. N 2. Shaft of 
 one of the columns on the right side of ditto doorway. 0 2. Shaft of one of the columns to the 
 doorway, in the north aile of the nave of ditto cathedral. 
 
 P 2. Band to a column in the gallery, in the south transept of the abbey church at St. Alban’s. 
 Q 2. Ditto. R 2. Ditto. S 2. Band to a column in St. Peter’s church, Northampton. T 2. Band 
 to the attached column of the archway entering into the chancel of Barfreston church. U 2. V 2. 
 Bands to the columns of the centre doorway, in the west front of Rochester cathedral. 
 
 W 2. Capital in the undercroft of Canterbury cathedral. X 2. Plan. Y 2. Ditto. Z 2. 
 Capital in the undercroft of Gloucester cathedral. A 3. Capital in Peterborough cathedral. B 3. 
 Ditto. C 3. Ditto. D 3. Ditto. E 3. Capital in the undercroft of Gloucester cathedral. F 3. 
 Attached capitals in the church at Rumsey. G 3. Plan. H 3. Capital in the undercroft of 
 Canterbury cathedral. 13. J 3. Attached capitals to a doorway on the south side of Barfreston 
 church. 
 
 H 
 
30 
 
 THE ORDER OF ARCHITECTURE 
 
 Plate XXXIY. 
 
 CAPITALS, ABACUSSES, ARCHITRAVES, STRINGS. 
 
 A. Capital in the west front of the priory church at Dunstable. B. Capital in Allwalton church, 
 Huntingdonshire. C. Attached capitals in Christ church, Oxford. D. Plan. E. Capital in the 
 church at Rumsey. F. Capital in the avenue adjoining the south transept of the abbey church 
 at St. Alban’s. Here are seen two persons naked, engaged in a drinking bout, with a jug and a 
 tall sort of cup : between them is the figure of an owl. G. Capital in Christ church, Oxford. H. 
 Capital in the church at Rumsey. I. Ditto, attached. J. Plan. K. Capital in Christ church, 
 Oxford. L. Ditto. M. Ditto. N. 0. Attached capitals to the principal doorway on the south 
 side of Barfreston church. In a capital to the right is a knight, with a lance and shield, with 
 arms on it: his armour is composed of rings; on the head a skullcap, and on his heels the spurs 
 called the prykes. P. Plan. 
 
 Q. Abacus in the avenue adjoining the south transept of the abbey church at St. Alban’s. R. 
 Abacus in the chapter-house of Durham cathedral, (now destroyed). S. Abacus in the under¬ 
 croft of Canterbury cathedral. T. Ditto. U. Abacus in the chapter-house of Durham cathedral. 
 Y. Abacus in the ruined cloister of Rochester cathedral. W. Abacus on the left side of the door¬ 
 way, on the south side of the nave of Ely cathedral. 
 
 X. Architrave in the undercroft of Canterbury cathedral. Y. Architrave in the baptistory, on 
 the north side. Z. Architrave in the church at Rumsey. A 2. Architrave in the nave of Rochester 
 cathedral. B 2. Architrave to the doorway entering the west cloister, from the nave of Durham 
 cathedral. C 2. Architrave to the doorway on the south of the chancel of Iledingham church, 
 Essex. D 2. Part of an architrave on the west side of the cemetery gate, on the south side of 
 Canterbury cathedral. E 2. Part of an architrave to the doorway, in the south aile of the nave 
 of Durham cathedral. F 2. Architrave on the east side of the cemetery gate, Canterbury cathe¬ 
 dral. G 2. Architrave to the green-court gate, of ditto. In the oval compartment is a tumbler, 
 which shews the great antiquity of that pastime. H 2. The centre part of an architrave in the 
 ruined cloister of Rochester cathedral. I 2. Architrave to the archway entering into the chancel 
 of Tickencote church, near Stamford, Lincolnshire. J 2. and K 2. Continuation of the most 
 remarkable devices in the fourth division of ditto. 
 
 L 2. String on the front of the altar of St. Bede, in the Galilee, Durham cathedral. M 2. 
 String in Canterbury cathedral. N 3. String in Peterborough cathedral. 0 2. Ditto. P 2. String 
 in Rochester cathedral. Q 2. Ditto. R 2. Ditto. S 2. Ditto. T 2. U 2. V 2. W 2. Strings on 
 the exterior of Barfreston church. X 2. Y 2. Z 2. Strings in the interior of ditto. A 3. String 
 in the chapter-house of Durham cathedral. B 3. String on the green-court gate, Canterbury. 
 
 Plate XXXY. 
 
 PARAPETS, TURRETS, CORNICES, CONSOLES, GROINS, NICHES, DOORS, COMPARTMENTS. 
 
 A. Parapet to the tower of Iffley church, near Oxford. The battlements being subsequent 
 work, are given in outline. B. C. Parts of the parapet. D. Parapet to an eastern part of the 
 church at Rumsey. E. F. Blockings to ditto. G. Parapet to the choir of Peterborough cathedral. 
 H. Circular compartment on ditto. 
 
 I. Turret on the parapet of the choir of Peterborough cathedral. J. Half of the plan. 
 
 K. L. Cornice, and the most remarkable blockings or devices, on the exterior of Barfreston 
 church. 
 
 M. Console, supporting part of the ribs to the groins in the gateway near the west end of Bristol 
 cathedral. N. Console on the east front of Barfreston church. O. Profile. P. Console. Q. 
 Profile. 
 
 R. Rib to a groin in the church at Rumsey. S. Plan. T. Profile. U. Ribs to some of the 
 groins in the side ailes of the choir of Christ church, Oxford. V. Plan. W. Rib to the groins in 
 the chancel of Iffley church, near Oxford. X. Plan. Y. Profile. Z. Centreing of the four ribs 
 of ditto. In the centre part is the dragon, or salamander, so generally introduced into the 
 
DURING THE SAXON iERA. 
 
 31 
 
 enrichments of this Order. A 2. Statue supporting a capital, from whence spring the ribs of the 
 groins at the east end of the chapter-house of Durham cathedral. The statue stands on a string 
 moulding. B 2. Profile. 
 
 C 2. One of the niches which range round the lower part of the chapter-house of Bristol 
 cathedral: they stand on a continued stone seat, and over their heads is an ornamented string 
 moulding. D 2. Plan. E 2. Niche on the outside of the north transept of Norwich cathedral. 
 The statue is a memorial of Bishop Herbert Losing. 
 
 F 2. Door to the doorway entering into the west cloister, from the nave of Durham cathedral. 
 This elevation is its front next to the cloister. The enrichments of the doors used in this order 
 are entirely ornamental, and are to be found in a progressive state from ornamented hinges only, 
 to that profuse display which is seen on the door here introduced. 
 
 G 2. Compartment on the west front of the Galilee, Durham cathedral. H 2. Part of the 
 diamonds in ditto. I 2. J 2. K 2. L 2. Compartments in the spandrils of the arches of the nave 
 of Rochester cathedral. M2. N 2. Compartments on the west front of the green-court gate, 
 Canterbury. 
 
THE 
 
 ORDER 
 
 OF ARCHITECTURE 
 
 DURING THE 
 
 NORMAN iERA. 
 
 STYLE FIRST. 
 
 The following examples will sufficiently shew that the Pointed arch styles of Architecture in this 
 kingdom, took their rise from the common changes attendant on all scientific pursuits, and from 
 the common incidental occurrences in architectural designs, and not according to the hitherto 
 received opinion, that the Pointed arch styles were brought into this country from regions 
 inhabited either by the Goths, the Vandals, or the Saracens! How strange it is to hear grave 
 and learned men dispute to which of the above people the meed of praise is to be given, for being 
 the inventors of these wondrous species of human excellence, when they either forget, or will not 
 own (for the sake of their argument) that the term, “ Gothic Architecture,” usually applied to 
 distinguish the pointed arch manner, has not been in general acceptance for more than a century 
 past; and that before the time of Sir Christopher Wren, such an invidious and opprobrious appel¬ 
 lation was scarce ever heard of: a name conjured up to stigmatize our national architecture with 
 an idea of barbarism, that the compilations from the works of Greece and Rome, then over¬ 
 whelming the land, might shine in an assumed lustre, and the more easily usurp an universal 
 sway over our despoiled and ruined structures, once the glory of this land, and which still demand 
 admiration from a few, who can feel for, and venerate their forms. Could these investigators but 
 consult, in a professional way, our ancient edifices, they would soon be convinced of the long train 
 of error into which they have been betrayed, and own that no Goth, Vandal, or Saracen, had any 
 share in the composition of the Pointed arch styles of architecture, but that our countrymen first 
 gave existence to this divine order, on which we presume, by our humble labours, to throw a few 
 sparks of light to develop its darkened majesty, too long overshadowed by prejudice, and a blind 
 partiality to foreign arts ! 
 
 The principal features in this first style, are a combination of the forms seen in the Saxon and 
 Pointed arch styles; a sort of struggle is manifested for the mastership of these two contending 
 creations; the latter, emerging from the fanciful exuberance of the former, seems, by its growing 
 novelty, to gain the prize of victory, which in our future selections of each succeeding style will 
 prove to have been the ultimate consequence: and its triumph, for succeeding ages, remained 
 unmolested, until the fatal termination of all its greatness in the sacrilegious days of the sixteenth 
 century, when it fell never to rise again; otherwise, than in our sight, where a few misshapen 
 and sickly imitations of some of its traits are raised up; sinking, while they shew a transient 
 glare, into indifference and non-existence. 
 
 Plate XXXVI. 
 
 RECESSES OR ARCADES, AND STONE SEATS. 
 
 A. Recesses on the south side of Peterborough minster. The arch of the centre recess shews a 
 tendency towards the pointed sweep, and may be considered as a strong mark of its primitive 
 appearance. The bases are buried in the ground. 
 
 B. Plan. C. Capital, semicircular, and pointed architraves. 
 
 D. Recesses on the west side, in the south transept of the church at Rumsey, Hampshire. The 
 bases, capitals, and the mouldings of the architraves are Saxon work, while the arches have the 
 pointed sweep. 
 
 E. Plan. F. String below the recesses. G. Base. H. Capital. I. Architrave. 
 
 J. Recesses in the south aile of the choir of Canterbury cathedral. In this specimen the 
 pointed arch is placed by the side of the Saxon one, yet the whole work, as bases, capitals, archi¬ 
 traves, &c. are in the latter style. 
 
 K. Plan. L. Base. M. Capital. N. Architraves to the Saxon and pointed arches, and the 
 diamond string over them. 
 
 O. One division on the south side of the body of Allwalton church, Huntingdonshire. The 
 columns with their bases, and capitals, are in the Pointed style, while the arch and its archi¬ 
 traves are purely Saxon. 
 
 P. Plan. Q. Sub-plinth. R. Plinth and base. S. Capital. In the profile of this capital, a 
 
DURING THE NORMAN iERA. 
 
 33 
 
 hand point to an under-cut moulding, which in this and the following orders, is one of their 
 remarkable features, and is to be met with in most of the bases, capitals, and entablatures 
 belonging thereunto. Those mouldings below the eye, shew the undercutting on the top of their 
 lines ; and those above the eye shew it on their under parts, as in this example. This observation 
 will apply to every future profile, where the dotted undercuttings are marked. T. Architrave. 
 
 U. One division on the south side of the body of Ramsey church, Huntingdonshire. The 
 columns are octangular, and their capitals and architrave are Saxon work; the arch has the 
 pointed form, which is struck on the springing line, somewhat within the arch marked by the 
 dotted cross. The bases are lost. 
 
 V. Plan. W. Capital. X. Architrave. 
 
 Y. Recesses in the south aile of the choir of Canterbury cathedral. Much fancy is here shewn 
 by placing capitals of Saxon work over the three columns in the centre of the Pointed arch style, 
 which although, at first, may seem unaccountable, yet, on a considerate view, they become pleas¬ 
 ing, from their uncommon effects. 
 
 Z. Plan. A 2. General plinth of the structure. B 2. Base. C 2. Capital. D 2. Sub-capital, 
 and E 2. Architrave to the second column from the left. F 2. Base. G 2. Capital, and H 2. 
 Part of sub-capital to the third column. 
 
 I 2. One division of the north side of St. Joseph of Arimathea’s chapel, adjoining the west end 
 of the abbey church of Glastonbury. The semicircular arches to the recesses in the first story, 
 interlace with each other, and give, in the most direct manner, the circumstance whereby the 
 pointed arch, from this incidental combination, made its first appearance, and no doubt must 
 have induced our ancient architects to set up a new mode of architecture, in which this new form 
 was to become its principal feature. The several columns to these recesses have bands, which 
 will be found continued in this and some of the succeeding orders. Between the divisions are 
 other columns, with grounds and an entablature, on which is a sort of pedestal. The window to 
 the second story is Saxon, as are the blockings in the remains of the entablature, if we may judge 
 from the very few examples left of the original finishings of the upper parts of buildings in that 
 style. 
 
 J 2. Plan. K 2. Cap mouldings to the basement story. L 2. Base. M 2. Capital, and N 2. 
 pedestal to the columns dividing the first story. 0 2. Base. P 2. Band. Q 2. Capital, and 
 R 2. Architrave to the recesses of ditto story. S 2. String mouldings under the window of the 
 second story. T 2. Base. U 2. Capital, and V 2. Architraves to ditto window. W 2. X 2. 
 and Y 2. Ornamental variations in some of the other windows on this second story. Z 2. Some 
 of the mouldings. A 3. A block, and B 3. Its profile of the entablature. 
 
 C 3. One of the divisions on the north side of the interior of the above chapel. The recesses 
 are nearly similar to those on the exterior, excepting that there is some additional work within 
 the arches. Clusters of columns make the divisions between the recesses, and which supported 
 the groins of the chapel, now destroyed, the solid portion of them only remaining, springing from 
 the capitals. We may note, that the construction of the groins of our ancient edifices, rose solid 
 work to a certain height, and then was carried up hollow to their extreme height, whereby less 
 weight was added to the superstructure. 
 
 D 3 . Plan. E 3. Stone seat, or sub-plinth. F 3. Bases; and G 3. Capitals to the dividing 
 cluster of columns. H 3. String mouldings under the window of the second story (the enrich¬ 
 ments of which window correspond with those on the exterior). I 3. Groin mouldings. J 3. 
 K 3. Mouldings and ornaments to the arches of the recesses. 
 
 L 3. An Arch entering into a chapel on the north side of the choir of the abbey church of 
 Glastonbury. It is necessary to remark, that the whole of this once magnificent structure is now 
 nearly reduced to a few walls and arches, and that they were last year advertised to be sold by 
 public auction under the title of the “ Abbey church of Glastonbury to be sold in twenty-eight lots, 
 the 30th of May, 1799.” Saxon columns of the fourth class support a pointed arch, enriched 
 with a Saxon architrave. The proportion of the arch is guided by an equilateral triangle, which, 
 of course, must be the most perfect when aided by such a just geometrical figure. 
 
 M 3. Plan. N 3. Sub-plinth. 0 3. Bases. P 3. Capitals. Q 3. Architraves. 
 
 Plate XXXYII. 
 
 CANTERBURY CATHEDRAL, SECTION OF COMPARTMENT—INTERIOR. 
 
 A. Section of part of the south side toward the eastern extremity of the interior of Canterbury 
 cathedral, erected about the close of the eleventh century. 
 
 This section takes a portion of the undercroft, and shews the general style of this part of the 
 structure, and is of the fourth class of Saxon work, with the introduction of pointed arches, which 
 appear here, at first view, to have been made use of principally to give a narrow division the 
 
 i 
 
34 
 
 THE ORDER OF ARCHITECTURE 
 
 same height of arch as to a wider one, so that an uniformity might be seen in their horizontal 
 lines. But as the eastern end of this cathedral shews semicircular and pointed arches at various 
 divisions on each side of the building, I must conclude our ancient architects were on the eve of 
 bringing into general use their new style of Architecture, the Pointed arch, yet could not at once 
 resign the Saxon grand characteristic, the semicircular arch, which they and their masters before 
 them had been so long in the habit of considering as the first of all architectural perfection. 
 
 The undercroft or basement story is of that massy and simple design, as serves in an excellent 
 manner to prepare our minds for the elaborate work on the story above: the columns to which, 
 in their capitals, bear a striking resemblance to those of the Corinthian order, so familiar to every 
 eye in many of our modern buildings. Between the architraves, springing from the columns of 
 the first story, rises a slender one, uniting with those forming the gallery on the second story, 
 whose arches take the pointed sweep. From the capitals of the said slender column spring the 
 ribs of the groins, whose sweeps at their setting off are inverted considerably below the usual 
 springing line. On the third story, in which is another gallery, we meet with columns and 
 pointed united arches, whose sweeps to the right and left are inverted also. 
 
 B. Part of the plan of the undercroft. The columns of each division are united, and in their 
 profiles shew the great strength they afford for bearing the ponderous work above. 0. Plan of 
 the united columns on the first story over the undercroft. D. Base. E. Capital. F. Architrave, 
 and rib mouldings to the undercroft. G. Plinth and base ; the upper half of the plinth takes 
 a circular direction with the mouldings round the columns, while the lower half retains its proper 
 square form, affording a very pleasing effect. H. Capital to the first column on the left, and I. 
 Architrave to the arches of the first story. J. Plinth. K. Base. L. Column. M. Band and 
 string mouldings. N. Blockings. O. Continuation of ditto column. P. Sub-plinth. Q. Plinth. 
 R. Bases. S. Capitals. T. Rib mouldings, and U. Architrave to gallery of second story. V. 
 This dotted line shews the plan of the united columns; and W. Architrave to the first story, to 
 the scale of the capitals. X. Capital to the second column; and Y. Capital to the third column 
 of the first story. Z. Continuation of the rib mouldings. A 2. String mouldings. B 2. Blockings. 
 C 2. Plinth and sub-plinth. D 2. Base. E 2. Capital; and F 2. Inverted architrave to the 
 third story. 1 
 
 Plate XXXYIII. 
 
 CAPITALS AND BASES OF THE PRECEDING. — DECORATIONS, DOORWAYS, ARCHES. 
 
 A. B. &c. Continuation of capitals and bases to the first story of the eastern part of Canterbury 
 cathedral. C. Three of the capitals to columns round an. octangular pillar. D. Plan. Above 
 the torus moulding of the pillar the spaces are filled with ornaments, appearing between the 
 surrounding capitals as a large interior capital. E. G. H. Other capitals. The column to E. is 
 octangular, and the angles of the abacusses to this capital, and those to G. and H. are cut off 
 diagonal-wise. F. Plan. In the abacus of capital G. are square indents, and the foliage in 
 capital H. takes on each side a different design. I. Side elevation of one of the capitals in 
 continuation. J. View of another capital in continuation, whereby the front and profile are seen 
 together. K. L. M. N. O. P. Bases, with the peculiar ornament, and their plans to other 
 octangular columns. This peculiar ornament will be traced in some of the succeeding orders. 
 
 Q. R. S. T. Y. W. Doorways and their plans on the three stories of the deanery adjoining the 
 west front of Gloucester cathedral. Door Y. is on the first, door S. on the second, and door Q. on 
 the third story. U. and X. are the plans of their architraves. The pointed arches to these door¬ 
 ways have their sweeps very flat, which are struck much below their springing lines, as is seen by 
 the dotted cross in door Q. The progressive enrichments on these doors are particularly striking, 
 and are of strict Saxon work. 
 
 Y. Doorway in the porch of Allwalton church, Huntingdonshire. The columns and arch are in 
 the pointed style, whose architrave mouldings, with the diagonals, are in the Saxon manner. 
 
 Z. Plan. A 2. Plan of the architrave. 
 
 B 2. An arch in the south aile of tne nave of Winchester cathedral. The imposts and the archi¬ 
 trave are Saxon, and the arch takes the pointed sweep. 
 
 C 2. Plan. 
 
 D 2. United arches in the wall of the interior of ditto cathedral. The arches and their enrich¬ 
 ments are in the style of the foregoing arch, with this difference, that the points of the outer 
 mouldings of the architraves are rounded off. 
 
 E 2. Plan. 
 
 F 2. Doorway near the stairs ascending to the organ loft of Gloucester cathedral. The arch is 
 pointed, and the columns and architrave are of Saxon work. 
 
 1 This very curious and unique example of architecture, is illustrated and described in Britton’s “ Canterbury Cathedral.” 
 
DURING THE NORMAN A5RA. 
 
 35 
 
 Plate XXXIX. 
 
 DOORWAYS, FONTS, TOMBS, GRAVESTONES, STATUES. 
 
 A. Half of the door of entrance into the west front of Ketton church, near Stamford, Lincolnshire. 
 This example is most curious ; for though the columns, architraves, and the centre arch are Saxon, 
 yet we find bands to the columns, and a pointed arch to the recess on the side, whose architrave is 
 a continuation of the outer one belonging to the door. 
 
 B. Plan. C. Plan of the architraves. 
 
 D. Door of entrance at the south-west angle of the south interior wall of the cloister of Peter¬ 
 borough minster. From the many beautiful remains in the walls of the four sides of this cloister, 
 we must regret, indeed, at the demolition of the whole of this perambulatory erection, which the 
 history of this church shews to have been the most splendid in the kingdom. This door, contrary 
 to the foregoing one, is, in its principal parts, of the pointed style; while its first arch and its 
 architrave are of the fourth class of Saxon work. The bases of the columns are buried in the 
 ground. Notwithstanding the mixture of styles here displayed, there is a certain air of grandeur 
 in this doorway peculiar to itself. 
 
 E. Plan. F. Plan of the architraves. 
 
 G. Recess on the south side of the chancel (near the altar) of Leighton Bromswold church, 
 Huntingdonshire. Here again we have an example of the interlacing of semicircular arches, which 
 gives us a further proof of the original incidental cause of the appearance of the pointed sweep. 
 The columns and architrave mouldings are in the pointed style. 
 
 H. Plan. I. J. The basins for receiving the water used at the service of the altar. 
 
 K. Font in Hexham church, Northumberland. The columns round the square pillar (canted off 
 at the angles for receiving a Saxon four-leaved ornament), are an introduction to the clustered 
 pillars which will be found in this and the succeeding orders, and is another great feature in the 
 pointed arch style. Here, as in some foregoing examples, we cannot perceive either bases or 
 capitals to the columns. The basin partakes of Saxon work. 
 
 L. Half of the plan. M. Front of one of the angles of the square pillar, and the four-leaved 
 ornament. 
 
 N. Font in Upton church, Huntingdonshire. The cluster of columns, which are of the pointed 
 style, supports a basin of the Saxon form ; which, though a singular object, yet our system that 
 the pointed style of architecture rose among us from accidental causes, and by degrees, is, in this 
 example, to be more indulged by the attentive and impartial observer. 
 
 O. Half of the plan. 
 
 P. Font in Connington church, Huntingdonshire. Here are Saxon columns, with pointed arches 
 interlacing each other ; a more forcible conviction still, if possible, of the gradual adoption of the 
 Pointed style after its birth among us. 
 
 Q. Half of the plan. 3 R. These dotted lines shew the sweeps of the interiors of the basins of 
 these three fronts. 
 
 S. Gravestone in Castor church-yard, Northamptonshire. T. Gravestone in Elton church-yard, 
 Huntingdonshire. U. Lid of a tomb in St. William’s chapel, in Rochester cathedral. V. W. X. The 
 upper parts of statues of Abbots, (once on their tombs, now laid on the pavement,) in the south 
 aile of the choir of Peterborough minster. The canopies over the heads of these statues may be 
 considered as the first kind of ornamental heads of recesses or niches, which are so elaborately 
 and profusely displayed in our ancient works of the Pointed arch style. Y. Part of the front of 
 the tomb in St. William’s chapel, above spoken of. Z. Part of the front of the tomb of Bishop 
 Glanvill, on the north side of the choir of Rochester cathedral. A 2. B 2. Part of the sides of the 
 tomb of Bishop Marshall, on the north side of the choir of Exeter cathedral. These four latter 
 examples well prepare the way for the infinite variety of compartments on the front of tombs and 
 monuments, which are intended to be introduced in the course of this work. 
 
 In these enrichments we can discover much of the Saxon taste, and the drawings of those bright 
 efforts of inexhaustible fancy for ornamental embellishments, which our Norman architectural 
 ancestors have so abundantly left behind them, to charm our eyes, and to inform our minds. 
 
 Plate XL. 
 
 WEST FRONT OF THE PRIORY CHURCH AT DUNSTABLE, BEDFORDSHIRE. 
 
 A. West front of the priory church at Dunstable, Bedfordshire. 
 
 As all conjecture seems to have been exhausted in endeavours to account for the mixture of 
 styles "seen in this front (considered as one of our great national curiosities) or for the irregularity 
 of their disposure, it is not less fortunate in presenting to us many of those characters which are 
 
36 
 
 THE ORDER OF ARCHITECTURE 
 
 found on our Saxon works, and on successive edifices down to the sixteenth century; but will also 
 be a further confirmation of the progress of the pointed arch system adduced in this style. 
 
 The grand Saxon arch, originally a doorway into the church, first merits attention, both for its 
 antiquity and enrichments : on the left, some of its architrave mouldings diverge into one half of 
 a pointed arch; and below, in the recess, are intersecting arches and mutilated columns, of the 
 same taste. The other half of the arch is entirely in the pointed style, as is the adjoining door¬ 
 way, with its proper dressings, although some Saxon ornaments are introduced into the archi¬ 
 traves. The partial enlaying of the surrounding ground with small flowered compartments, like 
 the opposing features on each side of the above-mentioned pointed arch, is certainly very unac¬ 
 countable. The columns, arches, pedestals for statues, mouldings, and ornaments, composing the 
 decorations of the buttresses, recesses, and gallery, are of the earliest workmanship of the pointed 
 style, as are the ornaments at the base of the belfry tower; which tower, in its design (with the 
 battlements on the body of the church and turret) and the variegated masonry thereon, indicate 
 the order of architecture peculiar to the sixteenth century : the doorway within the grand Saxon 
 arch is confessedly so, while the three niches above it shew an anterior date. Yet more, the centre 
 of the arch of this doorway is rounded off, and worked in as a key-stone; which object was 
 unknown before the introduction of Roman architecture a second time into this kingdom : as prior 
 to that period, all our pointed arches were jointed in the centre, as will be demonstrated in its 
 proper place. Hence, by this diminutive key-stone, as well as the majestic Saxon arch, we behold 
 on this front (coming down from the latter attraction) an architectural table of time, for more 
 than six centuries. 
 
 B. Plan of the exterior of this front. C. String mouldings to the left hand buttresses. 
 D. Pedestal to ditto. E. Base. F. Capital, and G. Architrave to ditto buttresses. H. Bases. 
 I. Capitals. J. Architraves; and K. String mouldings to the first tier of recesses. L. Bases. 
 M. Capitals; and N. Architraves to the gallery and to the windows thereof, (now stopped up), 
 and 0. String mouldings of the said gallery. P. Base. Q. Capital. R. Architrave ; and 
 S. String mouldings to the second tier of recesses. T. Base. U. Capital. Y. Architrave, and 
 W. Cornice to recesses on the octangular base of the tower turret. X. Cornices to the belfry 
 tower. 
 
 Plate XLI. 
 
 PRIORY CHURCH AT DUNSTABLE.-DET AILS CONTINUED. 
 
 Continuation of the detail of the west front of the priory church at Dunstable. 
 
 A. Ornamented compartments, and string mouldings, at the base of the belfry tower. B. 
 Mouldings of window to ditto tower. C. Cornice ; and D. Battlement mouldings. E. Mouldings 
 of niche in right-hand buttress. F. Ditto to the loop-holes in the cant adjoining. G. Sub-plintli. 
 H. Plinth. I. Bases. J. Capitals ; and K. Architraves to the pointed arch doorway. L. M. N. 
 The ornaments to the divisions in ditto doorway, viewed angle-wise. 0. Architrave. P. 
 Flowered compartments; and Q. Architrave on the left side of arch of the recess between the 
 two doorways. R. Architrave; and S. T. U. Capitals on the ground of ditto recess. Y. Archi¬ 
 trave on the right side of arch of the said recess. W. The diagonals, viewed angle-wise. X. 
 Sub-plinth. Y. Plinth. Z. Base. A 2. Capitals; and B 2. Architraves to the grand Saxon 
 arch. C 2. The diagonals in ditto architraves, viewed angle-wise. D 2. Corresponding capitals 
 on right side of said arch; and E 2. Capital to the clustered columns attached to ditto capitals. 
 In this sculpture are three performers, two on harps, and one on a cittern. F 2. Plinth. G 2. 
 Architraves. H 2. Cornice. I 2. Continuation of these uniting mouldings, and the corbel 
 supporting part of them. J 2. The centre, or the rounding off to this doorway, shewing the key¬ 
 stone. K 2. Head of centre niche. L 2. Column. M 2. Pedestal. N 2. Base, and plinth to 
 ditto ; and O 2. Pedestal to the niches on each side. 
 
 STYLE SECOND. 
 
 Having now advanced to this part of the illustration of our ancient architecture, we shall 
 address our thoughts to those objects which constitute the first of all professional labours— 
 examples of Foundations for Walls. 
 
 Plate XLI I. 
 
 foundations of ancient walls. 
 
 A. Section of part of the foundation in the open space of the north transept of Westminster 
 Abbey, erected 1245. Our ancient architects, not content with their wall’s usual foundation, 
 judged it expedient, in many instances, that the whole space between them should be made one 
 

50JI 
 
DURING THE NORMAN A3RA. 
 
 37 
 
 solid mass of support, as is the case in this our abbey church. Censure cannot be too strongly 
 laid on those, who, through interested motives, permit the digging up these foundations for 
 making graves therein, which is so frequently the case here, to the extreme hazard of the whole 
 pile. I noticed the materials consisted of flints, irregular stones, rubble and mortar, forming one 
 almost impenetrable body. 
 
