Euuer (John) Delineations of Fontliill and its Abb* jUj 
 
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DELINEATIONS 
 
 OF v 
 
 FONTHILL 
 
 AND ITS 
 
 ABBEY. 
 
Tldta 8. 
 
DELINEATIONS 
 
 OF 
 
 FONTHILL AND ITS ABBEY. 
 
 BY JOHN RUTTER, 
 
 SHAFTESBURY. 
 
 PUBLISHED BY THE AUTHOR, SHAFTESBURY. 
 LONDON: 
 
 BY CHARLES KNIGHT AND CO. PALL MALL EAST; LONGMAN, HURST, AND CO. PATERNOSTER ROW; 
 HURST, ROBINSON, AND CO. CHEAPSIDE ; JOHN AND ARTHUR ARCH, CORM1ILL, &C. &C. 
 
 MDCCCXXIII. 
 
TO THE MOST NOBLE 
 
 SUSANNAH EUPHEMIA, 
 DUCHESS OF HAMILTON AND BRANDON, 
 
 MARCHIONESS OF DOUGLAS AND CLYDESDALE, Etc. Etc. 
 
 THE LUSTRE OF WHOSE DESCENT AND SUPERIOR PERSONAL ACQUIREMENTS, 
 
 IS ONLY EQUALLED BY THE 
 CREATIVE IMAGINATION AND DIGNIFIED TASTE 
 OF HIM, THROUGH WHOM SHE HAS DERIVED THE SPLENDID ENDOWMENTS 
 OF BIRTH AND FORTUNE; 
 THE FOLLOWING ATTEMPT TO PRESENT A FAITHFUL DELINEATION 
 
 OF 
 
 Jfontfjt'll mbe$, in tfje ©ountp of TOlts, . 
 
 WITH 
 
 ITS DOMAIN AND UNRIVALLED SCENERY, 
 IS, WITH PERMISSION, 
 
 MOST RESPECTFULLY DEDICATED 
 
 BY 
 
 THE AUTHOR. 
 
PREFACE 
 
 From the earliest hour that the interesting mansion which is the subject of 
 the following pages, became accessible to the world, the author felt a dawn- 
 ing ambition to prepare a description of it for the public eye. He made his 
 first attempt, amidst the hurry of the view, in 1822. Defective as it necessa- 
 rily was, it succeeded beyond the author's hopes ; and as it was impossible 
 not to feel that those who had visited the place would desire a more per- 
 fect record, and that those who had not, would gladly receive a more 
 satisfactory delineation, he pledged himself at the time to put forth all 
 his strength to execute it ; and, whatever the effort might cost, not to 
 stop short of its accomplishment. To redeem this pledge, he now pre- 
 sents himself before the public. 
 
 The satisfactory performance of his task (even to himself) he has found 
 to be much more difficult than he had anticipated ; not from any impedi- 
 ment thrown in his way by the late proprietor, or by the present possessor, 
 for their kindness and liberality have been unlimited and uniform ; not 
 from a want of patronage, for he has to make his acknowledgements to 
 a much larger body of nobility and gentry and friends than his most 
 sanguine hopes had dared to calculate upon ; but from the colossal mag- 
 
viii PREFACE. 
 
 nitude of the principal object, the endless number of its details, and the 
 inexhaustible stores of its precious contents. 
 
 From these causes, and stimulated by a desire to do his subject all the 
 justice in his power, his task, for many months, appeared to increase 
 rather than diminish. A more intimate acquaintance with the respon- 
 sibility he had undertaken, served but to convince him of the difficulties 
 of discharging it ; and the goal which he was endeavouring to reach, 
 receded in proportion to his exertions to attain it. Still, excited by 
 more than ordinary stimulus, he did not relax a moment ; and after 
 having availed himself of the assistance of the able artists who have pre- 
 pared his embellishments, — of the facilities of his neighbourhood to the 
 Abbey, whose doors were always open to him, — of all the materials 
 which the most unwearied industry could accumulate, — of the sugges- 
 tions and assistance of several ingenious friends, — and of a never-ceasing 
 aim at fidelity and truth ; he offers, with great diffidence, his volume to the 
 candid examination of his subscribers and the public at large. 
 
 The general arrangement, which he has adopted, he is aware is a little 
 different from that which is usual in works of this nature ; but as the 
 interest of Fonthill Abbey is not derived from any historical recollections, 
 nor is increased by its relation or connection with any object in its 
 immediate neighbourhood, the scanty materials furnished by preceding 
 centuries for an account of its Manor, Fonthill Gifford, appeared of too 
 uninteresting a nature to take their usual position in the van. He has, 
 therefore, placed them iu the Appendix, and proceeded immediately to 
 the principal part of his subject, giving it the most distinguished position, 
 and afterwards treating of the subordinate features and the details. 
 
 In doing; this, he feels he is following; the natural order of things. 
 What visitor could, with patience, search for the springs which give 
 
/ 
 
 PREFACE. IX 
 
 the place its designation, or commence with the long rides or shorter 
 walks, even in this demesne, when he knew that the noble doors of the 
 Western Hall were unfolded,— that he could rush into the Grand Octa- 
 gon, and tread the long perspective of the Galleries ? 
 
 The Author has therefore anticipated that the ardent amateur will 
 hasten on with him to the door of the Abbey ; and it is there, he pro- 
 poses, in the first place, to offer his services ; — to attend the visitor step 
 by step through the extensive series of apartments, in one continued 
 route, or linger among the furniture, the architecture, the paintings, or 
 the heraldry, as the curiosity or taste of the visitor may decide.* 
 
 The exterior of the Abbey, the dressed grounds, and the distant 
 scenery, will follow in succession. 
 
 Among the papers in the Appendix, he flatters himself that the notices 
 of the former mansions, and a short memoir on the origin and progress 
 of the present Abbey, will convey some novel and satisfactory infor- 
 mation. 
 
 One of the most pleasing parts of his duty is left for the Author 
 to discharge, and he regrets that it is not as easy as it is pleasing, — the 
 adequate expression of his acknowledgements and gratitude to those who 
 have so eminently assisted him in his labours. 
 
 Earliest in the list he must place Mr. Beckford. To him he owes the 
 first permission to visit the Abbey, at a time when the rarity of such per- 
 missions made it more than an ordinary favour. His kindness was con- 
 tinued through the agency of the Chevalier Franchi and the late venerable 
 
 * To facilitate this purpose, and to preserve perspicuity and order amidst the multifarious objects demand- 
 ing attention, the letter-press is so arranged that the general description may be read as an uninterrupted 
 narrative ; the details of Furniture, Architecture, Paintings, and Heraldry, are inserted in another type, under 
 their respective initials, in the rooms which contain them. 
 
 b 
 
X PREFACE. 
 
 Abbe M'Quin, up to the last hour of possession. The polite urbanity of 
 the former, and the obliging attentions of the two latter gentlemen, will live 
 long in his remembrance. 
 
 At the commencement of the present undertaking, the science of 
 heraldry was to the Author " a sealed book," and but for the prompt and 
 unreserved communications of G. F. Beltz, Esq. Lancaster Herald, it might 
 have so continued. But to that gentleman's general professional know- 
 ledge, was added the most accurate information as to the blazonry of the 
 Abbey, and from these stores the Author gratefully acknowledges he was 
 never sent away empty-handed. 
 
 To Sir Richard Colt Hoare, Bart, he is obliged for some valuable infor- 
 mation relative to the descent of the Manor of Fonthill Gifford, as well as 
 for other memoranda of interest and importance. 
 
 After the Abbey had changed possessors, the same advantage of free ac- 
 cess, and warm interest in the success of his projected work, that he had 
 experienced before the purchase by Mr. Farquhar, was uninterruptedly con- 
 tinued to him. For the facilities so afforded by Mr. Farquhar, enhanced as 
 they were by the personal civilities and friendly exertions of Mr. Phillips, 
 the Author feels himself greatly indebted. 
 
 To Stedman Whitwell, Esq. architect, of Grosvenor Place, he has to 
 acknowledge the obligation of very important professional assistance, 
 which has enabled the Author to give his work a character, that must 
 render it of the greatest utility to men of science and amateurs, as a book 
 of reference, in which all the architectural details of that remarkable build- 
 ing are now, for the first time, accurately analysed and described. 
 
 The zeal and ability with which the artists he has employed, have dis- 
 charged their respective duties, deserve his warmest praise ; their exer- 
 tions for his success were not confined to the mere letter of their engage- 
 
PREFACE. xi 
 
 merits, but were disinterestedly employed wherever it was considered 
 they could be serviceable. 
 
 The excellence of their individual productions he leaves, with confi- 
 dence, to the discrimination of his subscribers and the public, and he 
 now awaits, with an anxiety it would be hypocrisy to conceal, the expres- 
 sion of public opinion, and the decision of his patrons upon the volume 
 he has at length completed, and now lays before them. 
 
CONTENTS. 
 
 Page 
 
 Dedication v 
 
 Preface vii 
 
 Description of the Embellishments xvii 
 
 Chap. I. The Approaches 1 — 6 
 
 General aspect of the Demesne 1. London and Salisbury Road 2. Approach from Bath 4. 
 Road from Shaftesbury 5. 
 
 Chap. II. The Interior; General Description of each Apartment : its Furniture, 
 and Articles of Virtu; Paintings; Architectural Features, and He- 
 raldic Decorations 7 — 65 
 
 Introductory Remarks 7. Eastern Entrance 9. Southern Entrance Hall 9. Oak Parlour 
 10. Nelson's Turret 13. Western Corridor 13. Oak Library 14. Cedar Boudoir 15. 
 Anti Room 16. Anti Chamber 16. Eastern Corridor 17. Gallery Cabinet 17. Vaulted 
 Library 17. Chintz Boudoir 18. Latimer Turret 19. Vestibule of St. Michael's Gallery 
 19. Grand Saloon or Octagon 19. Western Vestibule 23. Great Western Hall 23. 
 Eastern Vestibule 27. Portal 27. Great Dining Room 29. Crimson Drawing Room 30. 
 Grand Drawing Room 30. Becket's Passage 31. Octagon Cabinet 32. Great Northern 
 Passage 32. Crimson Breakfast Parlour 32. Porcelain Room 32. Vestibule of King Ed- 
 ward's Gallery 33. King Edward's Gallery 33, 35, 36, 37. Vaulted Corridor 34, 36, 
 39. Sanctuary 35, 36, 39. Oratory 35, 37, 39. Lancaster Turret 40. Upper Lancaster 
 Room 40. Lancaster State Bed Chamber 40. Lancaster Anti-Chamber 41. Lancaster 
 Gallery 41. Tribune Room 42. Lancaster Staircase 43. The Duke's Bed Chamber 43. 
 
xiv 
 
 CONTENTS. 
 
 The Duchess's Anti-Chamber 43. The Duchess's Dressing Room 44. The Duchess's Bed 
 Chamber 44. Great Staircase Tower 44. North Western Arcade 45. Western Nunnery 
 45. South Western Arcade 46. Southern Nunnery 46. South Eastern Arcade 46. East- 
 ern Nunnery 46. North Eastern Arcade 47. Northern Nunnery 47. Platform of the 
 Great Staircase Tower 47. Central Tower 47. Observatory 48. Tower Gallery 48. Lob- 
 by of the Great Western Hall 48. Western Cloister 49. Fountain Court 49. Anti-Room 
 49. Gothic Cabinet 50. Terrace 50. Western Yellow Drawing Room 51. Eastern 
 Yellow Drawing Room 52. St. Michael's Gallery 52. Basement 59. Unfinished Apart- 
 ments 60. General Observations 61. Effect of the Grand Saloon 62. Remarks on the 
 Architectural Style of the Interior 63. Limited Domestic Accommodation 63, 64. Irregu- 
 larities of Style justified by example 64, 65. 
 
 Chap. III. The Exterior — General Appearance, Architectural Character, Names, 
 and Positions of the several Parts, Exterior Decorations, Appearances 
 from distant Points, Criticism 66—81 
 
 Introductory Remarks 66. General Survey 67. North Western Front 67. Western 
 Front 69. Southern Front 70. Eastern Front 72. Heraldic Ornaments of the Exterior 
 75. Distant View from the Barrier-Gate 77. From Bitham Lake 77. From the Beacon 
 Terrace 77. From the Extremity of the Western Avenue 78. From the Second Mile- 
 Post on the Terrace 79. General Remarks 79. Various Styles 79. Excellencies 80. 
 Completion of the Abbey 81. 
 
 Chap. IV. The Walk within the Barrier 82—91 
 
 General Recollections 82. Features of the Walks 83. Exhibit the true Spirit of English 
 Gardening 84. Most favourable time for the Tour 84. Southern Lawn 85. Its Boun- 
 daries and distant Prospects 85. View of the Abbey 85. Lower Terrace 85. Its Cha- 
 racter of Seclusion and Beauty 85. Hinckley Hill 86. Variety of Trees 86. Extensive 
 Prospects 86. Tower of the Abbey 86. Harmony of the general Design and Scenery 
 86, 87. Remarks on its peculiar and impressive Character 87. Lower North Walk 87. 
 Larch Walk 88. Clerk's Walk 88. Great Western Avenue 88. Observations on the 
 Perspective and Effect of the Avenues of Fonthill 88. Moonlight View of the Abbey 88. 
 Beacon Terrace 89. Its Variety of Trees and Shrubs 89. Bitham Vale 89. Beacon 
 Tower 89. Prospects 90. Bitham Slope 90. Bitham Lake 90. American Gardens 90. 
 Southern Lawn 91. Norwegian Hut 91. 
 
 Chap. V. The Walk without the Barrier 92 — 96 
 
 General Remarks 92. Variation of Style from inclosed Grounds 92. Beckford Arms Inn 
 93. View across the Valley 92, 93. The Old Park 93. Fonthill Giffbrd Church 93. 
 Prospects from this Walk 93. The Lake, Entrance Lodge, Fonthill Bishop 93. Downs 
 of High Park 93. The Rock Wood 93. View of the Lake 93. The Pavilion 93. Boat 
 House 94. The Lake 94. Ascent from the Landing place 94. Beauties of the Walk 
 and its views 94. Free stone Quarries 94. Fairies' Lawn 95. View of the Abbey and 
 intermediate Scenery 95. The Grottos 95. Springs from which the Domain derived its 
 name 95. Keeper's Lodge 95. Cromlech 95. Hermitage 95. Caverns 95. Return to 
 the Inn 96. 
 
CONTENTS. 
 
 XV 
 
 Chap. VI. Ride through the Domain 97 — 100 
 
 Introductory Observations, 97. Barrier 98. Bitham Lake 98. White Mead Wood 98. 
 Norwegian Lawn 98. The Beacon Hill 98. Descent to Stone-gate Barrier 98. Riddle- 
 moor Woods 98. Knoyle Corner 98. Great Terrace 98. Its features and prospects 98. 
 Gardens of the old Mansion 98. Cottages 99. Fonthill Bishop 99. High Park Lodge 
 
 99. Continuation of Route 99. Mount Pleasant 99. Little Ridge 99. Elevation near 
 the site of the whole Mansion 99. Views 99. Ashley Wood 100. Head of the Lake 
 
 100. Return to the Inn 100. 
 
 Appendix A. — Historical Notices of the Manor of Fonthill GifFord and of the former 
 
 Mansions 103—107 
 
 Derivation of the Names 103, 104. Description in Domesday Book 103. Descent through 
 Berenger GifFord 104. Sir Robert Mauduit 104. Richard Lord Moleyne 104. Sir 
 Robert Hungerford 104. Confiscated upon his attainder 104. Granted to Lord Wenlock, 
 and his subsequent forfeiture 104. Possession by the Mervyns 104, 105. Manor of 
 Fonthill de la Warre 104. Its union with Fonthill Gifford 105. The Estate passed by 
 marriage to the Earl of Castlehaven 105. His forfeiture 105. Granted to Sir Francis 
 Cottington 105. Seized by the Parliament, and given to President Bradshaw 105. Re- 
 covered by Lord Cottington, and sale to Alderman Beckford 105. William Beckford, 
 Esq. 105. Sale to John Farquhar, Esq. 105. Description of the first Mansion 105. Of 
 the Edifice erected by Lord Cottington 105. Sir Inigo Jones 106. Account of the 
 second Mansion 106. Its destruction by fire 106. New Mansion erected by Alderman 
 Beckford 106. Objectionable situation of the several Edifices 107. Advantageous site 
 of the Abbey 107. Its commencement and increasing attractions 107. Demolition of 
 the Mansion erected by Alderman Beckford 107. 
 
 Appendix B. — Memoranda of the Origin and Progress of Fonthill Abbey. 108 — 112 
 
 First dawning of Mr. Beckford's taste for Architectural Magnificence 108. Its early object 
 108. The attractions of the scenery round the site of the Abbey 109. Design ordered 
 to be prepared, in 1796, for a small building, to be called " The Convent" 109. Its exter- 
 nal requisites and character 109. The embodied idea causes further projects 109. The 
 Octagon designed 109. The general arrangement of the first design never abandoned 109. 
 The Western Entrance originally intended as a Refectory 109. No care for its durability, 
 or idea of making it a permanent residence 109. Materials used in the construction of 
 the first building 110. Extraordinary haste used in the erection 110. Destruction of the 
 first Tower by wind 110. Orders given for its re-erection 110. Expansion of the design 
 for " a Convent in Ruins" 110. Commencement of King Edward's Gallery 110. Visit 
 of Lord Nelson 110. Works suspended 110. Intention to abandon the old Mansion, 
 and an idea of converting " The Convent" into a residence, the occasion of their being re- 
 sumed 110. King Edward's Gallery and the Lancaster Tower completed 110. Design 
 ordered for a grand range of Towers 110. Erected and successively demolished 111. 
 Sanctuary and Oratory 111. Serious attention directed for the first time to the stability of 
 
xvi 
 
 CONTENTS. 
 
 the Edifice 111. Works surveyed, the timber and cement of the Central Tower condemn- 
 ed, and two Stone Towers ordered to be built 111. Removal to, and first designation of 
 " Fonthill Abbey" 111. Further additions required to the Abbey 111. New Towers and 
 Offices erected 111. Great Hall abandoned as a Refectory, and appropriated as a State 
 Entrance to the Chapel 111. Painted window 111. Chantry of ' ' Thomas a Becket" 111. 
 The " Revelation Chamber" 111. Designs for its Paintings by the late President of the 
 Royal Academy 112. The interior arrangement disturbed 112. The Oratory 112. East- 
 ern Transept erected 112. Its important effect 112. Arrangement of the intended 
 Offices 112. 
 
 Appendix -Genealogical Tables of William Beckford, Esq. . . 113 — 118 
 
 Introductory Remarks 113. First Table, Descent from the Mervyns 115. Second Table, 
 Descent from King Edward III. 116, 117. Third Table, Descent from William Lord 
 Latimer, Baron of Corby 118. 
 
 List of Subscribers 119 
 
DESCRIPTION 
 
 OF THE 
 
 EMBELLISHMENTS. 
 
 Plate I. — End of Chapter VI. 
 A Map of the Grounds which are enclosed by the Barrier, and of the more interesting 
 parts that immediately adjoin them — " The Approach," by the Salisbury and 
 London Road towards the Abbey, commences at Fonthill Bishop ; and travers- 
 ing the old Park, passes the Church and Inn at Fonthill GifFord, and entering 
 the new Plantations, proceeds to the Barrier Gate, from whence a winding road 
 of very considerable ascent leads to the Abbey. The "Walk within the Bar- 
 rier" commences a little eastward of the building, and then sweeps northward 
 to the western extremity of the boundary, from whence it takes a serpentine 
 direction to Stone Gate Barrier ; it then proceeds along the Great Western 
 Avenue and Beacon Terrace to the Beacon Hill, and returns towards the Ab- 
 bey through Bittern Vale to the American Grounds. The " Walk without the 
 Barrier " commences at the Inn, and skirting the old Park for a short distance, 
 crosses it down to the northern extremity of the Lake, and thence returns 
 through the Alpine Gardens towards the Inn. " The Ride" runs from the 
 Abbey to the Barrier Gate, and then turning westward, continues by a circuitous 
 route, and through Stone Gate Barrier, to Knoyle Corner; from thence it ex- 
 tends along the Great Terrace, beyond the limits of the Map, to the north and 
 east, and returning, winds round the head of the Lake to the road near the Inn. 
 
 II.— Page 7. 
 
 Plan of the Principal Story. — This gives at once a correct idea of the arrange- 
 ment of the principal floor of the edifice. In the centre is the Great Octagon, 
 and from it, in the direction of the cardinal points, run the four grand divisions. 
 The State Entrance is in the western limb, and in the side opposite to it is the 
 Eastern Transept, containing the rooms which were last fitted up. In the 
 northern branch are the Oratory, King Edward's Gallery, &c. and in the south- 
 
 c 
 
xviii 
 
 DESCRIPTION OF THE EMBELLISHMENTS. 
 
 era one is St. Michael's Gallery, leading to the With-Drawing Rooms, &c. The 
 references upon the plate, give the names and situations of the several rooms, 
 turrets, &c. 
 
 III.— Page 9. 
 
 Longitudinal Section, — Through the centre of the Tower, Galleries, &c. looking 
 east. In this plate, the Abbey is supposed to be divided in the direction of a 
 line, running north and south, and the part nearest the spectator removed. By 
 this means, the position of the stories and rooms over each other, is exhibited in 
 a much more clear and satisfactory manner, than can be done by plans only. 
 
 The lowermost range in the section, is that of the offices of the Basement. At 
 the western termination of it, are the Eastern Entrance and the Southern Hall. 
 
 Over this is the Principal Floor, and beginning on the left hand, we trace suc- 
 cessively the Oratory, the Sanctuary, the Vaulted Corridor, King Edward's 
 Gallery and Vestibule, the Grand Saloon or Octagon, the Vestibule of St. 
 Michael's Gallery — and St. Michael's Gallery itself, finishing in the South Oriel. 
 
 Immediately above the South Oriel, is the Gallery Cabinet, and (returning 
 northwards) the Eastern Corridor, the Anti-Chamber, the Vaulted Library, 
 the Chintz Boudoir : and continuing across the Octagon, we find a correspond- 
 ing room to the last, called the Tribune Room ; to this succeed the Lancaster 
 Gallery, the Lancaster Anti-Room and the Lancaster State Bed-Chamber. 
 Over this is the upper Lancaster Room. 
 
 In the Mervyn Tower, above the Tribune Room, are the Duke's Chamber and 
 another. There are also two chambers in each of the towers south of the prin- 
 cipal one. 
 
 Through the middle arch of the Octagon, is the Portal under the Music Gal- 
 lery, and above it the organ screen. In the arches of the sides, are two of the 
 celebrated painted windows. Over these principal arches is the Arcade of the 
 Nunneries, the northern and southern ones of which, and the chambers over 
 them, are exposed in the section. Above the Arcade is the series of circular 
 groins, carrying the Lantern, which is immediately over. 
 
 The stories above the Lantern are the unfinished apartments and frame work of 
 the tower. At the summit is the Star-chamber and Tower Gallery. Over them, 
 the mode of collecting the flues which are carried up the tower, into one common 
 centre shaft, may be observed. 
 
DESCRIPTION OF THE EMBELLISHMENTS. xix 
 
 IV. — Page 24. 
 
 Interior of the Great Western Hall, leading to the Grand Saloon or Octagon. — 
 The spectator is supposed just to have passed the State Entrance from the Wes- 
 tern Lawn. The windows on the right are filled with stained glass of a subdued 
 tone of colour. The niches opposite have crimson draperies. In the first from 
 the left in the plate, is the statue of the late Alderman Beckford. The door un- 
 der the farther window opens to the Cloisters, and the one at the far end beyond 
 to the sub-octagon. The other leads to the Great Tower Staircase. Through 
 the upper part of the Vestibule, may be seen the Nunnery Arcade, and in the 
 depth of the farther Vestibule, the Portal opening to the Crimson Dining Room, 
 the Music Gallery, and Organ screen. 
 
 It is from this point of view, that the extraordinary effect of the stained glass 
 of the Octagon is most powerfully felt ; but this it was of course impossible to 
 give the least idea of in the plate. 
 
 V. — -Page 30. 
 
 The Grand Drawing Room. — The door on the right hand leads to the Octagon 
 Cabinet. 
 
 VI. - Page 40. 
 
 King Edward's Gallery, looking across the Octagon into St. Michael's Gallery. — 
 This latter Gallery commences at the gothic doors ; over them is the Tribune 
 (now closed) of the Chintz Boudoir. In the extreme distance is the South 
 Oriel. 
 
 VII. — Facing the Frontispiece. 
 
 Interior of St. Michael's Gallery, looking across the Octagon into King Ed- 
 ward's Gallery. — In the Vestibule of the latter Gallery, is the balcony of the 
 Tribune Room, and beyond the Gallery, is the suite terminating in the 
 Oratory. 
 
 VIII. — Frontispiece. 
 
 Altar Piece. — This is of oak, and originally belonged to the Oratory. In the mid- 
 dle compartment stood an alabaster statue of St. Antony of Padua, by Rossi. 
 The paintings are by Stothard, and their subjects taken from the Book of Tobit ; 
 they are, 
 
XX DESCRIPTION OF THE EMBELLISHMENTS. 
 
 The capture of the fish by Tobias, at the command of Raphael the angel. 
 
 The banishment of Asmodeus, by the burning of the liver in the Marriage Chamber. 
 
 The return of Tobias and Raphael. 
 
 The supernatural disappearance of Raphael. 
 
 The shields are charged with the armorial bearings of Mr. Beckford. 
 
 IX. — Page 20. 
 
 Section of the Grand Saloon, Vestibules, Nunneries, &c, looking east. — 
 This is the middle and most interesting part of plate 2, drawn to a larger scale 
 for the purpose of more completely exhibiting that extraordinary apartment 
 the Saloon or Octagon, and the connection of the principal rooms with it. An 
 idea of its vast height (128 ft.) may be formed by comparing it with the figures 
 that are traversing the floor. 
 
 On the north, in succession over each other, are King Edward's Gallery, the 
 Tribune Room, the Duke's Room, and an upper chamber. Higher over the 
 Vestibule are the Northern Nunnery, and a bed room over. 
 
 On the south side, in the same order, are St, Michael's Gallery, the Chintz 
 Boudoir, and the two chambers of the Latimer Tower. 
 
 The elegant taste of the detail of the Music Gallery, the Organ Screen, the 
 Nunnery Arcade, and the Lantern, may be appreciated by the increased dimen- 
 sions of this plate. 
 
 X. — Page 60. 
 
 Specimens of the Ceilings. — These area few selected from the immense num- 
 ber; for there is not a ceiling of a finished room that has not its peculiar design; 
 Their forms are always architectural, and the heraldry, which is their principal 
 decoration, is in alto-relievo, and not emblazoned. 
 
 XL— Page 66. 
 
 View of the West and North Fronts, from the end of the Clerk's Walk.— The 
 general arrangement of the plan of the Abbey may be distinctly traced from this 
 view. The Centre Tower stands immediately over the Octagon, from which 
 diverge the four great arms or radii. 
 
 XII.— Page 70. 
 
 View of the South Front, from the Lawn. — In this view, the southern group of 
 towers, &c. in which is the dwelling part of the Abbey, occupies the fore-ground. 
 
DESCRIPTION OF THE EMBELLISHMENTS. XXI 
 
 Over it rises the central tower ; and diverging from it, are the western and eas- 
 tern limbs. The northern is of course concealed by the magnitude of the build- 
 ings, between it and the spectator. 
 
 XIIL— Page 90. 
 
 View of the West and South Fronts, from the Beacon Terrace. — In this view, 
 the general effect of the Abbey, as a grand architectural composition, its posi- 
 tion, and its connection with the surrounding scenery, are displayed. Hinckley 
 Hill is the planted eminence on the right. The valley in the middle ground slopes 
 down to Bitham Lake, and the American Gardens. 
 
 XIV.— Title Page. 
 
 An Achievement, charged with thirty-six of the principal quarterings, selected 
 from the genealogy of Mr. Beckford. The following are the names of the per- 
 sons or families to whom they appertained, and the heraldic description of 
 each coat. The names which are printed in small capitals, shew the actual mar- 
 riages, by which the remainder of the armorial ensigns were introduced. 
 
 1. Beckford, Parted per Pale Gules, and Azure, on a Chevron, Argent, between three Martlets, Or, an 
 
 Eagle displayed, Sable ; all within a Bordure of the fourth, charged with the royal double tressure 
 of Scotland,* flory and counter-flory of the first. 
 
 2. HeringI, Vert, on a Bend, Argent, a Cinque-foil between two Lions passant guardant, Gules. 
 
 3. Hamilton, Quarterly; first and fourth Gules, three cinque-foils, Ermine, pierced of the field, two 
 
 and one : second and third, Argent, a Lymphad with her sails furled up, Sable, for the title of Earl 
 of Arran, borne by the Family of Hamilton. 
 
 * The grant of the double tressure, under the authority of the Earl Marshal of England, registered in 
 the Heralds' College, bears date 20th March, 1810; and after reciting the grant of a previous patent, dated 
 August 11, 1791, whereby his arms had been placed within a bordure, Or, charged with a tressure flory, Gules, 
 as a memorial of his lineal descent from the blood royal of Scotland, and Mr. Beckford's extraordinary accu- 
 mulation of descents from royal and illustrious families, states that " in consideration of the same, and in 
 order to preserve the memory thereof, an augmentation to the bordure, so first assigned, of a double, in lieu of 
 a single tressure, was thereupon granted, to be borne by him and his descendants for ever according to the 
 laws of arms." — Gentleman s Magazine, 
 
 t " This quartering devolves to Mr. Beckford, as representative of his grandmother ( ex parte paternd) Bath- 
 shua, daughter of Julines Hering, of Jamaica, Esq. and sister and coheir of her brother Nathaniel Hering." 
 
 Gentleman's Magazine. 
 
xxii 
 
 DESCRIPTION OF THE EMBELLISHMENTS. 
 