 Walls in their construction next meet our attention. B. Part of the remaining wall of the 
 gate of entrance into the once noble palace of the Bishops of Durham in the Strand, London; 
 erected by Bishop Hatfield, between 1345 and 1380. The composure is of irregular courses of 
 flints, unsquared stones, and rubble. C. Part of the wall of the south front of the Savoy palace, 
 in the Strand; erected 1505. Composed of square flints and stones. D. Part of the wall in 
 ditto front; composed of the like materials, disposed into alternate squares. E. Part of the wall 
 of approach into the keep of Tamworth castle, Staffordshire. Here horizontal and inclined tiles 
 diversify this rare example. F. Part of the south precinct wall (College-street), of Westminster 
 abbey, composed of irregular courses of unsquared stones. G. Part of a buttress on the north 
 side of Wells cathedral; erected 1239. The masonry here begins to shew that regular skill which 
 is so conspicuous on most of our ancient structures ; part of the facing stones being taken away 
 for repair, the interior of the wall is seen. H. Part of the relic wall (about fifteen feet in length), 
 of the palace of Ilenry II. at Woodstock, Oxfordshire; erected between 1155 and 1189. From the 
 circumstance of the water issuing from under the projecting stone, this object is called Rosamond’s 
 well. I. Part of the outside of the city wall, on the south side of Coventry; erected 1355. K. 
 Foundation. J. and L. Section of ditto. M. Part of the outside of ditto wall, on the east side 
 of the city. The masonry is exceeding good, and the basement lines are distinguished from the 
 rising courses by a canted off projection. N. Its section. 0. Its interior face, where but a few 
 of the facing stones are left. P. The supposed foundation stones. By these specimens, though 
 small in number, the construction of ancient walls may be understood, in a certain degree, in their 
 union of materials and mode of masonry. It now becomes our immediate task to enter into the 
 formation of buildings at large, either in their particular parts, or their general design. 
 
 Q. Arch of the sewer under the west wall of Allington castle, Kent. The form is struck from 
 the points of an equilateral triangle; which proportion is premised to be the most perfect for this 
 prime character of our pointed arch style. The arch stones are rough masonry, as are the 
 surrounding courses. R. Part of the interior face of an arch at the east end of the gallery of the 
 choir of Canterbury cathedral. The continuation of the line of the arch is lost in the main 
 structure. 
 
 S. North view of some out-works at the entrance into Leeds castle, Kent; erected, or the 
 fortifications augmented, by Bartholomew Lord Badlesmere in the reign of Edward II. This design 
 is singular, and is contrived with much defensive ingenuity, as the following statement of the 
 plan will evince. 
 
 T. Approach to the castle. U. Platforms. V. Bridge of two arches. W. Gateway into the 
 court of the castle. X. Lodge. Y. Gateway. Z. Ditto. A 2. Chamber and staircase. B 2. 
 Principal place of defence. 0 2. Aqueduct for water, through the basement story, to inundate 
 the front of the work. D 2. Moat. From this plan it is evident, that much danger must have 
 attended an enemy’s force previous to their main assault on the castle. 
 
 E 2. West front of this work. The aqueduct is damaged, and the opening near it is a late 
 pickaxing out of the stone work. The upper stories are lighted by cross loop-holes, (here restored ;) 
 and the parapet of the design is demolished. F 2. Plan of the front part of ditto work. 
 
 G 2. Section; in which is seen the heights of the stories, and the interior of the windows. 
 H 2. Plan of the front part of the first story of ditto. 
 
 Plate XLIII. 
 
 ANCIENT WALLS, TOWERS, CHAMBERS, LAVATORY, HANGING BUTTRESSES. 
 
 A. Remaining part of the south side of the priory buildings at Coventr-y ; erected 1043. 
 
 B. Plan. We find among these rough-masoned arches, one at C. with two mouldings, a band, 
 and a round. 
 
 D. View of the entrance from the court of Nottingham castle, (supposed erected in the fourteenth 
 century), down into the sally port, or, as it is called, Mortimer's hole. Bands and cants form the 
 archwork, which is raised on the sides of the excavated rock on which the castle stands. 
 
 E. View in ditto excavation, at about one-third of the descent: a large opening on the left 
 gives a view of the country. Those who may have traversed this memorable outlet must have felt 
 considerable emotions on recollecting, that the captors of the traitor Mortimer once pointed their 
 vengeful swords up this dreadful pass. 
 
 F. View of a tower at Winchelsea, Sussex. In the distance, the town of Rye, and the sea, is 
 seen. The plan of this tower is circular, and its parts are of the most simple kind. 
 
 K 
 
38 
 
 THE ORDER OF ARCHITECTURE 
 
 G. View of Landgate, at Winchelsea. The parts again bespeak the greatest simplicity. 
 
 H. View in a chamber of the basement story of Kenilworth castle, Warwickshire ; erected before 
 the time of Henry III. The pointed vaulting and the uniting torus are very peculiar. 
 
 I. View, looking east, into a place for occasional retirement at the north-east angle, of the 
 basement story of the Court of Requests, in the palace, Westminster. The pointed head of the 
 doorway is made by two inclined stones : and within is seen a flat ceiling, supported by corbels, 
 and a plain cornice; and below the window sinks the reservoir belonging to this cell. 
 
 J. Plan. K. The cell. L. Space under the corbled ceiling. M. Corbel and cornice. N. 
 Their profiles. 
 
 O. View in the kitchen of Raby castle, Durham. In the thickness of the walls are communi¬ 
 cating passages; the arches to the doorways and windows are very flat; the groin work is 
 excellent of its kind, and well adapted to such a place, while the centre of their divisions is 
 opened octangular-wise, for dismissal of smoke, which opening is usual in these culinary offices. 
 
 P. Plan. Q. Passages. R. Profile of the arch of the groins. S. Junction of the ribs and 
 their detail. 
 
 T. North view of a Lavatory in the area of the cloisters of Wells cathedral. The design is 
 walled round, open at top, and a plain doorway gives admittance therein. 
 
 U. View in ditto, looking south. Having descended the introducing steps, we see on our left 
 an ambury, or cupboard, for keeping of linen, &c. Before us is an arched headway directly over 
 the bathing-place, and to the right and left are the arches of the aqueduct; through that arch, 
 on the left, the water issues, and from thence runs into the town. 
 
 V. Plan. W. Steps. X. Foot stones over, and on the sides of the stream. Y. The arch 
 through which the water issues. Z. Amburies, and a niche. A 2. Head of archway. From 
 this example, be it constantly remembered, that our ancient arches always shew a perpendicular 
 joint in the centre, ensuring from the natural pressure of each stone, a perpetual state of 
 durability. B 2. Architrave to the arch in the lavatory. 
 
 C 2. Hanging buttress on the walls of Lambeth palace, Surrey. This object may be considered 
 either as a support to particular parts of walls, or designed for a chimney, and which is borne up 
 by three corbels. D 2. Profile. 
 
 E 2. Hanging buttress on the precinct walls of the remains of the Carthusian monastery without 
 Coventry. This object is meant for a certain conveniency; it is splayed off roof-wise ; is supported 
 by three corbels, through which particular matter descends, and a window gives light to its 
 interior. F 2. Profile. 
 
 Plate XL.IV. 
 
 DECORATIONS, DOORWAYS, WINDOWS, CHIMNEY PIECES, RECESSES, FONTS. 
 
 A. Doorway in the remains of the nunnery, adjoining the priory church, Clerkenwell. 1 The 
 masonry is rough, and is without any cant, or other moulding. B. Plan. 
 
 C. Doorway in the aile which divides the crypt under the remains of an ancient building, 
 situated at the south-east angle of the cloisters, Westminster abbey} The masonry here assumes 
 a more regular appearance, with a plinth and a cant moulding by way of architrave. The flat 
 arch above the door is made in consequence of the face of the wall rising (to accommodate the 
 head of the doorway) into the circular vaulting of the said aile. D. Plan. 
 
 E. Doorway in the basement story of the treasury adjoining St. Mary-hall, Coventry. The 
 cant architrave rises to the springing of the arch, then takes a broader dimension, which accumu¬ 
 lation rests on a splay bracket. This design is very singular. F. The architrave splay viewed 
 angle-wise. G. Plan. 
 
 H. Doorway in the basement story of the Court of Requests in the palace, Westminster . 3 The 
 arch is remarkably flat, and its striking points are to be found at a great distance below the 
 springing line. This kind of flat pointed arch, and the more elevated pointed arch of the 
 equilateral proportion, made their onsets in the race for architectural fame about the same 
 period, that is, soon after the Norman conquest, having first started from their Saxon origin. It 
 is almost unnecessary to observe the latter-formed arch obtained the professional prize of 
 universal adoption, while the former arch, after many ineffectual attempts to regain its former 
 rank, at last gave up the conflict, and soon fell into disuse and neglect, as will be fully made to 
 appear in the successive examples. This doorway has not either plinth or architrave, but imposts 
 support the arch, whose mouldings are manifest in the return, as given at I. J. Plan. K. Plan 
 of the impost. 
 
 L. Doorway to the crypt of the great hall of the Priory, at Daventry, Northamptonshire ; erected 
 
 See p 16. 
 
 2 See p. 14. 
 
DURING THE NORMAN JERA. 
 
 39 
 
 in the time of William Rufus. This design has a cant architrave and sweeping cornice. This 
 sort of cornice, made to accommodate its lines to those of the arch it is meant to enrich, (or those 
 lying horizontal to run with a square-headed window, &c.) is a character, that was most apparent 
 on all such occasions, from this early state of our ancient architecture to its final extinction in 
 the reign of Elizabeth. M. Plan. N. Plan of cornice. 
 
 O. Window on the north side of the chancel of Ryton church, near Coventry. The architrave 
 (rising from the splay of the window) shews only the simple cant moulding. P. Plan. 
 
 Q. Window on the north side of St. Dunstan’s church, Canterbury. The architrave has the 
 addition of a fillet to the cant moulding. It. Plan. 
 
 S. Window to a house at Bameck, near Stamford, Lincolnshire. In the ground between the 
 head of the arch and the sweeping cornice are flowers, and the said cornice springs from human 
 heads. T. Plan. U. Head on the left side, and V. ditto on the right side of the window. 
 
 W. View of the Chimney piece in the great kitchen of Ashby de la Zouch castle, Leicestershire. 
 The head of this object does not partake of any part of a circle, but rises pediment-wise. The 
 opening is divided into two parts for fire, by a situation to contain a cauldron, or copper; and 
 at the right corner is an oven. X. Plan. Y. Cauldron. Z. Oven. A 2. Window giving light 
 through the centre of the chimney to the said cauldron. B 2. Half of ditto chimney piece. 
 
 C 2. View of a recess in the wall in the north part of Canterbury cathedral. No architrave. 
 
 D 2. View of a recess, and a basin in the chapel on the bridge at Barnard’s castle, Durham. 
 The architrave has the cant moulding. 
 
 E 2. Font in Aldworth church, near Reading, Berkshire. F 2. Half of the plan. G2. Interior of 
 the basin. 
 
 H 2. Font in Ryton church, near Coventry. I 2. Half of the plan. J 2. Interior of the basin. 
 K 2. Step to the plinth of the design. 
 
 L 2. Font in Wrotham church, Kent. M 2. Half of the plan. N 2. Interior of the basin. 
 
 0 2. Font in Staindrop church, Durham. P 2. Half of the plan. Q 2. Interior of the basin. 
 
 R 2. Font in St. Peter’s church at Shaftsbury. On this design, there is an oak cover, surmounted 
 by a tabernacle embellishment. S 2. Half of the plan. T 2. Interior of the basin. 
 
 Plate XLY. 
 
 ALTAR TABLE, SEATS, TABLES, CHESTS, CROSSES, STONE COFFINS, BLOCKINGS, SHIELDS, &c. 
 
 A. An altar table, now placed on the top of a tomb in the south aile of the choir of the abbey 
 church at St. Alban’s. B. Face of the table, whereon are seen the five crosses, emblematic of the 
 five wounds of our Lord; they are the usual signs on the few such remaining tables in our 
 churches. 
 
 C. Stone seat in north aile of the choir of the same abbey. D. Stone seat in Beverly minster. 
 It is the freed-stool granted by King Athelstan to Johnde Beveiiey, Archbishop of York. E. Three 
 seats, or recesses on the north side of the altar of Sawtry, All Saints church, Huntingdonshire. 
 The seats rise one above the other towards the altar (to the right.) F. Plan. G. Altar steps. 
 
 H. View of a table taken from the furniture of a kitchen in the Lutterell psalter, in the posses¬ 
 sion of T. Weld, Esq. of Lulwcrrth castle, Dorsetshire, illuminated in the time of Edward I. 1 I. View 
 of a table from a basso-relievo on the seats of the stalls of great Malvern church, Worcestershire. 
 The semicircular cut in the top of the board, was for the conveniency of the person who sat 
 thereat. 
 
 J. View of a chest in a chapel on the basement story of the Bishop’s Palace, in the castle at 
 Durham , 2 It is said that this chest contained the relics of St. Cuthbert when enshrined in his 
 feretory, behind the high altar of the cathedral. K. View of a chest in the sacristy, under the 
 chapter-house of Wells cathedral. 
 
 L. View of a cross, taken from a painting in the entrance (under the rood-loft) into the choir of 
 the abbey church at Hexham, Northumberland. M. View of a cross, standing before the west front 
 of St. Peter’s church, Shaftsbury. The pedestal of the cross is square, while the shaft shews an 
 octangular form. 
 
 N. View of a coffin now placed at the west part of the abbey church at Pershore, Worcestershire. 
 The lid is wanting. O. View of a coffin now placed behind the high altar of the abbey church at 
 St. Alban’s. In this view the coffin is placed upright, to shew the indented cross, and the four 
 boles in the bottom for discharging the moisture. P. View of a coffin in the possession of Mr. 
 Fletcher at Oxford ; dug up at Godstow, 1791. The lid is raised, to shew the interior of the coffin. 
 Q. South-east view of the coffin of William Rufus, before the high altar of Winchester cathedral. 
 
 R. View of a Grave-stone in the Chapter house, Exeter cathedral. S. Grave-stone in the nave 
 of the abbey church at St. Alban’s. R. R. Grave-stone in Staindrop church, Durham. T. Grave- 
 
 1 See Anoient Sculpture and Painting, Vol. IL 
 
 ! See p. 25. 
 
40 
 
 THE ORDER OF ARCHITECTURE 
 
 stone now lying on the wall of Castor church-yard, Northamptonshire. U. Grave-stone in south 
 aile of the nave of the abbey church at St. Alban’s. V. Grave-stone in the nave of Wells 
 cathedral. 
 
 W. Ring to a door in the abbey church at Hexham, Northumberland. X. Ring (for the finger) 
 dug up on the site of the palace of the Roman emperors at York. It is in my possession. 
 Y. Ring (for the finger) of Archbishop Sewall, who died 1258. It is in the vestry of York 
 cathedral. 
 
 Z. Mirror in a carving on one of the seats of the choir of Ripon minster. A 2. Key picked up 
 from among the ruins of Barnard castle, Durham. It is in my possession. B 2. Chalice, found in 
 a coffin in the abbey church of St. Alban’s. It is preserved in the church. C 2. Cup, sculptured 
 on the north side of Prior Richard’s chapel in the abbey church at Hexham. D 2. View of a ser¬ 
 pentine torus cornice, supporting the flat roof of the staircase ascending to the dormitory of the 
 White Friars, Coventry. 
 
 E 2. Blocking on the south side of the abbey church at St. Alban’s. F 2. Profile. G 2. Blocking 
 in east aile of the north transept of the abbey church at Hexham. On the shield is the initial of 
 Prior Richard, as his memorial. H 2. Profile. 
 
 I 2. Shield belonging to one of the statues on the west front of Wells cathedral. The pointed 
 sweep begins its course from the horizontal line at top. Its face is perfectly flat. J 2. Shield 
 belonging to a statue on the same front. The face of this shield has a gentle swell, and on it is a 
 large boss. These lengthened sweeps for shields are of the earlier sort for such defences. K 2. 
 Shield belonging to one of the statues on the tomb of Bishop Cantilupe in Hereford cathedral. The 
 sides of this shield drop perpendicular from the top line to the dotted striking point, when the 
 equilateral proportion sweep commences. 
 
 L 2. Ribs of groins springing from the sides of an octangular pillar in the basement story of the 
 refectory of Finchale abbey, Durham. Their mouldings are broad cants, fillets, and returns, 
 uniting with the ground of the groins. M 2. Half of the plan. N 2. Plan of the ribs. 0 2. Basso- 
 relievo on a wall in the remains of Anglesea abbey, near Cambridge. 1 P 2. Cross on the west front 
 of JElstow church, near Bedford. 
 
 Plate X L V I. 
 
 CLASS SECOND, OF THE SECOND STYLE OF THIS ORDER. 
 
 BRIDGE, GALILEE, GATES AT WARWICK, AND EXETER, PONTEFRACT AND ALLINGTON CASTLES. 
 
 A. Part of the old bridge at Exeter. The buttresses, or piers, are of different forms, and the 
 architrave to the arch assumes more parts than those in the preceding class. B. Plan. 
 
 C. View of part of the Galilee, at the west front of Durham cathedral. The buttresses being the 
 principal object, not only shew the dignity of the design, but their importance, as making "with 
 others in continuation a mass of support to this part of the building. 
 
 D. View of the remains of Pontefract castle, Yorkshire. 
 
 E. View of the West gate, Exeter. 
 
 F. View in the gateway, leading into Warwick, from Stratford upon Avon. 
 
 G. Plan of Allmgton castle, Kent, supposed to have been erected by Sir Stephen de Penchester, 
 early in the reign of Edward I. H. River Medway. I. Ditches. J. Sewer. 2 K. Remains 
 of works entering on the bridge. L. Bridge. M. Gateway. N. Porter’s lodge. O. Great 
 court. P. Stone with a ring. Q. Remains of chambers. R. Porch. S. Remains of the great 
 hall. T. Remains of chambers. U. Gateway to V. Inner court. W. Remains of chambers. 
 X. Private cell. Y. Remains of kitchen. Z. Chambers. A 2. Chambers. B 2. Chimneys. 
 C 2. Remains of a tower. D 2. Hanging buttress. 
 
 E 2. North view of Allington castle. 
 
 F 2. South-west view of ditto. 
 
 G 2. View of gate-way (M. in plan.) of ditto. 
 
 H 2. View in the great hall (S. in plan.) of ditto. 
 
 I 2. View in the kitchen (Y. in plan.) of ditto. 
 
 Plate XLVII. 
 
 CHAMBERS, GATEWAYS, AVENUES; PALACE OF HENRY I. AT BEAUMONT, Etc. 
 
 A. View in a chamber (W. in plan.) of Allington castle. This view takes in the remains of three 
 stories. 
 
 B. Gateway to Carisbrooke castle, in the Isle of Wight. 
 
 See p. 41. 
 
 2 See p. 37. 
 
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DURING THE NORMAN iERA. 
 
 41 
 
 C. South view of the Water gate, Southampton. The top of this gateway, and tower adjoining, 
 have been much modernized. 
 
 D. Inner view of St. Owen’s gate, Hereford. 
 
 E. Gateway to Leeds castle, Kent} F. Plan. G. Plan of the hanging parapet. H. Groove 
 for the portcullis. I. Section of gateway. J. Groove for portcullis. Behind the arches of the 
 parapet are openings through which missive weapons were cast down on the besiegers. K. Plinth 
 (No projection in front.) L. Pier. M. First architrave. N. Projection of O. Second architrave. 
 P. Surrounding masonry of rough work. Q. Part of brackets to parapet, ft. Architrave to 
 arches of ditto. 
 
 S. East view of St. George’s gate, Stamford. Here the two pointed-formed arches, are curiously 
 combined; however, the arch of the equilateral proportion evidently stands the victory, well 
 illustrating our theory of their conflict, as just laid down. 
 
 T. East view of the remains of the palace of Henry I. at Beaumont, Oxford. 
 
 U. Interior view of ditto. 
 
 V. View in a chamber over the treasury adjoining St. Mary hall, Coventry. The opening of the 
 chimney piece has here been restored. W. Torus cornice of the chamber. X. Cornice to chimney 
 piece. 
 
 W. W. East side of the avenue under the tower at the west front of Wrotham church, Kent. 
 The arches, groins, and ribs, immerge from the wall itself, without the usual support of brackets, 
 heads, or columns, &c. X. X. Plan. Y. Archway on north side of avenue. Z. Architrave to 
 doorway in avenue. A 2. Middle ribs. B 2. Side ribs. C 2. Architrave to archway, Y. 
 
 In the four following Plates, many of the subjects requiring scales of feet and detail, are deficient 
 
 in this respect, as when I drew them from their original objects, I either neglected to take the 
 
 dimensions, or had not any idea of bringing them into this Work: where, however, they are 
 
 introduced to make out their part in the system I am elucidating. 
 
 Plate XLYIII. 
 
 GATEWAYS, TOWERS, WALLS, &o. 
 
 A. View of the walls next the river, Southampton. Round and square towers, and buttresses, 
 with and without splays, defend and support these walls : their finish, by parapets or battlements, 
 is destroyed. 
 
 B. View of the sally port to the castle of Exeter. This object is now destroyed. The avenue 
 for sally has in the walls interstices for shooting arrows through, and is defended by a large 
 square tower. 
 
 The succeeding thirteen outer views of the gates and towers to the walls of Norwich, lately 
 taken down, are given more immediately to preserve their memory; they at the same time in 
 some degree present the plainer modes of such designs, and the varieties they give in a defending 
 circle of this nature. 
 
 C. Conisford gate. D. Beer-street gate. E. Broad tower ; in the distance St. Catherine’s church. 
 F. Brazen-doors gate. G. St. Stephen’s gate. H. St. Giles’s gate. I. St. Bennet’s gate. J. St. 
 Martin’s gate: in the distance St. Laurence's church. K. St. Austin’s gate; in the distance the 
 cathedral. L. Fill-bridge gate. M. Pockthorpe gate; in the distance St. James's church. N. 
 Bishop’s gate; in the distance the castle. O. The Old Boon, or the towers on each side of the 
 river ; in the distance Conisford gate. These gates, from their being erected at different periods, 
 give the semicircular and the pointed arch, the segment of the pointed arch, and that sweep struck 
 from two centres, in practice about the fifteenth century: many modern decorations have been 
 stuck on their faces, and the battlements to each design, excepting Broad tower, Bishop’s gate, 
 and the Old Boon, are of brick work done of late years. 
 
 P. View of the principal entrance into the centre court of White castle, Monmouthshire ; erected 
 about the Ncrrman times. The most remarkable features are a number of small square openings 
 made directly through the thickness of the walls of the left tower; they are no dilapidatory 
 business, but regular masoned perforations, yet for what purpose intended is now unknown. No 
 other parts of the castle have like openings. 
 
 Q. View in the preceding entrance. The lines of the archways on the exterior, as well as the 
 interior, of this entrance, and the door on the left, are so damaged, that little idea can be 
 conceived of their original sweeps, whether circular, or pointed. The vaulting is constructed 
 roof-wise. 
 
 Plate XLIX. 
 
 GATEWAY, TOWERS, MISCELLANEOUS. 
 
 A. View of the left half of the great gateway of Crick Howell castle, Brecknockshire. The arch 
 of entrance is destroyed. B. Window, and C. Loophole on the side of squaie tower. D. 
 
 See p. 37. 
 
42 
 
 THE ORDER OF ARCHITECTURE 
 
 Window. E. Battlements. F. Section of ditto; and G. Window on the front of ditto tower. 
 In the round tower, the lower window has been defaced; the upper window on the left, same as 
 B. H. Loophole, and I. Window to the interior front of said tower. J. Right hand window on 
 upper story of the round tower. 
 
 Iv. View of a square and circular tower at the west angle of the walls of Abergavenny castle, 
 Monmouthshire ; erected in the Norman times. The windows of the square tower dilapidated, and 
 in the basement is a perforation cut through of late years. The angle of said tower being splayed 
 off, the basement thereby acts as a buttress to the same. 
 
 L. East view of Goodrich castle, Herefordshire. Where the ivy does not hide the lines, we see 
 in a distant tower the circular work rise from a square basement, which basement acts as a 
 support to the circular part. M. Gate of entrance into the castle. Through the archway is seen 
 a long avenue, headed over by a succession of arches. Before this entrance is a bridge of one 
 arch, and a masoned chasm communicating with it; part of the chasm is here seen. N. Plan of 
 the castle. 0. Platform. P. Bridge and chasm. Q. Avenue. R. Court. S. Chapel. T. 
 Destroyed chambers and retiring cells. U. Keep, of Saxon work. V. Double arches entering on 
 to the site of divers chambers. W. Great hall. X. Kitchen. Y. Terrace. Z. Ditch. A 2. 
 Plan of the bridge, &c. drawn larger. B 2. Chasm. C 2. Communication. D 2. Avenue. 
 E 2. View into the chasm, as seen from the entrance of the avenue. F 2. Architrave to the arch 
 of the communication. G 2. General assemblage of rib mouldings to the arches of the first 
 division of the avenue. The second and third repetition of G 2. shews the grooves for the 
 portcullises. H 2. Front of these rib mouldings. I 2. East window to the chapel, as seen in 
 view L. 
 
 J 2. View of the west front of the chapel in ditto castle; in the distance the keep, &c. K 2. 
 Gateway to avenue. L 2. Doorway to chapel. M 2. Loopholes: and N 2. 0 2. P 2. Windows 
 on this front. 
 
 Q 2. View in the great hall of ditto castle, looking south. 
 
 R 2. View in the chapel of ditto castle, looking east. Over the east window is a grand arch, 
 giving, no doubt, the sweep of the vaulting to the chapel before it was destroyed. S 2. Corbel' 
 column, and architrave to grand arch of the chapel. T 2. Holy water niche on the left side of 
 the east window, under which window is the site of the altar. U 2. Niches on left and right of 
 the side walls. This view takes in three stories; the second story constitutes the chapel. & 
 
 Plate L. 
 
 CHEPSTOW CASTLE. 
 
 A. Outer view of the gateway entering into Chepstow, from Monmouth. B. Architrave to the 
 arch. C. Battlements and supporting blocks. D. Profile of ditto. E. One of the basso-relievos 
 below the blockings. 
 
 F. View of the west entrance into Chepstow castle, Monmouthshire; erected about the Norman 
 times. In the foreground are the remains of a pier to a bridge across the foss, which foss 
 terminates on the left by a descent into the river. The sides of the great square tower diminish 
 gradually to its battlements. The principal arch is divided by the arch entering into the castle. 
 The battlements are much dilapidated. G. Plan of the entrance. H. Chasm, whereon was a 
 false covering to entrap assailants. I. Cross loophole. J. Battlements and supporting blocks. 
 
 K. View of the east entrance into Chepstow castle. On the angle of the walls, to the left, is 
 Martin’s tower; 1 the square basement of which unites with the circular work issuing out of it, 
 and acts as a support to the same. On the right is the gateway, defended by two circular 
 towers. L. Elevation of part of Martin’s tower, shewing the association of the square and 
 circular work: the inverted arch formed by their junction is composed of fine regular masonry. 
 M. Part of the plan. N. Grand loophole to the first, O. Window to the second, and P. Ditto 
 to the third story, and Q. Battlements, and one of the statues thereon to Martin’s tower. R. S. 
 Windows to the oratory in the narrow square turret attached to this tower. T. Elevation of the 
 east entrance. U. Plan of Ditto. V. Groove for the portcullis. W. View of the upper part of 
 ditto entrance, shewing the soffits of the arches, and the circular perforations therein for 
 throwing down missive weapons, &c. X. Windows to the right tower. Y. Ditto to the left 
 ditto. 
 
 Z. West view of Martin’s tower, as seen in the first court of Chepstow castle. The lines of this 
 front are rather perfect; yet I am inclined to think the windows on the second and third stories 
 are of later work than the edifice itself. A 2. Doorway to the first story. B 2 Plan C 2 
 Groove for the portcullis. D 2. Section of ditto. E 2. Portcullis groove. F 2. Windows in 
 second story. G 2. String moulding under battlements. H 2. Interior view of battlements 
 shewing the expanse for the archers to discharge the arrows from their bows, through the loop¬ 
 holes. I 2. Section of battlement. 1 
 
 So called at present from the detestable regicide of that name being confined in it till his death. 
 
■■■■■■■■■ 
 
DURING THE NORMAN H5RA. 
 
 43 
 
 Plate LI. 
 
 CHEPSTOW CASTLE ( continued .)— CALDICOT CASTLE. 
 
 A. View, looking east, in the first story of Martin’s tower, Chepstow castle. The floor being 
 destroyed, insight is had into the dungeon beneath. 
 
 B View, looking east in the second story of ditto tower.' In which view one of the bower 
 windows, the loopholes to ditto, and two attached chimney pieces, are the principal objects. 
 0. Cornice. D. E. F. G. H. I. are the chimney pieces and their plans 
 
 J. Plan of the first story to ditto tower. K. Stairs. L. The story. M. Dungeon. N Angles 
 of the basement. 0. Plan of the second story. P. Stairs. Q. Second story. R. Bower 
 windows, fe. Retiring closet. T. Oratoiy, entered into half way up the stairs to the third story 
 U. Chimney pieces. V. View in the retiring closet. 
 
 W. South view of Caldiwt castle, Monmouthshire; erected about the Norman times. The 
 masonry to this building is the most regular work that can possibly be seen. In the distance is 
 the Bristol channel. X. Square openings, and projecting stones on tower at the angle on the 
 left in preceding view. Their use unknown. 
 
 X. [Repeated.] Plan of the grand entrance into Caldicot castle. Y. Avenue. Z. Portcullis 
 grooves. A 2. Chimneys. 
 
 B 2. Elevation of ditto entrance. The design is regular, and in the true style of a noble castel¬ 
 lated mansion. The upper parts of the side towers are dilapidated. C 2. Elevation of the 
 gateway. D 2. Architrave to the first arch. E 2. Ditto to the second arch. F 2. Plan of the 
 gateway. G 2. H 2. Windows to the first story. I 2. J 2. Windows to second ditto. The 
 heads of these latter windows seem to have lost the finish of their architraves. K 2. Battlements. 
 L 2. M2. The front, and the angular corbelled arches to the tops of the side towers. N 2. Plan 
 of ditto. 
 
 0 2. View of the gateway of ditto entrance; where we find the vaulting to the first division 
 retains only the first half, and the second division decorated with rich groins, &c. 
 
 Plate LI I. 
 
 AVENUES, GATEWAYS, ARCHES, &o. 
 
 A. An avenue on the north side of Canterbury cathedral. B. Plan. C. Architrave to the 
 arch. 
 
 D. View in an avenue on the west side of a religious edifice, adjoining to St. Helen’s church, 
 Bishopsgate street, London. This avenue, with the rest of the buildings to which it belonged, 
 have been destroyed. E. Corbel, with the rib to the arched headway. F. Plan of the corbel. 
 G. View of ditto corbel and rib. 
 
 H. South view of part of the remains of Anglesea abbey, Cambridgeshire ; founded by King 
 Henry I. The objects to be noted are the ascending arches, forming, in all probability, one side 
 of a staircase which led to chambers on an upper story. I. Ascending arches, and which are 
 supported by corbels. J. Section of ditto. 
 