 4. Leslie, Argent, on a Bend, Azure, three Buckles, Or. 
 
 5. Muir, Argent, on a Fesso, Azure, three Mullets of the field. 
 
 6. Abernethy, Or, a Lion Rampant, Gules, debruised by aBendlet, Sable. 
 
 7. Hugh, Earl of Ross, Gules, three Lions Rampant, Argent. 
 
 8. Alexander Comyn, Earl of Buchan, Azure, three Garbes, Or. 
 
 9. Saher de Quincy, Earl of Winchester, Gules, Seven Mascles conjoined, three, three, and one, Or. 
 
 10. Roger de Bellomonte, Gules, a cinque-foil Ermine, pierced of the field. 
 
 11. Mellent, Lozengy, Or and Azure. 
 
 12. Ralph de Gwadyr, Earl of the East Angles, Parted per Pale Or and Sable, a Bend, Vair. » 
 
 13. William FitzOsbert, Earl of Hereford, Gules, a Bend Argent, over all a Fess, Or. 
 
 14. Yvery, Or, three Chevronels, Gules. 
 
 15. Grantmesnil, Gules, a Pale, Or. 
 
 16. Rowland, Lord of Galloway, Azure, a Lion Rampant, Argent, ducally crowned, Or. 
 
 17. Morville, Azure, Semee of Fleurs de Lys, and fretty, Or. 
 
 18. David le Scott, Earl of Huntingdon, Or, three Piles, in the centre base point, meeting Gules. 
 
 19. Malcolm Canmore, King of Scotland, Or, a Lion Rampant, Gules, armed and langued, Azure, within 
 
 a double Tressure flory and counter-flory, of the second. 
 
 20. Saxon Kings, Azure, a Cross flory between five Martlets, Or ; the fifth in the centre base point. 
 
 21. Waltheof, Earl of Northumberland, Argent, a Lion Rampant, Azure, a Chief, Gules. 
 
 22. Aldred, Paly Barry-indented of Six, Argent and Gules, counter-charged. 
 
 23. Hugh de Kevelioc, Earl of Chester, Azure, Six Garbes, three, two, and one, Or. 
 
 24. Ralph de Gernons, Earl of Chester, Gules, a Lion Rampant, Argent. 
 
 25. Ralph de Meschines, Earl of Chester, Or, a Lion Rampant, Gules. 
 
 26. Hugh Lupus, Earl of Chester, Azure, a Wolf's head erased at the neck, Argent. 
 
 27. Algar, Sable, an Eagle displayed, Or. 
 
 28. Caithness, Azure, a Galley under sail, Or; the sails and pennons, Argent. 
 
 29. Sir James Douglas of Dalkeith, Quarterly ; first and fourth, Argent, on a Chief Gules, two Mul- 
 
 lets of the field : second and third, Argent, a human heart, Gules ensigned with an Imperial 
 Crown, Or; on a Chief Azure, three Mullets of the first, for Douglas Augmentation. 
 
 30. Douglas, Ancient, Azure, three Mullets in chief, Argent. 
 
 31. Craufurd, Gules, a Fess, Ermine. 
 
 32. Reading,* Argent, a Chevron between three Boars' Heads erased, Sable. 
 
 33. Coward,! Or, two Bars, Sable; the upper one charged with two, the lower one with one cinque- 
 
 foil, Argent. 
 
 * This quartering is peculiar to the Hamiltons of Abercorn ; but the former quarterings, No. 4 to 31 in- 
 clusive, are introduced by Hamilton of Arran ; and may be borne by the heirs of the different branches de- 
 scending from the Duke of Chatelherault. Mr. Beckford's maternal great-grandfather, James, 6th Earl of 
 Abercorn, married Elizabeth, daughter and heir of Sir Robert Reading, Bart, by Jane, Countess Dowager of 
 Montrath. 
 
 t Brought in by the maternal grandmother of Mr. Beckford ; namely, Bridget Coward, daughter and heir 
 of William Coward, of Wells, Esq. being the arms borne by John Coward, of West Pennard, in the county 
 of Somerset, Esq. 
 
DESCRIPTION OF THE EMBELLISHMENTS. xxiii 
 
 34. Hall, Sable, three Battle-axes, erect, two and one, Argent. 
 
 35. Besill, Argent, three Torteaux, two and one. 
 
 36. Beck ford as the First. 
 
 1. Crest of Beckford before the augmentation, viz. on a Wreath of the Colours, a Heron's head 
 
 erased, Or, gorged with a collar, flory and counter-flory, Gules ; in the beak a fish, Argent. 
 
 2. Crest of Beckford after the augmentation, viz. Issuant out of a ducal coronet, Or, an oak- 
 
 tree fructed, proper, the stem penetrated transversely by a frame-saw, also proper, inscribed with 
 the word '* Through," differenced by a shield pendant from a branch of the tree, charged with the 
 arms of Latimer, being, Gules, a cross-flory, Or. 
 
 This additional crest was assigned to Mr. Beckford, under the Earl Marshal's authority, to comme- 
 morate his descent from a coheir of the Abercom branch of the house of Hamilton ; and in 
 allusion also to his descent from William the 1st. Lord Latimer. 
 
 The Motto, 3U( Oif U COUt, was that anciently used by the Mervyn Family, who were in the 
 possession of Fonthill early in the sixteenth century ; and was adopted by Mr. Beckford, instead 
 of " Libertas et Natale Solum," the motto used by his father, the late Alderman Beckford. 
 
 XV.— Page 1. 
 
 View of the Lodge, at the entrance of the Old Park, Fonthill Bishop. — It is 
 through this arch, that the road from London and Salisbury and from Shaftesbury 
 to the Abbey, passes immediately on leaving the turnpike. From the current opi- 
 nion, that it was designed by Inigo Jones, it is usually called " Jones's Lodge." 
 It is certainly the oldest specimen of architecture upon the domain, and its 
 simplicity and proportions are very much in the manner of that distinguished 
 architect. 
 
 XVL— Page 6. 
 
 The Eastern Postern Tower, in the south-east quadrangle. — This is a part of the 
 Abbey itself, and the Postern at its base is the ordinary door of entrance. The 
 east Oriel and one of the painted windows of St. Michael's Gallery are seen in 
 the story above. 
 
 XVIL— Page 7. 
 
 Group of a few of the more interesting Articles of Virtu within the mansion. — In 
 the centre is a richly mounted Nautilus, on an ivory plinth, carved by Benvenuto 
 
xxiv 
 
 DESCRIPTION OF THE EMBELLISHMENTS. 
 
 Cellini. Next on the right, is an oriental china bottle, superbly mounted, said 
 to be the earliest known specimen of porcelain introduced into Europe. Be- 
 hind this is an enamelled Greek shrine, brought by St. Louis from Palestine. 
 The article at the extremity, is a gold Tazza, by Moiette and Auguste, 1793. 
 To the left of the Nautilus, is a vase of Hungarian Topaz, the largest of one block 
 ever known, magnificently decorated with enamels and precious stones; the ex 
 ecution of Benvenuto Cellini, and intended as a marriage present to Catharine 
 Cornaro. Beyoud this, is a chased silver gilt casket, the panels of which are 
 exquisite specimens of moss agates, jaspers, &c. It is from the Vatican. Upon 
 this stand three chalices of onyx, striated agate, and calcedony, of beautiful 
 workmanship, and at the end of it, is a massive silver candlestick. Beyond the 
 Nautilus, is an ivory vase finely executed ; and adjoining it one of the or-moulu 
 candlesticks, designed by Cellini: an exquisite bit of old japan stands upon a 
 few of the uniquely-bound volumes, which distinguish the Library. The pro- 
 portionate sizes of these objects with regard to each other have been carefully 
 preserved in the vignette. 
 
 XVIII.— Page 65. 
 
 The Silver-Gilt Lamp of the Oratory. — A beautiful specimen of refined taste and 
 successful execution. 
 
 XIX. — Page 66. 
 
 Corbel of the South Oriel. — This design, though in another style of composi- 
 tion, and different material, is marked with the same characteristics as the last. 
 The centre shield is charged with the armorial bearings of 
 
 Beckford quartering Hamilton and Arran, Coward, and Hall. 
 
 The left-hand one, with 
 
 Hall, impaling Mervyn, Squire, Green, and Latimer. 
 
 And the other with 
 
 Mervyn quartering Squire, and on an escutcheon of pretence, Green, Latimer, and 
 Besill. 
 
 XX. — Page 81. 
 
 The Fountain in the Court, near the Cloisters, called the Fountain Court. — It 
 is of large dimensions, and when in full play, in calm weather, produces a very 
 fine effect. 
 
DESCRIPTION OF THE EMBELLISHMENTS. XXV 
 XXL— Page 82. 
 
 A View in the American Gardens. — Glimpse of the Bitham Lake may be seen 
 in the bottom of the dell; and, rising from it on the opposite side, part of the im- 
 mense plantations which reach the Beacon. 
 
 XXIL— Page 91. 
 
 The Norwegian Hut. — A block house of a tasteful character, planted on a little 
 lawn, hemmed in by pines, larches, &c. on the southern base of the Beacon 
 Hill, as a retreat in bad weather. 
 
 XXIIL— Page 92. 
 
 A Scene in the Alpine Gardens. — The exhausted quarries in this part of the 
 Estate are numerous, and full of the most picturesque effects. The neglect of 
 this part by the late possessor, has considerably improved the appearance of these 
 excavations. Nature has rioted with unchecked luxuriance, and every fissure 
 throws out its wild flowers in profusion. 
 
 XXIV.— Page 96. 
 
 The Boat-house and Bath at the northern extremity of the Lake in the Old Park. 
 A spot long abandoned, but retaining marks of the correct taste of the de- 
 signer. A short canal between the middle piers leads to the circular bath, round 
 which is a broad path and pilastrade, carrying a groined vault. In a large 
 niche at the further end, is a group of rocks ; over which runs one of the 
 springs which feed the Lake; smaller niches in the wall serve as seats. The or- 
 naments are characteristic, formed of icicles, &c, but nothing can be more 
 beautiful than some of the pale green weeds which now drop from the capitals, 
 and hang down from the walls. 
 
 XXV.— Page 97. 
 
 Fonthill Gifford Church Erected by the late Alderman Beckford, in lieu 
 
 of the ancient church, which stood within the park. The summit of the Abbey 
 tower is seen in the distance. 
 
 XXVI.— Page 100. 
 
 High Park Lodge. — This is at the northern extremity of the Estate, and com- 
 mands a grand view of the landscape scenery to the south, greater part of 
 
 d 
 
xxvi 
 
 DESCRIPTION OF THE EMBELLISHMENTS. 
 
 which is occupied by the woods and water of Fonthill ; from amidst the 
 highest plantations of which, the Abbey rises in proud pre-eminence. 
 
 XXVIL— Page 103. 
 
 The Pavilion, in the Old Park. — It belonged to the House which was taken 
 down in 1808, and the site of the corresponding one is marked by some planta- 
 tions. The church in the distance is that of Fonthill Gifford. 
 
 XXVIII.— Page 108. 
 
 The Convent. — An elegant little design by the late James Wyatt, Esq. This was 
 the first idea of any building on the site of the Abbey, and is the germ from 
 which it has spread to its present magnitude. 
 
THE ENTRANCE GATEWAY AND LODGE, NEAR FONTHILL BISHOP. 
 
 CHAPTER I. 
 
 Before we enter upon a delineation of Fonthill and its Abbey, it appears to 
 us that we ma} 7 with propriety devote a few pages to a rapid and very general 
 description of the appearances which it presents to the traveller, in his ap- 
 proach to it on the three roads from London, from Bath, and from Shaftes- 
 bury. 
 
 The principal aspect of the country in the neighbourhood of Fonthill is 
 supplied by that peculiar feature of English landscape, Downs. The greater 
 
 B 
 
5fi APPROACHES. 
 
 part of the demesne of the Abbey itself must have been, within a period 
 comparatively little remote, of this character. Its bold undulations are now 
 chiefly covered with woods, and its pastures have lost that " russet " tint, 
 which denotes the absence of cultivation ; — but it is still evident that the 
 reign of art has not obliterated the traces of its affinity to the neighbouring 
 hills; and we yet perceive that the hand of improvement is still working its 
 great but silent changes. 
 
 The first glimpse which we catch of Fonthill on the road from London, is on an 
 eminence about four miles previous to entering the city of Salisbury. Looking 
 across the barren plain and over a wooded country beyond, we see an object of 
 extraordinary height and magnitude, rising out of the side of one of the highest 
 hills on the horizon. It is the tower of the Abbey, at a distance of twenty 
 miles. This object, from the windings of the road, is then lost, with the excep- 
 tion of one glance, till we have passed through the town of Wilton, and several 
 pretty villages, to within seven miles of Hindon. It now bursts occasionally 
 upon the anxious eye, shrouded at intervals by projecting masses of wooded 
 scenery, or shut out by the hedge-rows of the narrow road. At length, as we 
 ascend the hill of Chilmark, we obtain a grand and uninterrupted view of the 
 Great Tower, and the heads of the inferior turrets soaring above the firs by 
 which they are surrounded. We pause, to contemplate the extraordinary 
 object which presents itself. At our feet is a fertile little vale ; and the spire 
 of a village church, rising out of elms of a century's growth, offers a pleasing 
 and not unpastoral contrast to the proud giant of the neighbouring hills. 
 Across this valley is an abrupt ridge, clothed with trees, which boldly termi- 
 nates the view on the right — on the left is the finely wooded elevation of the 
 neighbouring demesne of Compton House ; and through this opening again rise 
 the towers of Fonthill. The form of the hill on the side of which the Abbey 
 stands, is certainly not picturesque ; the horizontal line on either side is grand 
 
APPROACHES. 3 
 
 and sweeping ; but this, the most important pari, rises into an un pleasing cone, 
 as formal and graceless as can be imagined. 
 
 We now entirely lose the view of the Abbey, til] we arrive within a mile 
 of Fonthill Bishop. We have reached the top of a very long and steep hill, 
 and from this point the prospect is truly magnificent. The ridge, which at 
 Chilmark formed the right of the picture, is now the left in the composition ; 
 this carries us to the Beacon Hill, and thence to Hinckley Hill, on the side 
 of which the Abbey stands; beneath is the wood of the Old Park, with a 
 glimpse of the Lake ; and beyond is the Terrace, stretching onwards till its 
 plantations are lost in its distant descent ; the whole forming one of the most 
 grand and imposing masses of woodland scenery which the imagination can 
 picture. We can now plainly distinguish the octangular shape of the Great 
 Tower ; and the summits of the eastern turrets, for the first time visible, give 
 us some idea of the relative proportions of this extraordinary building. 
 
 At various turns of the road, as we approach the village of Fonthill Bishop, 
 the towers of the Abbey present some very remarkable appearances, which 
 are calculated to excite an overwhelming curiosity, and gradually prepare the 
 visitor for the scene of magnificence which he is eager to contemplate. At 
 length we pass through a part of Fonthill Bishop, and reach the Entrance- 
 lodge, by a sudden turn of the rod. We are within the Old Park, and near 
 the site of the late mansion. 
 
 The Entrance-lodge is a building of considerable elegance. Tradition 
 ascribes its design to Inigo Jones, and the tradition certainly does no discredit 
 to that great master of English architecture. The wood-cut at the head of 
 this chapter, presents a faithful and spirited representation of this interesting- 
 object. 
 
 The road from the Lodge through the Old Park is a public one ; and tew 
 roads to which the public have a right of access possess greater beauty. On 
 
4 APPROACHES. 
 
 our left is a delightful lake, whose further bank is a bold elevation called the 
 Alpine Gardens, covered with foliage of the most rich and varied character. 
 On the right is the remaining wing of the former mansion, backed by a gentle 
 undulation, which leads to the higher hills surrounding the Abbey. We con- 
 tinue our course till an easy ascent conducts us, amidst scenes of exquisite 
 beauty, to the Inn called the Beckford Arms. We here quit the public road, 
 and enter the more recent plantations. Every variety of shrub surrounds us, 
 from the stately cedar to the graceful laburnum, and the windings of the road, 
 and its diversities of surface, excite the most agreeable expectations of the 
 scenery to which we are approaching. The Barrier-Gate is at length 
 reached ; and here the Abbey presents one of its grandest appearances. We 
 do not see its base; but we see enough to judge of its extraordinary alti- 
 tude, — and the richness of its ornament and the magnitude of its proportions, 
 produce their full effect upon the mind of the astonished stranger. There are 
 few points from which the great features of the building may be more advan- 
 tageously contemplated. 
 
 The road from Bath presents Fonthill to our view, under somewhat different 
 features. The principal object seen of the demesne, is that fine elevation, cal- 
 led the Terrace ; and beyond this, the towers of the Abbey rise out of " a sea 
 of pines" of extraordinary magnificence. The line of the horizon is here alto- 
 gether grand and impressive; and the elevation of the building is distinctly 
 and adequately felt. These appearances are presented upon a down, about 
 two miles from Hindon, which we reach after two or three undulations of the 
 road. Turning on the right in the centre of the town, and passing several 
 ridges, we reach the Terrace. We do not cross this, but go through the tunnel, 
 which has been constructed to avoid the steep ascent, and afford privacy to 
 this part of the grounds. We pass a little vale of singular beauty, and reach 
 
APPROACHES. 
 
 5 
 
 the Barrier, by the side of which we descend by a steep road for a short dis- 
 tance. We leave the picturesque cottages of the village of Fonthill Gifford, 
 and ascend a deeply excavated road, till we reach the church. Our route soon 
 terminates at the Beckford Arms. 
 
 The next picturesque approach to the Abbey, appears to us to be that of 
 one of the roads from Shaftesbury. The scenery on this ride is uncommonly 
 bold and romantic. The eye occasionally ranges over an immense valley, ter- 
 minated only by the tower of Glastonbury ; or meanders from hill to hill, 
 grouped as it were by the sportive hand of nature, in the wildest and most fan- 
 tastic arrangement. Having skirted the seat of Mr. Benett, we come upon the 
 public road, which commenced at the Entrance Lodges. We pass some cas- 
 tellated cottages, which Mr. Beckford had erected, called Castle-town ; 
 and, as we descend the hill, the Abbey occasionally presents itself under 
 the most favourable circumstances. The general view is much the same as 
 that of the Barrier-Gate, but from our greater elevation, we occasionally behold 
 the building almost to its base, and we are correspondency impressed with 
 a deeper sense of its extraordinary proportions. The views upon this ap- 
 proach are altogether very varied and impressive ; and the ride will amply 
 compensate for the bad roads which have opposed our progress to Castle- 
 town. 
 
 Having passed the Barrier-Gate, we are within that portion of Fonthill from 
 which the world was, for so many years, so rigidly excluded. Our road to the 
 Abbey lies up a very tiresome ascent, with an impenetrable wall of foliage, 
 once only relieved by the exquisite prospects of the distant country. On our 
 left, are the American Gardens and the Bitham Lake ; on our right, the road 
 to one of the other entrances through the Barrier. We at length reach the 
 table-ground, upon which the Abbey stands. Our admiration is divided be- 
 
6 APPROACHES. 
 
 tween the magnificence of the building, and the beautiful scenery by which it 
 is surrounded. But a natural and irresistible feeling carries us forward to the 
 Interior, and we enter beneath the Oriel window of the Eastern Postern 
 Tower. 
 
 THE EASTERN POSTERN TOWER. 
 
IF'DHTlfOILIL A ■BIBS*. 
 
 late, 
 
 — The Great Western. Ball. 
 
 _ Saloon, or Octagon, 
 
 — Vaulted, Corridor. 
 
 _ Eing Edwards tro.lltry.. 
 
 _ Sanctuary. 
 
 _ Oratorxt ._ 
 
 — S? Michaels &allcru 
 
 — Yellow With.ira.wuig rooms. '. 
 
 _ Gothic Cabinet.... .". 
 
 _ Great Mining Roo?n ._ 
 
 Crimson. Urav/ino Hooza* 
 
 — The Grand Drawing Room,. 
 
 _ Crimson Breaimst Eailour. ' 
 
 — South, Cloisters. 
 
 _ Staircase to Eimneries, and top of Tower 
 _ Zancaster Staircase.. .. 
 
 — Porcelain Rootn 
 
 _ Statue of ' JKJemian, Eecfavra\ 
 
 -Fountain _ 
 
 —West Cloisters. 
 
 ' — The Octaoon Caiinet.. 
 
 4& 
 
 1 1 
 
 l 
 I 
 
 ^.-Lancaster Turret _ 
 
 'h -Vestibule to Xing Edwards Gallery... . 
 
 C-Eastern VestHztle. _ 
 
 iL-Yestiiule to Michaels Gallery. 
 
 e -Western. Vestibule 
 
 f ^Entrance to Eunneries Staircase 
 
 g-Iatuner Turret. _ 
 
 ii_ Caiinet Staircase. 
 
 i -Nelson's Turret. , 
 
 k-fosiaon of Eastern Ecstern. 
 
 \-Beckets Ea/sage 
 
 ia..Ebrthem Pafsagc. 
 
 KITCHEN COURT 
 
 SOUTH EAST QUADRANGLE 
 
 2 t....i J f *f 3 \ *f ' J ? °f 7 f IJ i 
 
 w feet. 
 
 F]L AH OF THE MlNClPATi STORY. 
 
 Engraved, lg J. CUahen 
 
 liiblU/icd June 2 "-/iSiS. Iw J. Butter. Sha/lsbury. 
 
A GKOUFE OF THE RAREST ARTICLES OF VIRTU. 
 
 CHAPTER II. 
 
 €t>e interior. 
 
 The visitor to the Interior of Fonthill Abbey will probably at first be surpris- 
 ed by the modest pretensions of the entrance, through which he is ushered 
 to scenes, in the anticipation of which he has most likely thrown the reins 
 upon the neck of his imagination, and indulged it with unwonted licence. 
 There is, however, a State-entrance on the other side of the Abbey, which 
 will be found more in keeping with his preconceived notions of gran- 
 
8 FONTHILL ABBEY. 
 
 deur and magnificence; but the object proposed and obtained by entering at this 
 Postern is, that the visitor may be conducted step by step towards the grand 
 architectural features of the Abbey, and by thus gradually developing its most 
 remarkable beauties, leave the mind ultimately to repose with a complete 
 feeling of satisfaction on the scenes of splendour, that have been prepared for 
 its gratification : by this route, we avoid astonishing the spectator, by a too 
 sudden display of the colossal dimensions and unparalleled magnificence of the 
 Abbey; a precaution, the neglect of which might produce a sensation of com- 
 parative indifference with regard to the minor beauties of the place ; and some- 
 thing like dissatisfaction with the succeeding objects of ordinary magnificence. 
 
 The principle thus adopted, appears to us most consonant with those rules of 
 art, which should apply as well to architecture as to poetry and painting. It 
 is indeed desirable to produce an effect of surpassing delight and wonder, but 
 then the effect should be kept up. The great attractions of the edifice are 
 now judiciciously husbanded, till many of the other apartments have been 
 passed ; inferior indeed to those unequalled portions, upon which the fame of 
 the Abbey must mainly rest, but quite beautiful and brilliant enough to satisfy 
 abundantly the ardour of a first curiosity. 
 
 In thus preferring a climax of agreeable and lofty sensations, to one over- 
 whelming burst of amazement ; we are preferring a continuous to a sudden, and 
 from its intensity, necessarily an evanescent pleasure ; and we sincerely think, 
 that the ultimate effect of those extraordinary objects which were formerly ad- 
 dressed to the absolute bewilderment of our first impressions, is not in the 
 slightest degree weakened by their present gradual developement. 
 We are therefore introduced to the Interior, by 
 
THE INTERIOR. 
 
 9 
 
 I. ®t)t iSastent iSntrance, 
 
 a small room, the common entrance, and a link of communication between 
 the principal apartments and the offices. We turn to the left and descend 
 into 
 
 n. €W goutf^rn ^Entrance $all ; 
 
 an oblong apartment, scantily lighted, but of superior decoration, and en- 
 tirely in the gothic style. The folding doors open upon the southern lawn, 
 and the arch they close forms a massive frame to the wooded vale of Wardour 
 Castle, and the distant hills beyond. In the centre of one of the compart- 
 ments of the ceiling is the portcullis, and royal crown, the badge of Henry 
 VII., from whom Lady Margaret Beckford was descended. The gothic 
 entrance from this hall, looking back, presents an elegant " morceau" of 
 architectural composition. The succession of the arches of the ceiling, the 
 doorways, and the chimney-piece, diminishing as they recede, as well as the 
 ascent of the floor, produce an artificial perspective, the effect of which is 
 greatly heightened by a mirror, judiciously placed on the mantle ; this carries 
 on the architectural vista and repeats the landscape. 
 
 A. The ceiling is vaulted, and divided into two groined compartments, by 
 a broad arc-boutant in the middle. The piers and soffite of this arc are covered 
 with two tiers of tall trefoil-headed reticulations ; the groined compartments 
 are square, their diagonal mouldings having columns in the angles, from which 
 spring mouldings which run along the groins and cross at the centre— similar 
 mouldings mark the vertices of the arch ; bosses of foliage and fruit, one of 
 them carrying an heraldic ornament, cover the intersections. 
 
 The floor is paved with squares of Portland stone truncated at the angles, 
 and the spaces filled with small lozenges of black marble. The walls and 
 ceiling have been jointed to represent stone, but part of the former have been 
 injudiciously coloured pink. The splayed jambs of the northern doorway are 
 
 c 
 
10 
 
 FONTHILL ABBEY. 
 
 large, and filled with columns and astragals, separated by deep hollows. In 
 those of the southern door the columns are omitted. The heads of these 
 doorways and the curves of the ceiling are of the low pointed kind, but the 
 window and western door have square heads ; the mouldings also of these have 
 been carelessly designed. 
 
 Dimensions, 27 ft. long, 18 ft. wide, 13 ft. high. 
 
 The scarlet door and the oak ones beyond it belong to 
 
 in. Wbt #aft ^atiour, 
 
 a very handsome room, so called from the oak with which its walls are 
 fitted up, the deep colour of which blends finely with the dark damask blue 
 and scarlet of the curtains, and sobered hues of the tapestry. A cloister or 
 arcade of the most elegant pointed style affords shade and protection to the 
 southern windows. Its piers divide the grand landscape before them into 
 pictures of varied beauty. In one, the misty distance is the principal feature ; 
 in another, the deep sunken middle ground of wood embosoming the Bittern 
 Lake ; while others present the sloping lawn, which peacocks of the most 
 dazzling whiteness, or hares in playful confidence, alternately possess, as the 
 day advances or declines. Others again are occupied by the groups of trees 
 which form the fore-ground and the lateral boundaries of the scene. The 
 western windows are placed in the sides of a polygonal termination of the 
 apartment, and look out upon another part of the lawn. 
 
 One of the large pieces of tapestry is a Sylvan feast of the Gods; the 
 other a regal sacrifice to Apollo. The smaller ones are of little interest, but 
 of different degrees of merit. 
 
 The figures in painted glass in the heads of the windows are small whole 
 lengths of some of the most distinguished personages of Mr. Beckford's 
 ancestry. Twelve of them are kings, crowned, sceptered, and robed ; and 
 
THE INTERIOR. 
 
 11 
 
 twenty knights in emblazoned armour, most of them of fine design and beau- 
 tifully coloured. 
 
 The general effect of this apartment is rather un pleasing, from a want 
 of proportionate height in the ceiling and windows ; from a deficiency of 
 harmony between the cold pink ground and pale yellow mouldings of the 
 ceiling, compared with the warm and rich colour of the wainscoting of the 
 walls ; and from a discrepancy in the style of this wainscoting, and the 
 pointed heads and tracery of the windows. There is also a cross light which 
 destroys all the repose and quiet of the room. The three western windows 
 should have been omitted, or their light so much subdued as to have been 
 very subordinate to the five southern ones. 
 
 F. A double suite of curtains furnishes each window ; the external ones 
 of purple silk damask, bordered with the royal tressure of Scotland, as 
 indicative of royal descent ; the inner ones of scarlet moreen. On the south 
 side are two dwarf bookcases, on which, and round the chimney mirror, are 
 some specimens of bold carving in oak. At the east end are two tables of 
 Sienna marble. In the piers, between the windows on the southern side, 
 are girandoles of fine design and workmanship, from Fontainbleau. Oak 
 branches, horns, deers' feet, and other emblems of hunting, are introduced 
 into their design. The tables are covered with Dresden and Sevre china. 
 
 In the centre of the east end is a pile of massy decorative gilt plate of 
 various styles and ages. Amongst these magnificent articles are, two salvers, 
 with the initials of William and Mary ; two ewers, by Moiette and Auguste ; 
 two tazzas by the same artists ; an ancient dish and cover in the Moorish taste, 
 made at Grenada ; a pair of silver candlesticks, designed by Mr. Beckford ; an 
 engraved silver cup by Wighels, date 1624, from the Margravine of Anspach's 
 collection. 
 
 A. The ceiling is reticulated by pale yellow-coloured mouldings, running 
 diagonally, and forming meshes of a lozenge form on a pink ground ; small 
 bosses are placed on all the intersections of the mouldings. 
 
 The walls, where not covered with tapestry, are wainscoted with a fine 
 deep brown oak; the doors and the fittings of the windows are the same. 
 
FONTHILL ABBEY. 
 
 They have the regular bold mouldings and raised pannels of the Anglo- 
 Italian manner, which prevailed at the beginning of the last century, and are 
 not gothic, as they ought to be, to harmonize with the window heads and their 
 tracery. 
 
 The pointed arched heads of the windows have tracery, in the tall com- 
 partments of which are introduced, among others, figures of the following- 
 personages, executed in painted glass, by the late Mr. Eginton, from drawings 
 by the late Mr. Hamilton, R. A. 
 
 WILLIAM THE CONQUEROR. 
 
 WILLIAM RUFUS. 
 
 HENRY I. 
 
 STEPHEN. 
 
 HENRY II. 
 
 RICHARD I. 
 
 JOHN. 
 
 HENRY III. 
 
 EDWARD I. 
 
 EDWARD II. 
 
 EDWARD HI. 
 
 RICHARD II. 
 
 ROBERT, EARL OF GLOUCESTER. 
 
 SIR HUGH BARDOLPH. 
 