 K. Outer view of the Land gate, Rye, Sussex. The upper part of this gate is destroyed. L. 
 Window, or loophole to the basement story. M. Plinth moulding to the building. N. Space, or 
 dado above the plinth ; the courses are composed of flints nicely squared and jointed. O. Dado 
 mouldings. P. Cornice over the archway. Q. Architrave to the archway. R. Windows over 
 the archway. S. Windows in the side towers. T. The lower part of the hanging parapet. U. 
 Section of ditto. 
 
 V. Outer view of the West gate, Winchester; erected probably in the thirteenth century. 1 2 To 
 the left in this view are remains of Saxon work, the city walls, &c. W. Plinth. X. Impost, and 
 
 Y. Architrave to the Archway. Z. Loopholes. A 2. Compartments above the loopholes. B 2. 
 Hanging parapet. Its section may be understood by consulting the section at U. C 2. Cornices. 
 D 2. Masks on each side of the compartments for the water from the top of the building to 
 descend through. E 2. Parapet mouldings. F 2. Inner view of ditto gate. The archway, 
 buttress, and windows take other forms than those seen on the outer front. The upper part of 
 this design is not brought into this view. G 2. Impost, and H 2. Architrave to the archway. 
 I 2. Niches in the buttresses. J 2. Plinth and base; and K 2. Architrave to the windows. 
 Observe the column rising from ditto plinth and base continues in the sweep round the arch, 
 undecorated either by a capital or other ornament. 
 
 Plate LIII. 
 
 GATEWAY S—H EXHAM AND RABY CASTLES. 
 
 A. Inner view of the gate of entrance to the castle at Ilexhwn, Northumberland; erected by 
 one of the archbishops of York. There is little more left of the castle than the keep, which is a 
 
 1 The chamber wherein Martin was seemed. 
 
 2 A view and account of this tower gate-house are given in Britton’s “ Picturesque Antiquities.” 
 
44 
 
 THE ORDER OF ARCHITECTURE 
 
 large square edifice. In the subject before us, a flight of steps, hid by the low projecting story in 
 the centre of this view, ascends to the chambers seen above; the door and windows to which have 
 been restored in this Plate, in place of the modern ones at present there inserted. The hanging- 
 parapet has been much damaged, but is similar to those in the preceding Plate. The parapet to 
 the tower over the entrance has likewise suffered. B. Mouldings to parapet of the low story in 
 the centre of the view. C. Double window in ditto story. D. Architraves to the lower and 
 upper arches of the entrance. E. Window over the upper archway. F. Window on the fourth 
 story. G. Cornice to the tower. H. General plan (slightly taken, and without measurements) 
 of Roby castle, Durham; erected by John de Nevill, soon after 1378. I. Foss. J. Gateway. 
 K. Platform, or terrace. L. Avenue leading to the great court. M. Avenue leading to the great 
 hall. N. Great court. 0. Great hall. P. Kitchen. 1 Q. North view of ditto castle. The gate¬ 
 way is very singular. R. Architrave to the arch. S. Windows. T. Loophole. U. Battlement 
 moulding; and V. W. Statues on the battlements of the gateway. 
 
 X. East view of ditto castle. Y. Head of doorway on the right of the entrance seen in the 
 centre of this view. Z. Head of window over ditto entrance. 
 
 A 2. South-west view of ditto castle. It is remarkable, that the upright lines of the structure, 
 in this view, incline inwards to a considerable degree; they were erected with an idea, no doubt, 
 of giving a more defensive face on this side of the castle, than on the other aspects, and to insure 
 additional security to the walls themselves. 
 
 B 2. Direct view of the gate of entrance, which is but barely seen in the preceding view. C 2. 
 Architraves to the archway. D 2. Architrave to the first arch within the gate, previous to the 
 commencement of the groins. E 2. Base. F 2. Capital; and G 2. Sub-capital embattled to the 
 octangular columns, from whence spring the ribs of the groins. H 2. The rib-mouldings; and 
 I 2. the centering of ditto to the groins in the first division of the avenue. J 2. Architrave to 
 the archway entering into the second division of the avenue ; the headway to this latter avenue 
 consists of ribs only. 
 
 Plate LIV. 
 
 GATEWAYS —LUMLEY CASTLE AND BISHOP’S PALACE, DURHAM. 
 
 A. Outer view of the gate-way at Newcastle, which leads to Carlisle. The upper part of the side 
 abutments appeared dilapidated. B. Splays at the angles of the abutments. C. Architraves to 
 the archway. D. Cornice supporting the compartment in the centre of the design. E. Parapet 
 mouldings over ditto. F. Upper cornice. The lower ditto, and the compartment have the same 
 mouldings and ornaments as at C. and F. 
 
 G. East view of Lumley castle, Durham; erected by Sir Robert de Lumley in the reign of 
 Edward I. and enlarged by his son. The angles of the walls and buttresses finish with a turret 
 of an unusual form, and which is constructed on the best scientific principles. H. View of the 
 turret drawn larger. I. Plan of ditto, as laid down at the right angles of the tower seen in the 
 foreground of the preceding view. J. The buttress. K. Angular stones or blocks of support, 
 laid on the angles of the extremities of the buttress. L. Perforations for throwing down missive 
 weapons. M. The battlements. I. K. L. M. Refer to the uprights in view H. 
 
 N. Gate of entrance on the east side of ditto castle ; it is seen partially in view. G. The 
 buttresses supporting the turrets are canted off at their tops to accelerate the fall of the missive 
 weapons, otherwise their widths (of greater dimensions than the foregoing angular buttresses) 
 would interfere with the perforations. 0. Plan. P. Buttress. Q. Plan of the turret as accom¬ 
 modated to its situation in this elevation. R. Architrave to the archway. S. Shields of arms 
 and crests in the compartment over ditto archway. T. Profile of the buttress at this part. U. 
 
 Y. Plinth mouldings to the buttresses. W. Battlement mouldings. X. Window over compart¬ 
 ment. Y. Architrave to arch over ditto window. 
 
 Z. The west gateway of the remains of the priory of Christ Church, Aldgate . 2 The design gives 
 the larger archway for horsemen, and the lesser archway or postern for foot passengers. These 
 arches shew the regular pointed arch, and the segment of a pointed ditto. A 2. Plan. B 2. Archi¬ 
 trave to the postern arch. C 2. Ditto to the larger arch. The plinths are buried in the ground. 
 
 D 2. West view of the Bishop’s Palace at Durham ; erected probably by the Conqueror. In the 
 distance to the right is the north-west view of the cathedral, and the monastical buildings in 
 continuation. This extensive line of magnificent edifices, highly demonstrate the refined taste of 
 our architectural ancestors: the situation of these works is most sublime, they standing on the 
 summit of rocks, whose foundations rise out of the river beneath. Immediately before the west 
 front of the cathedral, is set up by way of a mass of support to the whole structure, the famous 
 chapel called the Galilee. The intent of this view is principally directed to the castle, as applyin°- 
 to the class of architecture now under our study. 
 
 1 For view, plan, &c. of this kitchen, see Plate XLIII. and page 38. 
 a See pages 17 and 21, and Plates XVI. XXI. 
 

DURING THE NORMAN ASRA. 
 
 45 
 
 Plate L V. 
 
 PRINCE’S CHAMBER WESTMINSTER. — KITCHEN IN DURHAM CATHEDRAL, Etc. 
 
 A. South side of the Prince’s chamber, Westminster. That part of the first story which is seen 
 to the right being at present hid by modern erections, we have left it blank. The finish above 
 the upper windows is modern work, therefore given in outline. I am inclined to think the two 
 doorways and the small semicircular headed window, by the form of their arches, &c. were executed 
 in the sixteenth century. B. Plan. C. Architrave to the doorways. D. Small semicircular 
 headed window. E. Window to the first story. F. Windows to the second story. 
 
 G. East front of ditto chamber. The finish above the windows is also modern. The windows 
 to the second story shew columns with ornamented capitals. H. Plan. I. Windows to first story. 
 J. Ditto to second ditto. K. Its base. L. Capital, and M. Architrave. N. Its plan. The 
 detail of these windows in this front are taken from the right hand, half of the two outer windows 
 of each story ; the rest of the work of the other parts of the windows being nearly demolished. 
 
 O. West front of the tower to a church on the right of the road between Abergavenny and White 
 castle, Monmouthshire. P. Plan. Q. Plinth. It. Cornice to first story. S. Angular blockings 
 to second ditto. T. Repetition of ditto blockings, with a space, and a front regular square block¬ 
 ing. U. Plan of the blockings laid down at the angle of the tower. V. Cornice to the t hir d 
 story. W. Battlement mouldings. X. Return, or profile of the battlements. Y. Window to 
 the second story. Z. Windows to the first and third ditto. 
 
 A 2. East front of a chapel near St. Paul’s church, Bedford. It is used as a store-house for 
 beer, and a doorway has been cut through the wall below the window (the site of the altar) for 
 the purpose of entrance therein. B 2. Plan. C 2. Profile of this front. D 2. Splays below the 
 
 window sill. E 2. East window. F 2. Compartments on the profile of the finish of the pediment. 
 
 G 2. View looking west, in the great kitchen of the monastery of Durham cathedral. The pro¬ 
 portions of the parts are just, the construction of the groins excellent, the lantern for the dis¬ 
 missal of steam well contrived, and the whole design is most admirably adapted to the use of cul¬ 
 inary purposes. It is still used for a kitchen, and belongs to the deanery. H 2. Plan. I 2. 
 
 Chimneys. J 2. Architrave to the doorways. K 2. Ditto to the chimneys. L 2. Lower part, 
 
 and M 2. Upper part of the windows. N 2. Lower part, and 0 2. Upper part of ditto, as seen in 
 their return, or section. P 2. Corbel, and Q 2. Ribs to the groins. R 2. Plan of ditto. 
 
 Plate LYI. 
 
 DECORATIONS. — DOORWAYS, AND DETAILS. 
 
 A. Doorway in the priory church of Abergavenny, Monmouthshire. The splays to the plinths are 
 peculiar to the early classes of this order. B. Plan. C. Doorway in Wells cathedral. The door, 
 which is of iron, is very uncommon. D. Plan. E. Half of the doorway to the outworks of Leeds 
 castle, Kent. 1 Bases buried. F. Plan. G. Doorway in the first court of Chepstow castle, Mon¬ 
 mouthshire. The architrave a round to the springing of the arch, when it changes into a hollow. 
 H. Plan. I. Half of the doorway entering into the second court of ditto castle. J. Plan. K. 
 Doorway to a house on the north side of the close of Salisbury cathedral. L. Plan. M. Plinth 
 and architrave. N. Doorway to the north porch of St. Dunstans church, Canterbury. Bases 
 buried. 0. Plan. P. Architrave. Q. Doorway to buildings on the north side of Canterbury 
 cathedral. Bases buried. R. Plan. S. Architrave. T. Doorway near the Painted Chamber, 
 Westminster. U. Plan. Y. Architrave. W. Half of the doorway in the crypt of the court of 
 requests, Westminster. X. Plan. Y. Sweeping cornice. Z. Ground between ditto and the archi¬ 
 trave. A 2. Doorway to the north porch of Allington church, near Maidstone. B 2. Plan. C 2. 
 Impost. D 2. Architrave. E 2. Doorway in the abbey church of Tintern, Monmouthshire. The 
 head of this doorway is extremely singular. Bases buried. F 2. Plan. G 2. Architrave and 
 compartments. H 2. Doorway to buildings on the south side of the abbey church of Lanthony, 
 Monmouthshire. Bases buried. I 2. Plan. J 2. Mouldings and ornament to impost and sweep- 
 mo- cornice. K 2. Doorway on the south side of Upton church, Huntingdonshire. Bases buried. 
 L 2 Plan M 2 Architrave and sweeping cornice. N 2. Doorway in the vestry of Laycock 
 nunnery church, Wiltshire. Bases buried. 0 2. Plan. P 2. Architrave and sweeping cornice. 
 Q 2. Doorway in the east cloister of Salisbury cathedral. The doorway may be considered as one 
 of the first simple specimens of panel work. R 2. Plan. S 2. Bustos and sweeping cornice. 
 T 2 Architrave U 2 Panel of the door. V 2. Doorway on the north side of Shipston church, 
 near Stratford-upon-Avon, Warwickshire. The ogee turn of the arch is ungraceful, defective m point 
 
 1 See p. 37, and Plate XLII. Z. 
 M 
 
46 
 
 THE ORDER OF ARCHITECTURE 
 
 of strength, and is an object rarely seen in our ancient architecture. W 2. Plan. X 2. Archi¬ 
 trave and sweeping cornice. Y 2. Doorway in Wells cathedral. The sweeping cornice has the 
 ogee turn, which being considered as a mere ornamental accompaniment to the headway, is not 
 without some degree of merit. Z 2. Plan. A 3. Architrave and sweeping cornice. B 3. Finial to 
 ditto cornice, and the horizontal cornice above. C 3. Section of ditto cornice. D 3. Doorway on 
 the south side of Alverton church, near Amt ferry, by Bristol. E 3. Plan. F 3. Sweeping 
 cornice. 
 
 Plate LYII. 
 
 DOORWAYS, WINDOWS. 
 
 A. Doorway in Salisbury cathedral. B. Plan. C. Plinth seen on the angle. D. E. Sweeping 
 cornice and ornaments. F. Doorway to the south porch of Dutling church, near Maidstone. 
 Above the arch is a small recess. G. Plan. H. Architrave and sweeping cornice. I. Architrave 
 to the recess. J. Doorway on the north side of the church at Dunchurch, Warwickshire. Bases 
 buried. K. Plan. L. Architrave and sweeping cornice. M. Doorway to St. Dumtan’s church, 
 Canterbury. Bases buried. N. Plan. 0. Architrave. P. Busto, and sweeping cornice. Q. 
 Doorway in Salisbury cathedral. R. Plan. S. Architrave, and sweeping cornice. T. West 
 Doorway of the church at Dunchurch. U. Plan. V. Architrave. W. Compartments between 
 ditto and sweeping cornice. X. Sweeping cornice. Y. Doorway in St. Peters church, St. Alban’s. 
 Z. Plan. A 2. Architrave and sweeping cornice. B 2. Doorway in Bablake church, Coventry. 
 C 2. Plan. D 2. Bustos and sweeping cornice. E 2. Architrave. F 2. Two windows conjoined, 
 in the remains of the gate of entrance into the precincts of the abbey church of Tintern. G 2. 
 Plan. H 2. Window on the east side of the dormitory of the White Friars, Coventry. I 2. Plan. 
 J 2. Architrave. K 2. Window in the porch of a church, on the road between Abergavenny and 
 White castle. The ogee head occurs to this window. L 2. Plan. M 2. Window on the south 
 side of Barfreston church, near Canterbury. N 2. Plan. 0 2. Busto and sweeping cornice. P 2. 
 Window to the south front of the refectory of Waverley abbey, near Farnham, Surrey. Q 2. Plan. 
 R 2. Sweeping cornice. S 2. Window to the lodgings of Merton college, Oxford. T 2. Plan. U 2. 
 Architrave and sweeping cornice. V 2. Interior of ditto window. W 2. Plan. X 2. Architrave. 
 Y 2. Window at the east end of Charlton church, near Malmesbury, Wiltshire. We now witness 
 the first use of mullions, composed of mouldings, dividing the opening of a window into various 
 parts. Z 2. Plan. A 3. Sweeping cornice. B 3. Centre east window of ditto church. C 3. 
 Plan. D 3. Architrave to window and mouldings to the mullions. E 3. Sweeping cornice. F 3. 
 Interior of a window in the Priory church at Abergavenny. G 3. Plan. H 3. Mullions and 
 sweeping cornice. The circular ornament in the cornice is frequently introduced in this Order. 
 I 3. Interior of the window at the east end of the great hall in Chepstow castle. J 3. Plan. 
 K 3. Architrave to window and mullions. A system is here made manifest, as applicable to the 
 several tiers of mouldings composing the mullions, and tracery of windows. 1st. Tier, or architrave, 
 to the main line of the window. 2d. Tier to the three dividing parts, that is, the two long- 
 pointed lights, and the circular one. 3d. Tier to the inferior sweeps. In the further delineation 
 of windows, their tiers may be always understood by referring to this general rule. 
 
 Plate LYII I. 
 
 CROSSES, FONTS, HOLY-WATER NICHES, BASINS, AMBREYS, ALTARS, SEATS, Ac. 
 
 A. Remains of a cross, at Barnsley, near Cirencester. B. Half of the plan. C. Cross in the 
 town of Laycock, Wiltshire. D. Half of the plan. E. Mouldings of the pedestal. F. Part of the 
 chimney piece in the great hall of Allington castle, near Maidstone. 1 G. Plan. H. Part of one of 
 the four chimney pieces in the angles of the great kitchen of the abbey at Glastonbury. I. Plan. 
 J. Circular chimney. K. Sweeping cornice. L. Jamb of a chimney piece in the remains of White 
 castle, near Abergavenny. M. Plan. N. Internal profile. 0. Architrave to jamb on the angle. 
 
 P. View of a recess, or ambrey (cupboard for keeping furniture belonging to altars), in a 
 religious edifice (since destroyed) adjoining St. Helen’s church, Bishopsgate street. Q. Architrave. 
 R. View of an ambrey in ditto edifice. S. Architrave. T. View of a holy-water niche in Egham 
 church, Surrey. U. Architrave. V. View of a holy-water niche in the priory church of 
 Hexham, Northumberland. W. Architraves to the niche, and basin. X. View of an ambrey in 
 Ciickhowel church, Brecknockshire. Y. Architrave. Z. View of a holy-water niche in Ilitchenden 
 church, near High Wickham, Buckinghamshire. Basin damaged. A 2. Architrave. B 2. View 
 of a holy-water niche in Longueville church, near Peten-borcmgh. Basin damaged. C 2. Architrave. 
 
 1 See p. 40, and Plate XLVI. B. 2. 
 

- , . 
 
DURING THE NORMAN iERA. 
 
 47 
 
 D 2. View of a holy-water niche in the priory church of Abergavenny. E 2. Architrave F 2 
 View of an amhrey in the crypt of Gloucester cathedral. G 2. Architrave and sweeping cornice'. 
 H 2. View of an ambrey in a chapel by Martin’s tower, in Chepstow castle. I 2. Architrave and 
 sweeping cornice. J 2. View of a holy-water niche in Burfmd church, Oxfordshire. K 2. Arclii- 
 trave, busto, and sweeping cornice. L 2. Basin. 
 
 M 2. Font in Long Compton church, near Stratford-upon-Avon. N 2. Half of the plan. 0 2. 
 Interior of the basin. P 2. Font in Cmrwent church, Monmouthshire. Q 2. Half of the plan. 
 R 2. Interior of the basin. S 2. Font in St. Michael’s church, Coventry. T 2. Half of the plan. 
 U 2. Interior of the basin. 
 
 V 2. View of an altar in the east aile of the choir of the priory church of Hexham. W 2. Altar 
 in the Louterell psalter in the possession of T. Weld, Esq. Lulworth castle, Dorsetshire. X 2. View 
 of the altar in Prior Richard’s chapel, in the priory church of Hexham. Y 2. Basso-relievos in 
 the front and ambrey of ditto altar. 
 
 Z 2. Stone seat in continuation, in Hereford cathedral. A 3. Stone seat in our Lady’s chapel, 
 in ditto cathedral. B 3. Seat sculptured on the tomb of Bishop Cantilupe, in ditto cathedral. 
 C 3. Seat in the Louterell psalter. D 3. Seat in a painting on the wall of our Lady’s chapel, 
 Hereford cathedral. E 3. Double seat from a painting (once in Ingham church, Norfolk ) in the 
 possession of the late Sir John Fenn, of East Dereham , in the same county. F 3. Three seats for 
 the priests in Allwalton church, Huntingdonshire. G 3. Plan. H 3. Architrave. I 3. Mouldings 
 for dado, and cornice. J 3. Desks for prayer, from a painting in the priory church of Hexham. 
 K 3. Reading desk sculptured on a monument in Raby church, Durham. L 3. Part of a table 
 supported by tressels in the Louterell psalter. M 3. Chest in the priory church of Hexham. 
 
 Plate LIX. 
 
 TOMBS, STONE COFFINS, BUTTRESS, PARAPETS, ARCHITRAVES, CORNICES, ENTABLATURES, &o. 
 
 A. View of the tomb of-, in the nave of Salisbury cathedral. B. View of a tomb in 
 
 the chapter-house of the nunnery church of Laycock. C. View of a tomb in Ripon minster. D. 
 Basso-relievo on the slab of ditto. 
 
 E. F. Views of two stone coffins in the avenue leading to the crypt of the chapter-house of 
 Wells cathedral. In the edges of the coffins are cavities to hold chalices, &c. G. Coffin in the 
 Louterell psalter. The lid being partly taken off, the corpse is seen wrapt in the winding sheet, 
 embroidered with crosses. 
 
 H. Grave stone in the abbey church of St. Alban’s. The lines sunk, in which once was brass 
 work. I. Grave stone in Southwell minster, Nottinghamshire. J. Grave stone in the abbey church 
 of Rumsey, Hampshire. A hand is seen holding the staff of a crosier. K. Grave stone in the 
 avenue leading to the crypt of the chapter-house of Wells cathedral. 
 
 L. Stone lamp in the avenue just mentioned. M. Ring to a door of the buildings on the north 
 side of Wells cathedral. N. P. Q. Rings (for the fingers. 0. The stone to N.) taken out.of the 
 stone coffins of the ancient bishops, dug up in our Lady’s chapel in Salisbury cathedral, during the 
 late strange; anti-historical, and unprecedented architectural innovations made therein. R. Key, 
 picked up from the rubbish in Wells cathedral. S. Key in the porter’s lodge of Dover castle. T. 
 Chalice ; and U. Patten, dug up with the above rings, N. &c. 
 
 V. View of a buttress to an ancient edifice at Southampton. W. Plan. X. View of a hanging- 
 parapet on the east wall of the close of Salisbury cathedral. Y. View of the hanging parapet to 
 the gate of entrance into Raglan castle, Monmouthshire. The upper part of the work damaged. 
 Z. Plan. A 2. Parapet to the west wall of the cloisters of Salisbury cathedral. B 2. Section of 
 ditto. 
 
 C 2. Architrave to the north porch of the priory church of Abergavenny. D 2. Architrave to 
 the small aqueduct in Ludlam’s cave, near Waverley abbey. The lines give both the front and 
 section. E 2. The aqueduct. F 2. Architrave in the Herbert chapel, in the Priory church of 
 Abergavenny. G 2. Architrave to south and north windows of the chapel by Martin’s tower, Chep¬ 
 stow castle. H 2. Architrave and sweeping cornice to east window of ditto chapel. I 2. Cornice 
 on north side of the Priory church of Abergavenny. J 2. Cornice to chapel by Martin’s tower 
 K 2. Entablature in the Priory church of Abergavenny. L 2. Entablature on the south side of 
 the abbey church of St. Alban’s. M 2. Profile. N 2. Entablature on the south side of the abbey 
 church of Lanthony. O 2. Profile. ^ , TTr _ rn , . 
 
 P 2. R 2. T 2. and V 2. Corbels in the abbey church of Hexham,. Q 2. S 2. U 2. and W 2. Then- 
 
 plans. X 2. Corbel in Allwalton church, Huntingdonshire. Y 2. Plan. Z 2. Profile. 
 
 A 3. View of a handrail winding round the newel of a circular staircase in SahMmry cathedral. 
 
 B 3. The rail; on the right, the dotted hollow shews where the fingers take then- hold. C 3. 
 View of a handrail to a circular Btaircase in the abbey church of St. Albans. D 3. Handrail. 
 E 3. Architrave to the under part of each step. 
 
48 
 
 THE ORDER OF ARCHITECTURE 
 
 The four succeeding Plates may be considered as a Supplement to the Class just treated of, as they 
 principally shew examples of buildings on a more extensive plan than those already given. 
 Some of the subjects are without the detail of parts and measures, such particulars not having 
 been noted with the original sketches ; yet upon consulting the examples of the decorations, 
 enrichments, &c. of this Order, an idea may be formed of their profiles, architraves, cornices, 
 blockings, splays, battlements, &c. &c. 
 
 Plate LX. 
 
 CONDUIT, BRIDGE, ARCHES, LAVER, TURRET, CHAPTER-HOUSE. 
 
 A. West view of a conduit, vulgarly called ‘our Lady’s wash-house/ near Lanthony abbey, 
 Gloucester. That this small edifice was dedicated to ‘ our Lady/ is not to be doubted, as on the 
 east front is a basso-relievo, wherein she is represented surrounded by several kneeling figures. 
 The spring of water rising within the walls is excellent, as those who enter to drink, or wash 
 themselves, sufficiently prove, not alone for allaying thirst, but for various medicinal purposes. 
 Before the doorway lies part of a stone coffin, and in the distance is seen the south side of the 
 cathedral. B. Plan. C. Doorway. D. Basso-relievo on the east front. 
 
 E. Bridge at Weston, Huntingdonshire. The parapet is destroyed. F. The water-line. G. 
 Plan. H. Arch and pier. In this example the masonry is indicated. I. Architrave. 
 
 J. View of arches (through which runs a stream of water) in the east wall bounding the site of 
 the abbey at Bury St. Edmunds, Suffolk. The two buttresses on each side the centre arch are 
 perforated, and have a most pleasing effect. In the distance (seen over the wall beginning from 
 the left) are the east views of St. Mary’s church, Church gate, St. James’s church, &c. 
 
 K. View of a laver, near the sacristy in York cathedral. The original place to wash the hands 
 is in some sort done away, as a common pump and cistern are at present substituted for that 
 purpose. 
 
 L. Turret on the south side of Chichester cathedral. The three first tiers of this object run 
 square; the fourth tier takes an octangular form, and terminates with a pinnacle. M. Plan. 
 N. Cornice, architrave to the windows, and the rib and finial to the pinnacle. 
 
 0. East view of the chapter-house, and south transept of Durham cathedral. The plan of the 
 chapter-house is an oblong, terminating at the east with five cants of a decagonal figure, though 
 in the interior the line is a semicircle. 1 Notwithstanding the design under view appears of simple 
 work, the inside is extremely grand in every part, being embellished with statues and ornaments 
 in the Saxon Style; indeed, the whole building was originally of this mode, notwithstanding we 
 find at the west, and at this east front, pointed windows, buttress, &c. decorations introduced 
 according to the alteration of design in succeeding ages. I am compelled to observe, that since 
 this view was made, this noble room has been totally destroyed, which act was intended as the 
 forerunner to the destruction of the chapel of the Galilee, the removal of the choir, the demolition 
 of the exquisite monumental throne, high altar, &c. &c.; but, all due praise being given to those 
 remonstrances presented to the dignitaries of the church to stay the proposed changes, these 
 superb and historical memorials have, as yet, been preserved. P. Lower part of the buttresses. 
 Q. Profile. R. Upper part of ditto. S. Profile. 
 
 Plate LX I. 
 
 TOWER, READING ABBEY GATE HOUSE, MONMOUTH AND TUNBRIDGE CASTLES. 
 
 A. View of an ancient building on the road to Castoi-, near Peterborough. Those windows in 
 the tower, and doorway in the side erection, which have square heads, no doubt were inserted in 
 the reign of Henry VIII. In the said side erection are stuck two common modern windows. 
 
 B. North view of the abbey gate, at Reading, Berkshire. In pointing out the common modern 
 doorway, and windows patched on this grand entrance, we must declare it is an injury of the 
 most disgraceful kind to such a noble remain ; which, except the small portion of the abbey ruins, 
 barely keep alive the memory of the once architectural renown of the place. In the second tier 
 of the buttresses are some remarkable recesses. The finishings to the upper parts of the design 
 are obliterated. 
 
 C. View in the remains of Monmouth castle. The walls give the basement and principal story, 
 which latter situation constituted the chamber wherein Henry V. was born. How little does the 
 possessor of this relic, commemorating the name of the conqueror of France, estimate the value 
 of so inestimable a prize, when it is suffered to be used for the base purposes of confining wretched 
 animals, and to pile up therein all kinds of filth and rubbish ! The chamber alluded to, from one 
 of the windows being left perfect, the dimensions of its plan, &c. must have been superb, convincing 
 
 1 See Plans, Elevations, &c. of this Cathedral, published by the Society of Antiquaries. B. 
 
111!'' lip'll 1 
 

DURING THE NORMAN .ERA. 
 
 49 
 
 us to what a height of elegance our ancient royal structures were carried, which, from this and a 
 thousand other examples, certainly were replete with every accommodation that princely state 
 could know, or possibly enjoy. D. Plan. E. Exterior of the window. F. Plan. G. Band. H. 
 Architrave, sweeping cornice, finial, &c. 
 
 I. Plan of the grand gate of entrance into Tunbridge castle. Excepting this part of the general 
 design, not more than the surrounding walls of the castle are left; and the site of the halls, 
 chambers, offices, keep, &c. are with difficulty in any wise to be ascertained. J. Chambers. K. 
 Avenue. The dotted lines shew the arched headways, and the dots at L. the portcullis groove. 
 
 M. North elevation. The circular parts of this front rise from octangular basements. The 
 arches of the entrance are vast and terrific, and the openings for light, or loop-holes, this front 
 being liable to attack, long and narrow. The finish of the upper parts of the work destroyed. 
 
 N. South front. In the space between the towers, the windows are many, of sizes requisite for 
 the several stories, and designed on the grand scale ; demonstrating that this face of the erection 
 apprehended nothing from violence, but looked towards the more magnificent parts of the castle. 
 
 O. Architraves to the arches of north front. P. Ditto on south front. Q. Portcullis groove. 
 R. Windows to first and second stories of south front. S. Loopholes. T. Windows to third 
 story on south front. U. Jambs of a chimney piece on the second story. Y. Plan. 
 
 Plate LXIL 
 
 OUSE BRIDGE, YORK. —WARWICK CASTLE. 
 
 A. North view of Ouse bridge, York. As the top or finish of this bridge is modern work, I 
 conclude that the houses over the arches to the right and left were once continued over the 
 bridge, as was invariably the custom anciently with those bridges situated in great towns or 
 cities. The centre arch is of a prodigious span, equal at least to any of the boasted works of this 
 kind, either at Venice, or Black Friars, London. The building on the right of the great arch was 
 no doubt originally a chapel, as such religious foundations were generally attached to bridges; 
 London and Exeter bridges had their chapels until of late years: at present, they are remaining 
 on the bridges at Barnard’s castle, Durham, at Wakefield, Yorkshire, See. Sec. 
 
 B. South view of Warwick castle. This front well accords with the opinions conceived of the 
 splendid and heroic mansions of our ancestors : a romantic disposure of parts is manifested 
 throughout the whole line in circular and square towers, embattled buttresses, long ranges of 
 grand chambers, bower windows, &c. affording that continued variety, and picturesque effect, 
 which, to a contemplative mind, must ever give delight and satisfaction. We who are thus 
 disposed to think, must certainly condemn the destruction of the curious bridge seen in the fore¬ 
 ground, done on no other account, as is supposed, than to give a more open view of the castle, 
 and a mill of modern fancy architecture under its walls. 
 
 C. East view of Warwick castle. This scene is interesting to a degree, there being scarcely any 
 modern architectural interpolation to offend the sight: the variety of forms is very striking, and 
 the arrangements of the principal objects such as evince the hand of true taste, made perfect by 
 sentiments of the sublime and beautiful. It is impossible at this day of calm possession to 
 approach these towers without some sensations of dread : what then must have been the feelings 
 of the assailants of former times ! Probable injury from the gigantic towers on the right and left, 
 and inevitable destruction from the gate of entrance in the centre, a gate of two long wards, 
 wherein on every side stood death arrayed in iron guise, to strike with dart, lance, sword, or 
 battle-axe. Horrid resistance, yet more horrid presumption in attack: perfidy assaults, just 
 possession defends ! Sorry I am that my praise of this magic pile must end here, as the buildings 
 for state in the great court have been submitted to take the fantastic shapes of modern archi¬ 
 tectural taste, derogatory to the general character of the lines of the castle, and of course, 
 incompatible to the intent of this work, so as to make a part thereof. 
 
 Plate L X 111. 
 
 CHEPSTOW CASTLE.—GATEWAY TO PETERBOROUGH CATHEDRAL, AND OTHER BUILDINGS. 
 
 A. View of the north side of the first court of Chepstow castle, Monmouthshire. The part to the 
 right contains the great kitchen, that in the centre, fine chambers, and the ruined part in 
 continuation the great hall. In the distance is a ruined tower, which guarded the pass into the 
 second court. (Mem. There are four courts in this stupendous work.) Although for obvious 
 reasons the exteriors of castles in most respects were masoned in a simple and unadorned manner, 
 still ever in the great courts, the fronts of the several buildings displayed that assemblage of 
 extended doorways, lofty and rich windows, &c. &c. so as to render them, not, as calumniators in 
 these times give out “ dark and gloomy/’ but lightsome and cheerful. Three modern sash windows 
 have been foisted in the walls. The doorway in the centre of the buildings has been given in 
 
50 
 
 THE ORDER OF ARCHITECTURE 
 
 Plate LYI. at G. B. Doorway on the right of ditto. C. Plan. D. Window somewhat above 
 the preceding doorway. E. Window over the foregoing one on second story. F. Heads of the 
 buttresses. G. Profile. H. The grand window. I. Sweeping cornice. J. Architrave. K. 
 Mouldings to the battlements. L. Blockings dispersed about the elevation. M. Profile. N. 
 Plinth, loophole, and 0. String moulding to the circular tower. P. View of the finish of the 
 chimneys on the right of square tower. This is one of the rare examples left of such finishings; 
 grand it is, no doubt, and useful so as to prevent the chimneys smoking cannot- be denied. The 
 openings for smoke are through the four turned compartments on each front, and through the 
 small compartments in certain sides, as made out in the plan at Q. 
 
 It. View of the west front of the gateway entering into the close of Peterborough cathedral. 
 The decorations are peculiar, and the whole work appears to have been built over a Saxon 
 archway, which archway probably was the remains of a gateway standing here prior to the 
 present one. The openings for light, and annoyance to the enemy, are few and narrow; the 
 battlements partly destroyed. This front being the exterior of the gateway and overlooking the 
 city, presents an aspect of defence, while in the interior front, the window is unguarded, of an 
 extensive dimension and magnificent. In the distance, as seen through the archway, is part of 
 the west front of the cathedral. 
 
 S. View of the whole line of the south side of the close of Peterborough cathedral. These several 
 elevations of mansions, gateways, &c. exhibit an air of variety and stateliness, consonant with the 
 sublime religious structure to which they are attached. In the distance is the interior front of 
 the gateway given in the preceding article, the tower of the church belonging to the town, &c. 
 The gateway in the centre of the line leads to the bishop’s palace. The first division of building 
 to the left, comprising a gateway and two windows stopped up, and a postern doorway, have 
 lately been destroyed. On mature and unprejudiced reflection bestowed on this view, it must 
 (or will at some future period) be allowed that in every class of edifices constructed by our ancient 
 architects, an universal splendour was diffused, not on that passing system pursued at this hour, 
 by building for a term of 60 or 99 years, but on a term for ages, to let posterity know how they 
 flourished amidst architectural science, and architectural pomp. Fate, by man’s power, has swept 
 away much of this throughout the land, and has left also much to prove this my position, as most 
 true. 
 
 STYLE THIRD. GLASS FIRST. 
 
 This style introduces the column, which in every succeeding subject (except in a few instances) 
 is rendered conspicuous, and with the pointed arch itself, form together the great outline of our 
 ancient architecture. In order that columns of the most simple degree may be first treated on, 
 it necessarily happens that in those parts of buildings brought forward, columns in their capitals,' 
 and other ornaments of a more enriched nature, or of a higher class, must naturally occur. In 
 other respects the column with surrounding lines, as architraves, groins, &c. will alone occupy 
 our illustration. 
 
 Plate L X I V. 
 
 ANCIENT BUILDINGS, ST. HELEN’S CHURCH, WITH DETAILS. 
 
 A. Plan of a religious building attached to the south side of Great St. Helen’s church, JBishops- 
 gate -street London; erected in the thirteenth century. Over this design was raised, about the 
 reign of Elizabeth, Leather-seller’s Hall, and which, together with the present subject, were 
 totally destroyed in 1799. The doorway at A. enters into an avenue B. (Both modern work.) 
 C. Entrance into D, a double groined avenue supported by octangular columns in the centre, and 
 corbels on each side. E. Avenue. 1 F. appears a chapel. G. Ditto. H. Corbel. Detail at H. 
 repeated. I. Plan. J. Corbel. Detail at J. repeated. K. Plan. L. Corbel. Detail at L. 
 repeated. M. Plan. N. Window. Detail at N. repeated. O. Plan. P. Window. Detail at 
 P. repeated. Q. Plan. R. Great arch. Detail at R. repeated. S. Plan. T. Octangular 
 column in avenue D. U. Plan. V. Recesses with oblique windows, giving formerly a view to 
 the altars in St. Helen s church. W. Holy-water niche. 2 X. Arnbrey. 3 Y. Section from south to 
 north ot the building taken from V. to C. Z. Section of ditto, from east to west, taken from P. 
 to N. A 2. Section of ditto in chapel G. taken from east to west. B 2. Plan of the groins in 
 avenue D. shewing the manner of laying the several courses of stone. C 2. View of part of the 
 groins in avenue D. D 2. View of part of the groins in supposed chapel F. These two views were 
 taken during the demolition of the edifice, for the purpose of shewing how the groins were con¬ 
 structed : the ribs and spandrils were wrought masonry, and above them layers of rubble, rushes 
 and other materials, in order to connect the whole of the parts together. 
 
 1 Elevations of this Avenue, see page 43. 
 
 2 See page 46. 
 
 3 See page 46. 
 
LX1V 
 

DURING THE NORMAN iERA. 
 
 51 
 
 Plate L X Y. 
 
 FARNHAM PALACE. — ST. MARY’S HALL, COVENTRY, dto. 
 
 A. North view of part of the ancient edifices in the Bishop of Winchester’s palace, Farnham, 
 Surrey. B. View of the interior of ditto, looking east. This design, it is generally conceived, was 
 originally a chapel, and is at present used for a servants’ hall. C. Base. D. Capital, and E. 
 Architrave to the columns and arches. F. Impost, and G. Architrave to arch at the east end. 
 
 H. Plan of the kitchen to St. Mary's hall, Coventry. I. Four chimneys. J. Two archways. K. 
 View looking north-east in ditto kitchen. The windows appear of a later date than the rest of 
 the masonry. L. Plinth, and M. Architrave, to the chimneys. N. Plan. 0. Base. P. Capital. 
 Q. Architrave and R. Head supporting second architrave to the arches J. T. Windows. U. Sup¬ 
 porting figure to the left, and V. Ditto to the right of arches J. 
 
 W. Arches on the south side of the body of the church at Dunclmrch, near Coventry. X. Plan 
 of the octangular column. Y. Plan of the architraves. A 2. Base. B 2. Capital to the column 
 on the left. C 2. Architrave. D 2. Base. E 2. Capital to the column on the right. F 2. 
 Architrave. 
 
 G 2. Double arches in Goodrich castle, Herefoixlshire. 1 H 2. Plan. I 2. Plan of the architraves, 
 and J 2. Capital and architraves to ditto arches. 
 
 Plate LXYI. 
 
 WESTMINSTER, PARTS OF THE PALACE. 
 
 A. Plan of part of the palace at Westminster. B. Old Palace Yard. C. Part of south end of 
 Westminster Hall. D. Co-art of Requests. E. Stairs to St. Stephen’s chapel. F. Porch to G. St. 
 Stephen’s chapel. H. Site of south cloister to ditto. I. Painted chamber. Prince’s chamber. 
 K. House of Lords. L. North elevation of the Painted chamber. The three doorways, the great 
 brick shore, or support to the left, are modern work. The two stories of square-headed recesses, 
 and oval compartments, are modern also. Above the ovals are remains of groins supported by 
 shields, &c. It is evident that on this division of the design were attached chambers of some 
 account. The upper part of the building is destroyed. M. Plan of ditto elevation. N. Detail 
 of the windows. The bases to the columns being destroyed, are here supplied. 0. P. Q. Shields 
 on brackets supporting the remains of groins. R. East elevation of ditto chamber. S. Plan. T. 
 Blocks above the arch on the left. U. Profile. V. Detail of windows. W. Swells to the hanging 
 buttresses between and at the sides of ditto windows. X. Window over blocks T. Y. East end, 
 taken internally of the Painted chamber. Z. Part of the ceiling of ditto chamber. A 2. Detail 
 of the compartments. B 2. Cornice. C 2. D 2. Supporting angles to brackets on each side of the 
 windows. E 2. Detail of the windows. F 2. G 2. Other capitals. H 2. Head over centre column 
 to the window on the right. I 2. North side taken internally of the Painted chamber. It is to 
 be perceived a third window to the left has been stopped up: below a modern square-headed 
 doorway is inserted leading to modern apartments. J 2. to P 2. Part of the detail of the windows, 
 as the capital and circular opening. The centre columns both of these and the east windows finish 
 in the interior with a square projecting ground. K 2. Ornament at springing of first window to 
 the left. L 2. Ditto viewed anglewise. M 2. Ornament on the right to ditto window viewed 
 anglewise. N 2. Brackets at springing to second window viewed anglewise. Each bracket at 
 this window is the same. 0 2. Detail of chimney piece. P 2. Plan. Q 2. Doorway at south¬ 
 west angle of this chamber. See Q 2. in general plan. R 2. Bracket for second architrave more 
 distinctly given. S 2. Profile. 
 
 Since these sketches were made in 1799, great changes have taken place in the above general 
 plan. The Painted chamber has lost the mullions of the east windows, and the most curious and 
 highly interesting tapestry on its walls thrown aside. The Prince’s chamber new modelled, and its 
 equally valuable tapestry got rid of also. The House of Loixls is removed to the Court of Requests. 
 The porch to St. Stephen’s chapel turned into an office, and the chapel itself, in the remains of 
 sculpture and painting, which at the above date were the wonder and admiration of the generality 
 of beholders, is mutilated, disfigured, and the greater part of its most exquisite features either 
 destroyed, or dispersed in the cabinets of the curious. 
 
 Plate LXYI I. 
 
 ARCHES IN ABERGAVENNY CHURCH. — COLUMNS, ST. ALBAN’S ABBEY. —ST. ROBERT’S CHAPEL. 
 
 A. Arches occupying the north side of the nave of the priory church of Abergavenny , Monmouth¬ 
 shire. B. Plan. C. Plinth, and D. Capital to the square breaks, or pillar on the left. E. Base, 
 
 See plan of this Castle, page 42. 
 
52 
 
 THE ORDER OF ARCHITECTURE 
 
 and F. Capital to the columns. G. Architraves. H. I. J. K. L. Brackets, and a head supporting 
 the springing of the outer architraves. M. Plinth, and N. Capital to the breaks over third 
 column. 0. Architrave. P. Supporting decoration to the architrave on the left, as seen on the 
 return. 
 
 Q. Octangular Columns attached to the wall, supporting groins in the basement story of the 
 great gate of entrance to St. Alban’s abbey, Hertfordshire. R. Plan. S. Base, and T. Capital to 
 the columns. U. Ribs; they spring octangular-wise, correspondent with the columns, and then 
 diverge into mouldings of squares, and splays. V. Plan of capital and ribs. 
 
 W. West view of St. Robert's chapel, Knaresborough, Yorkshire. This very curious relic of 
 architecture is cut out of a rock : although the workmanship is not the most perfect, yet a regular 
 design is presented, particularly in the interior. It may be presumed the labour was gone 
 through by some retired religious, whose eyes had been familiarized to the sublime performances 
 of art which characterize this country, yet whose hands were more accustomed to unfold the 
 pictured missal than to use the implements of masonry or sculpture. It is singular that near the 
 entrance is the outline of a figure cut on the face of the rock : the attitude bespeaks that of a 
 knight, ready to defend the holy seclusion. X. View in the interior of ditto chapel, looking east. 
 The bases of the columns do not rest on any plinth ; probably a stone seat or other decoration once 
 took up the space below them. On the left is a recess, or seat cut in the rock : on the right are 
 certain heads carved in the rock. The altar is well preserved ; and the small excavation for the 
 chalice to stand in is very discernible. The niche for the crucifix, and the recesses for holy water 
 on either side, are likewise perfect. On the floor are lines cut in for a sepulchral stone, which at 
 a particular period no doubt marked the grave of some memorable personage. Y. Plan of the 
 chapel. Z. Altar. A 2. Sepulchral memorial. 
 
 Plate LXTIII. 
 
 CRYPT AT GRANTHAM.—CLOISTERS AT CANTERBURY.—RECESS, ST. ALBAN’S ABBEY, <feo. 
 
 A. View in the Crypt (looking east) under the great church, Grantham, Lincolnshire. This crypt 
 consists of three aisles forming the basement of the three aisles to the church. (The view is in 
 the south aisle.) The whole of the space, (except the entrance seen in this view) between the columns, 
 is filled with human bones. There is but one column left uncovered by the bones, the shaft of 
 which is little more than one diameter. The groins springing from the walls are supported by 
 corbels ; their mouldings are the same as to the capital of the column, and the bell of the corbel 
 diminishes to a point. B. Base. C. Capital. D. Ribs. E. Plan. F. Profile of the rib. 
 
 G. One of the divisions of the exterior of the little Cloisters of Canterbury cathedral. The work is 
 simple, and at the same time appears quite unlike those divisions of cloisters we in general witness : 
 as is apparent in the dwarf wall rising to the capital, in the shaft of the column in the interior 
 being entirely hid, and in the double turns of the smaller arches, right and left, presenting volutes 
 so as to accord with the top of the capital. The bases are buried. H. Plan. I. Capital and 
 architrave to the arches. J. Interior of ditto division. The dwarf wall on this side finishes with 
 a splay, so as to receive the second arch. The third, or outer arch springs from corbels. K. 
 Corbel on the left. L. Volute. M. Profile. 
 
 N. Recess in the wall of the south aisle of the nave of St. Alban’s abbey church. 0. Plan. 
 P. Plan of the mouldings between the columns to a larger scale. Q. Base. Let us observe, that 
 the plinths to the bases of this order are in general circular. R. Capitals. S. Architraves ; the 
 springing is somewhat above the capital. T. Ornaments to the different turns of the arch. 
 
 U. Plan of a Crypt in the bishop’s palace, Peterborough. 1 V. Section from south to north. W. 
 Plan of the ribs. X. Profile of the rib. Y. Base, and Z. Capital to the columns. A 2. Ribs. 
 B 2. Base. C 2. Corbels to the south and north side of the pilaster of the first division of the 
 crypt, and likewise to the side walls, &c. D 2. Ribs. 
 
 E 2. Part of the north side of the chancel of Wooton church, Huntingdonshire. G 2. Plan. 
 H 2. Base. I 2. Capital. J 2. Architrave. K 2. Corbel, supporting second architrave. L 2. 
 Profile. M 2. Corbel supporting the short column. N 2. Profile. 0 2. East end of ditto 
 chancel. The stone seat seen in the foregoing subject, is continued on this end; a dado rises 
 from it, on which are clustered columns. The second architrave of the arches over the windows 
 being mutilated are here restored. P 2. Plan. Q 2. Seat. R 2. Capitals. (Bases like those 
 on the side.) S 2. Architraves. T 2. Plan of the side cluster to a larger scale. 
 
 Plate LXIX. 
 
 CRYPT, WAVERLY ABBEY; CHAPTER HOUSE, LLANDAFF CATHEDRAL; CRYPT, WELLS CATHEDRAL, &o. 
 
 A. View in the Crypt under the dormitory, (looking south-west,) among the remains of Waverly 
 abbey, Surrey, erected 1128. The chimney-piece is modern : the bases of the columns are buried. 
 
 1 This room is on the ground floor, and not a crypt. B. 
 


DURING THE NORMAN iERA. 
 
 53 
 
 B. Exterior of the double window. C. Plan. D. Seat. E. Interior of the window. F. Capital 
 to the columns. G. Ribs. H. Plan of ribs. I. Profile of rib. J. Corbel supporting the ribs 
 springing from the side walls. K. Profile. L. Plan of ribs. M. Splay, and springing of great 
 arch to the double window. 
 
 N. View (looking north-west) in the vestry (or chapter-house) of Llandaff cathedral; erected 
 1120. The plan of the design is a regular square, with windows on the west, south, and east sides; 
 the north side (seen principally in this view) has the door of entrance. In the centre is a column 
 from which the ribs spring, and meet those springing from corbels on the side walls. Under the 
 window are the statues, and fragments of a fine tomb of the Mathews, once set up in the church. 
 Near these sculptures is a bench which continues on this, and the south side. Near the doorway 
 is a curious chest. 0. Base. P. Capital; and Q. Ribs to the centre column. R. Plan of the 
 ribs. S. Profile of rib. T. A boss in the centre of the groins. 
 
 U. Plan of part of the north aisle of the choir. V. Avenue. W. Stairs, and X. Crypt, 
 (originally the vestry) under the chapter-house of Wells cathedral; erected about the beginning 
 of the thirteenth century. Y. Original presses for plate, &c. Z. Original cope press. A 2. Holy- 
 water pedestal. B 2. Original movable rack for hanging the vestments on previous to their being 
 worn. C 2. Curious Chests. It is to be perceived the space of the octagon is divided into four 
 chambers. D 2. View of the avenue V. On the left is a grave-stone and two stone coffins given 
 in plate LIX. E. F. and K. At the side of the second window is seen the stone lamp introduced 
 in Plate LIX at L. E 2. F 2. G 2. H 2. I 2. Corbels from whence the groins spring. J 2. 
 Profile of the rib. K 2. View in the first partitioned-off part of the crypt, (looking south-west). 
 On the left is a doorway, and the presses Y. In the centre, a view is had into avenue Y. Near 
 it the Holy-water pedestal, A 2. On the right the cope press Z. L 2. Base, and M 2. Capital of 
 the detached columns. N 2. Ribs. O 2. Plan of ribs. P 2. Profile of ribs. Q 2. Stone seat 
 mouldings. R 2. Base; and S 2. Capital to the attached columns. 
 
 Plate LXX. 
 
 AVENUE TO THE CHAPTER-HOUSE, WESTMINSTER ABBEY.—ASHBY-DE-LA-ZOUCH CASTLE, &c. 
 
 A. Plan of the double Avenue leading to the chapter-house of Westminster abbey; erected 1049. 1 2 
 B. Doorway. C. Modern doorway, made in a common partition set up at this spot. D. Modern 
 doorway and stairs, built up of late years, leading to the library belonging to the church. The 
 wall and doorway at the principal entrance from the east cloister at A, is a subsequent work to 
 the original grand entrance. A modern partition has also been stuck between the columns in 
 the centre of the Avenue. The alterations made in this, and in the second avenue beyond the 
 one before us, and in the chapter-house itself, have disfigured one of the finest pieces of ancient 
 architecture in the kingdom. E. Method of laying the courses of stone in the spandrils of the 
 groins. F. Two of the divisions on the south side of the avenue. On the left is the doorway B. 
 G. Plan of the columns. H. Mouldings of the stone seat. I. Bases. J. Capitals. K. Centre 
 and angular ribs. L. Architraves. M. Continuation of architrave L. until it meets the rest of the 
 architrave behind the angular rib. + 1. Shews how many of the mouldings to the torus appear 
 before the angular rib. + 2. Torus, to which the outer mouldings of the architrave unite. O. 
 Profile of rib. P. Plan of ribs and architrave. +1. +2. refers to the elevation. Q. R. S. 
 Bosses in the centre of the groins. T. Architrave to doorway B. U. Plan. 
 
 V. View (looking north-west) in the interior of the principal part of the ruins of Ashby-de-la- 
 Zouch castle, Leicestershire. The view comprehends a portion of three stories. In the second 
 story are columns which supported groins; a vestige of the groins remain. Within the large 
 windows, small square-headed ones of the sixteenth century have been inserted. W. Base ; and 
 X. Capital to the columns. Y. Ribs to the groins. Z. Plan of the ribs. 
 
 A 2. Porch at the west end of Chichester cathedral, erected in the reign of William Rufus. It 
 will be found that the principal entrances into cathedrals, and other works of consequence, as 
 chapter-houses, &c. have double entrances, as in the present subject. B 2. Plan. C 2. Capitals; 
 and D 2. The architrave of six divisions. E 2. Plan of the architrave. F 2. Return of the archi¬ 
 trave at G 2. H 2. Head on the right side of the architrave. I 2. Architrave, and statue of the 
 Deity in the spandril of the arches. J 2. Profile of the mouldings. K 2. Base mouldings to the 
 buttresses, the bases of the columns being of the like form. L 2. Mouldings to the head of 
 buttresses. M 2. Corner pieces to the splay of the parapet. 
 
 1 In Neale and Brayley's “Westminster Abbey,” this erection is assigned to about the year 1250. B. 
 
 2 See a View of this entrance in Vol. I. of “ Ancient Sculpture and Painting.” 
 
 0 
 
54 
 
 THE ORDER OF ARCHITECTURE 
 
 Plate L X X I. 
 
 PART OF CANTERBURY CATHEDRAL.—CLOISTERS AND CHAPTER-HOUSE, SALISBURY CATHEDRAL. 
 
 A. One division of the south side (near the east front) of Canterbury cathedral; erected 1080. 1 
 B. Plan. C. Splay cornice to the basement story. D. Base to the columns. E. String (and 
 band mouldings) to the windows of the upper story, and to the columns. F. Splay mouldings 
 above the first tier of columns. G. Band mouldings to the second tier of columns. H. Cornice 
 and splay to the parapet. I. Capitals. J. Cornice supporting architraves K. which go round 
 the arches of the windows. 
 
 L. One division of the east side of the Cloisters to Salisbury cathedral; erected 1258. The 
 tracery to the windows takes its springing from columns. (The first example brought forward is 
 in Plate LXVI.) A mode succeeding the simple opening, as is perceived in the division A, and 
 those other windows given to this Order. M. Plan. N. Profile of the buttress. O. Bases. 
 P. Capitals. Q. Tracery mouldings. + Return of the openings; the mouldings on the other 
 side of the work are similar to those in view. R. Architrave to the window. S. Circular 
 windows. T. Cornice. U. Plan of the columns to a larger scale. 
 
 U 2. One of the eight sides (south) of the octangular Chapter-house to Salisbury cathedral. The 
 second tier of the tracery mouldings spring from a ground and two mouldings, constituting a 
 mullion. V. Plinth mouldings. W. String mouldings. X. Bases and capitals. Y. Architraves 
 of the window. Z. Tracery mouldings. A 2. The parapet, and the finish of the angular buttress. 
 
 CLASS SEC OX D. 
 
 Plate LXXII. 
 
 NAVE OF SALISBURY CATHEDRAL. 
 
 A. One division of the north side of the nave of Salisbury cathedral, erected 1258. The window 
 to the upper story has three openings, united so as to form the professional Three in One. B. 
 Plan. C. Plinth mouldings. D. Dado mouldings. E. Recesses and cornice. F. Parapet; and 
 G. Architraves to the windows of the first story. H. Columns and architraves to the window. 
 I. Recesses; and J. Parapet to the second story. K. Profile of the flying buttress on the left of 
 the window on the second story. L. Perforated part. 
 
 M. One division adjoining the grand cluster of columns of the centre tower, on the south side 
 of the interior of the nave of Salisbury cathedral. N. Plan. O. General plinth. P. Plan of the 
 cluster of columns of the centre tower. Q. Elevation of ditto columns. R. Cap to the general 
 plinth. S. Base to the smaller cluster of columns. 
 
 Plate LXXII I. 
 
 SALISBURY CATHEDRAL, (Continued.) — TOWER OF ST. MARY’S, STAMFORD. 
 
 Continuation of the detail of the interior of the nave of Salisbury cathedral. A. Columns and 
 architrave to the smaller cluster of columns. B. The uniting part of ditto architrave. C. Dado 
 mouldings. D. Columns; and E. Architrave to window in the side aisle. F. String mouldings. 
 G. Columns. H. Architraves. I. Springing of columns supporting the groins. J. Small open¬ 
 ings ; and K. Larger openings within architraves H. and L. Ornament at the uniting part of 
 ditto architraves to the second or gallery story. M. Capitals ; and N. Architraves to the great 
 cluster of columns. O. Capital supporting. P. The ribs of the groins. Q. and S. Columns; and 
 R. and T. Architraves to the window on the third story. U. The uniting part of ditto architraves. 
 
 V. South front of the Tower of St. Mary's church, Stamford, Lincolnshire. In this elevation the 
 tower is divided into five tiers, or stories ; the capitals to the columns of the first and second tiers, 
 are like the foregoing examples in this class, plain : the capitals on the third tier are enriched. In 
 the fourth tier the capitals again run plain, as they likewise are so worked in the fifth tier. In 
 this fifth tier, the clusters of columns become divided by hollows with flowerets : between the bases 
 and capitals are band mouldings. The spire rising from the square mass of the tower takes an 
 octangular form, and the splays at the four angles of the tower serve as buttresses to the same. 
 The canopied windows, and niches on the spire are excellently disposed ; yet they, with the spire, 
 seem a subsequent work to the tower. W. Part of the plan of the tower. X. Doorway on the 
 
 1 Part of the Trinity chapel, which there is every reason to believe was erected between 1175 and 1187. See Britton's “Canterbury Cathe¬ 
 dral,” pp. 47, 56. B. 
 
{-I® 
 
 LX XIV 
 
 
 J <L*-*tro 
 
 t. i /&os.£o r id,t 
 
 jut** tL *h .&**&, fy}.&t*r ■$<*** 1 
 
 iiliill w$ mm 
 
DURING THE NORMAN A3RA. 
 
 55 
 
 west front. Y. Dado moulding. Z. Columns and architrave to the first and second tiers. A 2. 
 Columns and architrave to the third tier. B 2. Columns and architrave ; and C 2. Small open¬ 
 ings on the fourth tier. D 2. Columns and architrave. D 2 + . Small openings. E 2 Larger 
 ditto; and E 2. Recesses to the fifth story. G 2. Columns on the breaks to the third, fourth, 
 and fifth stories. H 2. First window of the spire on those cants which stand parallel with the 
 four sides of the tower. I 2. Second window on ditto cant. J 2. Niche at the springing of the 
 spire at the angles of the tower. K 2. Window above ditto niche. L 2. Mouldings on the angles 
 of the spire. 
 
 Plate LXXIY. 
 
 SALISBURY CATHEDRAL; WEST FRONT. 
 
 A. West front of Salisbury cathedral. We have in this specimen brought forward the Order on 
 which we have been treating, in its full state of decoration, in the disposure of the several parts, 
 and the ornaments belonging thereto. The centre entrance has the double doorway, one of the 
 characteristic marks of the present order. The main front is divided into three great parts, in 
 which are an infinity of niches, or recesses, on different tiers, for statues ; some of the statues are 
 remaining. By a calculation of the number of recesses on the front, and on the returns north and 
 south, there must once have been at least one hundred and sixty-six statues placed within them. 
 To give a distinction between the third and fourth tiers there is a dado with diamond, and circular 
 compartments. The two divisions right and left, between the three great parts already noticed, 
 have windows ; those to the first story light the side aisles of the nave ; and those on the second 
 story light the galleries over the side aisles. The simple battlements, it is conjectured, are not of 
 the original work, but added in later times. In the great centre part is the large tri-composed 
 window lighting the nave. The window of four openings on the third story lights the roof. The 
 pediment to this part is well conceived, and the clusters of spires on the side great parts, constitute 
 a fine termination to the whole design. B. Half the plan of the basement of the front. C. Half 
 the plan of the window line of the front. 
 
 Plate LXXY. 
 
 SALISBURY CATHEDRAL; DETAILS OF THE WEST FRONT. 
 