 JOHN LORD MONTACUTE. 
 
 SIR HUGH HASTINGS. 
 
 ROBERT FITZ HAMON. 
 
 LAWRENCE HASTINGS, EARL OF PEM- 
 BROKE. 
 
 SIR REGINALD BRAY. 
 
 ARTHUR PRINCE OF WALES, SON TO 
 HENRY VII. 
 
 SIR HUGH MARVILLE. 
 
 GILBERT DU CLARE, EARL OF GLOU- 
 CESTER. 
 
 SIR BRIAN STAPLETON. 
 
 SIR JOHN HARS1CK, THE FATHER OF 
 BISHOP GARDINER. 
 
 A figure from an ancient tomb in Malvern Abbey, Albert de Vere, second 
 Earl of Oxford. 
 
 Two figures from the tomb of Edward Crookback, and a knight in armour. 
 
 In the other compartments of this tracery, is the red rose of Lancaster, 
 in allusion to the descent of Mr. Beckford from Henry, Earl of Lancaster, 
 grandson to Henry III., and other foliage of deep heavy coloured glass; the bad 
 effect of which is to shut out on the south side the beautiful ceiling of the clois- 
 ter, and to reduce the height and injure the proportion of all the window open- 
 ings, originally too low. 
 
 The other parts of the windows are all glazed with costly plate-glass, the 
 dimension of each pane being 41 inches by 21. 
 
THE INTERIOR. 
 
 13 
 
 The floor is a very fine one, of oak. 
 
 The chimney piece is in the middle of the greatest length, and is of marble, 
 without mantel, but of the same manner as the wainscoting. 
 
 Dimensions of the room 52 feet 6 inches long, 19 feet 4 inches wide, and 13 
 feet high. 
 
 H. All the knights but two are clothed in surcoats, on which are emblazon- 
 ed their respective bearings. 
 
 We leave this room by 
 
 iv. & ixiftsagr, 
 
 and ascend by an easy circular staircase to its summit in 
 
 v. Nelson's turret 
 
 Where, upon an imitative porphyry pedestal with a gilt base, inscribed 
 
 BRONTE NELSON OF THE NILE, 
 
 is a bust of the late gallant admiral. It was placed here in commemoration of 
 his visit to Mr. Beckford in the year 1801. 
 Passing this, we enter 
 
 vi. €f)e w&wtexn atovvtiwv, 
 
 fitted on one side with armoires and shelves, the latter of which carry part of 
 the fine Dresden service which is in the oak parlour- The large window on 
 the other side opens upon an embattled balcony, which commands a fine view 
 of the dressed grounds lying on this side of the Abbe}'. 
 At the farther end of this corridor is 
 
14 
 
 FONTHILL ABBEY. 
 
 vii. ©aft Uttirarin 
 
 an oblong and imposing apartment, with curtained recesses, of the same style 
 of fitting-upas the oak parlour, but with the most perfect consistency through- 
 out. The large window looks into the Fountain Court and Terrace ; — upon 
 the southern side of the western hall, and the towers, turrets, and buttresses 
 which cluster round the base of the central tower. In addition to this, there 
 are two beautiful windows of translucent glass, embellished with escutcheons 
 and coloured borders, in which the Lancaster rose is introduced. 
 
 This room, formerly designated ' the board of works,' was devoted to the use 
 of the artists who were employed upon the building designs of Mr. Beckford, 
 and his architect, Mr. James Wyatt. On the shelves and in the armoires 
 which surround it, the liberality of Mr. Beckford had deposited an extensive 
 and costly collection of works in the fine arts for their information and study ; 
 and when it is recollected that his taste and judgement decided upon the se- 
 lection, there can be no doubt of its excellence : the natural consequences of 
 advantages like these, united with the actual execution of such works as the 
 Abbey, must be, to form artists of more than ordinary ability. If we are not 
 misinformed, the present Mr. Jeffrey Wyatt was one of the late architect's 
 pupils who enjoyed this rare opportunity. 
 
 F. The external window has curtains of crimson damask : the recesses are 
 screened by similar ones, but of scarlet moreen. Every part of the walls is 
 recessed for books, or formed into closets, or filled with cabinets. A fine mirror . 
 occupies a large pannel in the western recess ; it was for a time almost the only 
 instance in which this means of producing an effect was used in the Abbey. The 
 carpet, which is a small reticulated lozenge pattern of scarlet and black, is con- 
 tinued from this room through all the suite upon this floor. A massive library 
 table, covered with purple velvet, two armed chairs, and two candelabra carrying- 
 tripod lights, stand in the window recess ; a pier table, richly ornamented with 
 buhl and decorations in high relief, is placed beneath the mirror. 
 
THE INTERIOR. 15 
 P. Two drawings on vellum, from Poussin. 
 
 A. The ceiling reticulated ; quatrefoils, placed at a small distance from 
 each other, have their curves and angles connected by right lines, on the inter- 
 section of which a boss is placed; the whole is of a light stone colour, and has 
 rather a cold effect. 
 
 The walls are entirely wainscoted with deep brown oak, in large raised pan- 
 nels and bolection mouldings. All the doors of the entrances and of the 
 closets form parts of the wainscoting, so as not to be evident upon a slight exa- 
 mination. This attention to the general effect, which even appears to have ex- 
 cluded a fire place, should have been carried a little farther, and forbidden the 
 union of the imitative oak of some parts with the mahogany of others. 
 
 The external window is divided by a transom into six lights, each filled with 
 one piece of plate glass 46 inches high, by 20£ inches wide. The internal win- 
 dows have four lights, glazed with matted glass in lozenge lattice ; each com- 
 partment has a rich border, and in the centre an emblazoned shield. They are 
 painted by Pearson. These windows have slabs of Purbeck marble in them. 
 
 Dimensions 37 feet long, 16 feet 7 inches wide, and 11 feet 5 inches high. 
 
 H« In the side windows are the arms of Latimer, and of Mervyn, alter- 
 nately, in allusion to the descent of Mr. Beckford from William, the first Lord 
 Latimer, temp. Ed. L through the ancient families of the Mervyns, Lords of the 
 Manor of Fonthill Giffbrd. The red rose of the house of Lancaster, on square 
 purple facettes, is inserted at intervals in the border, and connected by vine 
 foliage. 
 
 To the right hand of the mirror in the western recess, is 
 
 vin. ®t)t @t%at isouirotr, 
 
 an octangular little room, " walled with books," and completely realizing 
 Montaigne's description of the form and contents of his tower study. 
 
 The concealment of the entrance on the outside gives that feeling of pri- 
 vacy and perfect seclusion to its inhabitant, which is a luxury of the highest 
 order to a true bookworm. The bookcases, armoires, and ceilings, are princi- 
 
1G 
 
 FONTHILL ABBEY. 
 
 pally of cedar, a wood not remarkable for its beauty, but of most delightful 
 fragrance ; some of the mouldings, which are not particularly elegant, are gilt ; 
 and cinquefoils, the armorial bearings of the house of Hamilton, ermined and 
 edged with gold, are carved in low relief on the frieze. 
 
 One of the two little windows peeps upon the lawn, and catches the termi- 
 nation of the great western avenue ; in a fine day, the lofty tower, at a great 
 distance, on the estate of Sir Richard Colt-Hoare, may be discerned . 
 
 Traversing the whole length of the Oak Library, a door in the bottom of 
 the eastern recess opens into 
 
 ix. mi &ntt uoom, 
 
 the apartment which connects this suite with the offices beneath, and the 
 chambers of the attendants, &c. 
 
 P. La Bonne Prize. — Greuze. Views of Fonthill Mansion before the fire in 
 1755. A view of a still earlier mansion. The grand Chartreuse.— Hollar, 1649. 
 
 Crossing this, we enter 
 
 x. gintt atfwmfwt, 
 
 or Dressing Room; the two small windows at a great height, and four doors, 
 make it dark and uncomfortable ; although it contains the only fire-place on 
 this floor. 
 
 F. Two oak plate-glazed cabinets ; a bookcase, decorated with buhl ; a 
 sea-green vase ; a table of Brazilian wood ; several engravings. 
 
 A. The walls are pink and ceiling white ; all the wood-work oak. The 
 chimney-piece in the gothic taste, and of common stone. 
 
 Dimensions 14 ft. 2 in. long, 13 ft. 3 in. wide. 
 
 From this to the south is 
 
THE INTERIOR. 
 
 17 
 
 xi. *Ebt Eastern Ctomtior, 
 
 vaulted and fitted up with wardrobes in the two recesses; a stove has been 
 added in a third, upon the door of which is the portcullis ; over it is a basso- 
 relievo in bronze. 
 We now enter 
 
 xii. %t)e Satlrtt) (EaUnet 
 
 Here, in this cell (for its petty dimensions, small windows, and absence of all 
 means of warmth and ventilation, forbid any other appellation) slept, upon a 
 narrow couch, without hangings, the founder of this sumptuous abbey— the 
 possessor of its accumulated treasures. 
 
 The extremely simple style of every thing in this chamber was a striking 
 contrast, and the only one, to the splendour of every other room in this extra- 
 ordinary place; but it is now decorated in a corresponding style of elegance. 
 
 F. A circular table of Florentine mosaic ; two India japan cabinets ; a ca- 
 binet of ebony, decorated with buhl and Florentine mosaic ; a coffer of Amboyna 
 wood ; a Chinese incense burner ; a Japanese incense burner ; two oriental 
 porcelain beakers ; vase of rosso antico ; a pair of candlesticks, modelled after 
 Cellini ; vase in or-moulu ; several vases of Sevres porcelain. 
 
 P. Landscape. Ruysdel. — The dropsical woman. G. Dow. — Ruins. Van- 
 derheyden. — Man selling fish. Mieris. — Portrait of King Charles I. Jansen. — 
 Sunset. Both. 
 
 We now repass XI. and cross X., the gloom of which gives considerable 
 effect to the perspective of 
 
 xiii. Cf)e VmUtb MhtatVf 
 
 so called from its ceiling. Each side of this narrow vista is lined in the inter- 
 
 D 
 
18 
 
 FONTHILL ABBEY. 
 
 vals, between its miniature windows, with bookcases and armoires of oak, filled 
 with volumes on all subjects ; a splendid mirror at the end carries on the per- 
 spective ; at its foot is a- pile of valuable articles on a rich commode of japan. 
 
 A. The ceiling is a high-pointed continued arch, into which the smaller 
 ones of the windows groin at a low height ; moulded ribs at small intervals rise 
 from the springing to the crown, and there butt against a longitudinal one run- 
 ning the whole length ; bosses cover all the junctions. The mouldings are stone 
 colour, on a very faint pink ground. 
 
 Dimensions 44 ft. long, 6 ft. 3 in. wide, 10 ft. high. 
 
 The northern end of this library runs into 
 
 xiv. <&t>t mnttt? Boutiott, 
 
 a charming little apartment opening to the east by a fine plate-glass transom 
 Avindow, which commands a fore-shortened view of the southern facade and its 
 stately turret, backed by the fir grove on Hinkley Hill, and a glimpse of a 
 beautiful distance. To the south we have the retrospective view through the 
 library, to the little window of the gallery cabinet. 
 
 F. Commode of japan and verd antique; two bronze vases from the Bor- 
 ghese palace ; pair of oriental vases ; an embossed China bason ; pair of candle- 
 sticks, after the designs of Cellini ; the piping boy, a bronze ; a piece of 
 carving. 
 
 P. St. Francis. L. Caracci. — Virgin and Child with Figures. Van Eyck. — 
 Two subjects from the Apocalypse. West. 
 
 A. The ceiling is an imitation of oak, open floored, the joists are light and 
 moulded. The walls are covered with yellow chintz of a damask pattern, and re- 
 cessed for books, vases, &c. In the one to the north was once a balcony, which 
 opened into St. Michael's gallery. 
 
 Dimensions 12 ft. long, 10 ft. 3 wide, 11 ft. 6 high. 
 
 The defects of this suite of apartments, so far as respect convenience and 
 personal comfort, are too evident, particularly when it is considered that they 
 
THE INTERIOR. 19 
 
 were intended for and occupied by Mr. Beckford himself ; but it is impossible 
 not to admire their privacy, and the studied provision for intellectual indul- 
 gence and literary enjoyment. 
 
 In the further corner of the Chintz Boudoir, opposite to the window, is 
 
 xv. lLatimtx &umt, 
 
 in which a circular staircase conducts us down to 
 
 xvi. Uigtifml* ot Sbt MitfyMV* <&alletv. 
 
 Here let us pause — glancing at, but not entering, the gallery on our right ; for 
 before us is the central wonder of the Abbey — the loftiest apartment which do- 
 mestic architecture can present, probably, in the world ! 
 
 It is rilled with an illuminated atmosphere of its own. The towering win- 
 dows, and the walls whereon the sun-beams fall, gorgeously glow with a mosaic, 
 of the most brilliantly tinted light : recovering from this fascinating luxury of 
 colour, with what eagerness the eye runs up the astonishing altitude of the 
 arches ! with what delight it feels, as it were by instinct, the stately proportions 
 of the piers which divide them ! How it ranges around and among the arches 
 of the beautiful gallery above, speculating upon the extent of the golden lines 
 the ceilings within them ; and then, guided by the route of the ascending 
 tracery, it shoots upwards into the distant light, and remote decorations of the 
 Lantern, which crowns 
 
 xvii. ®t)t <§tatt& £aloott, 
 
 or, as it is usually called, from the form of its ground plan 
 
 i — The Great Octagon. 
 
20 
 
 FONTHILL ABBEY. 
 
 Radiating from it, as the centre of the whole, run the four grand divisions of the 
 edifice, each presenting a coup d'ceil, of a character essentially differing from the 
 others, but all extraordinary, magnificent, and powerfully interesting. 
 
 To the west, the eye, after lingering among the blazonry, and the intricacies 
 of the " embowed roof," shoots through the western hall and principal entrance, 
 and rejoices in the soft green, and interminable length of The Great Avenue, 
 and in the pure and simple light of external day. 
 
 To the north, it glances through the window of the Tribune into the Lan- 
 caster Gallery ; beneath, it penetrates beyond the perspective of King Ed ward's 
 Gallery and its countless decorations,— and is lost in uncertainty among the 
 increasing shadows of the Sanctuary, and the tempered light of the Oratory 
 beyond it. 
 
 Through the chiaro-oscuro of the elegant portal of the east flashes the radi- 
 ance of the splendid meubles of the cabinet room to which it leads ; and over it 
 rises the superb architectural facades of the Music Gallery and the Organ 
 Loft, pannelled with golden lattice, on grounds of scarlet damask. 
 
 To the south, St. Michael's Gallery presents a specimen of the richest com- 
 binations, which the genius of gothic architecture has yet invented, beautifully 
 contrasted with the artificial gloom of the opposite gallery, by terminating in 
 an oriel-window of painted glass, exposed to the rays of a meridian sun. 
 
 In three of the lofty recesses above the scarlet curtains, which fill the lower 
 parts of them, are the celebrated windows of stained glass, the boast of the 
 Abbey; a profusion of deeply-tinted Lancastrian roses are imbedded in quatre- 
 foils of purple, bordered with gold. Through the transparently glazed gilt lattice 
 of the fourth recess, we see several revolutions of the Great Tower Staircase, 
 curling round its enormous central column, the passengers on which retire, and 
 re-appear successively, some whirling down, and others labouring up " the 
 
I 
 
 J: raved John, Cieghom, 
 
 SECTION" ©F TEDE SAIL©©!^, TESTIIBTraLIES, ITOJimiEmilE § , &c. 
 
 Jhihshed. Jitn& 2^JdZ3-. J.Hiater, Shaftesbury. 
 
 I 
 
THE INTERIOR. 
 
 21 
 
 eleven hundred stairs;* but both pursuing, with unabated eagerness, their desire 
 for new subjects of wonder. 
 
 If, after this panoramic survey, we review the chastened beauty of the 
 upward perspective, depending entirely upon form and " chiaro-oscuro" for its 
 effect, and which, improbable as it may appear to those who have not seen it, 
 emulates the length of the horizontal views ; we may assert, without fear of 
 contradiction, that, examined from this point of view, Fonthili Abbey is at 
 present unequalled.-f- 
 
 F. A few ottomans and hergieres are placed in the recesses, and scarlet 
 drapery, falling from the window sills, lines the lower part of them ; but it is not 
 long since, that purple curtains descended in ample folds from the apex of the 
 great arches, to the floor of the saloon, at the extremity of each vestibule ; we 
 lament their removal, even though the stupendous organ-front has been given in 
 exchange. By judicious management, nothing would be screened by them 
 which ought not to be concealed ; and nothing would give such repose and limit 
 to this grand apartment, and prevent that distraction and confusion, which the 
 full exposure at the same moment of several magnificent scenes must necessarily 
 produce. 
 
 A. The plan of the saloon is an equal-sided octagon ; the height is divided 
 by horizontal mouldings into four principal parts : the first, reaching from the floor 
 of the saloon to the gallery of the Nunneries; the second, finishing at the level of 
 the abacus of the angular columns; the third, running up to the foot of the Lan- 
 tern ; the fourth, the Lantern. 
 
 In the first, or lower division, each side is perforated with a lofty pointed 
 arch ; four of them are deeply recessed, and contain the several entrances ; the 
 other four are shallower, and in them are placed the windows; the piers are 
 decorated with slender columns, and deeply relieved mouldings. 
 
 The second division contains the Arcade, which opens into the Nun- 
 
 * Vathek. 
 
 t A still deeper interest is given to this scene, when it is known that it was executed from a sketch made 
 by Mr. Beckford himself. The colossal height of its dimensions, the defiance of all common-place or ordinary 
 arrangement, and the daring originality of its design, were probably far beyond the range of his professional 
 architect, -whose forte lay in the production of the elegant, rather than the sublime. 
 
FONTHILL ABBEY. 
 
 neries, and the corridors which connect them. These arches are twenty-four 
 in number, three in each side of the octagon : they are all open and of the same 
 form as those below ; a parapet perforated with quatre-foils, and decorated with 
 shields, fills the lower part of each : their piers have clusters of tripled columns. 
 A column 90 feet high, placed in each angle of the great octagon, runs from the 
 floor up through both of the last mentioned divisions, and finishes with a rich 
 carved capital. At this level, the third division commences, and is occupied en- 
 tirely by the arches springing from the angular columns, which, expanding on all 
 sides, form the circular corbels, on which stands the Lantern : the arched sides of 
 the octagon in this division are not open, but they have Catherine wheel aper- 
 tures in circular architraves (giving light to another passage, which goes round 
 the octagon,) and a loop hole above over each; escutcheons with the cross and 
 cinque-foil alternately are placed in the ceiling between the corbels, and others 
 hang beneath the feet of the Nunnery piers. 
 
 The fourth, or uppermost division, is the Lantern ; the angles of its octagonal 
 plan are truncated, so as to produce eight additional narrow sides. In each of 
 the angles formed by this means, is placed a slender column ; from the narrowness 
 of the additional sides, two of these columns are brought nearly together, form- 
 ing eight pairs, and standing on a low continued pedestal, through which their 
 plinths descend into the open space below, and finish in pendants and carved 
 bosses ; moulded ribs rise from each capital, and dividing and spreading over a 
 vaulted ceiling of a very low curvature, meet at the centre in a boss of uncom- 
 mon size, ornamented with foliage ; an annular moulding surrounds it, decorated 
 with eight smaller bosses. The under sides of the Lantern have pointed win- 
 dows glazed with matted glass, in panes of a lozenge form, edged with yellow; 
 a border of foliage on a deep orange ground surrounds each window; the effect 
 of all which is lost below from the great projection of the metal lattice work. 
 
 Three only of the lower windows admit light to the saloon ; these are entirely 
 filled with brilliant stained glass of purple, crimson, and yellow, in a tesselated 
 pattern. The omission of the coloured glass in the fourth infuses perhaps some 
 feeling of disappointment, where otherwise all would be unmingled admiration 
 and delight. 
 
 The ceiling of each Vestibule is groined, and also along its principal lines, 
 which rise and separate themselves from the mass which is accumulated in the 
 piers — a boss covers the central intersection ; they have no windows, but here 
 and there a blank of no meaning. The north and south Vestibules have tribunes 
 over the entrances to the two grand galleries, one of which only is now accessible. 
 
THE INTERIOR. 23 
 
 The colouring of the walls of these parts of the interior of the Abbey is 
 chalky and cold : perhaps it may have faded from its first colour, for where it is 
 not tinted by either the transmitted or reflected light, it is harsh and unpleasing. 
 
 H. The Lancaster rose is strewed over the coloured windows. The arms 
 of Latimer 'and of Bellomont in relievo alternately in the triangular spandrils 
 beneath the Lantern. The arms of Latimer, Scotland, Saxon Kings, and Bello- 
 mont, in relievo, at the foot of the piers of the Nunnery arcades, in the same 
 order on each face of the Octagon. 
 
 Inclining to the left, towards the principal or state entrance, we stop in 
 
 xviii. ®t)t me^tetn Yfe&titmU, 
 
 which unites the Grand Saloon with it. 
 
 In this the lofty arches are both open to their summits ; on each side are 
 smaller arches, one of which opens into the Lobby of the Great Tower Stair- 
 case. From the floor of this Vestibule, we may advantageously survey 
 
 What a magnificent fore-ground does it form to the grand avenue which ex- 
 tends beyond it. The majestic descent of* the broad steps, and their arched pa- 
 rapets ; the lofty wainscoting and the pointed arches of the walls, filled with the 
 most beautiful glazing, or hidden by crimson draperies, or retiring into a recess 
 which sculpture has dignified with the effigy of a great man ; the darkly coloured 
 and elaborately framed roof, displaying in its ample frieze the emblazoned 
 shields of a distinguished ancestry, with all its minutest and most common 
 parts moulded, and arranged into ornamental forms ; the massive piers of 
 the Great Portal pierced to give light and access to the staircases within them ; 
 the Minstrel's Gallery which surmounts them ; the sculptured surfaces beneath 
 it; the vivid splendour of the little window over; and the grand contour of the 
 
24 
 
 FONTHILL ABBEY. 
 
 noble archway, which the gigantic doors seem waiting to close up for ever, — all 
 contrast powerfully with the light, the freshness, and the depth of the " marble 
 air," and the delicate colouring and simple outline of the external scene. 
 
 Attracted irresistibly, we suspend our pursuit of the triumphs of art, descend 
 the steps, and make a short excursion on the Lawn, to breathe for a few mo- 
 ments amidst the charms of highly cultivated nature, and to court relief from 
 the sense of weight, which intense admiration often produces. We turn to 
 re-enter, and the whole west front of the Abbey arrests our attention. The 
 lofty tower now distinguishes the centre of an immense line of other towers and 
 curtains, stretching to the north and south, plainly indicating how much we 
 have yet to explore in the interior. We re-enter to complete our task. As we 
 pass the threshold, the height of the archways, and the dimensions of the doors, 
 are felt with surprise ; and we re-commence our career of wonder by a distant 
 view of the scene of our former astonishment, through the almost faulty eleva- 
 tion of the Western Vestibule. 
 
 We ascend leisurely the spacious steps, watching the gradual developement 
 of an architecture, which, from the stateliness of its parts, the masterly arrange- 
 ment of the chiaro oscuro, the atmosphere of the coloured light, and the solemn 
 brilliancy of the windows, produces an effect very little removed from the 
 sublime. 
 
 F. In the centre niche is a statue of little merit, by S. F. Moore, of the 
 celebrated Alderman Beckford, the father of the present Mr. Beckford ; he is in 
 his official robes, as Lord Mayor of London, standing, and in the act of speak- 
 ing, probably delivering the patriotic reply to the King. On the base is inscribed 
 
 THE RIGHT HONOURABLE 
 WILLIAM BECKFORD, 
 LORD MAYOR OF THE CITY OF LONDON, 
 MDCCLXIII. MDCCLXX. 
 
PubUjIw.d June z. iSz3.by J. RuUer. Shafbsbury. 
 
THE INTERIOR. 
 
 25 
 
 A. The roof is open to the apartment, and presents a rich combination of 
 moulded and carved timber work, painted in imitation of old oak, and decorated 
 with emblazoned escutcheons ; it is divided into three large and two smaller com- 
 partments, by four trusses. 
 
 The framing of the upper part of each of the trusses is of a triangular form, 
 resting upon an arched rib, the feet or springers of which terminate in pendants 
 and carved bosses ; and from the same pendants spring similar arched ribs, at 
 right angles to the last, to carry the purlins. The spandrils, and all the other 
 intervals, are filled with trefoil -headed apertures. A broad frieze runs along the 
 side walls at the foot of the rafters, and breaks round the upper part of each 
 bracket; upon this are hung 76 emblazoned escutcheons. 
 
 Upon the trusses lie the moulded purlins, and rafters of a roof, whose upper 
 angle is very acute. The walls are finished in imitation of stone; they are lined 
 to 1 1 feet high, with oak] wainscoting, divided into narrow upright panels by a 
 broad projecting moulding, with excellent effect. On the south side are three 
 pointed arch windows, and opposite to them on the north three recesses of the 
 same form. The windows have a central mullion transom and tracery, the body 
 filled with panes of matted glass of a lozenge form, having each a quatre-foil in 
 outline upon it, surrounded by a richly coloured border of foliage. In the 
 tracery are armorial badges and bearings of stained glass. 
 
 The centre recess on the south side is of considerable depth; a curtain par- 
 tially screens it, and within it is placed the statue described in the preceding page ; 
 the other recesses are shallow, and are closed with drapery. 
 
 The aperture on the west side, which is the principal entrance, is a pointed 
 arch filled with massive oak folding doors, thirty-one feet high, and thirteen feet 
 wide. The piers which carry them are of large dimensions, and within them 
 are the stairs to the Minstrel's Gallery, or Music Loft, which stretches over 
 the entrance from one side to the other. A low arcade of trefoil-headed aper- 
 tures forms the front of this Gallery — its soffite and the spandrils of the arch are 
 reticulated with and carry escutcheons. Over it is a small pointed arch window 
 of painted glass; the subject of which is the Madonna and Child. Beneath is 
 hung a piece of tapestry, from the cartoon of Paul preaching at Athens. 
 
 The eastern side of the Grand Saloon is approached from the Lawn, through 
 this Hall, by three successive flights of stone steps : the first having four, the 
 second three, and the third twenty- two. These last do not run the whole width 
 of the Hall, but leave a passage on each side, from which are doors of communi- 
 
 E 
 
FONTHILL ABBEY. 
 
 cation to the Western Cloister, the Sub-Octagon, and the Great Tower Staircase; 
 an octangular pedestal, ornamented with quatre-foil panels, stands at each end of 
 the first step, and from them runs a perforated stone parapet up each side of the 
 flight, of the same design as the front of the Minstrel's Gallery. On the summit 
 of these steps is the Western Vestibule of the Grand Saloon, whose lofty arches, 
 though defying all rivalry, have yet a small aperture of the same form, placed on 
 each side of them, to give, it is supposed, the unnecessary aid of contrast. 
 
 H. In the first window from the east, surrounded by a circle of eight red 
 roses, within the garter, and surmounted by a regal crown, the arms of King 
 Edward the Third. In the second, with the same accompaniments, the arms of 
 John of Gaunt, Duke of Lancaster, and King of Castile and Leon. In the third, 
 the garter omitted, and a coronet in the place of a crown, the arms of Scotland 
 impaling Beaufort. . - 
 
 In the south spandril over the great entrance, in relievo, are the arms of 
 Beckford. 
 
 In the north spandril are the arms of Gordon- Aboyne. In the sofflte over 
 the centre, the arms of Latimer, with the escutcheons of Bellomont on each side. 
 
 On the frieze of the roof, beginning at the N.W. angle, and going east, in the 
 following succession, are emblazoned the arms of 
 
 BECKFORD. 
 
 HERING. 
 
 HAMILTON. 
 
 HAMILTON without ARRAN. 
 
 LESLIE. 
 
 MUIR. 
 
 ABERNETHY. 
 
 ROSS. 
 
 COMYN. 
 
 QUINCY. 
 
 BELLOMONT. 
 
 MELLENT. 
 
 GWADYR. 
 
 FITZ OSBERT. 
 
 YVERY. 
 
 GRANTESMESNIL. 
 
 GALLOWAY. 
 
 MORVILLE. 
 
 DAVID, EARL OF HUNTINGDON. 
 
 SCOTLAND. 
 
 SAXON KINGS. 
 
 WALTHEOF. 
 
 ALDRED. 
 
 KEVELIOC. 
 
 GERNONS. 
 
 MERCHINES. 
 
 LUPUS. 
 
 ALGAR. 
 
 CAITHNESS. 
 
 DOUGLAS OF DALKEITH. 
 DOUGLAS, (Ancient.) 
 CRAUFURD. 
 
 DOUGLAS, (Augmentation.) 
 
 READING. 
 
 COWARD. 
 
 HALL. 
 
 BES1LL. 
 
 This series is repeated on the southern side. 
 
THE INTERIOR. 
 
 27 
 
 Arrived again in the Western Vestibule, our route lies directly across the 
 Grand Saloon ; glancing at the extraordinary scenes on each side of us as we 
 pass, we reach 
 
 xx. <&Mtnn VmtiWUy 
 
 partially closed at its farther side, by the beautiful front of the Music Gallery, 
 richly sculptured and decorated with mouldings, &c. ; — beyond and over which, 
 in the shade of a deeper recess, is the Organ Loft, constructed in the manner of 
 an ancient altar screen. This is one of the most perfect specimens of design in 
 the Abbey, and has seldom been equalled. The detail, and the tout-ensemble 
 are in perfect harmony ; the proportions have been adjusted with the most 
 profound skill ; and the sparing introduction of the gold, the damask, and the 
 velvet, in the apertures, and on the cushions, has heightened the effect to a 
 degree so perfect, that the smallest addition would be injurious. In the lower 
 part is 
 
 xxi. €t>e portal, 
 
 the style of which is extremely elegant, and the four openings are managed 
 with great ingenuity. 
 
 A. The front of the Music Gallery is very rich in architectural ornament ; 
 the ground is covered from the floor to the parapet with tracery, in two tiers of 
 oblong panels, having trefoil finishings at each end ; this panel work is sur- 
 mounted by an enriched cornice, upon which stands an elaborately carved para- 
 pet of quatre-foils, lozenge-wise, having shields in their centres. 
 
 A pointed arch doorway perforates the lower part of the Gallery, and leads 
 into the Octagonal Portal, which communicates on the south side with the stair- 
 case leading to the Organ Loft and Music Gallery ; and on the north with the 
 
28 
 
 FONTHILL ABBEY. 
 
 passage which connects the China Room and the east wing ; and in front with 
 the Great Dining Room. The interior of this porch has columns in its angles, 
 mouldings from which run over a groined ceiling, with bosses at the intersec- 
 tions : externally, the archivolt, decorated with crockets, sweeps up into a 
 beautiful finial. 
 
 The Organ Screen is of stone, and has three compartments in height, and five 
 in width : the lowest tier is closed, having trefoil headed panels in low relief. 
 The apertures of the second tier have cinque-foil heads, and are filled with pa- 
 nels of brass, perforated with quatre-foils on a ground of scarlet damask. 
 
 The third tier is open, but has a perforated parapet, with quatre-foils and 
 shields. 
 
 This screen has been recently erected from a design by Mr. Beckford. 
 
 From the Portal, we enter a suite of apartments, which, though magnificent 
 in dimensions, style, and furniture, has been intended for temporary conve- 
 nience only. The ultimate destination of this part of the Abbey was for a far 
 nobler purpose. Mr. Beckford has the very curious and singular distinction 
 of an immediate and lineal descent from all those Barons, (of whom any issue 
 are remaining,) who extorted, at the point of their swords, from a reluctant 
 and tyrannical sovereign, the Magna Charta, that great foundation of our liber- 
 ties ; and it was to commemorate a transaction, so truly important and 
 venerable, that he designed the Eastern Transept of the edifice, proposing to 
 complete it in a splendour, which, like the illustrious names and blazonry it 
 was intended to display, should admit of no rival. 
 
 Our regret for the absence of the architectural effects, which the " mighty 
 master" would have distributed over this, the last, the noblest addition to the 
 Abbey, may, perhaps, for a time be suspended by a coup d'ceil of the assemblage 
 of furniture, paintings, and valuables, with which these rooms are filled ; every 
 piece of which is remarkable, either for its excellence, its costliness, or its rarity ; 
 and many of them, for all these qualifications. 
 
 The first apartment of the suite is 
 
THE INTERIOR. 29 
 
 xxii. wot <&xtd\ Dintna i&oom, 
 
 spacious, and of a cubical form, ceiled with massive beams laid nearly close 
 together, and lighted by one vast window of gilt lozenge lattice, looking to the 
 south over the quadrangle, and the vale beyond. The walls are covered with 
 pictures upon hangings of a crimson colour. A retrospective glance through 
 the Portal reaches the Grand Avenue, over a new and effective foreground. 
 
 F. Crimson curtains, with an heraldic border, draw over the doors, the 
 window, and the recess. Two oriental alabaster slab tables. A table of ebony 
 and Verde antique. Two armoires, designed by Le Brun, from the collection of 
 the Due d' Aumont. A commode of ebony, japan, and Italian marble. Two 
 ebony armoires, inlaid with Florentine mosaic. Two crystal cabinets, in the 
 style of Camillo Maderno, formerly belonging to Pope Paul V. Two carved 
 ivory vases ; on one, the Triumph of Neptune and Amphitrite ; on the other, a 
 dance of Bacchantes. Youth and Age, a groupe in ivory, by Fiamingo. 
 
 A. The ceiling is of a singular character, and not quite free from an air of 
 rudeness; joists nearly of the magnitude of beams are laid near to each other, 
 and parallel to the window, so that their shadows are deep and powerful ; they 
 are moulded on their upper sides, and painted in imitation of oak. 
 
 The window is the lower part only of one of three lofty arched openings in 
 the southern facade of the Transept. It stands in a deep expanding recess, lined 
 with oak framing of a bold character. The chimney piece is in the same style 
 of Brescia marble. 
 
 Dimensions 22 feet square, and 22 feet high. 
 
 H. On the border of the curtains is woven the Latimer cross, and the 
 Hamilton cinque-foil. 
 
 P. A landscape, from the Due de Choiseul's cabinet. Claude A Martyr- 
 dom. Palma. — Portrait of Wife of the Burgomaster Ordiers. Slingeland.—St. 
 Jerome at devotion, from the monastery of St. Benedict at Malta; the compa- 
 nion of the Communion of St. Jerome, in the British Institution. PaulVeronese. — 
 
 Portrait of a young Nobleman. Vandyke Interior of a Saloon of Pictures. 
 
 Van Opstael. — Landscape, Diana and Acteon. Albano. — Adoration of the 
 Shepherds. Philip de Champagne. — The Conflagration of Troy. Peter Peters 
 Breughel. — Landscape. Cuyp. 
 
30 
 
 FONTHILL ABBEY. 
 
 We proceed to the right-hand eastern door ; and we are struck by one of 
 those " infinite series" of doors, which was the great effort of the architects, 
 and patrons of the last century, to produce and possess. 
 
 xxiii. ®tw (Evim&tm Dratomg ftaom, 
 
 which is en-suite with the last, and similarly furnished. 
 
 F» Six carved ebony chairs, from the palace at Esher, and belonging for- 
 merly to Cardinal Wolsey. Two cabinets of buhl and serpentine marble. An 
 ebony jewel cabinet, set with rubies and emeralds, the figures designed by 
 Bouchardon. A japan commode, formerly in the possession of the late Queen of 
 France. An armoire of buhl and tortoiseshell, made for Lewis XV.; from the 
 king's cabinet at Versailles. A coffer of japan, made for Maria, the daughter of 
 the celebrated Van Diemen; it has been successively in the possession of 
 Madame de Pompadour, and the Due de Bouillon. 
 
 A, Dimensions, 27 feet long, 19 feet wide, 22 feet high. 
 
 P, Sibylla Lybica, from Ferrara, afterwards in the Marquis of Lansdown's 
 collection. Lud. Caracci. — The Wise Men's Offering. Rubens. — Landscape, 
 and the Woodcutter. Wouvcrmans. — Sea View, from the collection of Mr. Van- 
 dergucht. Backhuysen. — The Skittle-players, from the Due Praslin's collection ; 
 
 and the Topers. Tenters. — Flowers, from the Praslin Cabinet. Van Huysen 
 
 The Infant Saviour, and the Laughing Boy, formerly in the Arundell collection. 
 Da Vinci. — Landscape and Figures. Gaspar Poussin. — Portrait of St. Louis 
 Gonzaga, from the Marquis of Lansdown's collection. Bronzino. 
 
 Opposite to the door of entrance, is that of 
 
 xxiv. &t)t dfrvmtj drafting Uoom, 
 
 magnificent in dimensions and decorations, of the same style as the two pre- 
 ceding rooms, but of a higher degree of finish. The ceiling beams are carried 
 
THE INTERIOR. 
 
 31 
 
 at their ends by carved and gilt corbels, and the hangings are of garter-blue 
 silk damask, embellished with gold mouldings. The burnished gilt chairs are 
 covered with the same. In the centre of the room, upon a carpet of extraordi- 
 nary costliness, stands a table of Egyptian marble, the largest slab of the kind 
 in Europe. 
 
 F» A suite of chairs, gold and purple damask. A circular table of breche 
 universelle, from Malmaison. Four buhl candelabras with candlesticks, with 
 designs from Cellini. An ivory cup and cover, carved by Magnus Berg, medallist 
 to the Emperor of Germany. Two vases of carved ivory, by Fiamingo, previ- 
 ously in the possession of the Earl of Arundell; lately of B. Germaine, and the 
 Margravine of Anspach. An oriental hookah of carved jad, set with precious 
 stones, formerly belonging to Tippoo Saib. 
 
 P. The Four Ages, from the collection of the Marquis of Bath. Watteaux. 
 — A Village Fete, " The sign of Teniers," and the interior of a Kitchen. Teniers. 
 — .Abraham and Isaac. West. — The Poulterer's Shop, from the Due de Choisieufs 
 collection. G. Dow. — Landscape, "the Diamond," from the LeBrun collection. 
 Karle du Jar din. — Landscape and Figures. Woavermans. — Le Jardin d'Amour, 
 portraits of Rubens, his Wife, Vandyke and Snyders, the subject of the 
 Chapeau de Paille. Rubens. — A Sea Port, " L' Embarquement des Vivres," 
 from the Due de Praslin's Cabinet. Berghem. — Joseph telling his dream, from 
 the collection of the Count Morel de Vaude. Victor.— Portrait of a Rabbi. 
 Rembrandt. 
 
 Having exhausted the treasures of this room, we cross the end of 
 
 xxv. motet* m#&w, 
 
 (so called from the subject of a lofty painted glass window, in chiaro-oscuro, 
 by Pearson, of the celebrated Archbishop, after a design by the late President 
 West) to 
 
32 
 
 FONTHILL ABBEY. 
 
 xxvi. artagott &afuttet t 
 
 a small room of fine proportions, hung with crimson silk. Through the narrow 
 window is an exquisite glimpse of the distant landscape. 
 
 On the walls are paintings and miniatures of the highest finish. 
 
 A. The plan octangular; — the ceiling and cornice are of oak, with gilt 
 mouldings. The frieze of the latter has an heraldic ornament. The walls are 
 hung with crimson silk, edged with burnished gold. The chimney piece is 
 characteristic, and of Purbeck marble, with carved escutcheons. 
 
 Re-entering Becket's Passage, and pursuing it as far as the figure, we turn 
 on the left into 
 
 xxvii. Wbt ®>xw\ Nortt^nt ^aasage* 
 
 In this, and in Becket's Passage, are several paintings. About half-way on the 
 right hand is 
 
 xxviii. arrimaott wxtaKUtt parlour, 
 
 on the position of the intended Grand Staircase, but fitted up for, and appro- 
 priated to, the secretary of the late possessor. This explains the inconvenient 
 height and form of the window. 
 
 Again following the Great Northern Passage, it leads to 
 
 xxix. <&%t pjmlatn l&oom, 
 
 a low apartment, fitted up with cabinets, in which is a most valuable collec- 
 tion, principally of oriental china, but containing some very fine specimens of 
 
THE INTERIOR. 33 
 
 Dresden and French. Some estimate may be formed of the extent of this col- 
 lection, when it is known that there are at least two hundred dozen of cabinet 
 plates, of the finest quality. 
 We now traverse 
 
 xxx. &oH!jg ; 
 
 and, turning to the left hand, enter 
 
 xxxi. ff>* Vt&titntle of ittng fS&toaro'a (Ballet^ 
 
 Here the Great Octagon presents itself: but we must turn from its dazzling glo- 
 ries, for on our right hand is another of those picturesque effects, for which 
 Fonthill Abbey is so justly remarkable ; the view of an interior, in which, as 
 in an excellent picture, the light and shade, the composition and the colouring, 
 have been carefully and successfully studied. The powerful aid of association 
 has been called in, and the united influence of this excitement of the mind 
 and of the imagination is fully felt, as we contemplate through the curtained 
 arch of 
 
 xxxii. mtng l£irtoari>>0 <&allevv> 
 
 a magnificent apartment, embellished with a masterly and unsparing hand, 
 superbly furnished, the ceiling covered with carving, and the walls nearly con- 
 cealed by the ample and duplicated curtains of deep blue and scarlet. 
 
 This gallery has been designed for the purpose of commemorating the names 
 of those individuals of Mr. Beckford's ancestry, who have been honoured with 
 the illustrious knighthood of the garter. The number and rank of these per- 
 sons, their historical and chivalrous fame, would add lustre to any genealogy. 
 
 F 
 
34 FONTHILL ABBEY. 
 
 Edward the Third, the founder of the order, and after whom this Gallery is 
 named, occupies the place of honour, over the alabaster chimney piece, in the 
 centre of the apartment: the portraits of six royal and most distinguished 
 knights are placed three on each side ; their arms and badges being embla- 
 zoned in stained glass on the opposite windows. In the frieze of the cornice, 
 which surrounds the room, seventy-two gartered shields contribute to give this 
 part of the decoration an appropriate and unusual richness. 
 
 The lofty windows to the west admit a strong influx of light, which, when 
 the scarlet curtains are drawn, sheds a general and magical tint over every part. 
 
 In this lustre, the termination of the apartment is scarcely an object of 
 attraction ; but as we proceed, indications of the continuation of it increase, 
 and there is soon enough perceived to hurry us forward. In a few steps we 
 have entered 
 
 xxxiii. ®t>$ yjmim ®Qvtibov f 
 
 a scene, the architectural features of which are a striking contrast to all that 
 have preceded them. 
 
 We have passed beyond the light, the gold, the marble, and the blazonry ; 
 no windows are seen. The crimsoned light which struggles through the richly 
 latticed doors on the sides, and the glimmering of the perspective of the golden 
 arches, are all the apparent illumination. The effect is universal and instan- 
 taneous; an involuntary silence falls upon every visitor. The most intense 
 curiosity is only expressed in whisperings ; a consciousness springs up, that we 
 are approaching a place peculiarly pre-eminent, long before the eye, adapting 
 itself to the gloom, discovers the golden lamp, the fretted ceiling, the cande- 
 labra, the statue, and the altar in the distance. 
 
 Two large chests, " rough with fretted gold/' mark 
 
THE INTERIOR. 
 
 35 
 
 xxxiv. ®t)$ ganttuavv ; 
 
 we ascend its step, and pause before 
 
 xxxv. ®%tmatovy. 
 
 Amidst this assemblage of all that is gorgeous, where the walls are covered 
 with damask of the richest dye, where columns, spreading into fans, and shoot- 
 ing their mouldings over the vault, develope a net-work of burnished gold over 
 our heads, — such is the enchantment which prevails, that an indescribable 
 feeling of quietness and contentment steals upon the mind. We look back 
 upon the gaiety and brilliancy of the scenes we have left, as a recluse does 
 upon the glittering vanities of a world, whose pleasures he has exhausted, and 
 from which he has withdrawn. We believe that the sublimest feelings of our 
 nature were never before raised by such a limited quantity of space and mate- 
 rial. It is a triumph which has never been achieved before in a less area than 
 that of a cathedral, with all the aid of antiquity and religious association. 
 Art only has consecrated the spot, and who will afterwards dare to dispute her 
 divine right ! ■ 
 
 F. King Edward's Gallery. — An inlaid table of pietre commesse, 9 ft. 
 long, 4 ft. 6 in. wide, from the Borghese palace. Two carved ebony tables. Two 
 tall carved cabinets for manuscripts. Two ebony and porcelain coffers. Avery 
 large coffer of japan, once the property of Cardinal Mazarin, and subsequently 
 of the Due de Bouillon. Twelve candlesticks in or-moulu. A mounted nauti- 
 lus, engraved by Hilliken. A crystal lamp, by Valerius di Vicenza. A shell- 
 shaped cup of crystal, from the Garde Meuble of the King of France. An 
 ivory vase, carved by Strous, and mounted by Rundell and Bridge. A mounted 
 nautilus upon an ivory plinth, carved by Benvenuto Cellini. Two caskets 
 of gold japan, from the collection of the Duke of Mazarin ; with a choice 
 collection of other rare and curious specimens of japan. 
 
FONTHILL ABBEY. 
 
 A. King Edward's Gallery. — The ceiling is of oak, reticulated in 
 square panels, placed at some distance from each other, and their intervals filled 
 with meshes of a lozenge form, with bosses at their intersections, and an 
 heraldic emblem on each of the square panels. 
 
 An enriched cornice of oak surrounds the room ; its frieze has quatre-foils 
 separated by a short range of trefoil-headed apertures or panels ; in each quatre- 
 foil is placed an emblazoned shield, surrounded by the garter. 
 
 On the west side of the apartment are seven lofty pointed-arch windows, 
 with massive mullions, transoms, and tracery ; the lower parts filled with plate, 
 and the upper ones with stained glass, covered with armorial decorations ; op- 
 posite to six of these windows, and on the other side, are recesses for books, 
 with armoires beneath them ; opposite to the middle, and to the seventh one, is 
 the chimney piece, .of variegated marble in the gothic style ; each end of the 
 gallery is nearly occupied by the arch-ways, which open to the apartments 
 beyond them. 
 
 Dimensions 68 ft. long, 16 ft. 10 in. wide, 17 ft. 10 in. high. 
 
 The Vaulted Corridor is arched over, with apointed arch of an elliptical 
 curve ; the whole surface, from the apex to the floor, is divided by mouldings into 
 oblong panels, finishing at their upper ends with trefoil heads. A range of 
 square panels marks the springing of the arch ; these are filled with quatre-foils, 
 having an emblazoned shield in each ; the whole is of oak, and the mouldings 
 are gilt. 
 
 There are no windows, but on each side are three pointed-arch door-ways, in 
 the manner of a confessional. The middle one is distinguished by a finial ; their 
 openings are filled with bronze lozenge lattice, each mesh inclosing a quatre-foil, 
 and crossed by brass rods. 
 
 The Sanctuary is raised a step above the last; the ceiling is of oak; its 
 mouldings and bosses are gilt, covered with a reticulation of lozenge work, each 
 compartment filled in with a star of eight lozenges, having its centre depressed 
 into a pendant or cul-de-lamp. The cornice is a series of circular corbels or 
 bosses, with a fan reticulation on their surface, the meshes having trefoil heads; 
 in the intervals of the corbels the gilt flowers of a rich frieze appear. Crimson 
 damask covers the walls. The windows are small, but with very deep moulded 
 mullions and tracery. 
 
 Dimensions 13 ft. long, 14 ft. wide, 16 ft. high. 
 
THE INTERIOR. 37 
 
 The Oratory.— Its floor is still higher than the last; the plan is five sides of 
 an octagon, in each angle of which rises a slender gilt column, from whose capital 
 springs a fan work reticulation of burnished gold, spreading upward over a 
 ground of deep crimson ; the mouldings cross each other in their route, and meet 
 in a richly gilt boss, from which the lamp is suspended. The walls of the same 
 crimson damask as the Sanctuary. On each side is a small lancet window, divided 
 into four compartments, and filled with brilliantly coloured stained glass of an 
 ornamental pattern. Beneath each window is a finely carved oak bracket, 
 having its outlines slightly touched with gold. 
 
 Dimensions 12 ft long, 14 ft. wide, 17 ft. high. 
 
 H. King Edward's Gallery. — The Latimer cross, and the cinque-foil of 
 Hamilton in relievo, in the panels of the ceiling, on the 'panels of the cabinets, and 
 other furniture. The arms of the sovereign founder of the illustrious order of the 
 garter, and seventy-one knights, all within the garter, are placed in the frieze of 
 the entablature, from all of whom Mr. Beckford is lineally descended. They 
 are arranged in the manner of the stalls, the earliest dates being placed nearest 
 the central shield.* 
 
 RALPH NOEL, EARL OF WESTMORELAND. 
 
 SIR JOHN DEVEREUX. 
 
 WILLIAM, LORD WILLOUGHBY. 
 
 JOHN HOLLAND, DUKE OF EXETER. 
 
 JOHN, LORD NEVIL. 
 
 EDWARD, LORD SPENCER. 
 
 RICHARD FITZALAN, EARL OF ARUNDELL. 
 
 HUMPHREY BOHUN, EARL OF HEREFORD. 
 
 LIONEL PLANTAGENET,(of Antwerp) DUKE 
 
 OF CLARENCE. 
 SIR MILES STAPLETON. 
 HUGH COURTENEY, EARL OF DEVON. 
 BARTHOLOMEW, LORD BURGHERSHE. 
 RALPH, EARL OF STAFFORD. 
 
 HENRY, DUKE OF LANCASTER. 
 KING EDWARD THE THIRD. 
 THOMAS BEAUCHAMP, EARL OF WAR- 
 WICK. 
 
 ROGER MORTIMER, EARL OF MARCH. 
 
 JOHN LORD MOHUN. 
 
 THOMAS HOLLAND, EARL OF KENT. 
 
 JAMES LORD AUDLEY. 
 
 EDMUND PLANTAGENET, (of Langlay) 
 DUKE OF YORK. 
 
 WILLIAM BOHUN, EARL OF NORTHAMP- 
 TON. 
 
 ROBERT UFFORD, EARL OF SUFFOLK. 
 REGINALD, LORD COBHAM. 
 
 * Considering the central shield on the east side as No. 1 ; the first on the observer's left will be No. 2 ; 
 the first on his right is No. 3; the second on his left, No. 4; the second on his right, No. 5; and so on, 
 alternately, entirely round. By this arrangement, the examination of them is exceedingly troublesome ; to 
 remove the inconvenience, we have, in the text, began with the first shield from the north on the eastern side, 
 and proceeding southwards, have described them in the order they are actually placed, until having made the 
 complete circuit of the apartment, we arrive at the shield with which we commenced. 
 
38 
 
 FONTHILL ABBEY. 
 
 THOMAS PLANTAGENET, (of Woodstock) 
 DUKE OF GLOUCESTER. 
 
 THOMAS MOWBRAY, DUKE OF NORFOLK. 
 
 SIR PHILIP DE LA VACHE. 
 
 JOHN BEAUFORT, MARQUIS OF DORSET. 
 
 WILLIAM, LORD ROSS. 
 
 EDWARD, LORD CHERLETON. 
 
 WILLIAM PHELIP, LORD BARDOLPH. 
 
 THOMAS MONTACUTE, EARL OF SALIS- 
 BURY. 
 
 JOHN, LORD CLIFFORD. 
 HUMPHREY, EARL OF STAFFORD. 
 EDMUND BEAUFORT, DUKE OF SOMER- 
 SET. 
 
 JOHN, VISCOUNT BEAUMONT. 
 
 RICHARD WIDVILE, EARL RIVERS. 
 
 JOHN BOUCHER, LORD BERNERS. 
 
 WILLIAM, LORD HASTINGS. 
 
 HENRY PERCY, FOURTH EARL OF NOR- 
 THUMBERLAND. 
 
 GEORGE TALBOT, EARL OF SHREWSBURY. 
 
 HENRY PERCY, FIFTH EARL OF NOR- 
 THUMBERLAND. 
 
 GERALD FITZGERALD, EARL OF KILDARE. 
 
 CHARLES BRANDON, DUKE OF SUFFOLK. 
 
 THOMAS BULLEN, EARL OF WILTSHIRE 
 AND ORMOND. 
 
 JOHN VERE, EARL OF OXFORD. 
 
 EDWARD SEYMOUR, DUKE OF SOMERSET. 
 
 WILLIAM CECIL, LORD BURGHLEY. 
 WILLIAM STANLEY, EARL OF DERBY. 
 JAMES, DUKE OF HAMILTON. 
 WILLIAM, DUKE OF HAMILTON. 
 JAMES, MARQUIS OF HAMILTON. 
 ARTHUR, LORD GREY DE WILTON. 
 HENRY CAREY, LORD HUNSDON. 
 HENRY CLIFFORD, EARL OF NORTHUM- 
 BERLAND. 
 
 ROBERT RADCLYFFE, EARL OF SUSSEX. 
 THOMAS, LORD DACRES OF GELLESLAND. 
 THOMAS WEST, LORD LA WARE. 
 CHARLES SOMERSET, EARL OF WORCES- 
 TER. 
 
 GEORGE STANLEY, LORD STRANGE OF 
 KNOCKIN. 
 
 THOMAS HOWARD, DUKE OF NORFOLK. 
 JOHN HOWARD, DUKE OF NORFOLK. 
 WILLIAM HERBERT, EARL OF PEMBROKE. 
 JOHN SUTTON, LORD DUDLEY. 
 THOMAS, LORD HOO. 
 SIR JOHN GREY. 
 
 RICHARD PLANTAGENET, DUKE OF YORK. 
 WALTER, LORD HUNGERFORD. 
 HENRY, LORD FITZHUGH. 
 RICHARD BEAUCHAMP, EARL OF WAR- 
 WICK. 
 
 RICHARD VERE, EARL OF OXFORD. 
 JOHN, LORD LOVELL. 
 
 In the first window from the south, on the west side, are the arms and 
 badge of 
 
 JOHN DE MONTFORT, DUKE OF BRITTANY 
 AND EARL OF RICHMOND. 
 
 ALPHONSUS V. KING OF SICILY AND 
 ARRAGON. 
 
 JOHN OF GAUNT, DUKE OF LANCASTER, 
 AND KING OF CASTILE AND LEON. 
 
 KING EDWARD III. 
 
 KING EDWARD IV. 
 
 KING HENRY VII. 
 
 ANNE, DUKE DE MONTMORENCl. 
 
 Opposite to these escutcheons, are the portraits of their illustrious owners. 
 
THE INTERIOR. 
 
 39 
 
 Vaulted Corridor On the east side is a series of nineteen shields, 
 
 illustrating the descent of Mr. Beckford from King Edward I. through the house 
 of Butler ; and on the other side, a similar series, exhibiting his wife, Lady 
 Margaret Gordon's descent, through the same family, and by an equal number 
 of generations from that sovereign. 
 
 The first shield of Mr. Beckford's series is the northernmost one on the east 
 side, and is that of 
 
 ENGLAND impaling Castile and Leon. 
 
 BOHUN impaling England.- 
 
 ORMOND quartering Butler. 
 
 ORMOND and BUTLER impaling Darcy. 
 
 ORMOND and BUTLER impaling Welles. 
 
 BUTLER impaling O'Reilly. 
 
 BUTLER impaling O'Carrol. 
 
 BUTLER impaling Cavanah. 
 
 ORMOND and BUTLER impaling Fitzgerald. 
 
 ORMOND and BUTLER, and on an escutcheon 
 
 of pretence, Fitzgerald. 
 BUTLER impaling Mac Carthy. 
 
 ORMOND and BUTLER impaling Butler. 
 BUTLER impaling Poyntz. 
 HAMILTON and ARRAN impaling Butler. 
 HAMILTON and ARRAN impaling Colepepper. 
 HAMILTON and ARRAN, and on an escutcheon 
 
 of pretence, Reading. 
 HAMILTON and ARRAN, and on an escutcheon 
 
 of pretence, Coward. 
 BECKFORD, and on an escutcheon of pretence, 
 
 Hamilton and Arran. 
 BECKFORD quartering Hamilton and Arran, 
 
 and impaling Gordon. 
 
 The first shield of Lady Margaret's series is the northernmost on the west 
 side, and is that of 
 
 ENGLAND impaling Castile and Leon. 
 BOHUN impaling England. 
 ORMOND quartering Butler. 
 ORMOND and BUTLER impaling Darcy. 
 ORMOND and BUTLER impaling Welles. 
 ORMOND and BUTLER impaling Beauchamp. 
 ORMOND and BUTLER impaling Hanckford. 
 BULLEN. 
 
 BULLEN, EARL OF WILTSHIRE AND 
 
 ORMOND, impaling Howard. 
 CARY. 
 
 CARY quartering Ormond, and impaling Morgan. 
 
 CARY impaling Trevanion. 
 
 WHARTON. 
 
 WHARTON, and on an escutcheon of pretence, 
 
 Goodwin. 
 LOCKHART impaling Wharton. 
 LOCKHART impaling Montgomery. 
 GORDON-ABOYNE impaling Lockhart. 
 GORDON-ABOYNE impaling Stewart. 
 BECKFORD impaling Gordon. 
 
 Sanctuary.— The Latimer cross woven in the carpet. The fleurs de lis, 
 thistles, and roses, in the carving of the chests. 
 
 Oratory. — The fleur de lis in gold on a purple ground in the stained glass. 
 
40 
 
 FONTHILL ABBEY. 
 
 Sobered almost into a religious feeling, by the oratory and its concomitants, 
 and refreshed by the repose of the scene, we recommence our route. The first 
 new subject of astonishment, is the prodigious length of the vista before us. 
 To reach us, the distant light of the southern oriel has to traverse the Vaulted 
 Corridor, King Edward's Gallery, the Grand Saloon, and the Gallery of 
 St. Michael, every receding step of which is marked by some splendid archi- 
 tectural feature, by some brilliant rneuble, by a burst of light, a breadth of 
 shade, or a glow of colour, in varied and almost infinite succession. It is from 
 this point, that the mind of the spectator receives its deepest impressions of the 
 grand conception, the successful execution, the poetic taste, and the command- 
 ing wealth of the former possessor of Fon thill. 
 
 Proceeding to the furthest door on the left, in the Vaulted Corridor, we find 
 the staircase in 
 
 xxx vi . z\st Uanr aster Cumt ; 
 
 and ascending as far as it permits, we enter 
 
 xxxvu. ®t)$ mpvtt Uatuaster Moom, 
 
 an agreeable apartment, with windows to the west and north. In the centre 
 is a billiard table, and several valuable pictures are hung around. Descending, 
 we turn into 
 
 xxxvin. m>t %mtmtn State 3$rtr janitor, 
 
 a square lofty apartment, ceiled with oak, and divided into compartments. 
 In an enriched cornice of the same material, are placed alternately a rose and 
 a portcullis, in relievo and coloured ; above the oak wainscoting the walls are 
 
THE INTERIOR. 
 
 41 
 
 hung with crimson, on which is a number of fine pictures. The window is to 
 the west, large and bowed ; it looks out upon the plantations in front, from the 
 Beacon on the left, to Knoyle Hill on the right, of which the view opens to the 
 north-west, over two or three ranges of undulating ridges ; on one of them, 
 Alfred's Tower may be distinguished. 
 
 F. The furniture of this room is entirely of ebony, studded with ivory, and 
 of fine workmanship ; it is remarkable for its chaste effect, and the interesting 
 nature of its history. The carpet has fleur-de-lis upon greyish blue ground, 
 and is continued through all the rooms on this floor. 
 
 Ten ebony carved chairs. An ebony and marble robe cabinet. A carved 
 ebony Persian cabinet. A silver gilt toilet service. A purple silk quilt, 
 formerly belonging to Henry VII. An ebony state bedstead, with crimson 
 damask hangings. 
 