 A. Part of the dado mouldings D. in Plate LXXII. Particulars of side great divisions of the 
 front. B. Columns and architraves on the first tier. C. Columns and architrave on the second 
 tier. D. Finish to the small pediments. E. Columns and architrave ; and F. Pedestal to the 
 fifth recess on ditto tier. G. H. Columns and architraves on the third tier. I. Dado between 
 the third and fourth tier. J. Columns and architraves : and K. Mouldings to the circular parts 
 of the recesses of the fourth tier. L. Cornice to ditto tier. M. Columns and architraves; and N. 
 Parapet to the fifth tier. 0. and P. Finishing of the clusters of spires. Particulars of the divisions 
 between the three great parts of the front. Q. Entrance. R. Plan. S. Circular compartment 
 in the pediment; and T. Ornamented turns in the arch of the doorway. U. Window to the first 
 story. Y. Mullions. W. Circular part of ditto. X. Window to the second story. Y. Mullions. 
 Z. Columns and architrave; and A 2. Parapet to the fifth tier. B 2. Example of one of the 
 pedestals in the recesses of the buttresses on each side of the centre great division. Particulars 
 of the buttresses. C 2. Columns and architrave to the second tier. D 2. Columns and architrave 
 to the third tier. E 2. Dado. F 2. Columns and architraves to the fourth tier. G 2. Columns 
 and architrave to the fifth tier. Particulars of the centre great division of the front. H 2. Part 
 of the plan of the detached cluster of columns to the entrance. I 2. Part of the plan of the 
 capitals to ditto. J 2. Detached columns and architraves to the entrance. K 2. Columns and 
 architrave to the recesses over the side openings of the entrance. L 2. Plan of the centre 
 columns to the double doorway. M 2. Columns, architraves; and N 2. Ornamented turns, to the 
 arch of the double doorway. O 2. Columns, architraves, and enrichments to the recesses above 
 ditto doorway. P 2. Columns and architrave to the recess in the centre pediment of the entrance. 
 Q 2. Columns and architrave to the recesses in the side openings of the entrance. R 2. Columns 
 and architrave to the range of recesses over the entrance. S 2. Columns, architrave, and finish of 
 pediment to recesses on each side the great centre window. T 2. Columns and architrave to ditto 
 window. U 2. Continuation of ditto architrave. V 2. Mouldings in the spandnls of the arch of the 
 great' window. W 2. Columns and architrave to the recesses on each side the window to the 
 third story. X 2. Columns and architrave to ditto window. Y 2. Mouldings to the circular parts 
 of ditto window. Z 2. Mouldings to the pediment. A 3. Mouldings to the recess in the upper 
 part of the pediment. B 3. A bird and label over ditto recess. This bird may be set up as a 
 representation of the Holy Spirit breathing divine grace over the whole front. C 3. Pedestal 
 and cross, forming the finish to the pediment. 
 
56 
 
 THE ORDER OF ARCHITECTURE 
 
 Plate LXXTI. 
 
 DECORATIONS.—OLD HOUSE, STAMFORD.—DOORWAYS—ST. MICHAEL’S CHURCH, COVENTRY, &o. 
 
 A. Doorway to an ancient house, Stamford, Lincolnshire. Bases buried. B. Plan. C. Finial. 
 D. Architrave. At the second x is a continuation of the mouldings from the first x . E. Half of 
 the doorway on the south side of St. Michael’s church, Coventry. F. Plan. G. Capital and archi¬ 
 traves. I. Doorway entering into the vestry of Durham cathedral. J. Plan. K. Base. L. 
 Capital. M. Architrave and sweeping cornice. N. Doorway in Winchester cathedral. 0. Plan. 
 P. Capital. Q. Architrave and sweeping cornice. R. Doorway entering to the crypt under the 
 chapter-house, Wells cathedral. S. Plan. T. Base. U. Capital on the right hand; and V. 
 Architraves. W. Doorway in the cloisters of ditto cathedral. X. Plan. Y. Architrave and 
 sweeping cornice. Z. Doorway to the remains of Brazen-Nose college, Stamford. A 2. Plan. 
 B 2. Architrave. There is a singularity in the centre of the arch ; the mouldings as they succeed 
 each other take a gradual horizontal line, forming a sort of key-stone. C 2. Half of the doorway 
 in the north aisle of the nave of the church at Rumsey, Hampshire. D 2. Plan. E 2. Architrave 
 and sweeping cornice. F 2. Capital on the right side of doorway. G 2. Circular window in the 
 east front of the chapter-house of Maryan abbey, Glamorganshire. H 2. Architrave. I 2. Circular 
 window in the Bishop’s palace, St. David's, Pembrokeshire. J 2. Mullions and architrave. K 2. 
 Interior of the east window of the church at Rumsey. L 2. Plan. M 2. Architraves. N 2. View 
 of a holy-water niche, Glastonbury abbey. 0 2. Plan. P 2. View of a holy-water niche in the 
 south aisle of the choir, Salisbury cathedral. Q 2. Base and capital; and R 2. Architrave. 
 
 Plate LXXYII. 
 
 FONTS, ALTARS, SEATS, NICHES, MONUMENTS, &o. 
 
 A. Font in Barneck church, Northamptonshire. B. Half of the plan. C. Interior of the basin. 
 D. Font in Hitchenden church, Buckinghamshire. E. Half of the plan. F. Interior of the basin. 
 
 G. One of nine altars in the chapel of the Nine Altars, Durham cathedral. H. Plan. I. Dado 
 to the altar table. J. Base. K. Capital. L. Architraves ; and M. Cornice. 
 
 N. Three Seats for the priests in Staindrop church, Durham. O. Plan. P. Architrave and 
 sweeping cornice. Q. Niche in the west front of the abbey church, St. Alban’s. R. Plan. S. 
 Cornice. T. String; and U. Architrave. V. Specimen of one of the niches which composed the 
 screen to the choir of Salisbury cathedral. Among the late dilapidations, innovations, and 
 modern fanciful introductions in the architectural arrangements of this church, so fatal to the 
 study of our antiquities, this screen was torn down, and several of its parts set up in the second 
 north transept, from which the example is selected. The work is evidently coeval with the 
 erection of the fabric ; and we find in its place, by way of a choir screen, a compilation of frag¬ 
 ments, from the two destroyed, Hungerford and Beauchamp chapels, at the east end of the build¬ 
 ing, erected in the fifteenth century. W. Plan. X. Base and ornaments attached to the 
 columns. Y. Capital. Z. Architraves and sweeping cornice. A 2. Cornice. B 2. Second 
 capital. 
 
 C 2. View of a Monument in Tickencote church, near Stamford, Lincolnshire. D 2. View of the 
 monument of Bishop Poore on the north side of the choir, Salisbury cathedral, as it appeared 1781, 
 erected 1237. Notwithstanding this memorial was in honour of the founder of the cathedral, 
 it has been destroyed, excepting the statue, which is removed into the second north transept, 
 and laid on a tomb made up of the parts of the demolished Hungerford monument and inscription, 
 &c. erected 1459. E 2. View of a sculpture to the memory of Bishop Etlielmeer, now placed 
 under the organ stairs, Winchester cathedral. The statue has between the hands a heart; indeed 
 the design of the compartment turns upon such a form: the top is mutilated, as is the staff of 
 the crosier towards the crook. F 2. View of the Monument of Bishop Ascough in the south aisle 
 of Salisbury cathedral. 
 
 Plate LXXVIIL 
 
 GRAVE STONE, RING, CUP, ARCHITRAVES, CORNICES, BASES, CAPITALS, RIBS, «bo. 
 
 A. Grave stone in the nave of Salisbury cathedral. 
 
 B. Ring to a door in the south porch, Tickencote church. C. King John’s cup, in possession of 
 the corporation of King's Lynn, Norfolk. 1 
 
 D. Architraves in the south porch, abbey church of St. Alban’s. E. Architrave to the arches 
 of the nave of ditto. F. Architraves in the more eastern part of ditto church. G. Architraves 
 to the doorway of the chapter-house of Salisbury cathedral. H. Architrave in ditto chapter- 
 house. I. Architrave in the chapter-house, Oxford cathedral. J. Architrave in the cloister, 
 
 Engraved full size in “Ancient Sculpture and Painting.” 
 
LXXV3I 
 

LXXMH 
 

DURING THE NORMAN .ERA. 
 
 57 
 
 Wells cathedral. K. Cornice in the chapter-house, Oxford cathedral. L. Cornice in the chapter- 
 house, Salisbury cathedral. M Cornice at the west end (interior) of Wells cathedral. N. Cornice 
 m the north porch of ditto cathedral. 
 
 O. Base in the chapter-house, Salisbury cathedral. P. Grand double base in Canterbury cathe- 
 dial. Q_ Plan. R. Remains of a capital (taken in its circuitous line) to a column in Woodstock 
 church Oxfordshire. 8 Capital (perfect in its circuitous line) to another column in ditto church 
 1. U Base and capital in the nunnery, Laxoek, Wiltshire. V. W. Capitals near the entrance 
 mto the chapter-house, Wells cathedral. X. Y. Capitals in ditto cathedral. Z. Capital in the 
 chapter-house, Oxford cathedral. A 2. Capital in Wells cathedral. B 2. Base, and C 2. Capital 
 to the doorway of the chapter-house, Salisbury cathedral. D 2. Plan. 1, 2, 3, &c refers to the 
 circuitous line of this capital given at the plate marked*. 
 
 ® V* 1 ?, “ ™ ™™. ery h i 'T c4 - F a ProflIe - G 2 - Bib in 0he P st ™ ™stle, Monmouthshire. 
 H. Z. ir'rome. 1 2 . Rib m the chapter-house, Salisbury cathedral. J. 2. Profile K 2 and L 2 
 Corbels in Chepstow castle. M 2. N 2. and O 2. Corbels in the nunnery, Lamck. P 2. and Q 2 
 Corbels m Wells cathedral. R 2. Corbel to doorway of chapter-house, Salisbury cathedral. S 2. 
 Spandril m north porch, Wells cathedral. T 2. Spandril in the abbey church at Hexham 
 Narthumber-land. U 2. Spandrils on the monument of Bishop Cantelupe, Hereford cathedral. 
 V 2. and W 2. Spandrils in doorway to chapter-house of Salisbury cathedral. X 2. and Y 2. 
 Ornamented turns to ditto doorway. 
 
 Plate L X X I X. 
 
 COMPARTMENTS, BOSSES, ORNAMENTAL DOOR, GLAZING AND PAINTED GLASS. 
 
 A. Compartment in the nave, Wells cathedral. B. C. and D. Painted compartments in the 
 groins of the chapter house, Salisbury cathedral. E. F. G. and H. Compartments in the nave of 
 1 Veils cathedral. I. and J. Bosses in the centre of the groins, chapter house, Salisbury cathedral. 
 K. Boss in the chapter house, Oxford cathedral. L. Heads by way of a boss, near the entrance 
 of the chapter house. Wells cathedral. M. Door in the crypt under ditto chapter house. 1 
 
 It will appear by the following examples (comprising nearly the whole remains of this kind in 
 the kingdom, that is, of the sera under illustration, and further back, there are, it is conceived, no 
 documents) that the openings of windows, either single or double, by means of mullions and tracery, 
 were filled in with lead-work run into geometrical forms, which forms were enriched with an 
 infinity of paintings of ornaments, small figures, &c. The principal feature of these embellish¬ 
 ments consisted in the ornaments, as here shewn, and which may serve as a general character for 
 window glazing in the thirteenth and fourteenth centuries. 
 
 N. Twelve of the most important designs of the lead forms in the windows of Canterbury 
 cathedral. No. 12 is the east window. These forms are mostly entire, and contain beautiful 
 paintings both of ornaments, and religious and historical small figures; in manner like the 
 succeeding specimens from Salisbury cathedral, as 0. P. and Q. Parts of the remaining ancient 
 glazing and enrichments in the windows of the nave. R. A border in a window in ditto. S. and 
 T. Borders in the remaining ancient glazed windows in the chapter house. U. Upper part of one 
 of the divisions of the windows in ditto. V. and W. Half of two of the divisions in the east 
 window of ditto. 
 
 1 See p. 53, and Plate LXIX. 
 
 END OF PART I 
 

ESNGO^ND 
 
 : Msrn^ 
 
 QJFU)ERX. of"'ARCH iTKC'lURE. 
 bUBING.THC REIGNS 
 
 WI>C CCVI1- 
 
Part II. 
 
 THE ORDER OF ARCHITECTURE 
 
 DURING THE REIGN OF HENRY TTT 
 
 CLASS FIRST. 
 
 The most celebrated architectural work ennobling the reign of Henry III. was the abbey church 
 at Westminster, completed about the year 1269. The design gives a style peculiar to that period 
 and which immediately succeeded that mode of work made use of in the erection of Salisbury 
 cathedral, perfected in the early part of Henry's sovereignty. The transition from the Salisbury 
 to the Westminster style was not however marked by any extraordinary change; the alterations 
 were few, and not very obtrusive, they occurring principally in the windows. At Salisbury the 
 windows are given plain in their openings, (excepting those to the side aisles in the west front, 
 shewing mullions and tracery, and which were inserted probably some time after,) while the windows 
 at Westminster contain both mullions and traceiy. The mouldings of each pile had not much 
 variation ; and battlements seem about this period to have been introduced at the latter place in 
 room of the parapet so characteristic at the former. Upon the whole, the following examples 
 from Westminster will of themselves fully establish a regular systematic Order of Architecture, 
 demonstrative of the professional skill displayed in the thirteenth century. 
 
 Plate I. 
 
 WESTMINSTER ABBEY CHURCH: — PART OF THE CLOISTERS. 
 
 A. One division of the exterior of the north aisle of the cloisters of the abbey church at 
 Westminster. Date 1269. 1 The masonry over the point of the arch to the window, in part defaced 
 at the general repair of the exterior of the church, by Sir C. Wren. It is curious to note the 
 combination of the professional Three-in-One, exemplified in the mullions and tracery. B. Plan. 
 C. North aisle. D. General stone seat. E. Plan of the cluster of columns attached to the 
 buttresses. F. Ditto forming the mullion. G. Ditto of the mouldings to the tracery attached 
 to the buttress, and of the architrave to the arch of the window. H. Ditto of the mouldings to 
 the tracery over the mullion. I. Tracery mouldings distinctively. J. Architrave mouldings 
 ditto. (These initials repeated in elevation of the detail of mouldings.) K. Buttress. L. Torus 
 of the plinth mouldings. M. Base and capital to attached cluster of columns. N. Ditto to the 
 mullion. O. and P. Springings of the tracery. Q. Turns, consisting of a fillet and hollow, in 
 addition to the general tracery. Although these two mouldings take them course with the 
 tracery at the springings, they die into it, previous to arriving at the points of the small arches. 
 R. Junction of the tracery mouldings above the centre small arch. S. Ditto of ditto near the 
 point of the great arch. T. Distinct plan of the tracery mouldings, both externally and internally. 
 U. Small groove for the glazing. In the three circles of the tracery the grooves are much larger. 
 
 V. One division in the interior of the above external ditto. The masonry remains unaltered, 
 but by the profane use made of these cloisters, 2 and the consequent mutilations, the smaller parts 
 are with much difficulty made out. The lines assimilate with those of the exterior, though richer 
 in a certain degree. The groins are excellently constructed; the courses of stone, of light and 
 dark tints, lie in a direction tending towards a centre. W. Specimens of the courses of stone in 
 the groins. This method is more scientific than when the courses run parallel with the longi¬ 
 tudinal and transverse lines of the groins themselves, as is the case in the south and west aisles 
 of these cloisters; which aisles are of much later date than the one under discussion. As this 
 north aisle is not used as an immediate thoroughfare into the church from the dignitary s 
 dwellings, the groins are unattended to, with regard to necessary repairs, &e. This division, 
 being the fifth ranging from the east end of the north aisle, and corresponding with the divisions 
 of the church, shews how far the remains of Henry’s fabric at present extend, and confirms, not 
 alone by this circumstance, but by the affinity of style, that they were both executed under the 
 direction of one architect. X. Plan of the cluster of columns. Y. Ditto of the single column. 
 Z. Ditto of the tracery and rib-mouldings over the cluster of columns. A 2. Ditto of the tracery 
 mouldings over single ditto. B 2. Tracery mouldings distinctively. C 2. Rib-mouldings ditto. 
 (These initials repeated in elevation of the detail of mouldings.) D 2. Mouldings to stone seat. 
 
 1 This date must be erroneous, as dearly shewn by Mr. Brayley, in «History and Antiquities of the Abbey Church ” Vol. II. p. 282. B. 
 
 “ Here the college youths are permitted to play at cricket, and other violent ball exercises. C. 
 
60 
 
 THE ORDER OF ARCHITECTURE 
 
 E 2. Base and capital to the cluster of columns. F 2. Ditto to the single ditto. G 2. and H 2. 
 Springings of the tracery. I 2. Junction of the tracery towards the point of the great arch. 
 J 2. Boss in centre of the groins. K 2. Profile of tracery mouldings. L 2. Tracery mouldings 
 to a larger scale. \_Meim These mouldings, both to the window and this interior, excepting the 
 additional mouldings Q. are alike. In the First Part of this work 1 the system has been explained 
 with regard to tracery: it may be repeated on this occasion. The mouldings are divided into 
 tiers, 1st, 2d, &c., which, after springing from capitals, &c. separate, and diverge, and again unite, 
 so as to give the figures required. 1st tier (principal) of mouldings, which in their course display 
 the greater figure of the tracery. 2d tier of ditto, shewing the lesser figure of ditto.] M 2. Bib- 
 mouldings to a larger scale. 
 
 CLASS SECOND. 
 
 Plate II. 
 
 WESTMINSTER ABBEY CHURCHNORTH SIDE OF THE NAVE. 
 
 A. One division of the north side of the exterior of the Nave of the abbey church at Westminster. 
 This division is the third from the north transept, which with the fourth ditto in continuation 
 westwards gives the present termination of Henry’s design, as is demonstrable by the succeeding 
 divisions carried on to the west front, (which divisions were not wholly perfected until the reign 
 of Henry VIII.) taking an immediate and different mode of workmanship, although the main 
 intent of the elevation has been attended to: that is, referring to the greater forms, heights, 
 widths, &c. In Sir C. Wren’s external repair, many of the decorations were obliterated, or other¬ 
 wise worked upon. In this division the battlements have been new worked. Pinnacles to the 
 buttresses ditto. Cornices ditto. Architrave to the window of the upper story entirely cut away, 
 and a common large hollow substituted. Shafts of the columns to the basement, and upper story 
 windows, with those to the niches on the buttresses, have been likewise entirely cut away. The 
 window to the gallery, between the basement and upper story windows, remains unaltered. This 
 example gives the upper window architrave with the several shafts of columns as in a restored 
 state. B. Base-line running with the pavement-line of the interior. At present the ground is 
 raised to the line C. 
 
 D. One division of the north side of the interior of the above nave ; being the internal upright 
 of the foregoing division. As it is a maxim that all interiors should grow proportionally rich 
 from their exteriors, no instance can more fully confirm this position than the division about to 
 be illustrated. The dado, grand clusters of columns, their architraves, work of the gallery between 
 the basement and upper story, small ornamented compartments in the spandrils of the arches, 
 groins, &c. all come strong in proof; and perhaps the several proportions, the harmony, and unity 
 of parts so conspicuous in these two elevations, may be deemed as just and excellent as any 
 other works of the like nature in the kingdom. The satisfaction is yet more complete, when it is 
 further observed, that not one particular in this interior has been either altered, or materially injured, 
 by any purposed dilapidation. However, these considerations must be confined to the division under 
 discussion, and one or two more adjoining, as the dados to all the rest are either havocked, or 
 entirely cut away, for the setting up of monuments, &c. 
 
 Plate III. 
 
 WESTMINSTER ABBEY CHURCH-.—BUTTRESS, AND PART OF THE NORTH SIDE, WITH DETAILS. 
 
 A. Profile of the buttress, and section of the exterior line of the elevation on the north side of 
 the nave of the abbey church at Westmimt&r, given in the preceding plate. B. Floor-line of the 
 gallery over side aisle of ditto. C. Boof to ditto. D. Perforated parts of the buttress, shewing 
 arches and pedimental lines, constituting what is termed a flying buttress, which is so admirably 
 contrived to sustain, in the most pleasing manner, the upper tiers of the building, the groins, &c. 
 E. Plan of the divisions in preceding plate. F. North aisle of the nave. G. Grand cluster of 
 columns. 
 
 Detail of the divisions in the preceding plate. Externally. H. Plinth mouldings. I. Dado 
 ditto. J. Cornice to the gallery. K. Caps to the first and second tiers above the niches on the 
 buttresses. L. Cornice to the upper story. M. Caps to the battlements. N. Niche on the 
 buttress. 0. Pedestal to ditto. P. Window to the basement story. Q. Tracery mouldings to 
 ditto on the circular part. R. Second tier of mouldings to the turns within ditto circular parts. 
 S. Window to the gallery. The detail of the upper window is not given, being similar to the 
 basement window. 
 
 Internally. T. Plan of the great cluster of columns. U. Base to ditto. V. Upper mouldings 
 of ditto. (Initial repeated, ditto mouldings to a larger scale.) W. Band mouldings. (Initial 
 
 See p. 46. 
 
' 
 

L Z7P) 
 
DURING THE REIGN OP HENRY III. 
 
 61 
 
 repeated, ditto mouldings to a larger scale.) It is remarkable, that these bands are in bronze. 
 X. Architrave rising from the capitals of the great arch. Y. Work to the gallery. Z. Junction 
 of the tracery mouldings over single column to ditto. A 2. Circular part of the tracery to ditto. 
 B 2. Small ornamented compartments in the spandrils of the great arches. C 2. Bands to the 
 cluster of columns rising between the great architraves. D 2. Cornice to the gallery. E 2. 
 Capitals to the foregoing cluster. F 2. Rib mouldings. G 2. Outer columns and architrave to 
 window in upper story. H 2. Inner ditto to ditto. I 2. Tracery mouldings on the circular part 
 of ditto window. J 2. Second tier of mouldings for the turns. K 2. Bosses to the groins 
 occurring in this division. L 2. Rib-mouldings. M 2. Mouldings to the stone seat of continua¬ 
 tion in side aisles. N 2. Columns to dado. 0 2. Architrave to ditto at the springing of the 
 arches and the turns. P 2. Ditto at their junction towards the head of the arch. Q 2. Small 
 ornamented compartments in the spandrils of ditto arches. R 2. Shields in ditto. R 2. 
 (repeated) Cornice to the dado. S 2. Columns, &c. to window in side aisle of basement story. 
 T 2. Tracery mouldings on circular part of ditto window. U 2. Second tier of mouldings for the 
 turns. 
 
 CLASS THIRD. 
 
 Plate IY. 
 
 WESTMINSTER ABBEY CHURCHSOUTH TRANSEPT. 
 
 A. South side of the interior of the south transept of the abbey church, at Westminster. This 
 upright is in five stories, each rising proportionably rich, one above the other; the fifth story 
 takes a different turn from the others, not alone for the purpose of giving a support to the 
 springing of the groins, but for the insertion of the great St. Catherine window. The whole design 
 is peculiarly splendid; and setting aside the great window, a work of later times, (fifteenth 
 century,) every part stands in its original purity, and in good preservation, evincing the flourishing 
 state of architecture under Henry the Third’s patronage. 
 
 First story. This story has five arches with columns, (the centre columns clustered, some of the 
 capitals enriched,) rising from the stone seat of continuation. Within the centre arch, a door 
 leading into St. Blaise’s chapel, the architraves to the arches are enriched. The fourth and fifth 
 arches, with their columns, are nearly obliterated by a large monument piled against them; they 
 are in this plate supplied. B. Part of the plan. Second story. The arches are six in number, 
 with turns to them, the spandrils to which are enriched, the columns clustered. This story serves 
 for a gallery of communication. C. Part of the plan. Third story. The arches are six in 
 number, and, with the columns, correspond with those of the preceding story. Within each arch a 
 window, the sills exceeding lofty. D. Part of the plan. Fourth story. The greater arches are 
 three in number, (their architraves enriched,) and between each, two lesser arches with turns, 
 perforated tracery filling in the heads of the greater arches. Within these several arches are 
 windows, assimilating with them in their openings and tracery. At each end of the great 
 spandrils are angels censing. Two statues occur in the other spandrils. This story has also a 
 gallery of communication. E. Part of the plan. The several spandrils to each of these four stories, 
 have the small ornamented compartments. Fifth story. Right and left, clusters of columns, (the 
 inner or shorter ones shew enriched capitals,) from which spring the groins. Between the clusters 
 is an open gallery of communication, and from it rises the great St. Catherine window, the upper 
 half of the circular outline hid by the groins. F. Part of the plan. G. Mouldings to the stone 
 seat of communication. H. Base. I. Column. J. Band and K. Capital to the great clusters of 
 columns supporting the arches of the side aisles to the transept. L. Second tier of columns for 
 the support of the groins. M. N. 0. Columns and architraves to the arches of the first story, (left 
 half.) P. Hollows attached to the clusters. P. 1 (repeated.) Front view of the ornaments at base 
 of the hollows. Q. Small ornamented compartments. R. Cornice. S. T. Columns and architraves 
 to the second story. U. Ornaments at the springing of the third, fourth, fifth, sixth, and seventh 
 sweeping cornice to the arches. V. Ornaments in the spandrils of the several turns. W. Small 
 ornamented compartments. X. Cornice. Y. Z. Columns and architraves to the third story. A 2. 
 Head at springing of the first arch. B 2. Small ornamented compartments. C 2. Cornice. D 2. 
 Columns and architraves to the fourth story. E 2. Springing of smaller arches. F 2. Larger 
 cluster and enriched architraves. G 2. Corresponding enriched architraves to the second cluster. 
 H 2. Ornament at springing of the first arch. I 2. Columns to the fifth story. J 2. Rib-mould¬ 
 ings. K 2. Tracery mouldings to the great windows. 1st tier. These mouldings are for the 
 larger parts. 2nd tier. These mouldings are for the lesser ditto. L 2. Plan of the tracery 
 mouldings. 1st and 2nd refer as above. 
 
 See “Ancient Painting and Sculpture,” Vol. I. 
 
 Q 
 
62 
 
 THE ORDER OP ARCHITECTURE 
 
 Plate Y 
 
 DECORATIONS, ENRICHMENTS, &o. &c. FROM THE ABBEY CHURCH AT WESTMINSTER. 
 
 A. Doorway in east aisle of the south transept. B. Plan. C. Plan of the splay rising to the 
 springing of the arch. D. Plan of the hollow to the arch succeeding the splay. Their junction at 
 the springing is curious. E. Doorway on the exterior of the east aisle of south transept. F. 
 Plan of the columns. G. Plan of the architrave to the arch. H. Capitals on the left. I. Archi¬ 
 trave. J. Capitals on the right. K. Doorway entering into the church from the east cloister. 
 L. Plan of columns. M. Plan of the architrave to the arch. N. Capitals; small flowers between 
 the columns, and small ornamented compartments. O. Architrave. P. Sweeping cornice. Q. 
 Base to the columns. R. Grand double doorway, east cloister entering into the double small 
 cloister leading to the chapter-house. S. Plan of the columns. T. Plan of the architraves. U. 
 Plan of the centre pier to the double doorways. V. Columns and the ornaments between them. 
 W. Ribs and part of the architraves. X. Rib distinctively. Y. Architraves to the arches. Z. 
 Cornice to centre bracket. A 2. Cornice to left bracket. B 2. Cornice to right bracket. History 
 informs us that on the centre bracket stood statues of our Lady with the infant Jesus. 1 On the 
 other brackets are the remains of statues of two angels, and it may be presumed when perfect, 
 they were censing that of our Lady. In the arch are a succession of small statues seated, repre¬ 
 senting the line of kings from Jesse. The two doorways are at present filled in with masonry ; 
 temp. Henry VIII. This magnificent portion of the cloisters is used as a common tennis wall for 
 the exercise of the college youth, a circumstance which reflects much on the want of due care in 
 the Reverend Guardians of the sacred pile. 
 
 Plate Y I. 
 
 ST. EDWARD’S CHAIR, TOMBS, AND A MONUMENT, IN WESTMINSTER ABBEY. 
 
 A. Oak Chair in Edward the Confessor’s chapel. Our kings, from Henry III., have all been 
 crowned in this chair. In the front of the seat, the tracery and shields are cut away for a better 
 view of the stone placed therein (here supplied), called Jacob’s pillar. The whole work has been 
 painted, gilded, and enamelled in the most curious and delicate manner. On the back of the chair 
 are the lower lines of a king seated on a throne, with diapered hangings, &c. The lions and plinth 
 on which the chair is supported, are of a subsequent period. B. Part of the seat, arms, and pedi¬ 
 ment. C. Part of the diapering at back of the chair. D. Part of the diapering inside the left 
 arm of the chair. E. Ditto right arm. F. Tracery to the seat. G. Side of the chair. H. Com¬ 
 partments ; and I. ditto to the arms. J. Back of the chair externally. K. Pediment. L. Com¬ 
 partments below pediment. M. Enamelled ornaments in the spandrils to ditto. M. 2 (repeated) 
 Diapering in the lower compartments to a larger scale. The lines expressing the figure, diapering, 
 &c. are formed by small punctures made on a gold ground. N. Recess in south aisle of the choir. 
 The columns rise from a stone seat. O. Plan. P. Columns and architraves to the greater arch. 
 Q. Capital on the right. R. Architrave to the lesser arch. S. Part of ditto standing behind the 
 columns. T. Niche in the return of a lower window to north side of the north transept. 
 
 V. Tomb on the north side of St. Erasmus's chapel. The tomb stands on the stone seat of con¬ 
 tinuation. Above this tomb, (on the right,) is the lower part of the ambury. W. Detail of the 
 tomb. X. Ambury. Y. Tomb of John of Eltham, Henry the Third’s brother, in St. Edmund’s chapel. 
 The upper half of the design and the statue are worked in oak, which has been entirely covered 
 with brass exactly fitted to the lines, and enamelled in various colours : the statue remains nearly 
 perfect. Example of the enamel for the ground to the statue is found entire between each leg 
 from the feet upwards to the tabard, warranting the restoration of the whole ground in this plate. 
 The tomb part retains but a small portion of the brass-work, which is on its cornice. The lower 
 half of the tomb is in stone; and it is curious, that on the left are three divisions of small 
 ornamented compartments, while on the right there are but two divisions of ditto. Z. Detail of 
 the lower half of the tomb. A 2. Ditto upper half; some particles of the brass with small roses 
 are shewn. B 2. Part of the compartments in the lower half of the tomb, and method of 
 suspending the shield. C 2. Bird’s eye view of the statue and its background; sword gone. 
 D 2. Detail of ring, armour, and band round the head (to a larger scale, as is also the rest of the 
 detail to this subject). E 2. Cushion. F 2. Edge of tabard round the arm-hole. G 2. Small 
 girdle. H 2. Large ditto. I 2. Edge at the bottom of the tabard. J 2. Shield containing 
 bars with martlets; the bars and ground of shield diapered. K 2. Ground to the 
 statue diamonded, with the two coats of arms alternately, the three lions, and the bars and 
 martlets. 
 
 1 See “ Ancient Sculpture and Painting,” Vol. I. C. 
 
 - See Examples in our Saxon Order of Architecture, Part I, 
 
■m 
 
DURING THE REIGN OF HENRY III. 
 
 63 
 
 Plate VII. 
 
 WESTMINSTER ABBEY CHURCH: —MISCELLANEOUS MEMBERS. 
 
 A. Monument on north side of the south aisle of the choir. The tomb part is said to be 
 the memorial of king Sebert. B. Mouldings to the jamb and arch. C. Compartments at the 
 back of the monument. C.* (repeated) Ledge of the tomb. 
 