 P. Portrait of the Regent Murray. Jamieson. — The Smokers. Terriers.— 
 A Halt of Cavaliers. Cuyp. — Christ in the Garden. Mantegna. 
 
 H. The red and white rose united, and the portcullis emblazoned alter- 
 nately in the frieze. The carpet strewed with fleur-de-lis (or), on a blue ground. 
 
 Through the folding doors, we enter 
 
 xxxix. m>t %mtmin Mnti^amt$v t 
 
 an imperfectly-lighted room, and very irregularly formed ; it has, however, a 
 fire place, and other conveniences. Beyond it lies 
 
 xl. \mtmxtx cftalietj), 
 
 a long vaulted room, of moderate breadth and height, hung with crimson 
 cloth, the vault ribbed, and of oak. Four deeply recessed pointed-arch win- 
 dows to the west, are opposed to as many glazed closets on the east, in which 
 
 G 
 
42 
 
 FONTHILL ABBEY. 
 
 are specimens of the porcelain of all countries ; curtains, to match the walls, 
 draw over all the apertures ; mirrors, enamels, and pictures, decorate the upper 
 part of the piers; and oak tables of an antiquated pattern, bearing porcelain, 
 stand a the feet of them. 
 
 A. Ceiling as last, but that the panels or openings are trefoil-headed. 
 As we approach 
 
 xli. ct)£ ftttmne l&oom, 
 
 the view over its balcony, and through the pierced work of its parapet, is 
 irresistibly attractive. The elegant form of the opposite Tribune, seen across 
 the area of the Grand Saloon ; — the rich glazed doors and studded floors of St. 
 Michael's Gallery, highly illuminated ; — are the first traits which present them- 
 selves. To these succeed the graceful outline of one of the great arches, finely 
 marked by the shadow within the Vestibule. As we advance, the series of 
 triple arches appear above, and the extraordinarily situated rooms behind them, 
 surmounted by the vaultings, which carry the Lantern, until arrived at the 
 Tribune ; two of the superb windows burst laterally upon the scene, and over- 
 power every other object. Here, again, the inspiration of the " genius loci" 
 has been fully felt ; and were there no other part, the charming coup-d'ceil 
 before us must extract the acknowledgement of it from the most fastidious 
 critic. 
 
 Retiring to the Tribune Room, we find it an apartment of very elegant form 
 and proportions. Silk damask hangings cover the doors, the window, and the 
 recess ; these and the covering of the walls are of crimson. Two carved 
 corbels at the west end carry each a mirror, on which are the arms of Mr. 
 Beckford, within the tressure of Scotland, richly emblazoned. 
 
THE INTERIOR. 43 
 
 The ceiling is formed with moulded joists in oak, the undersides of which 
 are gilt. The window looks up the Great Avenue, and the view is repeated by 
 a mirror in the recess. 
 
 As we leave the Tribune Room by the door we entered, another of those 
 perspectives, so characteristic of the place, offers itself. The scale is smaller 
 than some we have passed, but the arrangement is very excellent. 
 
 The scene is along the Gallery, the Anti-chamber, and the State Bed Room, 
 the marble chimney piece of which terminates the view. At the south end of 
 the Lancaster Gallery, we turn to the right, and ascend 
 
 xlii. Wbt %mtd&\tx SX&ixtmt, 
 
 to a chamber in the Mervyn Tower, called 
 
 xliii. suftt'e mtf artmmtier, 
 
 a small, but cheerful room, looking down upon the scenery to the north west 
 and north east. The ceiling is plain, almost to rudeness, in the naked joists and 
 beams; but the hangings of crimson cloth and watered moreen are handsome. 
 
 Descending by this same staircase, we pass the door by which we left the 
 Lancaster Gallery ; and a little lower perceive a glazed door, which leads to 
 the Dutchess's suite of apartments. 
 
 The first is 
 
 a small low room, hung with scarlet cloth ; the ceiling is of oak wainscoting. 
 This is followed by 
 
44 
 
 FONTHILL ABBEY. 
 
 a still smaller and darker room, but with a fire place. It is wainscoted all over. 
 We climb up a short, oblique, narrow staircase, into 
 
 xlvi. & Wlibev 
 
 wainscoted entirely, and gain 
 
 xlvii. m>t Elites*'** mtf ©tmmtor, 
 
 a large handsome room, the prevailing colour of which is crimson. 
 
 As this room, with the Breakfast Parlour beneath it, are on the site of the 
 intended Great Staircase, they divide between them the only window which 
 was designed for it : this is the cause for the extraordinary position and 
 disagreeable view (into the Kitchen Court) of the present window. 
 
 We return by the route we came to the Lancaster Staircase, and, completing 
 the descent, we shall find it terminates in XXX. a Lobby we have previously 
 passed. Avoiding the China Room, we cross the Vestibule of King Edward's 
 Gallery and the Grand Saloon, to the Western Vestibule. Here, on the north- 
 ern side of the Vestibule, is an archway, which opens upon 
 
 XLVIII. a UofUJB, 
 
 through which we pass to reach 
 
 xlix. <5reat £taivta&$ Eotoev. 
 
 In this is an ascent of winding stairs, light, commodious, and secure. Through 
 
THE INTERIOR. 45 
 
 one of the windows, which, from its altitude, we pass as it were by instalments, 
 are seen the arches and windows of the Saloon. A flight of one hundred and 
 twenty-four steps lands us in 
 
 part of the beautiful series, which entirely surrounds the Octagon at this height. 
 Through its apertures we find, with surprise, how much we are still beneath 
 the Lantern ; but enjoy a favourable opportunity of inspecting its chaste pro- 
 portions and tasteful arrangement in detail. 
 
 The stained glass of the windows is now more evident, and throws in a 
 brilliant golden shade. As the eye travels down the descending lines of the 
 architecture, it arrives at the scene we have lately left, and the features of 
 which are perhaps now become a little familiar ; but, surveyed from this ele- 
 vated point of view, they present fresh combinations, and lose none of their 
 interest. 
 
 Turning to the right hand, the Corridor opens into 
 
 ll mtmxn jittnnirg; 
 
 a lofty room, of good proportions, (hung with pictures, and a profusion of 
 scarlet cloth curtains,) one of a suite certainly unique in situation and design. 
 They are separated from the Great Octagon, by the Arcade only, the voids of 
 which have no other filling up but curtains ; and their windows, situated above 
 the great mass of the Abbey, are intercepted in their view, by the Towers 
 which rise from it; so that, but for their expensive hangings and furniture, 
 we should have imagined them to be mere adjuncts, for the purpose of produ- 
 cing an impression of infinite extent upon a spectator below. From thence, 
 part of their ceilings are seen, and the imagination, running off with the length- 
 ening lines of the golden joists, spreads them over an extent, which is limited 
 
46 
 
 FONTHILL ABBEY. 
 
 only by the degree of perfection in which the faculty exists. In this Nunnery 
 the walls are hung with purple damask, and scarlet curtains cover all the 
 sides. 
 
 lii. &t)t goutf) lUt&tmx Rvcabe, 
 
 is similar to the other, and leads us to 
 
 lhi. €t>t £outfwrn ^nnmtVt 
 
 similar to the last, but with no curtains. The view to the south is over the 
 battlements of the Southern Stairs, and gives the scene, of which Wardour 
 Castle is the centre. 
 
 A. In this is a fire place, and dwarf oak wainscoting. 
 This is connected by 
 
 liv. ctje goutf) iSasstern Quake, 
 
 with 
 
 lv. eastern jhtnitwgt 
 
 which, since the erection of the Eastern Wing, has no external opening. This 
 produces an obscurity, which gives additional effect to the view into the oppo- 
 site apartments and the Saloon, which, from this Nunnery, penetrates into the 
 Great Western Hall, and, through its Portal, on to the Lawn beyond. The 
 walls are hung with printed cloth, of a deep red pattern, upon a yellow 
 ground. 
 
/ 
 
 THE INTERIOR 47 
 
 We now go through 
 
 lvi. zf)t ilortf) <&a$tm\ Rttattt, 
 
 into 
 
 lvii. €t>e Kortftftn &unn$ty, 
 
 remarkable for its rich oriental silk and velvet hangings, the subject from the 
 Indian Mythology (the many-handed deity.) The view to the north opens to 
 the westward over the Terrace, and Stourton Tower is seen in the distance. 
 
 From the west side of this, we regain the South Western Arcade, and recom- 
 mencing an ascent of sixty-five steps, we pass the door of a suite of Bed Cham- 
 bers, (the highest we should think in the world,) which are over the Nunneries, 
 and arrive at 
 
 lviii. platform ot tt)t (fixtat &taitta$t Cotoer. 
 
 This commands three-fourths of the horizon from the south to the east ; in the 
 last direction, the pinnacles and lofty towers of that part contrast most power- 
 fully with the Grove on Hinckley Hill, and the scenery beyond it. 
 Entering the north-west side of 
 
 lix. Central GTotoer, 
 
 an inclined plane winds gently round between the external walls and the Lan- 
 tern of the Grand Saloon, which is placed at this uncommon height. 
 Successive flights of spacious, commodious, and well -lighted stairs, (one 
 hundred and twenty-eight in number) take us up through the skeleton stories, 
 
48 FONTHILL ABBEY. 
 
 Avhich were once intended to be the deposit of curiosities from all quarters of 
 the world, to 
 
 lx. cfje ©fi^rbatori?, 
 
 a most acceptable and delightful resting place, of an octangular form. In 
 the recesses, ottomans offer their welcome repose ; over them and behind the 
 curtains is a miscellaneous collection of ancient stained glass, which moderate 
 the intense light of this elevated chamber. Between the curtains and the 
 external windows are recesses, where the timid may view the surrounding 
 scene without apprehension ; but it may be seen quite as securely, and far 
 more perfectly, from 
 
 lxi. ®o\ntt <£aller 
 
 where the rich and glorious landscape, circumscribed by no common horizon, 
 is seen on all sides. The eye fails in the attempt to measure its extent, and 
 telescopes are lying within to assist it. In the east, the spire of Salisbury 
 raises its rival height ; Wardour, now apparently close to us, fills the north ; 
 Dorset and Devon bound the west; and downs "immeasurably spread" cover 
 the whole country to the north. 
 
 Our route now lies down the east descent to the base of the Tower ; we stop 
 not at the place where we entered the Great Staircase Tower, but contipue 
 descending to 
 
 lxii. ctie EoiH>!> of m <&teat mmttn mall 
 
 which we immediately enter by a lateral door, between the grand flight of 
 stairs and the north side of the Hall ; and passing close round the bottom of 
 the flight to the corresponding space on the other side, we descend into 
 
THE INTERIOR. 49 
 
 lxiv. €t>t Wle&ttvn moi$t$v f 
 
 a vaulted Gothic arcade, of great length, open on its side to the Western Lawn, 
 whose area, bounded by the wooded masses on the Beacon Hill, forms a 
 contrast to the expanse we had been contemplating above. Orange trees and 
 other valuable plants are arranged on each side. On the left, a door opens 
 into 
 
 lxv. ctje fountain otourt, 
 
 fitted up as a refectory, by a temporary cloister erected around it. In the 
 centre is the fountain, a fine jet d'eau rising from an elegant octangular bason, 
 into which it again falls, and, overflowing, descends into a very large reservoir. 
 The cross and the cinque-foil are again used as embellishments in the shaft of 
 the fountain. 
 
 At the south end of the Cloisters is 
 
 LXVI. &p S3ntt=l&00W* 
 
 A small vaulted apartment, (with a fire-place) lined with fine dark oak wains- 
 coting from the ground to the springing of the vault. The room on the west is 
 extended into a semi-octagon, which is repeated by the mirror over the fire- 
 place, in the sides of which are the windows at an unusual height from the 
 floor. 
 
 F. Scarlet cloth curtains cover the windows and both ends of the room ; 
 from a boss in the vaulted ceiling is hung a massive gilt chandelier. 
 
 A. Ceiling vaulted and reduced to a square by broad reticulated arcs-bou- 
 tant, at the ends ; the centre groined, with larger mouldings in the angles, and a 
 fine boss in the centre vault, jointed as stone, the recess groined and moulded ; 
 
 H 
 
50 
 
 FONTHTLL ABBEY. 
 
 in its centre is a shield bearing the Latimer cross. The wainscot is of the same 
 style as the Oak Parlour. 
 
 We leave it by LXVII. g| Eotlftj), leading to LXVIII. &t)C ®afHWt 
 Statt$, and passing this, LXIX. £1 tya&mqt, and LXX. & UoM)Sj, we 
 turn on the right hand into 
 
 lxxi. ®De <&otm etattintt, 
 
 A highly ornamented and elegant little room ; the ceiling covered with ar- 
 chitectural decorations ; and the walls hidden by mirrors, by plate glass, or by 
 silk. In the em bowed recess are three windows, each of one piece of plate 
 glass ; an instance in which the effect of that superb article of modern luxury 
 is carried as far as possible. 
 
 A. The ceiling is vaulted ; from the slender columns in the angles the 
 tracery spreads over all the dome. Three of the doors have their upper panels 
 filled with plate glass. The chimney-piece is of rosso antico. The carpet, 
 which commences in this room, extends over the whole suite : the pattern is 
 heraldic, — the ermined cinque-foil upon a crimson ground. 
 
 Dimensions, 15 ft. 1 in. long, 10 ft. 5 in. wide. 9 ft. 10 in. high. 
 
 lxxii. a ntfrtg, 
 
 opens upon 
 
 lxxiii. &evtate f 
 
 embattled in each side, and terminated by the Great Western Hall ; on the 
 right of which proudly rises the Central Tower, buttressed by that of Latimer, 
 with its slender turret shooting up like an oriental minaret ; from this runs an 
 embattled curtain, pierced by the windows of St. Michael's Gallery. As we 
 
THE INTERIOR. 51 
 
 advance, we are saluted on one side by the jet d'eau, which rises from the 
 Fountain Court ; and on the other by the breezes from the Western Lawn; 
 which mingle and distribute the perfumes of a profusion of flowers, arranged 
 in vases, on each side of the whole length of the Terrace. 
 
 Refreshed, we re-enter; and, crossing the Gothic Cabinet and its Lobbies, we 
 are introduced to 
 
 lxxiv. €t>e im&tew ¥el!oto ZJratotttg Uoonx, 
 
 so called from the hangings of an apartment which, though open to the south 
 and west, are yellow '.—the light from whose windows, already too numerous, 
 is repeated by mirrors in every pier, and reflected from the gold and crystal, 
 and precious stones of a thousand articles of virtu which fill the open armoires, 
 or cover the marbles of the room. 
 
 F. A carved ebony armoire, 8 feet high. A vase of rose crystal. Two 
 gold tazzas, by Moiette and Auguste, 1793. A vase of a single Hungarian 
 topaz, intended as a marriage present to Catherine Cornaro, executed by 
 Benvenuto Cellini. An engraved silver gilt vase, of German workmanship. A 
 jewel casket, designed by Mr. Beckford. A sceptre of jad, brought from China, by 
 Lord Macartney, as a present from Kian Long to his late majesty. An oval 
 cup of rock crystal, from the royal collection of France. A Greek shrine or 
 reliquary, from St. Denys, originally brought by St. Louis from Palestine. An 
 oriental pale sea-green China bottle, the earliest known specimen of porcelain 
 introduced from China into Europe. An amber jewel cabinet, made for the 
 Princess of Bavaria in 1665. A silver gilt casket, set with agates and precious 
 stones. 
 
 A. The ceiling is covered with circles, the peripheries and intervals of 
 which are foliated. The walls are hung with yellow silk damask. The arrange- 
 ment of the parts of a room, of such importance as the one under view, are 
 faulty : here is, too, an excess of lights coming in from different aspects. The 
 southern windows are of a different character and design from the others in the 
 
52 FONTHILL ABBEY. 
 
 same room. The position of the fire-place is beneath the marble sill of a 
 window. 
 
 Dimensions, 26 ft. 10 in. long, 18 ft. 11 in. wide, 13 ft. 8 in. high. 
 Most of these errors are avoided in 
 
 lxxv. iSaatetn ¥eiioto Bratotng i&oom, 
 
 which we enter by a large door-way, partially closed by silk curtains, 
 though in other respects it is entirely en suite with the last. 
 
 F. An inlaid ebony table. A table made of oriental alabaster. Three 
 Persian cabinets and stands of ebony and ivory. An amber cabinet. A can- 
 teen of Chinese basket work. A gold japan canteen, from the collection of the 
 Due de Bouillon. An ancient enamel in three compartments. 
 Dimensions, 23 ft. long, 18 ft. 11 in. wide, 13 ft. 8 in. high. 
 
 Two lofty gothic doors, their panels filled with plate glass, open into 
 
 lxxvi. gt. MitUW* (Kallem, 
 
 a superb apartment, vaulted throughout its amazing length, with groining of 
 the most ingenious and elaborate design. From the sculptured corbels on each 
 side, clusters of mouldings rise in long succession, and expanding into elegant 
 fan-work, spread over all the ceiling; between them, descend the curtains of 
 scarlet and deep blue, bordered with the regal tressure, partially concealing the 
 long lines of splendid cabinets of ebony and gold, which contain within them, 
 or bear on their marble slabs, the most precious specimens of virtu. Over a 
 crimson carpet, strewed with myriads of white cinque-foils, the eye is led down 
 another of the grand perspectives of the Abbey, where objects, which were 
 lately hung over with admiration, are reduced, by their remoteness, into appa- 
 rent insignificance, and all distinctness is lost in the distant Oratory. Near 
 the fore-ground of this scene, are three of the few windows which open to 
 
/ 
 
 THE INTERIOR. 53 
 
 the east ; marble chimney pieces, and stained glass, decorated with heraldic 
 achievements, and the effigies of saints and distinguished men, entirely occupy 
 two of them ; in the upper divisions of the third are some royal escutcheons 
 and crests brilliantly emblazoned. A fine Oriel window terminates the Gallery 
 to the south, and presents its exquisite landscape through plate glass of mag- 
 nificent dimensions. It has also some fine paintings in its upper part. Four 
 large pointed arch windows glazed in the same style command the Fountain 
 Court, and give light to the northern half of this Gallery. Beyond them is a 
 very beautiful one of the lancet form, entirely filled with a mosaic pattern of 
 great delicacy, of a similar design to the celebrated windows in the transept of 
 York Minster. Curtains of the same style as the others, and perforated 
 gothic doors of an unusual size, glazed with plate glass, separate the Gallery 
 from the Grand Saloon. 
 
 In contemplating the proofs of architectural skill, and the inestimable pro- 
 ductions of art which crowd around us in this part, we feel astonished at the 
 genius which has created it, the judgement which has selected them, and the 
 unlimited ability which was necessary for their acquisition. Here also in the 
 numerous recesses of this Gallery are we again met by the same indications 
 of a passion for the most costly and perfect productions of literature, and 
 here, as in every other part of the Abbey, Heraldry (emblazoning other 
 lines of descent of the late possessors) gives the last touch to the gorgeous 
 finishing of the scene. 
 
 F» The curtains which cover all the windows and recesses are of the same 
 kind as those in King Edward's Gallery, double and with heraldic borders. 
 Eleven ebony tables, with slabs of marble, carrying glazed cabinets of buhl and 
 tortoiseshell, are arranged on each side of the apartment. Chairs and tables of 
 carved ebony are placed in and near the Oriel. Distributed in various parts of 
 the Gallery are : — A cabinet designed by Holbein for King Henry VIII., from 
 
FONTHILL ABBEY. 
 
 the palace at Whitehall. A buhl cabinet and stand. A Persian jad vase and 
 ewer. The Japanese idol Armida. Two Mazarine cisterns. Four silver gilt 
 candlesticks, by Auguste. An oriental metal cup and cover. A box of gold 
 japan, from the Duchess of Portland's collection. Two canteens of japan, from 
 the Due de Bouillon's collection. A cup of agate set with garnets. 
 
 A. The plan is a long parallelogram, finishing at its south end in a pro- 
 jecting Oriel, which has three sides of an octagon. The ceiling is distributed 
 into nine groined compartments ; the first and second, and second and third, of 
 which (from the south) are separated by broad arcs-boutant. Each compart- 
 ment has in its angle a segment of a circular groin, which rising from a corbel 
 in the middle of a pier, expands until it meets the curves of the opposite groins. 
 A horizontal moulding runs round at the level of the first point of coincidence, 
 and two others between this and the springing divide the height into three 
 parts. The reticulations are formed by dividing each quadrant perpendicularly 
 into four, and are finished with cusped cinque-foil heads. The second circle 
 from the springing is surmounted by a border of foliage. The vertical divisions 
 run through their circles, and butt against their antagonists, in one of the ver- 
 tices. Some of these junctions are again connected by a diagonal moulding 
 which runs between them. Bosses of various sizes, and all sculptured, cover 
 most of the intersections. The whole is jointed and party-coloured of a delicate 
 stone colour. The walls above the oak wainscoting are plain buff. The 
 wainscoting is the same as in the other gallery. 
 
 The arcs-boutant are reticulated in seven vertical divisions; the arched part 
 divided horizontally into two tiers, with tre-foil terminations at each end. — A 
 series of square reticulations each carrying a quatre-foil and emblazoned shield, 
 forms an impost, beneath which cinque-foil headed reticulations descend undi- 
 vided to the floor. 
 
 A narrow arc-boutant divided similarly separates the first groined compart- 
 ment from the arch of the Oriel, which is also reticulated in the same manner. 
 The ceiling of the Oriel has culs-de-lamp, &c. as the Sanctuary. 
 
 Six of the intervals on the east side and all the arcs-boutant have recesses 
 for books ; the first have moulded and kneed labels over them. 
 
 On the east side are also three windows, two of them pointed, with mullions, 
 tracery, and filled entirely with stained glass ; the upper and lower parts of 
 which are heraldic. Between these are figures, (two in each window,) inscribed 
 
THE INTERIOR. 
 
 55 
 
 gancta 3Etljel&retrat 
 gatutug ©olumfca* 
 Uencratiilte HJetra. 
 IXogews Uacom 
 
 Round each window is a boldly carved foliage, and in its lower part a fire- 
 place, with a chimney piece of marble. 
 
 The third window is in the centre of these, and is a transom, two lights high, 
 and four wide, glazed with plate. In its upper part is a frieze of panels, filled 
 with stained glass of armorial subjects — a border of carved foliage surmounts its 
 cornice. 
 
 The south Oriel window is also a transom window, filled with panes of very 
 large plate. It has an additional tier of tracery in its upper part, occupied by 
 stained glass in several coats of arms, and the following figures, inscribed 
 
 ganctugi ^terongmuis. 
 &atutu$i &ugu0timi*» 
 Sancttts amfcrosKua:* 
 ^atutus: at&anasfus?* 
 
 These subjects, and all the stained glass in this Gallery and the Oak Parlour, 
 (except the lancet window) were executed by the late Mr. Eginton. The 
 lancet window, the windows of the Great Octagon, the Western Hall, King 
 Edward's Gallery, and the Oratory, are specimens of the taste and ability of the 
 present Mr. William Raphael Eginton, his son. 
 
 Four of the windows on the west side are painted, and have mullions, tran- 
 soms, and tracery similar to those in King Edward's Gallery ; and like them they 
 have plate glass in their lower parts, and armorial stained glass in their upper. 
 The fifth is narrow and pointed ; and an exquisite copy of one of the celebrated 
 windows in the transept of York Cathedral. 
 
 The doors which lead from this Gallery into the Great Octagon, and the Yel- 
 low Drawing Rooms, are solid oak, moulded and carved, and enriched in the 
 most elaborate style ; panels of plate glass, some of them of great length, are 
 inserted in all the upper apertures. — Two others concealed in the wainscoting 
 lead to the Latimer Turret, and a suite of chambers on the west. 
 
 Dimensions, 112 ft. 4 in. long, 13 ft. 7 in. wide, 15 ft. 4 in. high. 
 
 Whole length of the Vista in the interior, from the Oriel in St. Michael's 
 Gallery, to the easternmost fan of the Oratory, 307 feet. 
 
56 
 
 FONTHILL ABBEY. 
 
 H. Commencing the examination of the blazonry with the first shield from 
 the north on the eastern side, we shall find on the corbels angels supporting the 
 six following escutcheons, illustrating the descent of Mr. Beckford from the 
 family of Seymour. 
 
 1. SEYMOUR (before the augmentation) quartering Beauchamp of Hache. 
 
 2. SEYMOUR, and quarterings as before, impaling Wentworth. 
 
 3. SEYMOUR (with the royal augmentation in the first quarter) and an escutcheon of pretence, Fillol. 
 
 4. SEYMOUR, and on an escutcheon of pretence, Walsh. 
 
 5. SEYMOUR impaling Champernowne. 
 
 6. SEYMOUR impaling Killigrew. 
 
 Proceeding southwards, in the quatre-foils of the first and second arcs-boutant, 
 are fourteen shields, delineating the descent of Mr. Beckford from the ancient 
 family of the Mervyns, formerly Lords of the Manor of Fonthill. They succeed 
 in the following order. 
 
 1. MERVYN, and on an escutcheon of pretence, Squire. 
 
 2. MERVYN impalement in blank. 
 
 3. MERVYN impaling Hungerford, of Heytesbury. 
 
 4. MERVYN impaling 1. Mompesson. 2. Goodwin. 3. Drewe. 4. As 1. 
 
 5. MERVYN, and on an escutcheon of pretence, Greene quartering Latimer. 
 
 6. HALL impaling 1. Mervyn. 2. Greene. 3. Latimer. 4. As 1. 
 
 7. HALL, and on an escutcheon of pretence, Rogers quartering Besill. 
 
 8. HALL impaling Brune, quartering Rokele. 
 
 9. HALL impaling Seymour. 
 
 10. COWARD, and on an escutcheon of pretence, Hall. 
 
 1 1 . COWARD quartering Hall, and impaling Hastings, of Hinton. 
 
 12. HAMILTON and ARRAN, and on an escutcheon of pretence, Coward quartering Hall. 
 
 13. * BECKFORD (without the tressure>quartering Hering, and on an escutcheon of pretence,— 1. Hamil- 
 ton and Arran. 2. Coward. 3. Hall. 4. As 1. 
 
 14. BECKFORD (with the tressure) quartering,— 1. Hamilton and Arran. 2. Coward. 3. Hall, impa- 
 ling Gordon Aboyne. 4. Seton. 
 
 On each side of the arc-boutant, which is near the Southern Oriel, is a single 
 shield ; the one on the east side contains the arms of Zouche ; the other, those 
 of Rohun quartering Britany, to commemorate the descent of Mr. Beckford 
 from Alan la Zouche, temp. Ric. I. the grandson of Alan Viconte de Rohun, who 
 married Constance, daughter and co-heir of Conun le Gros, Count of Britany. 
 
 * This is the shield of William Beckford, Esq. of Fonthill, Lord Mayor of London, and M.P.for that city, 
 Maria Hamilton, his wife. 
 
THE INTERIOR. 
 
 61 
 
 Returning northwards along the west side of the Gallery, the seven shields in 
 the first arc-boutant illustrate the descent of Edith Latimer, whose arms occur in 
 the fifth of the series on the east side, from William, the first Lord Latimer. 
 
 1. LATIMER, and on an escutcheon of pretence, LedeU 
 
 2. LATIMER, and on an escutcheon of pretence, Gouis. 
 
 3. LATIMER, and on an escutcheon of pretence, Hall. 
 
 4. LATIMER impaling Peche. 
 
 5. LATIMER impaling Pipard. 
 
 6. LATIMER impaling Hody. 
 
 7. GREENE, and on an escutcheon of pretence, Latimer. 
 
 In the succeeding arc-boutant are seven shields, shewing the descent of 
 Elizabeth Brune, whose arms occur in the eighth shield on the opposite side. 
 
 1. BRUNE quartering Rokele, and impaling De La Pole. 
 
 2. BRUNE and ROKELE impaling Radford. 
 
 3. BRUNE and ROKELE, and on an escutcheon of pretence, Sturmy. 
 
 4. BRUNE and ROKELE impaling Tichborne. 
 
 5. BRUNE and ROKELE impaling Bamfield. 
 
 6. BRUNE and ROKELE, and on an escutcheon of pretence, Martin. 
 
 7. HALL impaling Brune, quartering Rokele. 
 
 To these, succeed a series of shields on the corbels, shewing the ascending- 
 lines of Champernowne, from Elizabeth, Lady Seymour, whose arms appear in 
 the fifth of the corbel-series opposite. The first from the south is 
 
 1. CHAMPERNOWNE impaling Bonville. 
 
 2. CHAMPERNOWNE, and on an escutcheon of pretence, Boys. 
 
 3. CHAMPERNOWNE, and on an escutcheon of pretence, Childerley. 
 
 4. CHAMPERNOWNE impaling Courtenay and Redvers. 
 
 5. CHAMPERNOWNE impaling Carew. 
 
 6. CHAMPERNOWNE impaling Norreys. 
 
 Pursuing the same object in the painted windows, we make a similar tour and 
 begin with the northern window on the east side: — over the figures is an 
 achievement, containing a selection of six quarterings of Mr. Beckford, viz. 
 
 1. BECKFORD. 2. HAMILTON quartering Arran. 3. COWARD. 4. HALL. 
 
 5. ROGERS. 6. BESILL. 
 
FONTHILL ABBEY. 
 
 Beneath, on the dexter side, are the arms, crest, helmet, mantling, and 
 motto of 
 
 CATESBY, and on an escutcheon of pretence, Crauford. 
 
 On the sinister side are those of 
 
 CATESBY quartering Crauford, and on an escutcheon of pretence, Mountfort quartering Braundeston. 
 
 These are members of the family of Catesby, of high antiquity in Nor- 
 thamptonshire, who possessed Althorpe before it passed to the Spencers, and 
 from whom Mr. Beckford is lineally descended. 
 
 The next window is generally termed the " East Oriel," and has in the centre 
 of its upper part, the arms of 
 
 JAMES II. of Scotland, and of his Consort, Queen Mary of Gueldres. 
 
 On the dexter side, the arms of 
 
 JAMES I. of Scotland, and of his Consort, Joan de Beaufort. 
 
 On the sinister side, 
 JAMES LORD HAMILTON, and of his Consort, the Princess Mary Stuart, daughter of King James 
 II. of Scotland, by Mary of Gueldres. 
 
 At each end of this series, is 
 
 The royal crest and motto of Scotland. 
 
 The third window is similar in its form and arrangement to the first, and in 
 its arch has the achievement of Mr. Beckford, and the Lady Margaret Gordon, 
 his wife, viz. 
 
 BECKFORD, impaling 1. Gordon Aboyne. 2. Gordon. 3. Badenoch. 4. Seton. 5. Fraser. 
 6. as 1. 
 
 In the lower part of the dexter side, are 
 
 CATESBY, quartering Crauford. Mountfort. Braundeston. and on an escutcheon of pretence, 
 Barre. 
 
 On the sinister side, 
 CATESBY, with the quarterings as above, impaling Litton. 
 
 The South Oriel contains four shields of the paternal connexions of Mr. 
 Beckford : the first from the left is 
 
THE INTERIOR. 
 
 59 
 
 1. BECKFORD (without the tressure, and filially differenced by a mullet) impaling i. Bertie. 2. Wil- 
 
 loughby. 3. Vere. 4. as J. 
 
 2. HOWARD and quarterings, impaling Beckford. 
 
 3. BECKFORD, cpjartering 1. Love of Basing. 2. Love of Goudhurst. 3. Freeland. 4. as 1, and 
 
 on an escutcheon of pretence, Leigh. 
 
 4. BECKFORD impaling Pitt. 
 
 Returning northwards, the four windows on the west side have bearings, 
 illustrating the three last generations of the Beckford family, the present repre- 
 sentative inclusive. In the 
 
 1. BECKFORD, and on an escutcheon of pretence, Hering. 
 
 In all these windows, there are also the arms and crest of Latimer. 
 
 2. BECKFORD quartering Hering, and impaling Hamilton. 
 
 3. BECKFORD quartering Hering, and on an escutcheon of pretence, Hamilton. 
 
 4. BECKFORD quartering Hamilton and Arran, impaling Gordon- Aboyne. 
 
 The royal tressure is worked in the borders of the curtains, and the cross and 
 cinque-foil appear repeatedly on the furniture. 
 
 We may now descend to a part of the Mansion, much less interesting than 
 those portions already surveyed, but the magnitude and importance of which 
 forbid it to be passed entirely unnoticed: by continuing to descend any of the 
 Staircases, or by passing through either of the doors, in the east end of the 
 Great Western Hall, we enter 
 
 Wbt iSasr mrnt, 
 
 or which strictly may be called the Ground Floor. Part of this has already 
 been described under the heads of Eastern Entrance, Southern Hall, Oak 
 Parlour, and Anti-Room, the Cloisters, and the Great Western Hall. The 
 other parts are disposed under the two Galleries, the Octagon, and the 
 Eastern Transept. Their general arrangement is that of a Corridor, or long 
 passage, running all the length of each arm of the building, and connecting it 
 
60 FONTHILL ABBEY. 
 
 with the Sub-Octagon ; into these passages, the doors of the several apartments 
 open. 
 
 Under King Edward's Galley, or the northernmost branch, are placed the 
 House-Steward and House-Keeper's Rooms, the Female-Servants' Hall and 
 Dormitory, and beneath part of these are the Cellars. 
 
 In the Eastern Transept are, the Servants' Hall, — a large but gloomy room ; 
 and beyond, down a range of steps and an inclined plane, to give increased 
 height, we find the Kitchen, and its appendages. The former a spacious 
 apartment, vaulted and groined. All the service necessary for an extensive 
 establishment loads its numerous shelves, and covers the massive tables. 
 Every part and every article here are directed to some useful purpose, and the 
 only ornament admitted, is that of the skull and branching antlers of a noble 
 stag upon the chimney-piece, whose haunches have heretofore probably 
 smoked before the eternal fire which blazes beneath. 
 
 The Sub-Octagon, originally the Kitchen, is now a mere hall of communi- 
 cation; on its north side is a larder; on its south-east a door opens into the Ex- 
 ternal Quadrangle ; to the west are entrances to the Fountain Court and the 
 Western Hall ; and directly south is a passage running to the Eastern Postern, 
 which has five small rooms on its side without fire places. Two other small 
 rooms, in a passage which connects the Eastern Postern with the Anti-Room, 
 finish the catalogue of apartments upon this floor. The Kitchen Court is left 
 a rude excavation, having a few open vaults on the northern side. 
 
 A glance at 
 
 imfim0f)rtr apartments, 
 
 the shell of which is executed, may be thought necessary to a complete sur- 
 vey of the interior. These are in the Eastern Transept. The purpose for 
 
Jh/>lts/ied Jkna 2" U JS23. by J. Jtuiter, Sha/U 
 
THE INTERIOR. 61 
 
 which the larger part of this vast interior was destined, lias been mentioned. 
 To this a chapel and library were to be added in the upper part ; and it is 
 evident, from the provision already made, that the circuit of the Nuns' Walk 
 or Nunneries, was to be continued round the whole at the extraordinary height 
 they now exist ; a staircase of a different design, and of larger dimensions 
 than any of the others, was also intended ; but beyond this, all is uncertainty. 
 The works, as they stand, were probably the last design of importance, which 
 engaged the attention of the late Mr. Wyatt, previous to the fatal accident 
 which terminated his life ; and the necessity for completing them does not ap- 
 pear to have since pressed itself upon the consideration of the late possessor— 
 they have therefore remained in an unfinished state. 
 
 Central ®i)&etbation& 
 
 In all designs for the interior of residences upon a very large scale, it always 
 has been, and still continues to be, the practice to devote some part to the dis- 
 play of architectural magnificence. This generally is confined to the Entrance 
 Hall, sometimes is carried as far as the Saloon, and often the Principal Stair- 
 case is combined with one or both of these ; but, unless we add, the comfortless 
 perspective through doors opening opposite to each other, the instances are 
 very rare when any thing more is attempted. All the apartments beyond, though 
 perhaps finely proportioned, and judiciously decorated, are generally so injured 
 by the colossal dimensions, costly materials, and elaborate ornament of the 
 approaches, as to have an air of diminutiveness, poverty, and neglect. This is 
 a great defect of judgement, — an anti-climax which ought to be banished, but 
 whose universality is so complete, that probably Fonthill Abbey is the only ex- 
 ception existing. In this building, with what sacrifice of domestic comfort we 
 shall afterwards inquire, the late possessor has devoted the whole, except the 
 
62 FONTHILL ABBEY. 
 
 offices in the basement, and a few attics, to the splendid purpose of producing 
 a succession of architectural scenes of infinite variety. In selecting the design 
 of an Abbey, and what appears to be the most sacred part of an Abbey, for a 
 residence ; — in placing in close neighbourhood styles of more than one age and 
 country ; and in the violation of many of the little common-place rules of sup- 
 posed propriety ; the late possessor and his architect will no doubt be thought 
 amenable to censure by some persons: but how few will they be, compared 
 to the thousands who have poured out their tribute of admiration, and even 
 astonishment, at the novelty, beauty, and grandeur of the effects, which have 
 been created by this bold departure from the common road. 
 
 In one or two royal palaces in the world, there may be single scenes of 
 greater extent and grandeur, than any one at Fonthill Abbey ; but among them 
 all, has Invention yet produced any thing to be compared with the Grand Sa- 
 loon, its four-fold vistas, its purple light, and superb altitude ! 
 
 If the long deep-blue curtains, which fell and concealed the terminations 
 of the Vestibules, were restored, — if the recesses which contain the windows 
 were furnished with similar draperies, and if the Tribune were re-opened into the 
 Chintz Boudoir, what still more extraordinary emotions would agitate a spec- 
 tator entering from the Western Lawn, by the judicious exposure of part, 
 or the whole, of the scene and effects with which he would be surrounded !* 
 
 Where too, it may be asked, is there a scene created by art, more affectingly 
 solemn than the Oratory, more stately than the Western Hall, or more beau- 
 tiful than the South Oriel ! 
 
 Jt is almost disgusting, and in fact, impossible with patience, to pass from 
 these to the minutiae of criticism, and that too, when all the great objects lor 
 
 * By this means too the single blemish of the Saloon, — the colourless window, might be concealed, except 
 when it becomes the only aperture for the rays of a setting sun, which then displays its tortuous line of steps 
 in a very singular manner. 
 
THE INTERIOR. 03 
 
 which the fabric was intended, have been so successfully attained and so uni- 
 versally acknowledged. 
 
 We shall therefore limit ourselves to some observations on the style or styles 
 in which the Abbey is built, and to a short statement of the domestic accom- 
 modations which it affords. If the Abbey were a fair specimen of the total 
 of the requisites for domestic comfort, which could be obtained with such a 
 display of magnificence, we should certainly have the prejudices of all our 
 countrymen in hostile array, when they know the scanty means it possesses. 
 Unseduced by its splendour, they would demand warm sitting rooms and airy 
 chambers, and we should be alarmed at the brief list we could offer ; but as we 
 hold a very different opinion ; as we are convinced that comfort and magnifi- 
 cence are not incompatible ; and as we have reason to believe that what is, is 
 what was intended, and know that more might have been obtained if more had 
 been thought desirable ; we are bound to consider the present domestic con- 
 veniences of the Abbey well adapted to the particular establishment for 
 which they were provided. 
 
 Until very recently, the Oak Parlour was the only room for the service of 
 dinner, with the important recommendation of being the furthest apartment 
 from the kitchen ! Over this Parlour, are the two Yellow With- Drawing 
 Rooms, communicating with the Gothic Cabinet and St. Michael's Gallery, 
 and these form the only regular suite of apartments even now : the Great 
 Dining and the Crimson Drawing Rooms, with the Crimson Breakfast Par- 
 lour, have been temporarily and lately fitted up for some particular necessity. 
 
 All the Abbey, with all its Towers, furnishes but about eighteen bed-rooms, 
 thirteen of which, from their almost inaccessible height, their smallness, their 
 want of light and ventilation, from one or all thesecauses combined, are scarcely 
 fit for their intended use ; and of the other five, not one has a dressing room. 
 The defects of the Basement in regard to the offices, must have been evident 
 
64 FONTHILL ABBEY. 
 
 from the sketch we gave of its contents. There are no means of baking, washing, 
 or brewing within it, and these operations are therefore performed in a tempo- 
 rary out-house. The facility with which most of these omissions could have 
 been supplied, proves that they were but slightly, if at all, felt ; and we should 
 have abstained from noticing them, if we had not known the curiosity which 
 has prevailed about these parts of the Abbey. 
 
 The perpetual change of style in the architectural composition of every 
 principal part of Fonthill Abbey, has been generally visited with condemnation 
 by those, whose information has placed them on a little higher elevation in the 
 ranks of science than the great majority who have visited it ; but in proportion 
 as we reach those whose acquirements give them justly a place among the fore- 
 most, we find these animadversions die away into " thin air/' and an acknow- 
 ledgement prevail, that the Abbey can be judged of by no common rules. 
 
 Its irregularities may be justified in kind, if not in degree, by the example of 
 all previously existing buildings of the class, of which it is professedly an 
 imitation. The additions of successive ages in their own characteristic styles 
 are to be found in all of them ; and to those who look for authority in these 
 things, there is ample authority to offer them for the spirit, if not for the letter, 
 of all that has been done at Fonthill. It is true, there is no sickly affectation of 
 fidelity for admeasurement, — no clinging to any particular model, that strong 
 hold of all smattering in the profession. The Abbey is no Frankenstein, built up 
 of the actual head of one individual, the arms of another, and the body of a third, 
 forming a disgusting and unnatural whole. There is a tower ; but it is not the 
 tower, fa ithfully copied, of Canterbury, nor of Gloucester, nor of any tower 
 extant. Its interior is in the ecclesiastical manner, as decidedly as that of any 
 Abbey existing ; but where is its exact prototype ? Confessionals, and Sanc- 
 tuaries, and Oratories, have been raised over all Christendom ; but when before 
 did genius so temper the light, and conduct the perspective? when did taste so 
 
I 
 
 THE INTERIOR. 65 
 
 spread the decorations with such inimitable effect ! St. Anthony might have 
 had lodgings of larger dimensions at Padua, but he was certainly " enshrined" 
 at Fonthill. 
 
 Among other reasons why the discrepancy of styles is really so little felt by 
 all, and so gently censured by the best judges, is the fact, that each division is 
 of itself large enough to fill the eye and the mind of the spectator ; and that 
 where discordant styles occur in the same view, that in the foreground is gene- 
 rally so decided and overpowering, as to throw the distant and subordinate one 
 out of immediate consideration, so far as a change of style is concerned. 
 
 These departures from the rigid rules of the art, so evident throughout the 
 whole of Fonthill Abbey, have been, and will be, fatal to those who presume to 
 exercise the profession of an architect, without genius and a matured judgement; 
 but when this rare union does exist, and they are employed upon a work de- 
 serving their attention, how delightful it is to watch their god-like creations, to 
 see the spirit and the characteristics of a style never for a moment neglected, 
 and its subtle essence always preserved, without the nauseating repetition of 
 its models and its mannerism. 
 
 THE ORATORY LAMP. 
 
 K 
 
CORBEL OF THE SOUTH ORIEL WINDOW. 
 
 CHAPTER III. 
 
 Be fore we proceed to a consideration of the general forms of the exterior of 
 Fonthill Abbey, and examine its pretensions to the character of a grand archi- 
 tectural composition, which can be done only with propriety after the con- 
 templation of it at some distance ; we propose to make a nearer survey of it, 
 so that, by the acquisition of an accurate knowledge of the names, designations, 
 relations, and positions of the several parts, the discussion of its merits or de- 
 merits as a whole may be at least intelligible, and exempt from any great 
 error. 
 
«2 
 
 OS 
 
THE EXTERIOR. 67 
 
 Descending from the Western Hall upon the Lawn, and turning to the right 
 towards the opening of an avenue, called the Clerk's Walk, we obtain a view 
 of the principal parts of the building which face the west and north. The 
 grouping of the great divisions of the Abbey is yery perfect from this point. 
 The enormous height of the central tower is reduced into proportion by the 
 lofty erections about its base, and a magnificent idea of extent is produced by 
 the great distance at which the towers appear, which terminate the eastern and 
 southern extremities. 
 
 The little polygonal building on the left, at the end of the northern arm, 
 contains the Oratory. The light of the three lancet-shaped windows, and of 
 the broad one in the lower part of the Lancaster Tower, is divided between the 
 Sanctuary and Vaulted Corridor ; the incongruities of the external and internal 
 elevations being concealed by the judicious use of a screen, which stands at 
 some distance within the walls, and forms the sides of these apartments. 
 
 Beyond these windows is the series which belongs to King Edward's Gallery, 
 the last of which is in the base of the Mervyn Tower ; over this is the window 
 of the Tribune Room ; and returning northwards are the dormers of the Lan- 
 caster Gallery. Nearer in the Lancaster Tower, is the Oriel of the Lancas- 
 ter State Bed Chamber, surmounted by an embattled cornice, and decorated 
 beneath with armorial bearings in quatre-foils inserted in square panels. 
 Over it is the window of the Billiard Room. In the upper part of the Mer- 
 vyn Tower, is the Duke's Chamber, which has a projecting window to the 
 north ; and above it are some small rooms. 
 
 The loop-hole apertures in the Basement are the principal, but far from ade- 
 quate services of light to the offices. 
 
 Adjoining the Mervyn Tower, is seen one of the short arms of the Grand 
 Octagon, which contains the Vestibule to King Edward's Gallery, the 
 Northern Nunnery and the Chamber over it, the windows of which may be 
 
68 FONTHILL ABBEY. 
 
 seen over the Mervjn Tower. Two-thirds of the buttresses at the angles of 
 this arm are now built into this tower, but their upper parts rise above and 
 terminate in pinnacles, having a pediment or gable with a perforated and em- 
 battled parapet. Between this and the Western Arm, which is pinnacled and 
 gabled in the same manner, shoots up direct from the ground the tall cylindri- 
 cal form of the Great Staircase Tower, crowned with a parapet of similar 
 richness, but at a greater height; the galleries, which lead from it, at the level 
 of the Nunneries, are not in fact communications to those apartments, but 
 conveniences of another kind. 
 
 Directly over, rises the Central Tower in five successive stories. The plan, 
 like the Saloon beneath it, is octangular, angle-buttressed. The first story, or 
 that against which the Vestibule roofs butt, is without any thing but two small 
 perforations in each side, but its buttresses are remarkable, having an angle in 
 the middle of their front, like the cut-water on the pier of a bridge ; but this, 
 when the plan of the buttress changes, as it does in the next division, gives 
 room for the foot of a pedestal. 
 
 Each side of the second story has a tall pointed arch window with mullions 
 and tracery. By their means, the matted and painted glass of the internal 
 lantern is illuminated ; over each of them are two loop-holes. The lower part 
 of each buttress is formed into a tabernacle, gabled, with a niche in each, 
 having a pedestal but no statue ; above, the buttresses run square up through 
 the superior cumbent stories, where they also are gabled and pinnacled. 
 
 The third story is reticulated upon its surface by mouldings dividing each cant 
 perpendicularly into five compartments, having cinque-foil heads. In the se- 
 cond and fourth of each is a window, with also a cinque-foil head, and sur- 
 mounted by crockets and a finial. 
 
 The fourth story is divided similarly to the one beneath it ; but all the com- 
 partments, except on the east side, open to a Gallery, formed between the Star- 
 
THE EXTERIOR. 69 
 
 Chamber and the external walls. It is surmounted by an embattled and per- 
 forated parapet, above which ascend the tapering forms of the pinnacles, deco- 
 rated with crockets and finials, and bound together by a cradling of iron. 
 
 Advancing westward, from the base of the Great Tower, is the Grand En- 
 trance Hall. The square projection, in the middle of the northern part, con- 
 tains the recess in which the statue of Alderman Beckford is placed. It has 
 a small staircase within it, to which access may be had by a little external 
 door on the eastern side. All the windows on this side, except two very small 
 ones near the round tower, are blanks ; and the larger ones are entirely with- 
 out mullions or tracery. 
 
 The western end is occupied entirely by the Principal Entrance, to which 
 there is a short flight of steps ; over it is a very small window. The angles are 
 buttressed, and the roof terminates in a gable, up the sloping lines of which is 
 the same solid embattled parapet, which runs along the sides. The buttresses 
 finish with pinnacles, and on the apex of the pediments stands a tabernacle 
 gabled, and surmounted by a cross-fleury ; in the front is a decorated polygonal 
 niche with a projecting base, on which stands a statue of St. Anthony preaching, 
 his right arm raised and extended, with the palm of his hand bending over his 
 auditory; his left-hand exposes a cross to their attention. The saint is bare- 
 headed, and his waist is girded with a knotted rope, the long cords of which 
 reach nearly to his feet. 
 
 Beyond the further buttress of this front, is seen the group of the Southern 
 Towers ; and directly eastward of the Great Tower, and over King Edward' 
 Gallery, the body of the Eastern Transept, and the gigantic pinnacles and oc- 
 tagonal towers of its angles. 
 
 Traversing the Lawn in a southerly direction, if we halt immediately in front 
 of the Western Entrance, the Abbey, perhaps, assumes its stateliest form ; but 
 from the parallelism of its lines, the absence of perspective and picturesque 
 
70 FONTH1LL ABBEY. 
 
 effect, it has too much the air of a geometrical elevation to interest long. We 
 proceed therefore to a point sufficiently advanced to command the southern 
 parts of the edifice. The Lancaster Tower, the Sanctuary, and the Oratory, 
 now form the distant group. The Western Hall and the Central Tower ap- 
 pear in similar combination, but we see the lofty windows of the former; and 
 at the termination of the facade in which they stand, is one of the noble 
 painted windows, which throw their luxurious light over the Octagon. The ap- 
 pearance of a window above is a blank. 
 
 In a position corresponding to that of the Mervyn Tower, stands, on this 
 side, the Latimer Tower, and its Turret. Against it terminates "the roof of the 
 Vaulted Library ; and beneath it may be seen the windows which mark the 
 commencement of St. Michael's Gallery. 
 
 From about the centre of the southern flank of the Western Hall is an ar- 
 cade, called the Western Cloisters, on the top of which is the Terrace. This 
 arcade encloses the Fountain Court, and connects the Hall with the Anti- 
 Room in the base of an octangular tower. The first and last openings of this 
 Arcade are glazed windows, with mullions and tracery, not descending to the 
 ground, but having their sills five or six feet above it. The others are all open 
 or only occasionally closed. In the octangular tower last mentioned, and over 
 the Anti-Room, are the windows of the Gothic Cabinet ; above, is one which 
 opens from the Cedar Boudoir. At this level running southwards, may be 
 seen the window of the Western Corridor in the centre of two others, which 
 are blanks. This leads to the other octangular tower, called the Nelson Turret, 
 which contains the staircase of this part of the building. Between these 
 towers is a polygonal projection, the upper part of which belongs to the 
 Western Yellow Drawing Room, and the lower to the Oak Parlour. 
 
 Turning a little to the east, we command a more complete view of the ex- 
 treme southern front, which now forms a fore-ground to the central tower, and 
 
m 
 
THE EXTERIOR. 71 
 
 the accumulation of gables and pinnacles round its base, from which go off in 
 opposite directions, and strongly contrasted, the Western Hall and the 
 Eastern Transept. 
 
 The tower which now balances in the composition, that of Nelson's Turret, 
 is quite of another character, square, buttressed, and loftier. It contains 
 the entrance to the Southern Hall, the Oriel at the end of St. Michael's 
 Gallery? the Gallery Cabinet, or the chamber of Mr. Beckford, and two other 
 small ones over it. The lower part or sofhte of the Oriel is exquisitely finished. 
 From a cluster of dwarf shafts on three corbels bearing armorial shields, spring 
 three circular groins, covered with cinque-foil headed reticulations ; a margin of 
 foliage encompasses them ; and the intervals between it and the circular forms 
 are filled with quatre-foils and tre-foils. An enriched cornice surmounts the 
 whole, having an angel carrying a shield at each angle. Upon this cornice 
 stands the parapet of the Oriel decorated with tall cinque-foil headed reticula- 
 tions ; each angle has a light buttress running up and finishing with a pinnacle ; 
 between them is another parapet, pierced and embattled. In the interval be- 
 tween Nelson's Turret and the square tower, are three lines of battlements, each 
 retiring as it rises above that which is before it. The highest and farthest line 
 is the curtain, which contains the communication with the square tower, and 
 also that of the Eastern Postern Tower, which is seen with its accompanying 
 minaret beyond it. The second or middle line of battlements is on the facade 
 of the Yellow Drawing Rooms, whose southern windows open from it upon 
 the Balcony, which is defended by the third or lowest line. This stands upon a 
 cornice, richly decorated with crests, masks, &c. surmounting the Arcade, 
 and is of an elaborate design. The openings of the Arcade are of the pointed 
 form, their outlines beautiful ; their archivolts are carried by busts, and on each 
 pier is a buttress of elegant proportions, finishing before it reaches the cornice. 
 Opposite to each arch is one of the windows of the Oak Parlour, whose rich 
 
72 FONTHILL ABBEY. 
 
 tracery may on this side be appreciated ; reticulated arcs-boutant cover each 
 pier, and the intervals are groined, having mouldings springing from angle co- 
 lumns, and spreading over the vault, in the most graceful manner. On the 
 centre intersection is an armorial decoration in alto-relievo ; the others have 
 carved bosses. 
 
 Continuing towards the east, and proceeding with our survey from the South 
 East Tower, we find on its eastern side, one of the small painted windows of St. 
 Michael's Gallery, having a slight projection, and a cornice embattled and de- 
 corated with masks, animals, chimeras, &c. Its correspondent one is a little 
 farther onwards in the Eastern Postern Tower, so called from the Entrance 
 which is beneath this window ; over it is the Anti-Chamber of the Vaulted Li- 
 brary, which fills the roof north of the Tower; and above the Anti-Chamber 
 are two small bed-rooms. Between the square towers appears the East Oriel of 
 the Gallery. Its upper and lower parts are filled with armorial insignia. Over 
 it is the little window of the Eastern Corridor. A plain wall embattled fills up 
 the large space between the Eastern Postern and the Latimer Towers, having 
 near its base a line of square-headed windows, belonging to the offices of this 
 part. The Oriel in the Latimer Tower is that of the Chintz Boudoir, and 
 the apertures above light two small chambers. Still higher may be seen the 
 Southern Nunnery, and the circular window of the bed-room over it. We 
 now come to the base of the Central Tower, which, with its superstructure, may 
 here be seen from the ground to its " topmost height." The door at the bottom 
 opens into the Sub-Octagon ; the window over is another of the great coloured 
 ones. Above it is a blank. The Central Tower has been before described, 
 and presents no new appearance from this view, except that we may see the 
 manner in which the perforated battlement is carried round, over and be- 
 tween the Vestibules of the Octagon. 
 
 To the Eastern Vestibule is attached the Eastern Transept, a lofty building 
 
THE EXTERIOR. 
 
 73 
 
 of three stories. The principal one has three pointed windows of great height, 
 with mullions, transoms, and tracery ; the lower parts of which form those of 
 the Great Dining Room, the Crimson and the Grand Drawing Rooms. Be- 
 neath are the loop-holes of the Basement ; above is a beautiful Arcade intend- 
 ed to open into the Corridor, or future extension of the Nuns' Walk. The 
 principal mouldings of its piers, and similar ones from the apex of each arch, run 
 up to a great height, and finish in the cornice ; thus dividing the surface into a 
 number of tall panels, in each of which is a loop-hole. Upon a double plinth 
 above the cornice stands an embattlement of the same style, and at the same 
 level as those over the Vestibules. 
 
 The angles of this Transept, which are nearest the Central Tower, are finish- 
 ed with octagonal turrets of small diameter, containing staircases. At the 
 height of the Arcade, each cant has two tiers of a single panel, cinque-foiled at 
 both ends. Above the cornice, the cant finishes as a tabernacle, with a gable and 
 niche, and their combination makes a base for a large plain octangular pinna- 
 cle, with a carved finial. The angular towers of the other end are of larger 
 diameter and height. In the lower part of the south-east one, is the Octagon 
 Cabinet. The shafts of these towers are plain, or only perforated with lancet- 
 form openings, up to the sill of the Arcade, between which and their cornice 
 they have four tiers, or stories, highly ornamented. The first or lowermost is of 
 equal height with the Arcade, and the panelling over it. The cants here alter- 
 nate in design, the principal ones having the general arrangement of the 
 Arcade, — a pointed arch, panels, and loop-holes over ; and the others two tiers 
 high, and two wide, of reticulated work with cinque-foil terminations. The 
 arches have a column in their middle, and others on their piers ; their heads have 
 tracery, and on their archivolts lie crockets, which meet upwards in a finial. 
 
 The next tier, which ranges with the parapet, has upon each face, except 
 
 l 
 
74 FONTHILL ABBEY. 
 
 the one adjoining the south part, a square panel, in which is a lozenge, enclos- 
 ing a quatre-foil, whose centre is rilled with a sculptured escutcheon. 
 
 Each cant of the third tier resembles a window, with a mullion transom, 
 and head tracery of a remarkable style. The mullion spreads, so as to form a 
 lozenge, other mouldings from the piers entering its sides and crossing in the 
 centre. The apertures are all foliated, and when they are over the windows 
 beneath, perforated. 
 
 Over these is a kind of frieze formed by two square panels on each face, in 
 which are quatre-foils and shields. 
 
 The cornice has a bold projection ; on its angles are grotesque masks, and 
 between them square flowers. The whole is surmounted by the same plinth 
 and pierced embattlement as the facade below. 
 
 The east end of this Transept is composed of the two terminal towers, con- 
 nected by a curtain, with parapet, arcade, &c. in the upper part ; and a plain 
 wall beneath, having nothing but a few loop-holes into the passages. 
 
 The north side of the Eastern Transept differs from the south one in nothing 
 above the sill of the Arcade : below this the windows are large, but very infe- 
 rior to their opposite ones, and there are buttresses between them. Near the 
 ground a range of low-pointed broad windows gives light to the Kitchen Pas- 
 sage. In the middle of this front, is the projection which was intended to re- 
 ceive the staircase. Its upper part is abed-room, under it is the Duchess's 
 Chamber, and beneath that the Crimson Breakfast Parlour. The door in the 
 Basement leads into an unfinished Entrance. 
 
 In the angle of the Kitchen Court is the Larder, and over it the Porcelain 
 Room ; above are the Duchess's Anti-Chamber and Dressing Room ; and still 
 higher, the third painted window of the Great Octagon. 
 
 The buildings on the west-side of the Kitchen Court have been already 
 described. 
 
THE EXTERIOR. 
 
 75 
 
 It is impossible not to remark, and unjust not to mention, the taste and exe- 
 cution of all the moulded and carved parts of the exterior. The heraldic orna- 
 ments, and the figures which accompany them, are remarkably good ; and the 
 following characteristic busts, which are on the South Arcade, are modelled with 
 extraordinary ability and feeling. They are contrasted with each other by their 
 juxta position, so as to produce the highest possible effect. 
 
 On the first pier from the left are 
 
 1. Sorrow; an interesting Female, her hair lank, her hands clasped, and a look expressive of the se- 
 
 verest mental auguish. 
 
 2. Mirth; the head of a young Man, modelled from the "Jest, and youthful Jollity" of Milton's 
 
 L' Allegro. 
 
 On the second pier are 
 
 3. Equanimity; a Female, mild, complacent, with a smile slightly contemptuous, turning from, but 
 
 pointing at 
 
 4. Revenge, grasping the hilt of his dagger, and rushing forward in violent agitation. 
 
 On the third pier are 
 
 5. Melancholy ; her cheek resting on her hand, her hair dishevelled : she has a look of deep abstrac- 
 
 tion, of one who is conscious of nought, save " Of Joys departed never to return." 
 
 6. Devotion ; a graceful Magdalen, veiled, her head bending forward, and her looks fixed on the 
 
 ground. In her hand she clasps a cross, the beloved emblem of all her hopes. 
 