 D. String in St. Erasmus's chapel. E. String in the south transept, &c. F. Architrave to 
 window, west side of the north transept (externally). G. Architrave on the left of grand 
 entrance to the Chapter-house, east cloister. H. Architrave in east aisle of the north transept. 
 I. Architrave north side of Edward the Confessor’s chapel. J. Grand architrave in centre porch, 
 north transept. K. Architrave north end of west aisle of the north transept. L. Architrave in 
 south aisle of the nave. 
 
 M. Base to article at K. N. Base in north transept. 0. Base in north-west angle of the 
 north transept. P. Band to column of ditto. Q. Base on south side of Edward the Confessor’s 
 chapel, (a, b, refers from elevation to the plan.) R. Base to the great south-west cluster of 
 columns of centre tower. In the angular parts of these two latter bases are ornaments, such 
 being the final trace of the Saxon mode 1 in this respect anywhere to be met with. S. 
 Capital in Edward the Confessor’s chapel. T. Capital, and its plan west side of the south 
 transept. U. Capital, and its plan in ditto transept. V. Capital in north aisle of the nave. 
 
 W. Corbel on the exterior of the north transept. X. Corbel in the east cloister. Y. Ribs in 
 the aisles of the choir. Z. Profile. A 2. Ribs in east cloister. B 2. Profile. C 2. Spandril in 
 north transept. D 2. Spandril in St. Edmund’s chapel. E 2. Part of a spandril in St. Erasmus’s 
 chapel. 
 
 F 2. Compartment in the soffit of a lower window of the north transept. G 2. Compartment 
 ditto, in another window of ditto transept. H 2. Boss in east cloister. I 2. Boss in east aisle of 
 the choir. J 2. K 2. L 2. M2. Bosses in the south transept. N 2. Boss in the choir. 0 2. 
 Iron perforated parapet at north-east end of Edward the Confessor’s chapel. P 2. Profile. 
 
 The various subjects thus comprehending the Order of Architecture during the reign of Henry 
 III. give a regular series of each particular, and throughout the whole display that one uniform style 
 is kept up, sufficiently explanatory of the Order; and from no other edifice, but this our venerated 
 abbey at Westminster, can such documents, in any degree, be so completely selected. 
 
 See Examples ii 
 
 Saxon Order of Architecture, Part I. 
 
ORDER 
 
 THE 
 
 OF ARCHITECTURE 
 
 DURING THE REIGN OF 
 
 EDWARD III. 
 
 CLASS FIRST. 
 
 In this reign the English nation seems to have arrived at its meridian of glory. Laws, arms, 
 and arts, shone in all their splendour; the monarch was as munificent as he was brave, and his 
 love and encouragement of the works of ingenious and enlightened men, was great and unbounded : 
 indeed the noble and gorgeous display of architecture, rising around him in every part of the 
 kingdom, sufficiently demonstrates this position. From the long period that Edward swayed his 
 people, the public works became numerous, and were in general planned and executed on the 
 most extensive scale : therefore the examples intended to be brought forward in this Order, will 
 constitute a more full and regular series, than it has hitherto been possible to produce in this 
 undertaking, and will be given from designs of the most simple kind, to those (keeping a pro¬ 
 gressive course) of the highest degree of decoration and embellishment. 
 
 Plate YIII. 
 
 EAST GATE, LYNN.—KEEPER’S HOSPITAL, DURHAM—ST. GILES’S CH., THETFORD.—GATESHEAD CH., &a. 
 
 With these views of buildings, there are no illustrative parts; they having been sketched from 
 the originals without any idea of introducing them in these pages (other views under the like 
 circumstances are interspersed in Part I.); still as they are subjects evidently done in the 
 fourteenth century, they may be considered as proper introductions to this class of the order. 
 
 A. View of East Gate, King’s Lynn, Norfolk. The high and defensive parapet walls on each 
 side of the bridge over the foss are very remarkable. B. North-west view of Keeper’s hospital, 
 near Durham. C. View of the gateway of Babewell friary, St. Edmund’s Bury. At this place it 
 is said the good Duke Humphry was murdered. D. South-east view of St. Giles’s church, Thetford, 
 Norfolk. The church is now used as a wheelwright’s shop. E. View of the west front of Gateshead 
 church, Newcastle. F. North-east view of St. Petronell’s chapel, without Southgate, St. Edmund’s 
 Bury. Southgate is now destroyed ; it stood between the two small houses seen to the right in 
 this view. G. North-west view of the gateway of Kirkham priory, Yorkshire. The lower part of 
 the gateway buried, and in the foreground is the base of a cross. H. West view of the Upper 
 Close gateway, Norwich. The parapet and pediment worked in forms with flints. 
 
 Plate IX. 
 
 CLOISTER OF THE WHITE FRIARS’ MONASTERY, COVENTRY. 
 
 A. View in the east cloister (looking south-east) of the White Friars’ monastery, Coventry; 
 date 1342. The remains of the monastery present two gateways, two courts, east side of the 
 cloisters, gateway which once entered into the south cloister, crypt under the dormitory, the 
 dormitory itself, and curious staircase leading to it. Many vestiges of other buildings exist, but 
 their original uses cannot be ascertained. It may be avowed with much confidence, that the 
 design of this cloister is purely original. The large entrance, the narrow windows, and the lines 
 of groins in a certain degree establish their singularity, though not the less interesting. 
 
 B. Plan of part of the east cloister (three divisions) sufficient to elucidate this view and the 
 following elevations. C. Three divisions of the exterior of the cloister. It is undoubtedly a 
 peculiar circumstance, to find the head of the arch of entrance taking a circular sweep. The 
 upper story of the elevation is not given, it being of a subsequent date. D. Plinth. E. Base of 
 the jambs of the windows. F. Head of the windows. G. Base and head to the entrance. H. 
 Buttress. I. Plan of the jambs; they are doubled in their profile position. J. Three divisions 
 of the interior of the cloister. Above the heads of the windows is a string, from which, at the 
 centre of the compartments, between the windows and the entrance, rise the groins. K. Section 
 of the cloister taken through one of the windows. L. Stone seat. M. Base of the jamb, and 
 head to the entrance. N. String. 0. Ribs. P. Q. Front and profile of one of the corbels, from 
 which the groins spring on the wall side, and opposite to each springing of ditto from the string 
 on the window side. R. Front of ribs of the groins. S. Profile of ditto. T. Compartments in 
 the groins. U. Jambs of the windows in their profile situation. V. Interior side of ditto. W. 
 Exterior side of ditto. 
 

DURING THE REIGN OF EDWARD III. 
 
 65 
 
 Plate X. 
 
 MAPLESTEAD CHURCH, ESSEX:—VIEW, PLAN, AND DETAILS. 
 
 A. North-west view of Maplestead church, Essex. The whole of this building, except the roof 
 and the wood porch at the west, they being late additions, stands in its original state. It is 
 constructed on the Temple or Holy Cross plan, as is seen in the Temple church, London • St. 
 Sepulchre’s church, Cambridge, &c. Maplestead church presents one uniform style, while the other 
 two churches shew various modes of work, in proof of their being erected at different periods. 
 
 B. Plan. C. Circular aisle of the nave. D. Centre of ditto. E. Font. F. Chancel. G. 
 Stairs. H. West front of the church. I. North side of the church. J. Section of the church 
 from east to west, leaving in view its south interior. The more enriched or studied part of the 
 erection is manifested in the circular nave, in the disposure of the columns and their arches; 
 arches also spring from each cluster of columns, across the circular aisle, to corbels placed against 
 the walls. There is not any groin-work, nor can it be conjectured in what way the original 
 covering was completed. The present expedient for this purpose is common timbers and 
 horizontal boards thrown over the nave, from wall to wall. K. West doorway. The diagonal 
 mode of uniting the planks forming the door is curious, and perfectly secure. L. Plan. M. 
 Window to the nave. N. Plan. 0. Window to the chancel. P. Interior of ditto window. Q. 
 Chancel doorway. R, Plan. S. Cluster of columns (singularly connected) in the nave taken on 
 their profile appearance. T. Base and capitals. U. Architraves. V. Plan. W. Line of the 
 bases. X. Ditto of the capitals. Y. Ditto of the architraves. Z. The cluster of columns taken 
 on their front appearance. A 2. B 2. (C 2. Architrave.) D 2. E 2. F 2. G 2. These six corbels 
 support the six arches of the circular aisle. H 2. Font, its west side. I 2. South side of ditto. 
 J 2. East side of ditto. K 2. Part of the tracery of the windows in the nave, with the painted 
 glass. L 2. Shield in the windows of ditto. The arms are six pales; the three first azure, the 
 other three or, which, with the field of the shield, are diapered. 
 
 Plate XI. 
 
 CHURCH OF ST. MARY OVERY, SOUTHWARK, SURREY. 
 
 A. North side of the interior of the great tower of the priory church of St. Mary Overy, South¬ 
 wark, Surrey. Although the date of the church is as far back as 1106, yet many alterations have 
 been made since that period, and the upright here given is undoubtedly a work of the fourteenth 
 century; it is extremely perfect, as are the other three sides of the tower, up to the string above 
 the gallery. Whatever were the decorations on the story succeeding that of the gallery, little 
 now appears but the indefinite lines of large compartments, all the detail of mouldings, &c. being 
 entirely cut away. The continuation of the tower from the portion engraven, being a Tudor 
 addition, (that is, in the style of architecture prevailing in the reigns of Henry VII. and VIII.) 
 is not carried on. At present a modern flat ceiling is laid over the space of the tower, at the 
 string immediately above the points of the great arches, excluding the view of the gallery story, 
 &c. The great arches, west and east, lying left and right in this elevation, spring from corbels 
 on the walls, north and south, there being no clusters of columns on those sides erected for the 
 purpose of supporting said arches. At the springings of the north and south great arches, are 
 small stays, or supports, to resist any lateral pressure, which it is probable otherwise might have 
 occurred. 
 
 B. Plan of the clusters of columns. C. Ditto of their architraves on the capitals. D. Part of 
 the plan of the gallery necessary to illustrate this Plate. E. The gallery. F. Stairs. There is in 
 each gallery a doorway leading into the roofs of the nave, transepts, and choir. G. Plan of the 
 cluster of columns. H. Dotted lines for the capitals. I. Ditto for the sweeping cornice. J. 
 Ditto for the architraves of the arch. K. Great plinths. L. Second plinths. M. Bases. N. 
 Capitals. 0. Architraves. P. Sweeping cornice. Q. Busto to ditto on the right side. R. Plan 
 of columns to the gallery. S. Columns and arches to the gallery. T. Plinths and bases. U. 
 Capital. U. (repeated) Capitals to the whole range of the gallery. V. Architraves. W. String. 
 X. Y. Corbels on south side of the tower, supporting a certain portion of the west and east great 
 arches. Z. A 2. Ditto on north side of the tower, supporting ditto arches. B 2. So much of the 
 architrave of the arches, actually resting on the corbels. C 2. Plan of the square and bevelled 
 corbels. D 2. Plan of the circular ditto. 
 
 The first conspicuous departure in this Order from the characters marking the reign of Henry 
 III. is in the construction of the columns ; Henry’s columns stand detached from the wall, or 
 clustered round a centrical pillar ; while the columns of this Order, found in the Maplestead and 
 St. Mary Overy examples, are all consolidated in then- clusters, or bonded into one compact body 
 with the walls themselves. 
 
 R 
 
66 
 
 THE ORDER OF ARCHITECTURE 
 
 CLASS SECOND. 
 
 Plate XII. 
 
 FIFEFIELD CHURCH, ESSEX.—CLOISTERS, WESTMINSTER.—AND ST. ALBAN’S ABBEY. 
 
 A. Basement under the east window of Fife field church, Essex. The knee to the architrave of 
 the arch is a continuation of a peculiarity conspicuous in the foregoing Order, temp. Henry III., 
 and the moulding for the turns in the tracery, shewing itself partially, is also another relic of the 
 said Order. The circular opening in the centre compartment is singular, and appears to have had 
 a communication with the interior of the chancel, no doubt for some particular purpose (now 
 unknown) necessary in the ceremonies at the altar. This opening is at present stopped up. B. 
 Opening of the east window. C. Plan. D. Plinth moulding. E. Bases. F. Capitals. G. 
 Architrave to the arch. H. Upright architrave. I. Tracery mouldings. J. Circular opening. 
 
 K. One division of the wall (internal part) of the vestiges of the north cloister on the south side 
 of the abbey church at St. Allan’s. Excepting this, and the seven other divisions (in a like state 
 of dilapidation) on the north line, every other part of the cloisters has been destroyed. Above the 
 clusters of columns standing between each division, are the springings of the groins in solid 
 masonry, the usual commencement to groin work, as the continuation of the lines is a kind of shell, 
 or excavated effort of the art. In the present instance the non-appearance of any of the shell- 
 work is easily accounted for, as in the general havoc, such delicate covering must of course have 
 fallen with the rest of the uprights. Bases to the columns buried. L. Plan. L. (repeated) 
 Cluster of columns supporting groins. M. Rib mouldings. N. Rib ditto to a larger scale. 0. 
 Architrave emerging from the springing of the groins. P. Ground. Q. Side columns supporting 
 the architrave to the arch. R. Ditto architrave and tracery mouldings. S. Column, and part of 
 tracery mouldings to centre compartment of the tracery. T. Tracery mouldings. U. Ditto. V. 
 Ditto at the point or head of the tracery. 1st Tier of mouldings. 2nd Tier of ditto. 
 
 W. Three divisions of the exterior of the east cloister of the abbey church at Westminster. The 
 Westminster cloisters bear the styles of at least three different periods; example of the north 
 cloister, as being coeval with that part of the church erected by Henry III., has already been 
 given; 1 the present plate accords with the architecture in this Order, and the south and west 
 cloisters assimilate with that practised in the fourteenth century. X. First, or smallest division. 
 Y. Centre, or grand division; it is situated opposite the superb double doorway leading to the 
 chapter-house. 2 The tracery is elaborate and beautiful, and the combination of mouldings con¬ 
 stituting its several forms, curious and scientific. Z. Third division. A 2. Plan. B 2. Ditto of 
 the columns composing the mullion. C 2. Ditto of the columns attached to the buttress. D 2. 
 Ditto of the rib mouldings. E 2. F 2. Bases. G 2. Tracery mouldings. H 2. Architrave to the 
 arch ; and I 2. Principal perforated compartment to the first division. J 2. Part of the capital. 
 K 2. Tracery mouldings, and L 2. Architrave to the arch of the second division. M 2. Plan of 
 the columns composing the mullion. N 2. O 2. Bases and capital. P 2. Tracery mouldings ; and 
 Q 2. Ditto mouldings to a larger scale. 1st Tier and 2nd Tier of mouldings to the third division. 
 
 Plate XIII. 
 
 WALTHAM ABBEY CHURCH. 
 
 A. Elevation (that is, as much as can be made out of its lines at this day) of the west front of 
 the abbey church at Waltham, Essex. The remains of the original fabric erected by Harold are 
 found in the two sides of the nave, and the west arch (now east end of church), once supporting 
 the tower in the centre of the transepts; the arches south, east, and north of ditto tower, with 
 the transepts and choir, were destroyed at the Dissolution. The present west front is evidently a 
 subsequent design, and decidedly a specimen of the Order we are now engaged in. The centre 
 window and finishings to the buttresses destroyed; probably when a tower was raised directly 
 against this elevation in Mary's reign in 1558, which tower in part is yet remaining: its upper 
 story was partially rebuilt in 1798. The remarkables in this elevation are, the pediments to the 
 centre doorway and niches; the heads of the compartments to the buttresses, they taking an ogee 
 direction ; and the perforated compartmented parapets. The centre doorway recedes into a kind 
 of porch. B. Plan. C. Plinth. D. E. Dado, and F. Splay mouldings to the buttresses at the 
 angles of the front. G. Plinth, and H. Dado mouldings to the buttresses on each side the centre 
 doorway. I. Side doorway. J. Mouldings to the door. K. Tracery and sweeping architrave 
 mouldings to side windows. L. Base. M. Capital, architrave, and pediment to the niches on the 
 buttresses at the angles of the front. N. Brackets in the angles between ditto buttresses. O. 
 Finish to the pediments of said niches. 0. (repeated) Head of compartments to the buttresses. 
 
 See Plate I. iu this Second Part. C. 
 
 - Plate V. in ditto. C. 
 

P. Moulding to the head of canopy in the angle between ditto buttresses. Q. Circular compart¬ 
 ments over side windows. R. Compartments introductory to the parapet. S. Perforated com¬ 
 partments in ditto. T. Plinth. U. Bases and capitals. V. Perpendicular, and first architrave 
 to the outer columns of the centre doorway. W. Inner columns to ditto. X. Attached archi¬ 
 trave to ditto columns. Y. Second architrave to the outer columns and arch of the doorway. Z. 
 Rib mouldings to the groins in the receding part of the doorway. A 2. Pediments to ditto and the 
 side niches. B 2. Finish of the head to the doorway and spandril of the pediment. 1st Tier will 
 direct the eye to the junction of the architrave mouldings with those in the spandril, &c. C 2. 
 Column. D 2. Dado, and E 2. Architrave to the side niches. F 2. Capital to column (not seen 
 in the elevation ; its situation marked in the plan) behind the outer column on the left side of the 
 doorway. G 2. H 2. (and I 2. not seen in the elevation, &c.) Capitals to columns on right side of 
 doorway. 
 
 Plate XIY. 
 
 ST. ALBAN’S ABBEY CHURCH: — NAVE. 
 
 A. First division (from the east) on the south side of the interior of the nave of the abbey 
 church at St. Alban's. Among the various works exemplifying the architecture of the structure 
 is found the early Saxon ; x the pointed styles of Henry III., Edward III., Henry VII., &c. The 
 example in this plate is well suited to the Order under illustration, and presents the arches of the 
 nave, side aisle, gallery, and upper window stories. There is much regularity in the design, and 
 a due distribution of the several parts consonant with the arrangement of a religious pile, raised 
 on a scale so grand and interesting. B. Plan. C. Nave. D. Complete cluster of columns. E. 
 Side aisles. F. Window. G. Plan of one quarter of the attached cluster (on the left) to a larger 
 scale. H. Plinths and bases. I. Capitals; and J. Architrave to the arches of the nave. K. 
 Plan of columns to the window; and L. Dado to ditto in the side aisle. M. Bases and capitals. 
 N. Architrave. O. Dado. P. Tracery mouldings; and Q. Sill to ditto window. R. S. T. U. 
 Bustos at the centrical junction of the architraves to the arches of these and certain divisions in 
 continuation on this side of the nave. V. Cornice above the great arches. W. Bases. X. 
 Capitals ; and Y. Architrave to the side cluster of columns of the gallery. Z. Centre cluster of 
 ditto between each of the arches of the gallery. A 2. Centre cluster of ditto within each arch of 
 the gallery. B 2. Part of the centre of the tracery to the arches. B 2. (repeated) Complete 
 form of ditto. C 2. Cornice to the gallery. D 2. Bases. E 2. Capitals; and F 2. Architrave 
 to the windows of the upper window story. H 2. 12. J 2. K 2. Some of the shields of arms 
 attached to the cornice over the great arches on this side of the nave. 
 
 Plate XV. 
 
 YORK CATHEDRAL :—N A V E. 
 
 A. One division of the south side of the exterior of the nave of York cathedral. As the nave 
 is the acknowledged work of Archbishop De Melton, who died 1340, confidence in its truth of 
 style becomes fixed. The symmetry of the parts is excellent; the buttresses, with the tracery to 
 their several pinnacled compartments, happily conceived; and the windows, with the original 
 painted glass, most elaborate. Every part of the design is consistent; preserving a chaste 
 regularity in decoration, and a grandeur of effect, peculiar to this august and sublime religious 
 
 St B. One division of the north side of the interior of the above nave. How consistently is this 
 upright, in all its characteristic parts of increasing magnificence, made to accord with its external 
 counter upright! In the cluster of columns, some of them serve (to a certain height) to support 
 the arches of" the nave ; and those others rising above the sills of the windows over the gallery, 
 o-ive support to the groins. The gallery is pleasingly portioned out of the window, of which it 
 appears to form a part. The springings of the groins are worked solid to the usual height, (as far 
 as the caps,) the continuation of the ribs superficial work, as is the usual custom also ; and from 
 some cause, not ascertained, are constructed in wood work. It is to be observed that inclined 
 horizontal ribs occur, uniting in a certain degree with the primary ribs, and may be conceived 
 as an introductory intention to those of a more enriched turn displayed in the transepts and choir 
 of the church; and which enrichment, in the succeeding groin-works of our several sacred 
 buildings was carried progressively to a profusion of forms both architectural and ornamental, 
 at once" surprising, and in many respects beyond modern comprehension or imitation. In the 
 dado to the side "aisle, the compartmented forms are rich; among them has been introduced of 
 later times (say fifteenth century,) a monument to the memory of Archbishop Roger, who died 
 1181 The painted glass, which is original, is splendid. The pedimental decorations to the 
 buttresses, windows, and compartments, in both the specimens in this plate, are peculiar to the 
 Order, and with every other object compose a design, at once elegant, and of the most refined 
 taste. 
 
 1 See Part I. Plate XIV. C. 
 
 HI 
 
 I 
 
 ■ | 
 
68 
 
 THE ORDER OF ARCHITECTURE 
 
 Plate XVI. 
 
 YORK CATHEDRAL: — NAVE, PLAN AND DETAILS. 
 
 A. Plan of one of the divisions, in the preceding plate, of the south side of the nave of York 
 cathedral. B. Ditto of the nave. C. Side aisle. D. Cluster of columns. E. Monument of 
 Archbishop Roger. 
 
 Detail of the divisions in the preceding plate. Externally. F. Plinth moulding. G. Dado 
 ditto. H. Splay to the buttresses. I. Niche on the buttresses. J. Compartment to first story 
 of the buttress. K. Ditto to second story of ditto. L. Cornice. M. Plinth ; and N. Battlements 
 of second story of the division. 0. Window of first stoiy of ditto. P. Pediment to ditto. Q. 
 Cornice. It. Plinth ; and S. Compartments to the parapet of first story. T. Window of second 
 story of the division. U. Head supporting sweeping cornice on right side of ditto. 
 
 Internally. V. Plan of the cluster of columns, (see D.) W. Base to ditto. X. Capitals; and 
 Y. Architrave to the arches of the nave. Z. Capitals to the centre columns of the cluster, rising 
 for the support of the groins. A 2. Architrave to the window of the second story. B 2. Rib 
 mouldings. C 2. Caps to ditto. D 2. Cornice to the gallery. E 2. Columns and architraves to 
 windows of the second story, and the mouldings of the mullions to ditto, with those serving for 
 the gallery, &c. F 2. Compartments to sill of ditto. G 2. Mouldings to the stone seat of 
 continuation of the side aisles. H 2. Compartments in Archbishop Roger's monument. I 2. 
 Cornice to ditto. J 2. Buttresses and architraves to the compartments in the dado of side aisles. 
 K 2. Dado string mouldings. L 2. Buttresses and architraves to compartments on the piers 
 between the windows of side aisles. M2. N 2. Bosses to the groins. 
 
 CLASS THIRD. 
 
 Plate XVII. 
 
 ST. STEPHEN’S CHAPEL, WESTMINSTER. 
 
 A. One division of the south side of St. Stephen's chapel, Westminster; date 1348. 1 The history 
 of this chapel, with the parts of the building remaining at this day, 2 prove that it must have 
 been, when in its pristine state, one of the most gorgeous scenes for devotion this kingdom ever 
 produced; the royal founder, Edward III., having summoned the most eminent artists from all 
 parts of his dominions for this purpose, and encouraged by the most unbounded liberality to 
 perfect a work, which it appears he had resolved should be the master-piece of genius and of art. 
 How well his commands were obeyed, every vestige now in existence sufficiently demonstrates. 
 And, if it is a gratification in the highest degree thus to contemplate its various excellencies, how 
 mortifying it is at the same time to witness its lines either mutilated, shut out from public view, 
 or in part destroyed! The first havoc wrought on the walls was in Edward the Sixth’s reign; 
 second havoc, William and Mary’s reign; and the third havoc even under our own eyes, by men 
 who, while they affect to give praise to each supreme object, ruthlessly decree and absolutely 
 stand over the destruction of them; the fragments of which have either been totally annihilated, 
 or gathered up from the rubbish, to enrich the collections of pious and curious antiquaries ! 
 
 In this and the following division, many restorations are introduced, that some idea may be 
 entertained of its original finishings. If the attempt is found bordering on presumption, let it at 
 the same time be considered, that no one decoration of this sort is set forth as positive evidence, 
 but displayed with an humble wish to do honour to our antiquities, while others are so ardent in 
 their zeal to violate and destroy them. 
 
 Restorations. Dado to the second story, upper half of the niches to the buttresses, with the 
 statues ; upper halves of the pinnacles to the buttresses ; mullions and traceries to the window of 
 the second story ; entablature, perforated battlements, and roof with the fleur-de-lis ornament. 3 
 
 The other parts of the design are in existence ; and it is impossible but to observe their appro¬ 
 priate distribution ; the simplicity of workmanship opposed in due order to that of a more enriched 
 nature ; no object forced, or brought forward but with strict propriety and strong effect. The 
 restorations must speak for themselves. 
 
 B. One division (in section) of the interior of preceding example. If ever a happy combination 
 
 1 Nearly the whole of St. Stephen’s chapel, with the house of Lords, and their numerous attached buildiugs, were destroyed by fire the 16th 
 of October, 1834. A very minute history and description of those buildings, and the palace of Westminster, with several engravings, has 
 recently appeared from the pens of Messrs. Britton and Brayley. 8vo. 1836. B. 
 
 2 See Plans, Elevations, and Sections of this Chapel, published by the Society of Antiquaries. C. 
 
 0 Common to ancient roofs; specimen left at Exeter cathedral. C. 
 

DURING THE REIGN OF EDWARD III. 
 
 69 
 
 in architectural objects became conspicuous, it is certainly manifested in this example. The lines 
 of the crypt are what they should be, simple, and well conceived, in order to support the super¬ 
 structure : columns finely clustered, groins well disposed, and the mullions and tracery of the 
 window, (still m existence), of the completes! turn. The painted glass a restoration. The crypt 
 IS portioned oil into offices of the most menial description 
 
 f ® 8“^ difficul ‘y attending the making sketches of the lines of the chapel, during the 
 year 1791, they being m general covered with modern wainscoting, benches, and conveniences the 
 most indecorous, it will not be wondered at if some inaccuracies are discernible by those who in 
 1800, having found favour with men in office, had the good fortune (the walls being at that time 
 cleared of every disfigurement) to obtain permission to view and study from them ; I, beino- held 
 unworthy of benefiting by such a short-lived opportunity, was denied all access. 
 
 Restorations. Capitals to the clusters of columns at the springing of the arch of the great 
 windows ; plinth, statues, and canopies between the arches of the windows; mullions, tracery, and 
 painted glass, with the timber compartmented open roof, or ceiling. This ceiling is given upon 
 the supposition, that as the entablature runs uninterrupted the whole length of the chapel, there 
 never could in consequence have been any groin-work by way of finish to the upper part thereof. 
 The columns marking the stalls in the dado, warrant in great measure the disposure of the 
 mullions rising from them. 
 
 On the columns and mouldings are embossed ornaments of the first taste; and on the grounds 
 of the various compartments, paintings of religious and historic subjects, large and small length 
 portraits of eminent personages, with numerous arms, devices, and other ornaments; the whole 
 wrought, gilded, and coloured in the most elaborate manner that imagination could suggest, or 
 ingenuity bring to perfection. 
 
 C. Plan of the first story. D. Crypt. E. Cluster of columns. F. Plan of second stoiy. In 
 the buttresses the diminution in their profiles, by means of splays, is seen, with the sett-on of the 
 pinnacles, &c. G. The chapel. H. Columns. I. Stone seat of continuation. J. Window sill. 
 
 Plate XYIII. 
 
 ST. STEPHEN’S CHAPEL, WESTMINSTER, {Continued.) 
 
 A. Half of the section, or profile, transversely, of St. Stephen’s chapel, Westminster. B. Crypt. 
 C. Chapel. D. Profile of one of the open-worked ribs, disposed at certain intervals, as marked in 
 the preceding plate. E. Part of the plan of the first story. F. Crypt. G. Groins. H. Plan of 
 columns and architrave externally and internally to crypt, from I. to J. K. Plan of columns 
 internally from L. to M. N. Plan of part of the architrave externally at 0. P. Part of plan of 
 compartments to the roof. Q. One of the bosses to the groins in the crypt, whereon is sculptured 
 the martyrdom of St. Stephen. Detail of parts in existence externally. R. Plinth. S. Window. 
 T. Perpendicular architrave. U. Compartments ; and V. Entablature to the first story. W. 
 Pinnacle to the buttresses. X. Spandrils to the great window of second story. Detail internally. 
 Y. Sill-mouldings, columns, and architrave to the windows of crypt. Z. Columns for the support 
 of the groins, and the ribs of ditto. 
 
 Plate XIX. 
 
 ST. STEPHEN’S CHAPEL, WESTMINSTERINTERIOR, ( Continued.) 
 
 A. Plan of the columns on the piers between the windows. B. Ditto to the stalls. C. Ditto 
 stone seat of continuation. D. Stone seat of continuation (in elevation). E. General plinth to 
 the upright. F. Columns. G. Compartments. H. Stalls and their canopies. I. Entablature 
 to dado. J. Perforated parapet to ditto. K. Architrave to great window. L. Compartment 
 on the piers. M. Ditto in the spandrils. N. Architrave. 0. Frize, andP. Cornice of the grand 
 entablature of the upright. Q. Perforated parapet to ditto. R. Section of the head of the great 
 window, with the grand entablature and perforated parapet. S. Ogee moulding. (H. in plate 
 XYIII.) T. Architrave: see N. U. Frize: see 0. Y. Cornice: seeP. W. Perforated parapet: 
 
 see Q- 
 
 Some of the principal ornaments embossed on the mouldings, size of the originals. X. at A. 
 Y. at B. Z. at C. A 2. at D. and on the columns. B 2. at E. C 2. at F. (C 2. repeated 
 profile.) D 2. at G. E 2. at H. F 2. Perforated parapet with the cornice of the entablature to 
 the dado, one-third the size of the originals. G 2. Section of ditto. H 2. Ornament at I. I 2. 
 Plan of cluster of columns and angular centre, grounds, &c. supposed to have been for the support 
 of canopies to the stalls. J 2. Front of ditto, and K 2. its profile, one-third of the size of the 
 originals. The compartments in the battlements of the parapet, and the royal arms, floweis, and 
 small compartments in the angular centre, are paintings. These two examples of the parapet, 
 and cluster of columns, from fragments in my possession. 
 
 s 
 
70 
 
 THE ORDER OF ARCHITECTURE 
 
 Plate XX. 
 