 On the fourth pier are 
 
 7. Youth ; richly dressed, with a chalice in his hand, regarding earnestly 
 
 8. Experience ; a man somewhat advanced in years, and crowned, his countenance severe, but with- 
 
 out austerity. He appears, from the action of his left hand, to be in the act of teaching. 
 
 These are in cement, but no symptom of dilapidation yet appears, and we 
 hope will not. The statue of St. Anthony in the western front is of stone, of 
 great merit, and was carved by Theakston. 
 
 The display of Heraldry, so remarkable in the interior, has not been forgot- 
 ten externally ; the arms not emblazoned, but in alto relievo. 
 
76 FONTHILL ABBEY. 
 
 In the lower part of the windows of the Lancaster State Bed-Room, are 
 the bearings of 
 
 MARTIN of Athelhampton. BRUNE quartering Rokele and 
 
 HALL of Bradford. MARTIN repeated. 
 
 The cross-fleury of the House of Latimer is placed over the statue of St. 
 Anthony. 
 
 In the cornice of the South Arcade, over the buttresses, are the crests and 
 mottos of Mervyn, Beckford, Hamilton, and Latimer, and over the middle arch 
 is the portcullis. In the centre vault of the Arcade, is the additional crest 
 assigned under the Earl Marshal of England's authority to Mr. Beckford, in 
 commemoration of his descent from a co-heir of the Abercorn branch of the 
 Hamilton Family, and in allusion to his descent (through the ancient famil}' of 
 Mervyn, Lords of the Manor of Fonthill Gifford) from William, the first Lord 
 Latimer. 
 
 The centre shield beneath the South Oriel is that of Beckford quartering 
 Hamilton and Arran, Hall, and Coward ; the shield to the west is that of 
 Hall impaling Mervyn, Squire, Green, and Latimer ; the one on the other 
 side has Mervyn quartering Squire, and on an escutcheon of pretence, Green 
 and Latimer. 
 
 The two angels beneath the East Oriel each support a shield ; left one 
 charged with the arms of Beckford, and the other with those of Gordon-Aboyne. 
 On a label beneath, is the motto " Wt WitM tout/' Above these are six 
 shields, bearing alternately the arms of Mervyn and Latimer. In the panels 
 of the upper part of the window, the crest and mottos of Mervyn, Beckford, 
 Hamilton, and Latimer are repeated. The portcullis appears again in the 
 cornice of the window over the Eastern Postern. 
 
 In the larger octagonal towers of the Eastern Transept, the Latimer cross 
 occurs on a shield in every face. 
 
THE EXTERIOR. 
 
 77 
 
 After this survey of the parts and their details, we may venture upon taking 
 a wider range, and surveying the whole from more remote points, without 
 danger of that confusion which is produced when the numerous towers, and 
 turrets, and pinnacles become intermixed and blended together, by the com- 
 bined effects of situation, distance, and atmosphere. 
 
 Among the numberless combinations which the buildings of the Abbey 
 are capable of producing, there are five points of view in the grounds, which 
 include all, or nearly all of their peculiarities. The first is from the bottom of 
 the fir grove near the Barrier Gate. 2. From a seat on the south side of the 
 Bitham Lake. 3. From a point near the western extremity of the Beacon 
 Terrace. 4. From the Stone-Gate at the end of the Great Western Avenue. 
 5. From the second mile-post on the Terrace. 
 
 In the first, the advantageous height of the Eastern Transept is fully felt. 
 It has destroyed that insulated and precipitous character which the tower had 
 in this view before its erection, something of which still remains on the other 
 side. From no point is the graceful and pleasing effect of the elegant termi- 
 nal towers more felt than from this. They ambitiously shoot up at some dis- 
 tance from their great rival; but, finishiug just where they ought, they create a 
 judicious contrast, giving dimension and dignity to the central tower ; in- 
 troducing a gradation of height, which arrests the eye in its otherwise rapid 
 and abrupt descent from its skyward pinnacles. The southern group of 
 towers wants elevation and apparent connexion with the other buildings. 
 
 The view over the Bitham Lake would have but little to recommend it, if 
 the architecture only were to be considered ; but as a combination of wood, 
 water, irregularity of surface, and enormous altitude in building, it is a most 
 extraordinary scene. 
 
 But it is from the upper end of a slope, which, entering the Beacon Terrace 
 obliquely, commands the west and south fronts of the Abbey, that the most 
 
78 FONTHILL ABBEY. 
 
 picturesque view of the edifice, as a whole, is obtained. The great masses from 
 this point, under favourable circumstances of light, have a sufficiently intelligi- 
 ble outline, notwithstanding the excessive intricacy of the detail. Their posi- 
 tion and direction are understood, even at this distance and height, where the 
 laws of perspective have no more visible influence, than they appear to have 
 on the architecture in a landscape of Gaspar Poussin ; yet, though the gene- 
 ral effect is magnificent, the composition as a work of art is exceedingly faulty. 
 A want of balance, harmony, and keeping in the great masses ; no breadth of 
 chiaro-oscuro, no repose, but a uniform sparkling of light from the number of 
 facettes into which the surface is cut. Though the building of the Eastern 
 Transept is a splendid addition, and has done much in destroying the immensely 
 disproportionate height of the central tower, it has crushed every other part ; 
 none of the other towers can struggle up to the height of its curtain. Seen, 
 as in this view, with its grand facade as their back ground, they are reduced to 
 models — things that a child might cry for. The great elevation of the Western 
 Door-way has also a similar effect. How it reduces to mouse-trap dimen- 
 sions, the apertures of the Cloisters, of the Arcade, and indeed every other, 
 except the windows of the Hall and Octagon ! We say it with reluctance, and 
 with diffidence, but to us it appears that disproportion prevails in every part of 
 the exterior. The beauty of contour is entirely absent ; from no point can an 
 agreeable sky-line be formed ; there is no continuity, no succession, no grada- 
 tion ; all the lines are interrupted, dissimilar, abrupt, and rectangular. Still we 
 repeat, that such is the magnitude of dimension, infinity of detail, and novelty 
 in the original idea, that as a whole, the Abbey cannot be contemplated with- 
 out emotions that have never been excited by any building erected by any 
 private individual in our times. 
 
 There is an air of great stateliness about the Abbey, in the view down the 
 Grand Avenue from the Stone-Gate, and it is finely backed by the wood on 
 
THE EXTERIOR. 79 
 
 Hinckley Hill ; but, except in the morning, (the most favourable time for this 
 view,) it is nearly one sheet of light. It resembles the chalk cliffs near Margate, 
 with the North Foreland Light-house looking over them. There is something 
 also very formal and ostentatious in the manner in which it is placed across the 
 end of the Avenue. This may, perhaps, be mitigated, when the plantations are 
 high enough to shut out the extremities ; but now every stone is displayed in the 
 long lines from north to south, from the lawn to the " sky-kissing" pinnacles. 
 
 The view from the second mile-post on the Terrace is by far the simplest, 
 and is perhaps the grandest of all the others. Rising from amidst a wood 
 which covers the Hill on which the Abbey stands, and which conceals every 
 part below the level of the cross over the Western Entrance, the Central 
 Tower, the curtain and the towers of the East Transept are all that is visible. 
 The cross plainly intimates that there are other parts, but to make them out, is 
 the work of the imagination. As this is the north side of the edifice, it generally 
 is in shadow, and thereby acquires that breadth and mass, which are such 
 strangers in every other aspect. 
 
 Returning to the Abbey, we shall conclude with a few remarks, which would 
 have interrupted the descriptive tour we made around it. Some parts of the 
 Abbey, it is admitted, are additions ; several of them made many years after 
 the completion of the first design ; but in the junction of these to the original, 
 some care in the adaptation would have been expected, particularly when no 
 very discordant style was adopted in the new works. But this attention rarely 
 occurs ; the subsequent increase is jammed against the other, in accidental 
 and monstrous conjunction. Instances of this occur in the addition of King 
 Edward's Gallery to the North Vestibule ; in the junction of the Latimer Tower 
 to the South Vestibule, &c. But even in parts of the original design, something 
 like the same absence of fitness occurs. The Western Hall was a distinguish- 
 ed feature from the very first ; still it is made to look like an undigested addi- 
 
80 
 
 FONTHILL ABBEY. 
 
 tion, enclosing the West Vestibule, which pushes up through its roof ; and it is 
 so much too wide, that if its south side were carried on and not dellected to 
 avoid the worst consequences of the blunder, it would enter one of the great 
 painted windows of the Octagon, &c. 
 
 In the buttresses generally, and in some of the other projections, there ap- 
 pears to be a want of greatness of manner. The taller buttresses are attenu- 
 ated into feebleness. Those on the southern square tower are, however, excep- 
 tions to the remark ; but why, we may ask, are these characteristic and appro- 
 priate appendages entirely omitted on the great south facade ; when the in- 
 troduction of them upon the broad piers seems absolutely required, and where 
 they would have diminished the disproportion, which now exists between the 
 extremely plain surface of the principal story, and the profusion of mouldings 
 which covers the one above. 
 
 But we forbear dwelling longer on this part of our subject, and would hurry 
 from the defects, which more or less attend all human achievements, to the ex- 
 cellences which may also be found distributed over the building. What a 
 delightful bit of architectural composition is the South Arcade! how beautiful 
 its contours ! how exquisite its embellishments ! The same feeling and spirit 
 pervade every part of the detail beneath die two Great Oriels of St. Michael's 
 Gallery- Again, can any one be insensible to the fine proportions of the Great 
 Western Door-way, a little overlaid, perhaps, by the crockets and finial, but in 
 every other respect perfect ? There is also another scene, which can be but im- 
 perfectly attained on account of the plantations, and that is a direct view of the 
 end of the Eastern Transept, in which the Central Tower rises grandly between, 
 and above the two others. 
 
 Fortunately for the lovers of architecture, the Abbey is not finished ; and in 
 its completion, which, it is said, is probable, from the ample means of the 
 present possessor, and his attachment to the art, all, or nearly so, of the 
 
THE EXTERIOR. 81 
 
 trilling defects apparent in the detail of this superb edifice, may be removed or 
 thrown into shade by a close adherence to the original design; and we will 
 venture to assert, that if the architect, under whose superintendance the im- 
 portant task of continuing the work may fall, should be happy enough to 
 catch but one spark of that brilliant and excursive genius which created the 
 design, and guided the progress of Fon thill Abbey to its present state, he will 
 be enabled, with the magnificent idea before him, to produce an edifice unpa- 
 ralleled in the domestic architecture of this country, and not to be surpassed 
 by that of any other. 
 
 THE MARBLE FOUNTAIN AND BASIN. 
 
 M 
 
A VIEW OF THE SCENERY OF THE AMERICAN PLANTATIONS. 
 
 CHAPTER IV. 
 
 Before we commence our task of delineating the grounds of Fonthill — 
 before we attempt to recall those remembrances of delight, with which many 
 have wandered in these 
 
 " Walks and alleys wide 
 " With footing worn and leading inward far;"* 
 
 * Spenser. 
 
WALK WITHIN THE BARRIER. 83 
 
 or, with a higher aim, endeavour to convey to those who have never beheld 
 these recently impervious shades, a just idea of their serene and solitary beauty ; 
 we must at once premise that we almost despair of producing any very distinct 
 impressions upon the mind of the reader. The ornamented grounds of Font- 
 hill, though unequalled in extent, contain very few objects that will admit 
 of individual description. The great principle upon which this labyrinth of 
 groves has been constructed, is that of exhibiting an union of the wildest 
 and the most ornamented scenery, — the picturesque and the beautiful, in close 
 society. The utmost profusion of expense has been bestowed, not to amaze 
 the senses by some rich and magical effect of art, but to keep the mind in a 
 perpetual enjoyment of the most striking beauties, and richest decorations of 
 nature ; they go far to realize the description of the gardens of Annida ; 
 
 " Faire trees, high plants, strange herbes and flowrets new, 
 
 " Sunshinie hills, dales hid from Phoebus' raies ; 
 " Groves, arbours, mossie caves, at once they view, 
 
 " And that which beautie most, most wonder brought, 
 " No where appear'd the arte which all this wroughte." 
 
 " So with the rude, the polisht mingled was 
 
 " That natural seemed all and every parte ; 
 " Nature would crafte in counterfeiting pas, 
 
 " And imitate her imitator, Arte."* 
 
 The walks of Fonthill are ever reminding us of the ordinary features of 
 woodland landscape, but we as constantly feel the presence of the creative 
 power of unbounded means and exquisite taste, in rendering these woods what 
 poetry might depict of the woods of Arcadia ; where the kindliest soil and the 
 most genial climate should strew the earth with every sweet, and a garden 
 should bloom in every wilderness. The luxuriant imagination of Milton has 
 
 * Fairfax's Tasso. 
 
84 FONTHILL ABBEY. 
 
 painted a part of that scene, which lias been almost realized, under the great- 
 est natural disadvantages, by the enterprising spirit of unlimited wealth ; and 
 his description of Eden may have had some influence, in determining the style 
 in which the extensive Domain of Fonthill has been embellished. 
 
 " Flowers, worthy of Paradise, which not nice Art 
 " In beds and curious knots, but Nature's boon 
 " Pour'd forth profuse on hill, and dale, and plain, 
 " Both where the morning sun first warmly smote 
 " The open field, and where the unpierc'd shade 
 " Embrown'd the noon-tide bowers."* 
 
 The grounds of Fonthill exhibit the true spirit of English gardening, 
 carried to its utmost extent of a bold and varied simplicity. Every tree, 
 every shrub, and every flower, has contributed to the production ol one un- 
 equalled effect of wild profusion. The woodbine and the jasmine not only 
 interlace the thickets with their green and fragrant tendrils, but the rose and 
 rhododendron bloom beneath the larch and the hawthorn, and the furze and 
 the lily blossom in equal companionship. These appearances are occasionally 
 presented in the secluded spots, which the rambling feet of the stranger light 
 upon ; but they are not confined to particularly favorable situations. The 
 union of the garden and the grove is almost universal ; and it is impossible to 
 imagine a more charming feature of the place, or one which more clearly indi- 
 cates the care with which its scenery has been created, and almost matured, by 
 one tasteful possessor. 
 
 The walk within the Barrier, to which these characteristics must be princi- 
 pally confined, may be pursued with the most complete gratification on a se- 
 rene and brilliant afternoon. There are abundant coverts to protect the ram- 
 bler from the influence of the sun ; and the effects of light and shade, which are 
 
 * Paradise Lost. 
 
WALK WITHIN THE BARRIER. 85 
 
 at that time produced, give the utmost possible richness and grace to the broad 
 masses of hanging wood, and the occasional bursts of the distant landscape. 
 Leaving then the fascinations of the Abbey, we cross the southern Lawn: the 
 scene before us is one of unrivalled beauty. The Lawn is skirted by planta- 
 tions of oak, fir, and hawthorn; the waters of the Bit ham Lake bring down 
 the soft and sparkling light of the sky into the heart of the universal green : 
 the middle distance is clothed with wood ; and the terrace of Wardour Castle 
 rises proudly on the line of the horizon. Quitting the Lawn, we enter a path, 
 whose course lies beneath a mound or rude slope of furze ; the Abbey towers 
 soar above, half-veiled in foliage ; and beneath is a broad mass of pine wood. 
 We avoid the turn to the left, and crossing the carriage road, enter the lower 
 terrace. When we first visited this charming path, it was almost unknown, 
 and we delighted to wander 
 
 " O'er the smooth enamell'd green, 
 " Where no print of step hath been."* 
 
 It has been now explored by unnumbered visitors, but it is still fresh and beau- 
 tiful; and the elastic moss seems still to have been only trodden by its native 
 tenants, the thousands of fearless hares and rabbits, that the kindness of the late 
 proprietor encouraged about his domain. The security and consequent fear- 
 lessness of the feathered tribe, and the most timorous of the animal creation, in 
 the unfrequented woodlands of Fonthill, is very accurately painted by the great 
 father of English Poetry. 
 
 " On every boughe the birdis herd I syng, 
 
 " With voice of Angell in their harmonie, 
 " That busied hem, ther birdis foorth to bryng, 
 
 " And little prettie conies to ther plaie. gan hie ; 
 
 * Milton's Arcades. 
 
86 
 
 FONTHILL ABBEY. 
 
 " And further all aboute I gan espie 
 
 " The dredeful ewe, the buck, the harte and hynde, 
 " Squirrils and bestis small of gentle kynde."* 
 
 Our path continues, by an agreeable descent, to wind round Hinckley Hill, 
 
 " Underneath the brim 
 " Of sailing pines, that edge yon mountain in."f 
 
 An impervious fence of oak, elm, beech, hazel, and fir, almost completely 
 shuts out the distant landscape ; and the character of the walk is that of per- 
 fect seclusion. The undulations of the surface occasionally give a beautiful 
 variety to the scene, and this variety is perpetually heightened by the different 
 character of the trees. The dark and solemn pine is succeeded by the sparkling 
 and feathery birch, " the Lady of the Woods," — and the lofty ash gives place 
 to the humble and fragrant hawthorn. Every species of moss, too, forms a 
 carpet more varied than the tints of the richest looms ; and we almost hesitate 
 ,to tread upon the tender shoots which are matted in the closest texture. We 
 at length reach a grand opening to the distant country : the eye, which has 
 been so long prisoned in these leafy avenues, now ranges to the hills beyond 
 Chilmark, which bound the prospect. Turning to look up the walk which we 
 have passed, a grand scene is presented. At a height which we vainly en- 
 deavour to measure, are seen the towers of the Abbey ; and we may long 
 pause with a feeling of deep admiration, to behold its 
 
 " brave turret tops 
 " Over the statelie wood."J 
 
 In the greater number of our walks about Fonthill, we have felt strongly 
 impressed with the care by which the buildings of the Abbey have been made 
 to harmonize with the general scenery. In this particular, we know no modern 
 
 * Chaucer. -f- Fletcher. J Brown's Britannia's Pastorals. 
 
WALK WITHIN THE BARRIER. 87 
 
 erection which deserves such unqualified praise. We too often behold our 
 ordinary builders abandoning the character of " I'architecto-pittore" and pre- 
 paring their elevations without the slightest notice of their relation to the ge- 
 neral landscape. It is not so at Fonthill. The Abbey and its accompanying 
 scenery were produced under the direction of one superintending mind ; the 
 building, therefore, and its surrounding woods have an equal character of se- 
 curity and seclusion. We feel, in our romantic moods, that the Abbey is a 
 place dedicated in its grandeur to the most impressive of religions— that the 
 votaries who are there destined to live apart from the world, are fenced about 
 with all objects of gentleness and beauty, " around a holy calm diffusing," — 
 and that, though they may wander from grove to grove in paths where the most 
 lovely and the most luxuriant of shrubs and trees 
 
 " High o'er arch'd imbower," 
 
 they are perpetually recalled to their vocation by the lofty turrets of their 
 cloistered abode, looking down upon them with a serene and solemn majesty. 
 There are moments when the architectural grandeur of Fonthill Abbey bears 
 us far away from the history of its erection ; when we regard it as a relic of 
 the times when the be-lated peasant would have looked upward to its twilight 
 towers as the dwelling place of sanctified beings, and would have prostrated 
 himself in pious awe, when the dying sounds of the Evening Hymn were borne 
 upon his ear by the fitful breeze. These days of impassioned feeling are past ; 
 Fonthill must be now judged, not by its real association, but by its capacity 
 as a modern work of art to carry us back into the eeras of its prototypes. 
 
 The winding and undulating path which we have followed, leads us round 
 Hinckley Hill to the northern extremity of the Beacon Terrace. We cross 
 this terrace, and pass on to what is called the Lower North Walk. The paths 
 are here more open ; — the plantations are more penetrable to the eye ; — the 
 
88 FON THILL ABBEY. 
 
 surface is covered with a thick brushwood, and the trees are of older growth. 
 We pass through a larch walk, without any great variety of scenery presenting 
 itself; and we at length reach a point at which we cross the Clerk's walk. A 
 beautiful glimpse of the south western angle of the Abbey is here presented to 
 us. A path, without any particular beauty, conducts us to the extremity of 
 the Great Western Avenue. It is a peculiar feature of the grounds of Fonthill, 
 that the horror of straight lines has not banished the appropriate features of the 
 avenue from a place that is intended to produce a still and solemn impression. 
 We have here several of those grand perspectives, 
 
 " Small by degrees and beautifully less," 
 
 which our ancestors largely associated with their ideas of repose and grandeur. 
 The avenues of Fonthill are, however, different from those vistas which are 
 produced by long rows of one species of tree set at equal distances. The 
 beautiful avenue, down which we now gaze upon the great mass of the Abbey 
 in one of its grandest elevations, is produced by bounding a wide green path 
 with trees and shrubs of every denomination, planted without order, and form- 
 ing on each side an impervious thicket. In this particular, it partakes of the 
 general character of these singular grounds. The effects which are to be at- 
 tained by this " obsolete prolixity of shade," are of course very imperfectly 
 developed in the comparatively recent creation of these walks ; but that these 
 effects will be peculiarly suited to the religious character of the edifice, we can 
 have no hesitation in affirming. Those, who would see Fonthill Abbey under 
 one of its most impressive appearances, should visit this avenue, when the 
 moon sheds its brilliancy over this immense structure, breaking down all its 
 minute parts into one broad and majestic mass. We were tempted to this 
 experiment by the recollection of a parallel description from a delightful 
 author, and the remembrance of our impressions leads us to transcribe the pas- 
 
I 
 
 WALK WITHIN THE BARRIER. 89 
 
 sage. " All the characteristic beauties of the avenue, its solemn stillness, the 
 religious awe it inspires, are greatly heightened by moonlight. This I once 
 very strongly experienced in approaching a venerable castle-like mansion, built 
 in the beginning of the 15th century ; a few gleams had pierced the deep 
 gloom of the avenue ; a large massive tower at the end of it, seen through a 
 long perspective, and half lit by the uncertain beams of the moon, had a grand 
 mysterious effect. Suddenly, a light appeared in the tower, then as suddenly 
 its twinkling vanished, and only the silvery rays of the moon prevailed ; again 
 more lights quickly shifted to different parts of the building, and the whole 
 scene most forcibly brought to my fancy the times of fairies and chivalry."* 
 Such a scene at Fonthill brings to mind the times of devotional seclusion ; and 
 when we behold above its turrets some dim light glimmering at a prodigious 
 elevation, we forget the common inhabitants of a modern dwelling, and fancy 
 that there is the cell of the pale votary whose 
 
 " Lamp at midnight hour 
 " Is seen in some high lonely tower."f 
 
 But we must continue our ramble. 
 
 We approach towards the Abbey, by the Great Western Avenue, till we 
 reach the point where it is intersected by the Beacon Terrace. This is again a 
 fine open avenue, bounded in an irregular line by every variet} r of forest tree 
 and garden shrub — by oaks, firs, thorns, birch, laburnums, and accacias. As 
 we ascend, the avenue widens into a lawn, sloping down the hill to the 
 Bitham Vale. In this walk we have several magnificent views of the Abbey. 
 We ascend to the top of this Terrace to the Beacon, a tower commenced by 
 Alderman Beckford, but not yet completed. This is the highest south western 
 
 * Price on the Picturesque. 
 
 N 
 
 t II Penseroso. 
 
90 FONTHILL ABBEY. 
 
 point in the neighbourhood of the Abbey, and commands some most exten- 
 sive and delightful views over the surrounding country. 
 
 We descend from the Beacon by the Bitham slope ; and at every step we 
 have some grand and varied prospect of the Abbey, produced by the variety 
 of surface over which we pass. The most striking prospect across the valley 
 forms a very beautiful illustration of this work. We at length reach the 
 Bitham Lake, a charming piece of water, ornamented with lofty banks, and 
 possessing the most tranquil and secluded character. It is the haunt of wild 
 fowl, who have long peopled this undisturbed region. We follow the northern 
 margin of the lake till we reach the American Gardens — and here how shall we 
 describe the labyrinth of sweets by which we are surrounded ! It was our 
 good fortune to behold this extraordinary shrubbery at the season of its 
 greatest beauty. Its winding paths led us through groves of the loftiest rho- 
 dodendrons, whose deep pink flowers shed an universal glow over an extensive 
 declivity — here and there the beautiful magnolia displayed the exquisite white- 
 ness of its large blossoms— while clusters of azaleas mingled with these loftier 
 exotics in the richest harmony of colour and fragrance ; the Carolina rose 
 profusely studded the walks with its gorgeous blossoms — the allspice of the 
 same region shed its exquisite perfume over the whole extent of these gardens — 
 and the arbutus luxuriated in groups as lofty and as branching as the Portugal 
 laurel. We must borrow from the greatest of descriptive poets some images 
 that may furnish a faint idea of these unrivalled plantations. 
 
 " West winds with musky wing 
 " About the Cedarn alleys fling, 
 " Nard and Cassia's balmy smells. 
 " Iris there, with humid bow, 
 " Waters the odorous banks that blow 
 " Flowers of more mingled hue, 
 " Than her purfled scarf can shew."* 
 
 * Comus. 
 
WALK WITHIN THE BARRIER. 91 
 
 We have thus traced the most attractive walk within the barrier. A steep 
 ascent conducts us to the Southern Lawn, from which we set out. But from 
 the ground we have passed, we may deviate into many secluded spots of ex- 
 quisite beauty, with which he only can be acquainted who has made the ever- 
 varying thickets of this remarkable place his 
 
 " Daily walks and antient neighbourhood." 
 
 The opportunities for such an acquaintance have, of course, been very rare. In 
 such a secluded spot, is one of the few objects of art which will admit of parti- 
 cular description. It is a sort of log house, of very tasteful proportions, and 
 altogether in perfect harmony with the general scenery, called the Norwegian 
 Hut ; but no delineation in words can convey so perfect an impression of this 
 little building, as the spirited wood cut with which we close this ramble. 
 
 THE NORWEGIAN HUT. 
 
•A SCENE IN THE ALPINE GARDENS. 
 
 CHAPTER V. 
 
 We are about to enter upon a scene very different from that we have passed ; 
 we are about to quit those grounds which have been entirely created by the 
 genius of their late possessor, to ramble through walks which were the appen- 
 dage of a former mansion, and which now owe something of their picturesque 
 charm to the comparative neglect into which they have fallen. They are not, 
 like the inclosed grounds, constructed upon one pervading principle of art ; 
 
WALK WITHOUT THE BARRIER. 93 
 
 but have in many parts a wild and uncultivated character, and derive their ak- 
 traction from the beauty of .their situation, rather than from the taste of their 
 embellishment. They were originally adapted to other scenes than the pre- 
 sent extraordinary building ; but they offer no discrepancy in the general 
 character of the place, and they afford a pleasing relief to some of its more 
 imposing features. 
 
 We would lead our readers, on some clear and brightening morning, to the 
 Inn called the Beckford Arms. At this place there is a very exquisite view 
 across the valley, of the lake and its hanging woods. A little in advance of 
 this spot we enter the Old Park. Our path leads through the higher ground 
 towards the Church of Fonthill Gifford, but leaving the road to Hindon on 
 our left. The prospects which this walk presents are exceedingly rich and 
 varied. Beneath us is the lake, whose precipitous bank is clothed with the 
 most luxuriant foliage ; the road of the park lies before us, terminating in the 
 beautiful Entrance Lodge. Beyond is the village of Fonthill Bishop ; and on 
 the horizon are the extensive downs of High Park, forming a part of this large 
 domain. The church, which is before us on our left, is a feeble attempt to 
 produce the effect of a Grecian temple ; and though a pretty object from some 
 points, is far from according with the majestic character of the edifice that rises 
 out of the neighbouring hill. We soon enter some thickets, and here we 
 occasionally catch some delightful glimpses of the lake. Having passed these 
 coverts, we leave the left-hand path leading to the village, and ascend the hill 
 to a fine old knoll called the Rook wood. We wind round this eminence, and 
 soon a splendid view of the lake bursts upon us. This fine piece of water 
 is rarely seen from a more advantageous point. We avoid crossing the plain, 
 and keep close under the hill. The pavilion, a wing of the old mansion, is 
 beneath us, and it forms an interesting object. Our walk lies onward to the 
 Entrance Lodge, on the right of which we cross a thicket, which leads to a fine 
 
94 FONTHILL ABBEY. 
 
 old building, in very admirable taste, called the Boat House. This singular 
 structure is formed of a large centre archway, retreating to a considerable 
 depth, and terminating in a dome ; on each side are archways of smaller di- 
 mensions, forming the entrances to a colonnade round the basin, which is 
 constructed of 12 square columns rising into a vaulted roof. At the extremity 
 of this building is some rock work, through which drips a crystal spring. 
 We may here take boat and enjoy a row on the lake, beneath the hanging 
 foliage of the Alpine Gardens on its eastern banks. The landing place leads 
 to a steep ascent, in which, through groves of forest trees and shrubs, we oc- 
 casionally look down upon the watery mirror we have quitted. The walk 
 in this part is extremely picturesque; there is a wild and neglected character 
 about the roads and paths, which leads us away from every idea of recent cul- 
 tivation, and yet these groves have evidently been the resort of elegance and 
 luxury at no very distant period : 
 
 " High roof'd, and walks beneath, and alleys brown 
 
 " That open'd in the midst a woody scene ; 
 
 " Nature's own work it seem'd, (nature taught art) 
 
 " And, to a superstitious eye, the haunt 
 
 " Of wood-gods and wood-nymphs."* 
 
 We at length reach a considerable open space, covered with a profusion of 
 shrubs, the red and guelder rose, the seringa, the lilac, the laburnum, the laurel, 
 and the thorn. There is still an air of wildness about this cultivation, and this 
 effect is greatly heightened by the contiguity of some old quarries of free stone 
 hewn into deep caverns of the most romantic forms. These are surmounted 
 with firs ; and the impending projections of the rock in some places partake 
 of almost a sublime character; the excavations are divided into two compart- 
 ments. Rude flights of steps lead from one excavation to the other, and 
 
 Paradise Regained. 
 
WALK WITHOUT THE BARRIER. 95 
 
 thence to the summit of the rocks. The whole scene will amply repay us for 
 a lingering visit. 
 