 DECORATIONS — DOORWAYS. 
 
 A. Doorway on the north side of the north aisle of choir of the abbey church of St. Alban’s. 
 Perpendicular mouldings compose a kind of columns; they have plinths, but no bases: leaves 
 give capitals, no astragal. B. Plan. C. Plan of the perpendicular mouldings. D. Plan of 
 architrave. E. Perpendicular mouldings and capital on the left. F. Perpendicular mouldings 
 and capital on the right. G. Architrave. H. Doorway (internally) on the south side of the 
 crypt of St. Stephen’s chapel, Westminster. Bases buried. The outer capitals are given without 
 columns. I. Plan of columns. J. Plan of architrave. K. Capitals. L. Architrave. M. Door¬ 
 way to the north porch of Bridgewater church, Somersetshire. The design remarkable ; segment 
 of a pointed arch, supported by heads, set within the regular pointed arch, enclosing tracery 
 perforated; above is a circular window, with double triangular tracery. N. Plan of columns. 
 O. Plan of architrave. (Mem. The detail was not sketched.) P. Grand double doorway entering 
 from the north transept into the avenue of the chapter house of York cathedral. The combination 
 of the arches, circles, and pediment, finely imagined, as is the intersection of the 1st tier, or 
 principal mouldings with each of these forms. The doors are of oak, in perforated compartments, 
 and complete. From some architectural error, an idea is entertained by the dignitaries, that if 
 this doorway was destroyed, a good view would be had of the avenue! Q. Plan. R. Bases. 
 S. Architrave. T. Small circle and horizontal architrave. U. Doorway of the refectory in the 
 south cloister of Westminster abbey. The turns rising from the springing of the arch in their first 
 halves, destroyed; in this plate the parts are restored. V. Plan of columns. W. Plan of 
 architrave. X. Plan of columns (repeated) to a larger scale. Y. Capitals to the right. Z. 
 Architrave. A 2. Bases. B 2. Capitals to the left. C 2. Turns on the left, and D 2. Turns on 
 the right, as they now remain. 
 
 Plate XXI. 
 
 DOORWAYS, YORK CATHEDRAL. 
 
 A. Doorway, or entrance to St. Sepulchre’s chapel (chapel destroyed), from the interior of the 
 north aisle of the nave of Yo , rk cathedral. It stands on the stone seat of continuation to the 
 church. Over the point of the arch, is a bracket of a royal head supporting statues of our Lady 
 and the infant Jesus : on the grounds, right and left, are figures censing. On the pitch of the 
 pediment, rising from buttresses on each side, is a canopy forming the head of the niche accom¬ 
 panying the statues. The shields are charged, one with fleur-de-lis, and the other with three 
 lions: they appertain to Edward III. The background shews part of the windows of the aisle, 
 and recesses in the dado. B. Plan. C. Stone seat of continuation. D. Stone seat. E. 
 Buttress. F. Step. G. Architrave. H. Pediment. I. Dado string. J. Doorway entering 
 from north cloister into the nave of Norwich cathedral. 1 The statues and canopies laid on the 
 architrave : of the arch is an uncommon circumstance. The centre statue is our Lord pointing to 
 the wound in his side : the other statues represent a pope, a king, Moses with the tablets, St. 
 John, and two angels, one bearing a cross, the other the cloth of St. Veronica. K. Plan of 
 columns. L. Plan of architrave. M. Bases. N. Capitals. 0. Half of the architrave with 
 first canopy. P. Continuation of ditto architrave uniting at X. Q. Head of centre canopy. 
 R. Grand double doorway entering into the chapter-house of York cathedral. It is of a superb 
 cast, that well prepares the mind for the gorgeous display of the chapter house itself, which in its 
 interior combines all the excellencies of masonry, sculpture, and painting, and has obtained this 
 deserved character, “The chief of houses, as the rose of flowers.” The doorway is composed of 
 clusters of columns right and left, and perpendicular mouldings united ; the pier in the centre 
 has corresponding mouldings, fronted by a pedestal and niche, enclosing statues of our Lady and 
 the infant Jesus, our Lady standing on a lion (good spirit), which has overcome a dragon (evil 
 spirit). The first tier of outer mouldings to the grand architrave of the arch intersect with those 
 of the recesses right and left, and with those of the horizontal architrave. 2nd tier of mouldings 
 intersect with the two smaller arches and centrical circle. 3rd, 4th, and 5th tiers of mouldings 
 are in continuation. The oak doors, overlaid with foliaged iron work of varied forms, extend at 
 present no higher than the springing of the arches; the continuation of the iron work to the heads 
 of the small arches in this plate, is a restoration. The statues in the centre circle, with those in 
 the two recesses (that on the left holds the cloth of St. Veronica ), are introductions from examples at 
 Hereford and Exeter cathedrals, the original statues being destroyed. On the ground of centre 
 circle, and in the spandrils of great arch, are vestiges of paintings; restored in this plate from 
 examples at Hereford cathedral. Subject on the right, God receiving “our Lady;” ditto on the 
 left, St. Ann teaching the Virgin. S. Plan of columns and perpendicular mouldings. T. Plan of 
 
 See “Ancient Sculpture,” &c. Vol. II. C. This doorway is illustrated and described in Britton’s “ History, &c. of Norwich cathedral." B. 
 
DURING THE REIGN OF EDWARD III. 
 
 71 
 
 half of the pedestal. U. Plan of half of the canopy and pier, against which the pedestal stands. 
 V. Plan of architrave. W. Seat. X. Base. Y. Part of capitals on the left; and Z. Part of 
 architrave. A 2. Continuation of capitals and architrave uniting at x. B 2. and C 2. Brackets 
 at foot of recesses, left and right. D 2. E 2. F 2. Brackets to centre circle. G 2. Point of canopy 
 to centre niche. H 2. Lower part of ditto canopy. I 2. and J 2. Capitals to the canopy. 
 K 2. L 2. M2. N 2. 0 2. and P 2. Capitals to the pedestal. Q 2. Handle to the door on the 
 right. R 2. and S 2. Foliage to door on the left. 
 
 Plate XXII. 
 
 DOORWAY AND WINDOWS. 
 
 A. Detail of doorway to the north porch of St. Mary Redcliff’s church, Bristol. The entire work 
 of this doorway is introduced as the title-page of this Work, Part I. Referring to the example, 
 the design is original; it is composed of three distinct architraves, made out in the head of the 
 doorway by turns, and segments of circles. 1st. Architrave; leaves disposed in a run of foliage; 
 in the spandrils, figures, and foliage. 2nd. Ditto architrave ; diamonds with figures and foliage. 
 3rd. Ditto architrave ; leaves combined. Return to the detail in the present plate. B. Plan of 
 the three architraves. C. Window on the north side of the chancel of Fifefield church, Essex. D. 
 Plan. E. Sill. F. Architrave and tracery mouldings. G. Window (internally), in the north 
 aisle of the abbey church at Malmesbury, Wiltshire. In the tracery, the masonic Three-in-One is 
 conspicuous. H. Plan. H.* (repeated) Sill. I. Architrave and tracery mouldings. J. East 
 window (internally) of Middeham church, Surrey} K. Plan. L. Architrave and tracery mould¬ 
 ings. M. Window on the south side of “our Lady’s” chapel, Chichester cathedral. Tracery 
 elaborate. N. Plan. 0. Dado mouldings. P. Sill. Q. Base. R. Band. S. Capitals. T. 
 Architrave and tracery mouldings. U. Capitals on the right. V. Capital to the mullion. W. 
 Window on the north side of Merton college chapel, Oxford. The masonic Three-in-One has a 
 pleasing effect. X. Plan. Y. Sill. Z. Architrave and tracery mouldings. A 2. Window 
 (internally) to the remains of the great hall of the Bishop of Winchester's palace, Southwark. The 
 masonic Three-in-One is very remarkable ; and the geometrical unities of the hexagonal and tri¬ 
 angular compartments, curious and interesting. B 2. Architrave and tracery mouldings. 
 
 Plate XXIII. 
 
 WINDOWS, CHIMNEY-PIECES, PISCINAS, AND LAVATORIES. 
 
 A. East window of Merton college chapel, Oxford. Highly superb and beautiful; and the 
 pediments and pinnacles combined with the tracery, have the happiest appearance. B. Plan. C. 
 Sill. D. Architrave and tracery mouldings. E. Window (internally) on the north side of the 
 chancel of Dorchester church, Oxfordshire. Most uncommon and remarkable. The horizontal 
 sweeping mullions are intended as branches of a tree, emerging from the reclining figure of Jesse, 
 on which stand statues expressive of his genealogical progeny. Near the summit of this orna¬ 
 mental tree is the Crucifixion. There is some variety in the perpendicular lines at the springing 
 of the arch of the window. F. Plan. G. Architrave and tracery mouldings. H. Cross, on the 
 pediment of a porch to a church at Norwich. The idea expresses J esse reclining (supported by a 
 crown), from whom rise branches of a tree (ornamental). On the top is the Crucifixion. I. View 
 of a chimney to a house at Burford, Oxfordshire. Through the perforated compartments the smoke 
 issues. J. Plan. K. Remains of a chimney-piece in Caldecot castle, Monmouthshire. Bases 
 destroyed. L. Plan. M. Profile. N. View of a holy-water niche in Trinity church, Coventry. O. 
 Architrave. P. View of a holy-water niche in the remains of a chapel, at Malmesbury, Wiltshire. 
 Q. View of a holy-water niche in the abbey church of St. Alban's. R. Architrave and pediment. 
 S. Font in St. Peter’s church, Northampton. T. Half of the plan. U. Interior of the basin. V. 
 View of the remains of the lavatory in the area of the cloisters of Durham cathedral. It consists 
 of two basins ; from the upper basin the water was conveyed through the holes on the sides into 
 the second basin, from whence (after being used) it was carried off by a conductor seen on the left. 
 W. View of a lavatory in the west cloister of Norwich cathedral. On the top of the pedestal part 
 is the laver for the water. 
 
 Plate XXIV. 
 
 PISCINA, FONT, BAPTISTERY, ALTARS, SEATS, NICHES. 
 
 A. Holy-water niche in north transept of Llangham church, near Haverford- West, Pembrokeshire. 
 B. Plan. C. Interior of the basin. D. Font in St. Dunstan’s church, Canterbury. E. Half the 
 plan. F. Interior of the basin. G. Baptistery in Luton church, Bedfordshire; composed on an 
 
 1 Mr. Robinson, architect, has published an interesting Essay on the Architecture, <fcc. of this church, 4to. B. 
 
72 
 
 THE ORDER OF ARCHITECTURE 
 
 octagonal plan, having a doorway west; in the area of elevation, the font. H. Half the plan of 
 the baptistery. I. Ditto of the font. J. Interior of the basin. K. Architrave and column to 
 pediment. 
 
 L. Altar in our Lady’s chapel, York cathedral. M. Plan. N. Reading-desk in possession of 
 the late Sir John Fenn, East Dereham, Norfolk. O. Reading-desk in St. Mary Ottery church, 
 Devonshire. P. Plan. Q. Cope in the vestry of Durham cathedral, said to have been presented 
 to the church by Queen Philippa, after her victory over the Scots under the walls of that city. 
 In the centre of the border, God in glory; in the compartments of ditto, scriptural subjects, 
 which with the various ornaments are embroidered with gold on a blue velvet ground. 
 
 R. Stone seat of continuation in Durham cathedral. S. One of the three seats (centre one) for 
 the priests in St. Mary Ottery church. T. Plan. U. Architrave to arch and pediment. V. One 
 of the three seats (centre one) for the priests in Exeter cathedral. W. Plan. X. Base. Y. Band ; 
 and Z. Capital (worked in brass) to the columns. A 2. Architrave to the arched head of canopy. 
 B 2. Circular and hexangular indentings on the back of the seats. C 2. Busto of a bishop ; and 
 D 2. Cornice to back of seats. E 2. Mullion for support to the canopy. F 2. Bishop’s throne, 
 Exeter cathedral; elegant and sumptuous; raised in four tiers. 1st tier, enclosed seat; 2nd tier, 
 arch with pediment; 3rd tier, niches, &c. one centrical surrounded by four ditto; expanding 
 corbels for the support of small statues occur; 4th tier, perforated compartments, and ditto 
 pediment. G 2. Half of the plan ; 1st tier. H 2. 2nd tier. I 2. 3rd tier. The plan is curious, 
 and scientifically arranged in the several tiers, each as it were emerging from the other, yet so 
 judiciously contrived as to compose one graceful whole. J 2. Base. K 2. Band: and L 2. 
 Capital to the columns of 2nd tier. M 2. Architrave and pediment of ditto tier. 
 
 Plate XX Y. 
 
 NICHES, CASKET, MONUMENTS. 
 
 A. Niche in the screen at the west front of St. Stephen's chapel, Westminster. B. Plan. C. 
 Capital to pedestal. D. Base; and E. Capital to columns. F. Architrave to arched head, &c. 
 G. Niche in our Lady’s chapel, abbey church of St. Alban’s. H. Plan. I. Architraves to arch 
 and pediment. J. Niche in vestry of ditto chapel. K. Plan. L. Architrave to arch and pedi¬ 
 ment; and M. Cornice to ditto. N. One of the niches in chapter house, York cathedral. 0. 
 Plan. P. Cap moulding to seat of continuation, whereon the niches take their rise. Q. Base, 
 and R. Capital to columns. S. Architrave to canopy; and T. Cornice. U. Niches, or recesses 
 in two tiers for placing therein small statues on the south side of the basement of Bishop Hatfield's 
 throne, Durham cathedral. In the arch within said basement, the tomb of the bishop, part of 
 which is here introduced. The work of this throne is in a style the most gorgeous, being wholly 
 painted and gilded, in the mouldings, ornaments, shields, arms, bishop’s robes, &c. V. Plan. 
 W. Architrave and corbel to the recesses. X. and Y. Plinth mouldings to 1st tier of niches, and 
 the tomb. Z. A 2. and B 2. Small pediments to pinnacles of the buttresses. C 2. Cornice to 
 the basement. D 2. Architrave to arch of the recesses on tomb. E 2. Grand double architrave 
 to the basement. F 2. Small ivory casket in possession of a lady at Wells, Somersetshire. The 
 figures in the compartments have historical allusions; the ornamental braces are silver gilt, and 
 studded with precious stones. G 2. Oak chest in the kitchen of St. Mary hall, Coventry. 
 
 H 2. View of a monument in the wall of south aisle of Staindrop church, Durham. I 2. Archi¬ 
 trave to arch. J 2. Ditto to pediment and tracery in its tympanum. K 2. View of the monument 
 of Bishop Bingham, in the north aisle of Salisbury cathedral. L 2. Base and cap to buttresses. 
 M 2. Architrave to arch, with one of the reposing angels placed thereon, crocket-wise. N 2. View 
 of a monument on south side of Winchels-ea church, Sussex. The ends of the monument are canted 
 off (unusual idea), having arches, by means of which, those who kneeled at prayer at the west end 
 (right hand) could by looking through the open portion of the design (whereon is laid the statue of 
 the deceased) to the east end (left hand), behold the ceremonial of the altar. The work is 
 extremely rich and noble. 0 2. Base, and P 2. Capital to columns. Q 2. Mouldings to buttresses. 
 R 2. Architrave to arch and pediment. 
 
 Plate XXYI. 
 
 GRAVESTONES, RINGS, CROSIER, KEYS, BUTTRESSES, PARAPETS, &o. 
 
 A. Part of a gravestone in the abbey church, (in ruins) Tintern, Monmouthshire. B. Gravestone 
 in the abbey church of St. Alban’s ; the lines sunk, once contained brass work : a cross supported 
 by a dog, on which, the busto of a priest. C. Part of a gravestone in Connington church, Hunting¬ 
 donshire ; the lines sunk, once contained brass work ; crucifix; a knight and lady kneeling. D. 
 Centre division of a gravestone, on which is brass work, in St. Margaret’s church, King’s Lynn } 
 Norfolk. The division gives an arched recess containing the figure of Robert Braunch , mayor of 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 



 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 /* 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
DURING THE REIGN OF EDWARD III. 
 
 73 
 
 Lynn 1349 (The two other divisions present the figures of his two wives:) the canopies are 
 elaborate that on view, bearing the Deity with accompanying angels. At the feet of the mayor, 
 
 ro al feasT mg a W *' d In tlle part of a representation of a 
 
 E. Ring (bronze) to a door of St Gregory’s church, Norwich. Head of a fiend swaUowing that of 
 a human being. F. Ring 0>ronze) to the door of north porch of Durham cathedral. Head of a 
 fiend biting a subrmg or knocker; with this subring, persons claiming sanctuary in the night 
 summoned those who kept watch m the porch to be admitted into the church. An old custom is 
 still held at a certain time of the year to stick lighted candles in the ears, eyes, and mouth of the 
 head. G. Ring for the finger, taken out of the stone coffin of Archbishop Derkmgfield, Torlc 
 cathedral: it is now m the yestry of ditto; the stone, a ruby. H. Ring for the finger (silyer 
 gilt), dug up ill the rums of Hyde abbey, (when a prison was built upon the site, 1785): on the 
 edge are engraved the'figures of our Lady and the infant Jesus, St. Catherine, &c. (It is in our 
 possession.) I. Crosier in New College chapel, Oxford; wrought in silver and gilt, and the grounds 
 to the figures and ornaments enamelled in red, blue, and green ; seyeral precious stones are set in 
 the pinnacles, as fimals, &c. This crosier was the gift of William of Wykeham, the founder of the 
 college. J. Key to the door of Hitchendm church, near High Wycombe, Buckinghamshire. K. 
 Bunch of keys m the possession of the late Sir John Fern, Fast Dereham. L. Ditto displayed in 
 radiated lines. M. Candlestick in the possession of Lady Salusbury, found in repairing the 
 chapter-house of York cathedral, 1740 : it is wrought in brass, gilt, and enamelled in green and 
 white. 
 
 N. Upper part of the buttresses, south side of the abbey church, Malmesbury. O. Plan. P. 
 Buttress on south side of Bablake Church, Coventry. Q. Plan. R. Upper part of the buttresses 
 at the angles of the chapter house, 1 ork cathedral; an excellent piece of architecture, to answer 
 the purpose of support and decoration. To a certain height the work is solid, then rises in a 
 detached spire, throwing out double flying buttresses, which attach themselves to the building 
 itself. S. Plan. T. String mouldings at lower part of the buttress. U. Parapet at east end of 
 our Lady s chapel of the abbey church of St. Alban’s. V. Parapet to the south porch of the abbey 
 church of Malmesbury. W. Parapet on the south side of Barneck church, Northamptonshire. 
 
 X. Architrave to window, west front. Y. Architrave in chapter house. Z. Double architraves 
 interior of west end. A 2. Its receding part, and B 2. Grand architrave to centre doorway, 
 York cathedral. C 2. Cornice to our Lady’s chapel, abbey church of St. Alban’s. D 2. Entabla¬ 
 ture to the roodloft, St. David’s cathedral, Pembrokeshire. E 2. Entablature to chapter-house, 
 I ork cathedral. P 2. Entablature to doorway in south aisle of the abbey church of St. Alban’s. 
 
 G 2. Base in the nave. H 2. Base to columns of grand cloister, centre tower, and I 2. Base 
 in our Lady’s chapel. J 2. K2. L 2. and M 2. Capitals in the chapter house. This last example, 
 exhibiting one man pulling another by the beard is ridiculously termed by the church servants 
 (but with a malignant intent) “ a monk kissing a nun.” N 2. Capital in the nave, and 0 2. 
 Capital in the choir, York cathedral. 
 
 P 2. and Q 2. Corbels in our Lady’s chapel. R 2. Corbel to doorway in north aisle. S 2. T 2. 
 U 2. Y 2. and W 2. Corbels in chapter house, York cathedral. X 2. Corbel in chapel of the Nine 
 altars, Durham cathedral. Y 2. Corbel in Exeter cathedral. Our Lady with the infant Jesus; 
 angels censing. 
 
 Z 2. Rib, A 3. Profile, and B 3. Rib, in York cathedral. 
 
 C 3. Crocket in a sculpture in the ruins of the abbey church of Tintern, Monmouthshire. D 3. 
 Crocket, and E 3. Ditto at west interior, York cathedral. F 3. Crocket to the Lady Percy 
 monument, Beverly minster. G 3. Finial, and H 3. Ditto, Chapter-house, York cathedral. I 3. 
 Finial to the monument of Sir Richard Stapleton, Exeter cathedral. J 3. Grand finial to the Lady 
 Percy monument, Beverly minster. K 3. Female head, and L 3. Male ditto, (tortured by two 
 scorpions, one of which is tearing out the eye, the other the tongue of the sculpture ;) attached 
 to a canopy in chapter house, York cathedral. Moral; The first subject appears in a state of 
 punishment for infidelity, and the second for impure desires (eyes), and lascivious converse 
 (tongue). 
 
 Plate XXYII. 
 
 COMPARTMENTS, FOLIAGE, BOSSES, AND TILES. 
 
 A. Compartment in the spandril of the arched recesses in north aisle, Bristol cathedral. Hare 
 bearing a young dog on its shoulder; below, a goose. B. and C. Spandrils on each side the arch 
 of Upper Close Gate, Nor-wich. (Left,) St. George with sword and hand-shield, combating (right) 
 a dragon. D. and E. Compartments on the monument of Edmund Crouchback, Westminster abbey. 
 F. Compartment in spandril of arch-work of centre entrance into Exeter cathedral; angels 
 reposing. G. Compartment in the Lady Percy monument, Beverly minster. The figure represents, 
 
 1 See the whole Feast engraved in VoL II. of “Ancient Sculpture and Painting.” C. 
 
74 
 
 ORDER OF ARCHITECTURE IN THE REIGN OF EDWARD III. 
 
 (by the royal arms on the shield, and crown under the vizor of the helmet), Edward III. completely 
 armed. H. I. J. K. Ornamental points to the turns of arch in a monument, abbey church, 
 Rumsey, Hampshire. L. Foliage to a capital, to the entrance into west front of St. Mary’s abbey 
 church, York. M. Hand with foliage, holding a shield, on the point of the arches in chapter 
 house, Gloucester cathedral. N. Head enclosed within a circular wreath of leaves, in the spandrils 
 of arched recesses in the avenue to the chapter house; 0. P. and Q. Bosses in groins of York 
 cathedral. R. and S. Tiles for pavement to a chamber in one of the abbey gates, Glastonbury ; 
 (now Red Lion Inn). T. Tile, abbey church of St. Alban’s. U. Tiles, Abergavenny church, 
 Monmouthshire; monogram, I.H.S. and crown. V. Tile in the chapter-house, Gloucester cathe¬ 
 dral ; in shield, the instruments of the Passion. W. Combination of tiles (on which are the Warwick 
 arms) of a diamond form, in the monumental chapel of St. Mary Magdalen, abbey church, 
 Tewkesbury. X. Combination of tiles in four tiers, constituting a regular series of compartments, 
 with royal arms, crown, instruments of the Passion, &c. in the abbey church, Great Malvern, 
 Worcestershire. 
 
 Y. One of the windows in the chapter-house, York cathedral, from which edifice the rest of the 
 examples are also selected. The paintings are chiefly disposed in small compartments, filled with 
 religious and historical subjects, shields of arms, and surrounded by foliages. Z. Large circular 
 compartment. A 2. Smaller ditto. B 2. Centrical foliage. C 2. and D 2. Borders. E 2. Com¬ 
 partment in a southern window of chapter house. Those forms in four lines, have narrow slips of 
 painted glass in the centre, and leading on each side ; ditto with three lines, painted glass and 
 leading: ditto, with two lines, wholly painted glass. The compartment exhibits a personage 
 under a rich spire, praying to an angel. This example illustrates the general painting and 
 glazing of article Y. F 2. G 2. H 2. and I 2. Borders in the west window of the nave. J 2. 
 Compartment in north aisle of the nave; the form is architectural, in a rich pediment, &c.; the 
 subject, meeting of the two Marys, St. John attending: light foliage on the background. K 2. 
 Among the several figures of our kings, archbishops, and other illustrious personages painted in 
 the first tier of the great east window, (the entire performance of John Thornton of Coventry, 
 glazier, at the latter end of the fourteenth century,) is Edward III., from which the portrait, 
 constituting the present subject, is taken, and more immediately as it is in conclusion to the 
 Order of Architecture of the reign we have been illustrating. The likeness assimilates with 
 those of his statue in the choir screen of this cathedral, and that on his tomb in the abbey 
 church, Westminster. 
 
 As the greater portion of York cathedral is of the most choice and splendid work, executed 
 during the Edwardian sera, and where are remaining, in the best state possible, an almost inex¬ 
 haustible mine of paintings in the several windows, it will be found that the major part of them 
 contain, as in the preceding chapter-house example, small compartments and foliages; while in 
 other instances the spaces between the mullions are made out in large architectural designs, with 
 figures of the size of life, either single or grouped, according to the history represented. 
 
 Thus having gone through the leading features of the Order of Architecture in this reign, it 
 will suffice to observe, that the art was then in its highest degree of perfection; plans and 
 elevations on the grandest scale, proportions just, decorations ample and majestic, and the enrich¬ 
 ments splendid and beautiful beyond all former precedent. With regard to the different styles 
 practised in the succeeding reigns, time and ability on our part, and due encouragement to 
 prosecute this publication, can alone unfold. 
 
ALPHABETICAL INDEX 
 
 TO 
 
 THE ANCIENT ARCHITECTURE OF ENGLAND. 
 
 N.B .—The Roman numerals indii 
 Section, and D. for Details. The First 
 
 cate the Plates, and the Arabic figures the pages of the Work. 
 Part contains 79 plates, besides the engraved title and frontispiece. 
 
 V. for View, P. for Plan, E. for 
 and the Second Port 27 plates besides 
 
 Elevation, 
 the title. 
 
 S. for 
 
 Abergavenny castle, square and circular towers, Y. xlix. 42 • 
 tower near, P. E. D. lv. 45 ; doorway of Priory, lvi. 45 ; 
 window and piscina, lvii. lviii. 46 ; Priory, arches north side 
 nave, P. E. D. lsvii. 51. 
 
 Albans, St. remains of Roman wall, E. iv. 6 ; early specimens 
 from abb. cli. one division, north transept, and ditto nave, 
 P. E. D. xiv. 14 ; south side of great tower, E. I). ; tower on 
 transept, P. E. D. xvii. 16 ; parts of columns, xxxiii. xxxiv. 
 29, 30; attached columns, entrance, P. E. D. lxvii. 52 ; 
 recess in wall of nave, P. E, D. lxviii. 52. 
 
 -Part II. Cloister, interior, P. E. D. xii. 66; interior 
 
 nave, P. E. D. xiv. 67 ; division, south transept, doorway 
 choir, xx. 70 ; Piscina, xxiii. 71. 
 
 Ali.ington castle, P. and V. xlvi. xlvii. 40 ; arch of sewer, xlii. 
 37 ; chimney piece, lviii. 46 ; church, doorway, lvi. 45. 
 
 Allwalton cli. Huntingdonshire, capital, xxxiv. 30 ; one divi¬ 
 sion south side, xxxvi. 32; doorway, P. E. D. xxxviii. 34. 
 
 Altars, (Roman,) Northumberland, xi. 10, 11; Durham catli. 
 St. Bede’s, xxxii. 28 ; Hexham, lviii. 46 ; Durham, lxxvi. 56. 
 Part II. xxiv. 7 2. 
 
 Anglesea abbey, Cambridgeshire, arcade in, V. D. lii. 43. 
 
 Arches, East Dereham ; Micklegate bar, York; Hitcheudeu 
 church, Bucks; Southwell, xiii. 13; St. Alban’s, xiv. 14; 
 Peterborough, xv. 14 ; Stamford; Clerkenwell; Gloucester 
 cathedral, xv. 14, 15; Exeter castle, entrance, xvii. 16; Win¬ 
 chester cath. xxxviii. 34; xlii. 36; Ashby-de-la-Zoucli, chim¬ 
 ney-piece, xliv. 39; Wrotham chur. xlvii. 41 ; Bury St. 
 Edmunds, lx. 48; Dunchurch; Goodrich castle, lxv. 51; 
 Abergavenny, lxvii. 51. 
 
 Arthington chur. font in, P. V. D. xx. 19. 
 
 Ashby-de-la-Zodch castle, kitchen chimney-piece, xliv. 39 ; 
 interior, V. D. L\x. 53. 
 
 Axminster, doorway, P. E. D. xx. 18. 
 
 Baptistery, Luton, Part II. xxiv. 71. 
 
 Barfreston chur. windows, E. xxxi. lvii. 27, 46; parts of 
 columns, xxxiii. xxxiv. 29, 30. 
 
 Barnard's castle, Durham, recess and basin, xliv. 39. 
 
 Barneck chur. window, xliv. 39; font, lxxvii. 56. 
 
 Bath, fragments of a Roman temple, V. E. D. vii. viii. ix. x. 7, 
 8, 9. 
 
 Beaumont, Oxford, palatial remains, V. xlvii. 41. 
 
 Bedford, chapel at, East front, P. E. D. lv. 45. 
 
 Bedfordshire, Bedford chapel, at lv. 45 ; Luton, baptistery, 
 Part II. xxiv. 71. 
 
 Berkshire, Reading abbey, lxi. 48. 
 
 Brecknockshire, Crick-howell castle, xlix. 41. 
 
 Bridges ; Ouse bridge, York, P. Y. D. lxii. 49 ; Weston, 
 Huntingdonshire, lx. 48. 
 
 Bridgewater chur. doorway in porch, Part II. xx. 70. 
 
 Bristol, Redcliffe chur.north doorway, title to Part I.; described 
 Part II. page 71. 
 
 -cath. niche, xxxv. 31. 
 
 Brough, Derbyshire, Roman wall, V. iv. 5. 
 
 Broxburn chur. font, P. E. xx. 21. 
 
 Buckinghamshire, Hitchenden chur. arches, xiii. 13. 
 
 Bury St. Edmunds, arches in wall of abbey, V. lx. 4.8. 
 
 - Part II. Babewell priory gate, Y. viii. 64 ; 
 
 St. Petronell’s chapel, V. viii. 64. 
 
 Buttresses, lix. 47 ; lx. 48 ; Part. II. xxvi. 72. 
 
 Caldecot cast. P. 3 V. and D. li. 43; chimney-piece, Part 
 II. xxiii. 71. 
 
 Cambridgeshire, Anglesea abbey, lii. 43; Ely cath. xxxiv. 30. 
 
 Canterbury, stairs to Registrar’s Office, I’. E. D. xxix. 25; centre 
 aisle of ruined chur. P. E. D. xxix. 25 ; remains of St. 
 Ethelbert’s tower, P. E. D. xxx. 26 ; cathedral, parts of 
 columns, D. xxxiii. 29 ; recesses, xxxvi. xliv. 32, 33, 38 ; in¬ 
 terior, cath. east end, with undercroft, P. S. D, xxxvii. 33; 
 xxxviii. 34; avenue in cath. P. E. D. lii. 43; exterior of little 
 cloister, P. E. D. lxviii. 62; cath. exterior div. of choir, 
 P. E. D. lxxi. 54 ; St. Dunstan’s font, Part II. xxiv. 71. 
 
 Carisbrooke castle, gateway, V. xlvii. 40. 
 
 Castle Hedingham chur. circular window, xxxi. 27. 
 
 Castor chur. base of col. xxxiii. 29; gravestone, xxxix. 35. 
 
 Chair in Edward the Confessor’s chapel, Westminster, Part 
 II. vi. 62. 
 
 Chepstow castle, Martin’s tower, P. V. D. 1. li. 42, 43 ; door¬ 
 way, lvii 46 ; north side of first court, V. D. Ixiii. 49 ; east 
 entrance, P. V. D. ; west entrance, P. V. D.; towngate from 
 Monmouth, V. D. 1. 42. 
 
 Chichester cath. turret on south side, P. E. D. lx. 48; west 
 porch, P. E. D. lxx. 53 ; window, Part II. xxii. 71. 
 
 CinoLE of Stones near Winster, i. 1. 
 
 Cirencester, hypocaust, P. V. E. v. 6. 
 
 Clerkenwell, archway of nunnery, P. E. D. xv. 15 ; doorway, 
 xliv. 38. 
 
 Coffins, lix. 47; lxxvii. 56; and see Tombs and Monuments. 
 
 Colchester, St, Botolph’s priory cli. V. P. E. D. xvl 15. 
 
 Coleshill chur. Warwickshire, font, P. V. D. xxxii. 27. 
 
 Conduit, near Lautliouy abbey; P. V. D. Lx. 48. 
 
 Connington, font, xxxix. 35. 
 
 Connisborough castle, V. P. D. xxvi. 23. 
 
 Corbels, various, lLx. 47 ; Part 17. xxvi. 73. 
 
 Cornices, xxxv. 30; Part II. xxvi. 73. 
 
 Coventry, part of city wall, xlii. 37 ; Carthusian mou. hanging 
 buttress, E. profile; south side of priory, P. E. D. xliii. 37 ; 
 St, Mary’s-hall, doorway, xliv. 38 ; St. Mary’s-hall, chamber, 
 V. D. xlvii. 41 ; St. Mary’s-hall, kitchen, P. V. D. lxv. 51 ; 
 oak doorway in, Title; Part II.; east cloister, Whitefriars, 
 V. P. E. D. ix. 64. 
 
 Crick-Howell castle, great gate, V. D. xlix. 41. 
 
 Cromlech, near Winster, P. V. E. i. 1. 
 
 Crypts, Westminster abbey, xiii. 13 ; xliv. 38; Gloucester cath. 
 xvi. 15; castle at Newcastle, xxiii. 22; Canterbury cath. 
 xvi. 16 ; xxxvii. 33 ; Grantham church, lxviii. 52 ; Wells 
 cath. Lxix. 53 ; lxxvi. 56 ; Bishop’s palace, Peterborough, 
 lxviii. 52 ; Waverley abbey, lxix. 52 ; St. Stephen’s chapel, 
 Part II. xvii. xviii. 68, 69. 
 
 Daventry priory, doorway to crypt, xliv. 38. 
 
 David’s, St. circular window, lxxvi. 56. 
 
 Decorations and Enrichments, xx. 18, 19; xxxi. 27; xxxiii. 
 29; xxxiv. 30 ; xxxviii. 34 ; xxxix. 35 ; xliv. xiv. 38, 39 ; lvi. 
 45 ; lviii. 46 ; lxxvi. 56; lxxvii. lxxviii. lxxix. 56, 56, 57. 
 
 - Part II. v. 62 ; chair in West¬ 
 minster abbey, vi. 62 ; xx. 70 ; xxiv.-xxvii. 71-73. 
 
 Derbyshire, Brough, near C'astleton, a Roman wall, iv. 5. 
 
 Devonshire, Exeter castle, xvii. xlviii. 16, 41; cath. bishop’s 
 throne, Part II. xxiv. 72; bridge, and west gate, xlvi. 40; 
 Arthington chur. font, xx. 19; Axminster chur. doorway, xx. 
 18. 
 
 Doors, xxxv. 31 ; lxxix. 57. 
 
 Doorways, Durham ; Hunmanby ; Milborne-port; Essingtou, 
 xv. 15; Axminster, xx. 18; Essondine, xx. 19; Kenilworth; 
 Rumsey; Durham, bishop’s pal. xxxi. 27; Allwalton; Glouces¬ 
 ter cath. xxxviii. 34 ; Ketton ; Peterborough, cloister, xxxix. 
 35; Clerkenwell; Westminster, crypt; Coventry, St. Mary’s 
 hall; Westminster, basement, Court of Requests ; Daventry 
 priory, xliv. 38; Salisbury, cloister and close; Abergavenny; 
 Wells ; Leeds castle ; Chepstow castle ; St. Dunstan’s, 
 Canterbury; Westminster; Tintem abbey; Lanthony abbey ; 
 Laycock abbey ; Upton; Ayleverton, lvi. 45, 46 ; Dunchurch; 
 Salisbury; Dutling church ; St, Alban’s, abbey; Coventry, 
 lvii. 46; Stamford; Coventry; Durham; Winchester; Wells; 
 Rumsey, lxxvi. 56. 
 
 Doorways, Part II. Westminster, v. 62 ; Little Maplestead, x. 
 65 ; St. Alban’s ; St. Stephen’s chapel crypt; Bridgewater ; 
 York; Westminster, xx. 70; Norwich; York, xxi. 70; 
 Bristol, xxii. 71. 
 
 Dorchester, (Oxfordsh.) window, Part II. xxiii. 71. 
 
 Dorsetshire, Sherborne castle, xxi. 19; Sherborne minster 
 porch, xxv. 22. 
 
 Dunstable, priory ch. parts of columns, xxxiii. xxxiv. 29, 30 ; 
 west front, P. E. D. xl. xli. 35, 36. 
 
 Durham, doorway in cath. P. E. xv. 15 ; exterior and interior 
 divisions of nave, P. E. D. xviii. xix. 17, 18 ; chapel in 
 Bishop’s palace, P. S. D. xxvii. 24 ; altar of Venerable Bede, 
 V. xxxii. 28 ; Bishop’s installation chair, V. xxxii. 29 ; parts 
 of columns, D. xxxiii. 29; door, xxxv. 31 ; part of Galilee, 
 xlvi. 40 ; Bishop’s palace and cath. V. liv. 44; great kitchen 
 in monastery, P. V. D. lv. 45 ; chapter house and trausept, 
 V. D. lx. 48 ; altar lxxvii. 56 ; keeper’s hospital, V. Part II. 
 viii. 64 ; Lavatory in cloisters, xxiii. 71. See Barnard’s 
 Castle ; Lumley Castle. 
 
 Eaton Bray, font, P. V. xxxii. 27. 
 
 Ely cath. abacus, xxxiv. 30. 
 
 Enrichments and Decorations. See Decorations. 
 
 Essex, Colchester, St. Botolph’s priory church, xvi. 15; Fife- 
 field chur. Part II. xii. xxii. 66, 71; Maplestead chur. x. 65 ; 
 Waltham abbey chur. xiii 66. 
 
INDEX. 
 
 Exeter castle, entrance, Y. xvii. 16; old bridge, P. E.; west 
 gate, V. xlvi. 40 ; castle, sally port, V. xlviii. 41 ; Bishop’s 
 throne, P. E. Part II. xxiv. 72. 
 
 Farnham, Bishop’s palace, V. D. lxv. 51. 
 
 Fife-field chur. basement under window, P. E. D. Part II. xii. 
 66 ; window, E. xxii. 71. 
 
 Fonts : Ifley ; Broxboum, Arthington, xx. 19 ; Eaton Bray ; 
 Coleshill; Winchester cath. xxxii. 27, 28; Hexham; Upton; 
 Connington, xxxix. 35 ; Aldworth ; Ryton ; Wrotham ; 
 Staindrop; Shaftsbnry, xliv. 39; Long Compton; St. Michael’s, 
 Coventry, lviii. 47; Barueck; Hitchenden, lxxvii. 56; North¬ 
 ampton, Part II. xxiii. 71; xxiv. 71. 
 
 Gateshead chur. V. Part II. viii. 64. 
 
 Glastonbury, one division on the north side of St. Joseph’s 
 chapel, P. E. D. xxxvL 33; chimney-piece in kitchen, lviii. 
 46. 
 
 Glazing, and Painting of Windows, lxxix. 57. 
 
 Gloucestershire, Gloucester cathedral, xv. xvi. xxi. xxxn. 
 xxxiii. xxxviii. 15, 15, 19, 27, 29, 34. 
 
 Gloucester, cath. flying gallery, P. E. D. xv. 15 ; arches, 
 columns, in undercroft, P. E. D. xvi. 16; avenue to cemetery, 
 P. E. D. xxi. 19; piscina, xxxii. 27; parts of columns, xxxiii. 
 29 ; doorways, xxxviii, 3-1. 
 
 Goodrich castle, P. V. D. xlix. 42 ; arches in, lxv. 51. 
 
 Grantham, ch. crypt under, P. V. D. lxviii. 52. 
 
 Grave Stones, (and see Tombs,) xxxix. 35; Part II. xxv. xxvi. 
 72. 
 
 Hadrian’s wall, Northumberland, E. S. iv. 5. 
 
 Hampshire, Southampton, walls and water gate, xiii. xlvii. 
 xlviii. 13, 41; Winchester cath. xvii. xxxii. xxxviii. xlv. 
 lxxvi. lxxvii. 17, 28, 34, 39, 56 ; west gate, lii. 43. 
 
 Harbledon, column in chapel, P. E. D. xxix. 25. 
 
 Herefordshire, Hereford, St. Owen’s gate, xlvii. 41; Goodrich 
 castle, xlix. lxv. 42, 51. 
 
 Hereford, St. Owen’s gate, V. xlvii. 41. 
 
 Hertfordshire, St. Alban’s, Roman wall, iv. 6; abbey chur. 
 xiv. xvii. xxxiii. xxxiv. lxvii. lxviii. 14, 16, 29, 30, 52; Part 
 II. xii. xiv. xx. xxiii. 66, 67, 70, 71. 
 
 Hexham chur. piscinas, xxxii. 27 ; lviii. 46 ; font, xxxix. 35; 
 castle, inter, of entrance, V. D. liii. 43. 
 
 Hitchenden, ch. font, lxxvii. 56. 
 
 Holy Water Basins. See Piscinas. 
 
 Huntingdonshire, Allwalton chur. xxxiv. xxxvi. xxxviii. 30, 
 32, 34 ; Ramsey chur. xxxvi. 32; Weston bridge, lx. 48. 
 
 Iffley chur. font, xx. 19 ; parapet xxxv. 30. 
 
 Inscriptions, Roman, iv. vii. xi. 6, 8, 10. 
 
 Isle of Wight. See Carisbrooke. 
 
 Jewry Wall, Leicester, vi. 7. 
 
 Kenilworth, chamber in castle, V. xliii. 38 ; doorway of chur. 
 P. E. xxxi. 27. 
 
 Kent, Canterbury cath. xxxiii. xxxvi. xxxvii. xxxviii xliv. lii. 
 lxviii. lxxi. 29, 32, 33, 34, 38, 43, 52, 54; Part II. xxiv. 71; 
 registrar’soffice,xxix.25; ruined chur. xxix. 25; St. Ethelbert’s 
 tower, xxx. 26; Allington castle, xlvi. xlvii. 40; Leeds castle, 
 xlii. xlvii lvi. 37, 41, 45 ; Rochester cast, arcade, xxi. 20 ; 
 cath. parts of, xxxiii. xxxiv. xxxv. xxxix. 29, 30, 35 ; Tun¬ 
 bridge cast. lxi. 49; Wrotham chur. xliv. xlvii. 39, 41 ; 
 Barfreston chur. xxxi. xxxiii. xxxiv. lvii. 27, 29, 30, 46. 
 
 Ketton chur. entrance doorway, P. E. xxxix. 35. 
 
 Kirkham, priory gate, V. Part II. viii. 64. 
 
 King John’s cup at King’s Lynn, lxxviii. 56. 
 
 Knaresborough, St. Robert’s chapel, (Excavat.) P. V. lxvii. 
 52. 
 
 Lambeth palace, hanging buttresses, E. Profile, xliii. 38. 
 
 Lanohester, Roman inscriptions at, xi. 10. 
 
 Lancashire. 
 
 Lanthony abbey, doorway, lvi. 45 ; conduit, P. V. D. lx. 48. 
 
 Laycock abbey, doorway, lvi. 45. 
 
 Leeds castle, outworks, V. P. E. S. xlii. 37; gateway, P. E. D. 
 xlvii. 41; doorway, lvi. 45. 
 
 Leicestershire, Leicester, Roman remains; iv. vi. 5, 7; Ashby- 
 de-la-Zouch cast. xliv. Lxx. 39, 53. 
 
 Leicester, Roman column, and inscript. V. iv. 5 ; Jewry wall, 
 P. E. Y. vi. 7. 
 
 Lincolnshire, Grantham chur. crypt, lxviii. 52; Staindrop 
 chur. xliv. lxxvii. 39, 56; Part II. xxv. 72; Stamford, 
 St. Mary’s chur. xv. lxxiii. 14, 54; St. Leonard’s chapel, 
 xxiv. 22; St. George’s gate, xlvii. 41; Barneck, chur. and 
 house, xliv. lxxvii. 39, 56. 
 
 Llandaff cath. vestry, or chapter house, V. D. lxix. 53. 
 
 London, Aldgate priory, south transept, E. D. xvi. 16 ; div. 
 north transept, P. E. D. xxi. 20 ; west gateway, P. E. D. liv. 
 44 ; chapel in Tower, P. S. D. xxii. 20 ; St. Bartholomew the 
 Gt. north side choir, P. E. D. xxiii. 21 ; wall of Savoy palace, 
 xlii. 37 ; St. Helen’s ch. Bishopsgate, P. E. D. Ixiv. 50 ; ditto, 
 avenue, V. D. lii. 43; and see Westminster, Southwark, 
 Clerkenwell, and Lambeth. 
 
 Lumley castle, Durham, P. E. V. D. liv. 44. 
 
 Luton, baptistery, Part II. xxiv. 71. 
 
 Lynn, King John’s cup at lxxviii. 56; east gate, V. Part II. 
 viii. 64. 
 
 Malmesbury abbey chur. remains of west front, Part I. frontis¬ 
 piece; window. Part II. xxii. 71. 
 
 Maplestead church, V. P. E. D. Part n. x. 65. 
 
 Middlesex. See London, Westminster, and Clerkenwell. 
 
 Minglelow-Hill, near Winster, cromlech, i. 1. 
 
 Monmouthshire, Monmouth castle, lxi. 48 ; Chepstow castle, 1. 
 li. lvii. lxiii. 42, 43, 46, 49; towngate, 1. 42 ; Abergavenny, 
 xlix. 42; Tintern abbey, doorway, and windows, lvi. 45; 
 White castle, entrance, xlviii. 41. 
 
 Monmouth, remains of castle, P. V. D. lxi. 48. 
 
 Newcastle-upon-Tyne, crypt in castle. V. D. xxiii. 22; gate¬ 
 way towards Carlisle, V. D. liv. 44. 
 
 Niohes, xxxv. 31; lviii. 46; lxxvi. 53; lxxvii. 56; Salisbury, 
 old screen, lxxvii. 56. Part II. vi. 62; xxiii. 71; xxiv. 71 ; 
 xxv. 72. 
 
 Nine Ladies, near Winster, a circle of stones, P. V. E. i. 1. 
 
 Norfolk, Norwich cath. xxxv. 31 ; Part II. xxi. xxiii. 70, 71 ; 
 gateways, xlviii. 41 ; Lynn, King John’s cup, lxxviii. 56; 
 east gate, viii. 64; Thetford, St. Giles chur. viii. 64; East 
 Dereham, arches, xiii. 15. 
 
 Northamptonshire, Northampton, St. Peter’s chur. xxi. xxxiii. 
 19, 29 ; Part II. xxiii. 71; Daveutry priory, doorway, xliv. 
 38; Peterborough cath. xv. xxxiii. xxxv. xxxvi. xxxix. 14, 
 29, 30, 32, 35 ; ancient building near, lxi. 48; parts of 
 close, lxiii. 50; Bishop’s palace, crypt, lxviii. 52; Castor chur. 
 part of, xxxiii. xxxix. 29, 35. 
 
 Northampton, colonnade to St. Peter’s chur. P. E. D. xxi. 19; 
 parts of columns, xxxiii. 29 ; font, Part II. xxiii. 71. 
 
 Northumberland, Romau altars, xi. 10, 11; Hadrian’s and 
 Severus’s walls, iv. 6 ; Newcastle-upon-Tyne, castle, crypt, 
 xxiii. 22 ; Hexham chur. parts of, xxxii. xxxix. lviii. 27, 35, 
 46 ; gateway, liv. 44 ; castle, interior of entrance, liii. 43. 
 
 Northumberland and Durham, inscriptions and altars, V. xi. 
 10, 11. 
 
 Norwich cath. niche, xxxv. 31; gates and towers, taken down, 
 xlviii. 41 ; upper close, gateway, V. Part II. viii. 64 ; door¬ 
 way in cath. xxi. 70; lavatory, xxiii. 71. 
 
 Nottinghamshire, Nottingham, caves, xii. 12; castle, Mortimer’s 
 Hole, xliii. 37 ; Southwell, arches, xiii. 14. 
 
 Nottingham, caves in rocks at, V. P. D. xii. 12 ; Mortimer’s 
 Hole, V. xliii. 37. 
 
 Oxfordshire, Oxford, cath. xxviii. 25; Christ chur. cols, 
 xxxiv. 31; Merton coll, windows, Part II. xxii. xxiii. 71; 
 Beaumont, remains of palace, xlvii. 41 ; Dorchester chur. 
 ornamental window, Part II. xxiii. 71; Iffley chur. parts of, 
 xx. xxxv. 19, 30. 
 
 Oxford cath. division, north transept, P. E. D. xxviii. 25; 
 parts of columns, Christ Chur, xxxiv. 31; windows, Merton 
 coll. Part II. xxii. xxiii. 71. 
 
 Parapets, xxxv. 31; Part II. xxvi. 72. 
 
 Peterborough, cath. arch in cloister, xv. 14 ; capitals, recesses, 
 xxxiii. xxxvi. 29, 32 ; turret on cath. P. V. xxxv. 30, doorway, 
 cloisters, statues, Jic. E. xxxix. 35; ancient building near, 
 V. lxi. 48; gateway of close, V. south side of close, V. lxiii. 
 50 ; crypt in Bishop’s palace, P. S. D. lxviii. 52. 
 
 Piscinas, Gloucester cath., Rumsey, Great Gidding, Hexham, 
 xxxii. 27; lviii. 46; Egham, Hitchenden, Abergavenny, 
 lviii. 46; Salisbury, Glastonbury, lxxvi. 56; Coventry, 
 Malmesbury, St. Alban’s, Part II. xxiii. 71. 
 
 Pointed Architecture, application of the term “ Gothic ” to, 32 ; 
 description of first style of, 32. 
 
 Pontefraot castle, remains, V. xlvi. 40. 
 
 Raby castle, P. V. D. liii. 44 ; kitchen, P. V. D. xliii. 38. 
 
 Ramsey ohm - , one division on the south side, xxxvi. 32. 
 
 Reading, abbey gate, north side, V. lxi. 48. 
 
 Recesses, xxxvi. 32 ; xxxix. 35; Canterbury, xliv. 39; Bar¬ 
 nard’s castle, xliv. 39; lviii. 46; lxviii. 52; Part II. vi. 
 62. 
 
 Redcliffe church, Bristol; doorway, title to Part I.; page 71, 
 Part II. 
 
 Ribs of Groins, xxxv. 30 ; Part II. xxvi. 72. 
 
 Rochester, arcade in castle, P. E. D. xxi. 20; cath. parts of 
 columns, xxxiii. xxxiv. 29, 30; spandrils in nave, xxxv. 30; 
 lid of a tomb, xxxix. 35. 
 
 Roman Altars. See Altars. 
 
 Rumsey, doorway, P. E. xxxi. 27; piscina, xxxii. 27; columns 
 and recesses, xxxiii. xxxiv. xxxvi. 29, 30, 32; circular win¬ 
 dow, lxxvi. 56. 
 
 Rutlandshire, Tickencote chur. xxiii. xxxiv. lxxvii. 21, 30, 56. 
 
 Rye, Landgate, V. D. lii. 43. 
 
 Ryton church, window and font, xliv. 39. 
 
 Salisbury cath. doorways, lvi. lvii. 46; tomb, lix. 47 ; east 
 side cloister P. E. D. lxxi. 54; chapter house, one side exter. 
 E. D. lxxi. 54 ; cath. exterior division of nave, P. E. D. lxxii.. 
 54; inter-division of nave, P. E. D. lxxii. lxxiii. 54; west 
 front, P. E. D. Ixxiv. lxxv. 55; niche of screen, and monu¬ 
 ments to bishops Ayscough, lxxvii. 56, and Bingham, Part 
 II. xxv. 72. 
 
 Seats, Hereford cath. lviii. 47; Staindrop, lxxvii. 56 ; Durham 
 cath. Part II. xxiv. 72. 
 
 Severus’s wall, Northumberland, E. S. iv. 6; basso relievo 
 from, V. iv. 6. 
 
 Sherborne, castle, Dorsetsh. V. D. xxi. 19; Minster, Dorset, 
 porch, south side, P. E. D. xxv. 22. 
 
 Somersetshire, Bath, Roman remains, vii. viii. ix. x. 7, 8, 9; 
 Bristol oath, niche, xxxv. 31; Redcliffe chur. doorway, 
 Part IT., page 71; Cirencester, hypocaust, v. 6; Glaston¬ 
 bury, St. Joseph’s chapel, xxxvi. 33; abbot’s kitchen, 
 chimney-piece, lviii. 46; Wells cath. parts of, xliii. lvi. lix. 
 lxix. lxxvi. lxxix. 38, 45, 47, 53, 56, 57. 
 
 Southampton, walls at, V. xiii. 13; walls on river, V. xlviii. 
 41; Watergate, V. xlvii. 41. 
 
 Southwark, St. Mary Overy chur. interior of tower, P. E. D. 
 Part II. xi. 65; window in Bishop of Winchester’s palace, 
 
 Staindrop, chur. font, xliv. 39; seats, lxxvii. 56; tomb, Part 
 II. xxv. 72. 
 
 Stamford, archway in St. Mary's chur. P. E. D. xv. 14; west 
 front of St. Leonard’s chapel, P. E. D. xxiv. 22 ; St. George’s 
 gate, V. xlvii. 41; St. Mary’s ch. south front of tower, 
 P. E. D. lxxiii. 54. 
 
 Statues on Tombs, xxxix. 35. 
 
 Stonehenge, P. V. ii. iii. 2, 3; restored, P. E. iii. 3. 
 
 String courses, x xxiv. 30. 
 i St. Stephen’s Chapel. See Westminster. 
 
INDEX. 
 
 Suffolk, Bury St. Edmuuds, arches, Is. 48 ; gateway and St. 
 Petronell's chapel, Part II. viii. 64. 
 
 Surrey, Farnham, Bishop’s palace, Ixv. 51; (see Southwark ■) 
 Waverley abbey, lvii. Isis. 46, 52. 
 
 Sussex, Chichester oath. lx. lxx. 48, 53 ; Part II. xxii. 71 • 
 Rye, Landgatc, lii. 43; Winchelsea, circular tower and Land- 
 gate, xliii. 37, 38; monuments in chur. Part II. xxv. 72. 
 
 Thetford, St. Giles’s chur. V. Part II. viii. 64. 
 
 Tickencote chur. east end, P. E. D. xxiii. 21; ornamental 
 architrave, xxxiv. 30; tomb, lxxvii. 56. 
 
 Tintern abbey, doorway and windows, lvii. 46. 
 
 Tombs and Monuments, xxxix. 35; xlv. 39; li\. 47 • lxxvii 56 
 Part II. vi. 62; vii. 63; xxv. xxvi. 72. 
 
 Tunbridge castle, entrance gate, P. V. D. lxi. 49. 
 
 Turrets, xxxv. 30. 
 
 Upton church, font, xxxix. 35 ; doorway, lvi. 45. 
 
 Walls, iv. 5, 6; xlii. 36; xlviii. 41 ; lx. 48. 
 
 Waltham abbey chur. west front, (remains) P. E. D. Part II. 
 xiii. 66. 
 
 Warwickshire, Warwick castle, lxii. 49; gateway, xlvi. 40 ; 
 Coleshill chur. font, xxxii. 27; Coventry, St. Mary’s Hall’ 
 xliv. xlvii. Ixv. Title, 38, 41, 51 ; walls, buttresses, Sic. 
 xlii. xliv. Part II. ix. 36, 38, 64 ; Kenilworth castle, xliii. 
 38; church, doorway, xxxi. 27; Upton chur. xxxix lvi 
 35, 45. 
 
 Warwick castle, south aud east views, lxii. 49 ; gateway from 
 Stratford, V. xlvi. 40. 
 
 Waverley abbey, crypt, and windows, P. E. Y. D. lvii lxix 46 
 52. ' ’ 
 
 Wells cath. lavatory in cloister, P. V. D. xliii. 38; doorway, 
 lvi. 45 ; stone coffins, lix. 47 ; crypt under chapter house, 
 P. V. D. lxix. 53 ; doors to crypt, lxxvi. 56 ; ditto cloisters, 
 Ixxvi. 56 ; lxxix. 57. 
 
 Westminster abbey church ; arch of crypt, xiii. 13 ; foundation 
 wall S. xlii. 37 ; avenue to chapter house, P. E. D. lxx. 53; 
 doorway of crypt, xliv. 38; cloisters, exterior and interior, 
 P. E. D. Part II. i. xii. 59, 66 ; nave, north side, exterior and 
 interior, (and buttress), P. E. D. ii. iii. 60; south trans. 
 interior, P. E. D. iv. 61 ; doorways, v. xx. 62, 70 ; tombs of 
 John of Eltham, Sebert, die. vi. vii. 63 ; chair in Edward the 
 Confessor’s chapel, vi. 62 ; ornaments, v. vi. 62. 
 
 -St. Stephen’s chapel; plan, Ixvi. 51 ; south side, 
 
 interior and exterior, P. E. S. D. Part II. xvii. xviii. 68 69 • 
 existing parts of interior, P. D. xix. 69 ; doorway of crypt’ 
 
 ——————Palace; general plan, lxvi. 51; Painted chamber, 
 
 1. E. D. Ixvi. 51 ; doorway, lvii. 46 ; Court of Requests, 
 basement story, P. V. D. xliii. 38; doorways, xliv. lvii. 38, 
 4b ; Prince’s Chamber, P. E. D. Iv. 45 
 
 Weston bridge, P. E. D. lx. 48. 
 
 White castle, ontrance, V. xlviii. 41. 
 
 Wiltshire, Malmesbury, Part II. xxii. 71 ; frontispiece, Part 
 i.; Lay cock abbey, lvi. 45; Salisbury cath. lvi. lvii. lix. 
 lxxi. lxxii. lxxiii. lxxiv. lxxv. lxxvii. 46, 47, 54, 55 56 • 
 Part II. xxv. 72 ; Stonehenge, ii. iii. 2, 3. 
 
 Winchelsea, circular tower, V. xliii. 37; landgate, V. xliii. 
 38 ; monument, Part II. xxv. 72. 
 
 Winchester cath. interior div. north transept, P. E. D. xvii. 
 17; font, P. V. D. xxxii. 28; arches, xxxviii. 34; Rufus’ 
 tomb, xlv. 39; west gate, V. D. lii. 43; doorway, lxxvi. 56; 
 monument in cath. Lxxvii. 56. 
 
 Windows, circular, at Castle-Hedingham and Barfreston chur. 
 xxxi. 27; Ryton; Canterbury, St. Dunstan’s; house at 
 Bamcck, near Stamford, xliv. - 39; lvii. 46; Charlton, near 
 Malmesbury; Chepstow castle hall; Tintem abbey; White 
 Friars, Coventry; Barfreston; Waverley abbey; Aberga- 
 venny, lvii. 46 ; Margan abbey ; St. David’s, Bishop’s pal.; 
 ltumsey, lxxvi. 56 ; glazing and painting in Canterbury 
 cath. lxxix. 57 ; Fife-field ; Malmesbury; Chichester ; Oxford; 
 Mickleham chur. Surrey; Winchester palace, Southwark, 
 Part II. xxii. 71; Oxford, Dorchester chur. xxiii. 71. 
 
 Winster, circle of stones, P. V. i. 1 ; cromlech, P. E. Y. i. 1 ; 
 cell, V. xii. 12. 
 
 Wooton chur. part of chancel, P. E. D. lxviii. 52. 
 
 Wrotham chur. font, xliv. 39; avenue in, P. E. D. xlvii. 41. ' 
 
 Yorkshire, York cath. lx. 48; Part II. xv. xvi. xx. xxi. xxiv. 
 xxv. xxvi. xxvii. 67, 70, 72, 73, 76; arches and Ouse bridge, 
 xiii. 13; lxii. 49 ; Connisborougli castle, xxvi. 23. 
 
 Iork, arch of Micklegate bar, xiii. 13 ; cath. laver at Sacristy, 
 V. lx. 48; Ouse bridge, V. lxii. 49 ; cath. exter. nave, E. 
 Part II. xv. 67 ; inter, nave, P. E. D. xv. 67; xvi. 68 ; 
 double doorways, xx. xxi. 70; ditto St. Sepulchre chur. xxi. 
 /0; altar, xxiv. 72; niches, xxv. 72; top of buttress, xxvi. 
 73 ; Edward III. in painted window, xxvii. 74. 
 

 
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