 We descend from this spot towards the lake, by a path whose sides are 
 covered with an infinity of wild flowers. At the Fairies' Lawn, another de- 
 lightful little opening, we turn from the path which leads to the lake, and 
 ascending to the left, an unequalled view of the Abbey presents itself. The 
 foreground is beautifully broken and varied — the lake lies before us in its 
 deep tranquillity — the eye reposes upon the verdant plain of the Old Park — 
 the fresh tints of this middle distance are beautifully contrasted with the 
 solemn hue of the woods of Hinckley Hill— and the giant tower rising out 
 of these on the left, crowns the whole scene with a magnificence which leaves 
 the imagination nothing to desire. Taking a little path to the right, we 
 descend the hill to some rocks which form a series of grottoes. These cool 
 retreats have been hewn out of the natural rock, with a few ornamental addi- 
 tions in the taste of the last century. The springs, from which Fonthill de- 
 rives its name, here offer their tribute to the lake which flows up to the seat of 
 the second grotto. 
 
 Following the margin of the lake by a path, lined with roses and crowned 
 with beech, we arrive at the end of the lake. The view from this point is 
 very rich, and gives a favourable idea of those advantages which the old 
 mansion possessed in compensation for the flatness of its site. Ascending 
 the western banks, a very charming view is obtained of the opposite wood. 
 Passing between the Keeper's Lodge and the hike, we reach a rude erection 
 in imitation of a Cromlech; and here again the prospect is very pleasing. We 
 descend to a building called the Hermitage, whose ruinous state indicates that 
 the taste which presided over such erections is gone by. This leads us by a 
 short detour to some caverns beneath the public road, of very considerable di- 
 mensions, and possessing all that gloom and mystery which renders it a task of 
 
90 FONTHILL ABBEY. 
 
 some courage to explore them. They are hewn in the rock, and when the 
 eye becomes familiar to the " darkness visible" of their interior, it will discover 
 that they are formed with great boldness and effect, and have altogether the 
 character of a romantic magnificence- Having passed through this subterra- 
 nean road, we reach a small lawn ; and a path through a thicket soon places 
 us on the highway to the Inn from which we set out. 
 
 THE BOAT HOUSK. 
 
fontiiill oifford cnuncn. 
 
 CHAPTER VI. 
 
 Mitre tftrougt) tf)c Contain. 
 
 The great extent of the estate of Fon thill renders it impossible, that any oc- 
 casional visitor can form a just idea of the many picturesque situations and 
 magnificent prospects which these grounds afford. There are, however, some 
 points of remarkable beauty ; and we have endeavoured to combine them 
 by the arrangement of a Ride, which with some exertion may be accomplished 
 in a few hours. 
 
 o 
 
98 THE RIDE. 
 
 On the right of the Barrier, as we reach this gate from the Abbey, is an en- 
 trance leading into an open space, formerly cultivated as a Kitchen Gar- 
 den. The view of the Abbey from this road is extremely commanding. Our 
 route descends to the southern margin of the Bitham Lake. We pass under 
 the hill, called Whitemead Wood, displaying a great variety of forest trees ; 
 and we skirt the Norwegian Lawn, remarkable for the peculiar loftiness and 
 beauty of its pines. From this spot, a walk studded with rhododendrons 
 leads to several paths up a steep ascent, and we at length reach the summit 
 of the Beacon Hill. The gradual descent from the Beacon to the stone gate 
 is exceedingly pleasing. On our left is a fine extent of vale, bounded by hills, 
 stretching off with a bold outline, till they are lost in the distance ; and on 
 our right, the turrets of the Abbey occasionally burst upon our leafy seclu- 
 sion. Having passed the barrier, an opposite gate admits into Riddlemoor 
 woods ; and a long labyrinth of shady rides brings us to Knoyle Corner, the 
 western extremity of the Estate. The prospect from this point is seldom ex- 
 ceeded in extent and richness. 
 
 A circuitous path, bordered by trimmed hedges, conducts us to the extre- 
 mity of the Great Terrace. This celebrated ridge forms a magnificent drive 
 of about three miles from this point to the entrance Lodge of the old Park. 
 It is a green avenue, varying in width from 50 to 200 yards ; its greatest attrac- 
 tion is the grandeur of the prospects which it presents of the Abbey. On 
 this side, the hill offers one broad mass of wood, of prodigious extent, with a 
 deep glen between ; and the eye ranges from its base, till the outline is termi- 
 nated by that remarkable edifice, which seems to reign over a vast region of 
 lonely magnificence. At the two-mile post on the Terrace, this road is the 
 most imposing. 
 
 We leave the gardens of the old Mansion, still used as the gardens of the 
 Abbey, on our right ; and continuing our course, a scene of great picturesque 
 
FONTHILL ABBEY. 99 
 
 beauty is presented to us. In the glen beneath the Terrace, are the cottages 
 of Fonthill Gifford, crouching under the hanging woods of the princely do- 
 main to which they belong, and presenting their tranquil simplicity and un- 
 pretending neatness as a pleasing contrast to the magnificence by which they 
 are surrounded. 
 
 The terrace now descends to a gate leading to the turnpike road ; and here 
 passing through the village of Fonthill Bishop, we cross the Downs of High 
 Park Lodge. This building consists of a sitting room and kitchen, with some 
 other offices ; the principal room is distinguished by the usual splendid orna- 
 ment of the Abbey, plate glass : and here the late possessor sometimes retired 
 for a few hours from the gorgeousness by which he was ordinarily surrounded. 
 The elevation is in good taste, and presents a pleasing object in a spot 
 seldom explored. The view of the Abbey here is very imposing. 
 
 Our ride continues through copses, till we reach some downs and arable 
 grounds, and we here descend to the turnpike road from Salisbury to Hindon. 
 We cross this, and by an opposite gate reach a gentle height, called Mount 
 Pleasant. A singular building was here erected by Mr. Beckford, for occasio- 
 nal shelter for himself and his retinue ; it commands some beautiful and exten- 
 sive prospects. 
 
 From Mount Pleasant, a steep declivity leads to a finely wooded vale, and 
 afterwards ascends to the eastern extremity of Little Ridge, a hill thickly 
 clothed with timber, and exhibiting many luxuriant paths, in which the wan- 
 derer might " think down hours to minutes." We at length reach an open 
 elevation, whose few and scrubby trees show that it is a wood whose beauty 
 has passed away. Near this spot was the ancient Mansion of Fonthill. The 
 views from this eminence are exceedingly grand. From the left to the right, 
 the eye ranges from Castle Ditches to the plain between Salisbury and Shaftes- 
 bury, on to Wardour Terrace, and thence to the vale of Tisbury ; the enclosed 
 
100 THE RIDE. 
 
 grounds of Fonthill now unite in the Landscape, and we linger with delight on 
 the richness and grandeur of the Beacon-hill, and the towers of the Abbey ; 
 the Rook Wood and the Terrace bound the extensive range. 
 
 We descend to the head of the Lake by Ashley Wood, and crossing the plain, 
 find our ride again terminated by the Inn of Fonthill Gifford. 
 
 HIGH PARK LODGE, OR SUMMER HOUSE. 
 
-J 
 
APPENDIX. 
 
THE REMAINING WING, OR PAVILION. 
 
 APPENDIX A. 
 
 m&toxital TSfottcea of m Jftattot of jfontfnli <&iftotb; 
 
 AND OF THE FORMER MANSIONS. 
 
 The Manor of Fonthill, Fountell, Fontel, or Funtell, (so called probably from the 
 local circumstance of the abundant springs that gush from the sides of its hills,) is 
 situate in the Hundred of Dunworth, and south western division of the county of 
 Wilts ; and appears, from domesday book, to have been assessed in the time of Ed- 
 ward the Confessor at five hides. The land consisted of seven carucates, and of these 
 in demesne was one hide, having three plough-lands and four servi, or servants. Six 
 villani, or villagers, occupied four plough-lands. The mill paid five shillings. The 
 
104 
 
 APPENDIX A. 
 
 pasture was half a league long, and three furlongs broad, the wood half a mile long, 
 and a quarter broad. The whole manor was valued in the Confessor's time at a hun- 
 dred shillings, and then at six pounds. 
 
 Its additional name of Gifford appears to have been derived from the eminent fa- 
 mily of that name, who held this with fourteen other manors in Wilts shortly after 
 the conquest, and in domesday book Funtell is described as part of the possessions of 
 Berenger Gifford, in whose family it continued until the 11th of John, when it was 
 sold by Robert Gifford to Sir Robert Mauduit, Knight; and in the 19th of Edward 
 the 3rd. John Mauduit obtained from the king a charter of free warren in all his 
 demesne lands at Funtell, and other manors in Wilts. 
 
 Through the Mauduits it passed by marriage into the family of the Lords Moleyns, 
 and on the 8th of July, 3rd Henry VI., Richard Lord Moleyns departed this life, 
 seized of Fontell; his successor, William Lord Moleyns, was slain in the following 
 year at the siege of Orleans, leaving Alianor his daughter and heiress then only three 
 years of age, by a marriage with whom this manor with other large estates came into 
 the possession of Sir Robert Hungerford, Knt. upon whose attainder in the 1st year 
 of Edward IV. 1461, the whole of his estates, and among them Funtell Gifford, were 
 seized by the crown, and granted to John Lord Wenlock, afterwards slain in rebel- 
 lion at the battle of Tewkesbury on the 4th May, 1 1 Edward IV. leaving neither 
 wife or issue, and the estate again reverted to the crown. 
 
 The next possessors of the Manor of Fonthill were the Mervyns, but by what 
 title they acquired it, there is no known record extant. It was probably either 
 granted to them by the crown, or purchased on the death of Lord Wenlock. 
 
 It has been supposed that the family of the Wests, Lord Delawarre, were once 
 possessed of the Manor of Fonthill Gifford, but from documents recently obtained, 
 there is every reason to believe that such was not the case, inasmuch as by them the 
 uninterrupted descent of the property, from the Giffbrds to the Lord Wenlock in 
 1472, is clearly shewn; it is, however, certain, that the Wests did hold lands and 
 a Manor at Fonthill, and that the latter was distinguished from the other Manor by 
 the title of Fonthill de la Warre, and was a separate and distinct Manor, as will be 
 seen by a reference to the following dates. In 1450, twenty-two years before the 
 death of Lord Wenlock, Reginald de West died, seized of the Manor of Fountell ; 
 and Thomas West, Lord de la Warre in 1552, bequeathed his Manor of Fontell to 
 Thomas his son and heir, who died in 1554 ; (2d of Mary,) beyond this period the re- 
 gisters of the family of West are silent as to Fountell, and it no longer appears among 
 the list of the other Wiltshire property belonging to them. We have nothing to 
 
APPENDIX A. 
 
 105 
 
 guide us in our conjecture, when the rights of the Manor of Fountell de la Warre 
 were united to those of Fountell Gifford, or how otherwise they were disposed of, 
 but it is most probable that a union took place some time prior to 1554. 
 
 With the hand of Lucy, the daughter and heiress of Sir John Mervyn, Knight, 
 Fonthill Gifford passed into the possession of George Lord Audley, created Earl of 
 Castlehaveu, 14 Jac I. in whose family it continued until the attainder of Mervyn 
 Lord Audley, in 1631, when it was granted to Sir Francis, afterwards Lord Cotting- 
 ton, a distinguished courtier and minister of James and Charles the 1st. Shortly 
 after the possession of the manor by his son, Sir Thomas Cottington, who appears to 
 have given offence to the parliament by assisting the Earl of Marlborough in his 
 attempts to relieve Wardour Castle, the whole of his estates were confiscated, and 
 Fonthill was given to the President Bradshaw, upon whose death Lord Cottington re- 
 turned to his house with a numerous party of friends and followers, and driving out 
 Bradshaw's heir, maintained himself against all further attacks until the restoration 
 ensued, and confirmed him in quiet possession. With his family it continued during 
 the succeeding reigns and until its alienation by sale to the late Alderman Beckford. 
 Upon his decease, it descended to the late proprietor, William Beckford, Esq. at 
 that time a minor, during whose possession additions were made to the estate that 
 increased its area to near six thousand acres; by this gentleman it was sold in 1822 
 to John Farquhar, Esq. of London, who has since added about three thousand acres 
 to the estate by the purchase of some adjoining property. 
 
 The earliest mansion upon this demesne, of which there is any description or re- 
 presentation, was one probably built or greatly enlarged during the long occupation 
 of the Mervyns. A painting was preserved at the Abbey, purporting to be a view 
 of it in 1566, when it had perhaps recently received such additions as excited a de- 
 sire of representing them pictorially ; this idea is strengthened by the style of the 
 building, which appears to have been erected in the taste which prevailed at the time, 
 as visible among all the English mansions of importance built or enlarged about the 
 middle of the sixteenth century. This edifice formed three sides of a quadrangle, 
 having the fourth occupied by a sort of screen or cloister of one story, in the centre 
 of which was the entrance to the court, directly opposite to the principal door of the 
 building. The windows were large, divided by mullions and transoms; and the 
 fronts terminated in gabels along the whole line. A large advanced court enclosed, 
 occupied a considerable area in front of the whole edifice, along the centre of which 
 and parallel to the house, ran a canal, crossed by a bridge. In the middle of the 
 front line of this court, at a great distance from the house, stood a detached gate- 
 
 p 
 
106 
 
 APPENDIX A. 
 
 way or barbican of two stories in height, highly decorated, and having a turret of 
 three stories, crowned by a cupola at each angle. Beyond all these, another line of 
 circumvallation was drawn, which appears to have enclosed all the detached offices, 
 gardens, fish-ponds, &c. ; and adjoining the principal building on the right, was a 
 wing of lower elevation ; and to the left was the plaisance, having a small piece of 
 water with an island in the centre. 
 
 The fate of this mansion is unknown, nor is it certain whether any other was 
 erected between it and that which Alderman Beckford found upon the estate. 
 From the views which exist of the latter, and a lodge which still remains, as well 
 as from the tradition which up to the present time calls it " Jones's Lodge," there 
 can be no doubt that this mansion was designed by the celebrated Inigo Jones him- 
 self, and the probability is, that when the grant of the estate was made to the fa- 
 vourite Cottington, he, either from the dilapidated state of the existing mansion, 
 or a desire to mark his sense of the favour and preserve the remembrance of it, 
 determined to erect an edifice of superior character, and in that new taste which 
 had then recently been imported. Jones had distinguished himself in the County at 
 Wilton, the seat of his munificent patron, Lord Pembroke, — he was court architect, 
 and enjoying high reputation from the new style he had been the means principally 
 of introducing into England, and from the beautiful and magnificent specimens he 
 had himself executed. With such distinctions, there was no other whom Sir 
 Francis Cottington, himself a man of taste, could have consulted on the designs of 
 his intended mansion. 
 
 The plan of this house was something similar to the last, but with this difference,— 
 that the rear of the one was made the front of the other. The court was thrown be- 
 hind, and the centre or principal body of the edifice was in advance, and turned 
 to the south, so that it looked along the little valley which is now embanked into a 
 beautiful lake. The site appears to have been a little more to the north, than that 
 of the one it succeeded. The style of the edifice was Italian, and what would ap- 
 pear a defect in so low a situation, the principal floor was not raised upon a base- 
 ment. 
 
 This mansion came into the possession of Alderman Beckford when he pur- 
 chased the estate of Fonthill ; and after he had expended large sums in improving 
 and furnishing it, a fire which burst out in 1755 levelled it with the ground. The 
 momentary regret its loss occasioned in the mind of Mr. Beckford, was succeeded 
 by a resolution to rebuild it with greater splendour ; and the new edifice was imme- 
 diately commenced. It was a principal building with two detached wings or pavilions, 
 
APPENDIX A. 
 
 107 
 
 connected with the centre by colonnades of a circular form. The dimensions were 
 grand, and the fittings-up expensive. 
 
 The position of these houses seems to have been far from judicious — very low, and 
 after the lake had been made, subject to frequent fogs, — a public road passing 
 through the lodge and running close to the mansion, between it and the lake, de- 
 stroyed entirely that privacy and quiet so desirable in a country residence; and 
 these objections were certainly not reduced by the view, which was circumscribed in 
 its limits, and though beautiful, extremely monotonous in its character. The greater 
 part of these defects were without remedy, and yet must have been felt every hour; 
 there is therefore little room for surprise, that when, to the advantages of the site of 
 the present edifice, came to be added, the progressive attractions of a building so 
 totally different from the common-place of art, and which, together with the scenery 
 around it, was the sole creation of the proprietor's powerful imagination ; the insalu- 
 brity, monotony, and publicity of the old mansion, pressed with irresistible force 
 upon the mind of him 
 
 " Whose wish was law — and every law obey'd," 
 
 and decided the question of removal. In 1807, therefore, the whole of this mansion, 
 except one pavilion which still remains to mark its site and extent, was demolished, 
 and its costly materials disposed of by public sale. 
 
THE CONVENT IN RUINS. 
 
 APPENDIX B. 
 
 MEMORANDA 
 
 OF THE 
 
 ©ngtn anii ^roama of dfonttull <3i>t)i?j). 
 
 Up to the end of the year 1795, the master passion or ruling taste for architectural 
 splendour, which characterizes the late possessor of Fonthill Abbey, appears to have 
 laid dormant ; or at least confined itself to some inconsiderable improvements in the 
 mansion erected by his father. About the period mentioned, his attention seems to 
 have been directed to the erection of a tower on the summit of the highest hill upon 
 the estate, the foundations of which had been already laid by the late Alderman, after 
 a design similar to the celebrated tower of Alfred at Stourhead, viz. triangular, 
 with a turret at each angle. It was, however, never completed, and it is probable, 
 
APPENDIX B. 
 
 109 
 
 that from the numerous visits which the proposed erection of the Beacon Hill ren- 
 dered necessary, the great attractions of the present site of the Abbey, its conve- 
 nience, and above all, to a lover of natural beauty and extensive scenery, the luxury 
 of " a lodge in this fair wilderness," might have pressed so strongly on the attention 
 of Mr. Beckford, as to produce the order which, in the year 1796, was received by 
 the late Mr. Wyatt, his architect, to make a design for an intended structure, which 
 should contain a suite of rooms, small, but amply sufficient for the enjoyment of a 
 day whether " of sunshine or of shower." Its external characteristic was to be that 
 of a Convent, partly in ruins and partly perfect, and probably nothing could have 
 been more happy than the embodied idea which the architect laid before his patron. 
 At once elegant, appropriate, and intelligible, its beauty and fitness were instanta- 
 neously felt, and its effect impossible to be mistaken. The chapel, the parlour, the 
 dormitory, and one small cloister alone, appeared to have survived the period which 
 had buried the refectory, the kitchen, and every other part of the edifice in one com- 
 mon ruin ; and it was perhaps to the very excellence of the original design that we 
 may ascribe the cause of its not being carried into execution. 
 
 His ideas having thus assumed "a local habitation and a name," a new area was 
 opened for the vigorous and excursive imagination of Mr. Beckford, the unlimited 
 range of which imposed continual and increased demands upon the skill and atten- 
 tion of the architect, who, during the winter of 1796-7, appears to have been almost 
 wholly occupied in the formation and completion of a series of designs, comprising 
 the grand octagon of the present structure, and the whole of the buildings to the 
 south and west of it. The style and archetype of the original plan was however 
 never lost sight of in the various and progressive additions, and although the situation 
 of one of its principal members was altered, it was only that it might be placed in a 
 more distinguished and conspicuous point of view. The general arrangement of the 
 plan in these designs is therefore nearly the same as we now find it in the Abbey, 
 though a few of the apartments may have changed their destination, and some others 
 their names. The Western Yellow Drawing Room and Gothic Cabinet were then the 
 chamber and dressing room of the proprietor ; the Great Octagon was a chapel, and the 
 Western Entrance a dining hall, having no communication with the Octagon, except 
 that a tribune or gallery overlooked it, from whence it might be presumed the lec- 
 tures were to be delivered, as was usual during meals in all monastic establishments. 
 Notwithstanding the magnitude of this plan, no idea of the durability which attaches 
 to a permanent dwelling was ever entertained — no residence appears to have been 
 then or for many years afterwards intended, and even if it had been, it is probable 
 
110 
 
 APPENDIX B. 
 
 the eager impatience of Mr. Beckford would hardly then have borne the necessarily 
 slow progress of a work of such dimensions, when composed of solid materials, and 
 designed for posterity. Timber and cement were therefore the principal articles in 
 its construction, and every expedient was used to complete the building within a 
 given time, regardless of the consequences that might almost have been expected to 
 ensue. Neither the still hour of night, or the accustomed day of rest from labour— 
 the gathering in of the harvest, or even the wishes of the greatest personage in the 
 kingdom, were allowed to interfere with or delay for one hour the progress of the 
 works. One immediate consequence of this injudicious haste was the destruction of 
 the first tower, which was carried up to its extreme height, without time being al- 
 lowed to complete the fastenings of it to the base on which it was erected ; a smart 
 gust of wind acting suddenly upon a large flag, attached to a scaffold pole, at its 
 summit, carried it off its base altogether. The fall was tremendous and sublime, 
 and the only regret expressed by Mr. Beckford upon the occasion, was that he had 
 not witnessed its destruction. He then instantly gave orders for the erection of a 
 new tower. 
 
 Gigantic as was the stride from the original design of " the Convent in Ruins," to 
 the Convent we have attempted to pourtray, (an appellation it preserved for several 
 years) the appetite of its founder remained unsatisfied ; and in the two following 
 years, the erection of King Edward's Gallery had been commenced to carry on the 
 amazing perspective, which yet scarcely dawned in the Library, (i. e. the present 
 St. Michael's Gallery,) and great advances were made in the completion of the rooms 
 to the south. 
 
 In the year 1800, Admiral Lord Nelson, with the celebrated Lady Hamilton, and 
 other distinguished characters, were visitors at Fonthill, and upon that occasion a 
 Fete was given in " the Convent," the preparations for which necessarily hastened 
 the completion of several of the southern rooms, but all the fittings-up beyond the 
 Library were temporary. 
 
 After this, little appears to have been done for some years, and perhaps, more never 
 would have been done, had not the idea of abandoning the old mansion and making 
 the Convent a residence, suggested itself to the active imagination of the proprietor. 
 This thought at once seems to have rekindled all his ardour, and again called forth 
 that peculiar energy and perseverance for which he has been distinguished. Some 
 of the out-buildings of the old mansion were immediately demolished, and the ma- 
 terials employed in the erection of the upper part of King Edward's Gallery, the 
 Lancaster Tower, &c. Designs were ordered to be prepared for a grand range of 
 
APPENDIX B. 
 
 Ill 
 
 towers, to run direct eastward from the Lancaster Tower; another and another 
 succeeded each, and were successively demolished, until finally they shrunk into the 
 small, but internally beautiful adjuncts of the Sanctuary and Oratory. 
 
 The avowed intention of residing, naturally occasioned some attention to be paid 
 to the degree of stability, which might be expected from a series of works so hastily 
 carried up and finished, as all the preceding erections at the Convent had been. The 
 increasing attachment of Mr. Beckford for the new edifice, a feeling which seems to 
 have " grown with its growth, and strengthened with its strength," at length pro- 
 duced a serious desire for its permanance and durability : the whole building was 
 therefore surveyed ; the timber and cement work of the Central Tower and two 
 others condemned, and two new towers entirely of stone were directed to be 
 built. 
 
 In the year 1807, the proprietor removed to " Fonthill Abbey," the title now for 
 the first time given to the new residence, and the materials of the splendid mansion 
 erected by the late Alderman Beckford, with great part of its contents, were con- 
 signed to the hammer. 
 
 The wants of a large establishment, distributed over a building so eccentric in its 
 character, soon demanded further additions. Towers were erected or heightened 
 to create chambers; and offices, on the plan of those at Glastonbury Abbey, were de- 
 signed for the greater convenience of the inhabitants. 
 
 All attempts to warm the Great Hall sufficiently for its intended use as a Refectory, 
 proving ineffectual, the apartment was finally devoted to the less important, though 
 more effective purpose, of a State Entrance to the Chapel. To obtain sufficient 
 depth for this object, the original hall was increased in its dimensions ; the Tribune, 
 which separated the Hall from the Octagon, and the vast fire-place (the remains of 
 which still exist beneath the Statue) were removed, and the present flight of steps at 
 the east end introduced; these alterations were completed about 1809-10. 
 
 The disposition of the several parts of the Chapel in the original design, had been 
 made with great skill and effect — the plan of this part of the principal story was that 
 of the Latin cross, the longest arm of which was occupied by the Library — the three 
 shorter branches radiating from the chapel. In the one opposite to the Library, a 
 large painted window, filled with a scriptural subject, was intended to be placed ; 
 the altar was to have been erected in the eastern recess ; and the organ over the 
 Tribune, between the Chapel and the Hall. The present Tribune room was a chan- 
 try, dedicated to St. Thomas a Becket, and above it was an apartment, called " the 
 Revelation Chamber," from the subjects proposed for the painted windows; several 
 
112 
 
 APPENDIX B. 
 
 of the designs for which, from the Apocalypse, were prepared by the late President 
 of the Royal Academy. 
 
 The arrangement thus made was, however, soon broken in upon by the addition of 
 King Edward's Gallery; but the original intention of a Chapel in the Octagon, was 
 perhaps not abandoned, until after the erection of the stairs from the Hall, and the 
 happy idea had been elicited of providing a succedaneum in the present Oratory. 
 If any thing still were wanting to destroy all fitness in the Octagon, for the purpose 
 of a Chapel, it was the opening of the south side, after the Eastern Transept had 
 been built. Considerable delay appears to have arisen in the erection of this import- 
 ant addition to the structure, as it was not until 1812, that the architect's attention 
 seems to have been seriously directed to it. Its absence must long have been felt as 
 a defect, both internally and externally — internally, a curtain concealed the shallow- 
 ness of the recess ; but the disposition to proceed forward, which the ascent of the 
 grand flight of steps would impress upon a visitor, would not subside until an expla- 
 nation, or the appearance of some object more impassable than a mere drapery, con- 
 vinced him of its impossibility. Externally its presence was of still greater conse- 
 quence, to divide and screen from sight one half at least of the offensive perspective, 
 which the neglected architecture of the eastern division must have always presented. 
 
 The Kitchen Court and South East Quadrangle, were originally intended to be en- 
 closed by an embattled wall, and the entrance to the latter was to have been beneath 
 a tower, erected close to the present bank, opposite the Eastern Postern. The Laun- 
 dry and other offices were to be placed in castellated buildings near the Kitchen 
 Court and the Stables; to form the four sides of an enclosed square a little further to 
 the north. Their external elevation was intended to have been remarkable for its pe- 
 culiar character. 
 
APPENDIX C. 
 
 <&enealo&ital &at*le&. 
 
 Having so frequently had occasion to allude to the splendid genealogical connexions of Mr. Beckford, 
 we here subjoin the following Tables in further illustration of our observations thereon. 
 
 The first, shewing the descent from the family of Mervyn, the ancient possessors of Fontliill, referred to 
 in the description of St. Michael's Gallery, page 56. 
 
 The second, setting forth his descent from all the sons of King Edward the Third, from whom there is 
 any issue remaining, more particularly illustrated by the armorial decorations of the Gallery of that name, 
 page 37. 
 
 The third, shewing his lineal descent from William Lord Latimer, Baron of Corby, summoned to Parlia- 
 ment in the time of King Edward the First, whose Armorial Achievements form so conspicuous a feature in 
 various parts of the Abbey, and which are referred to, page 57. 
 
 Q 
 
TABLE I. 
 
 Shewing the Descent of William Beckford, Esq. from the ancient Family of 
 
 Mervyn, Possessors of Font hill. 
 
 Richard Marvyne, of Fountayne, alias Fontell, =Dorothy, daughter and heir of Thomas Squire, 
 in the county of Wilts. 
 
 Ralph Marvyne, of Fountayne, alias Fontell == , daughter of Pane. 
 
 John Marvyne, or Mervyn, of Fontell, Esq.:=Joan, daughter of the Lord Hungerford, of 
 
 living 1476. 
 
 Heytesbury. 
 
 Walter Mervyn, of Fontell, Esq. : living 1500=pMary, daughter of John Mountpenson, or 
 
 Mompesson, of Bathanton Welley, in the 
 
 county of Wilts, Esq. 
 
 r 
 
 John Mervyn, of Fonthill, Esq =Elizabeth, daughter and coheir of John Greene, 
 
 I of Stotfould, in the county of Bedford, Esq. 
 
 Thomas Hall, of Bradford, in the county of=Elizabeth, only daughter of John Mervyn, 
 Wilts, Esq. I Esq., and sister of Sir John Mervyn, of 
 
 Fonthill, Knt., who died 1566. 
 
 Sir John Hall, of Bradford, Knt =FDorothy, daughter and heir of Anthony Ro- 
 gers, of Bradford, Esq. 
 
 John Hall, of Bradford, Esq. : living 1623 . .=FElizabeth, daughter of Henry Brunc, of Athel- 
 
 I hampton, in the county of Dorset, Esq. 
 
 Sir Thomas Hall, of Bradford, Knight: died : 
 1663. 
 
 Catherine, daughter of Sir Edward Seymour, 
 of Bury Pomeroy, in the county of Devon, 
 Bart. 
 
 William Coward, Esq., Serjeant at Law, and^FBridget, only daughter of Sir Thomas Hall, 
 Recorder and M.P. for Wells : died 1705. Knt., and sister of John Hall, of Bradford, 
 
 Esq.: died 1682. 
 
 r 
 
 William Coward, of Wells, Esq., a colonel in=j=Mary, daughter of William Hastings, of Hin- 
 
 the army, M.P. for that city; heir to his 
 maternal uncle, the said John Hall, Esq.: 
 died 1716. 
 
 ton, in the county of Northampton, Esq. 
 
 George Hamilton, 2nd surviving son of James=7=Bridget, daughter and sole heir of William 
 6th Earl of Abercorn : died 1775. Coward, Esq. 
 
 I , 
 
 William Beckford, of Fonthill aforesaid, Esq. :==Maria, daughter and coheir of the honourable 
 died 1770. George Hamilton. 
 
 William Beckford, 
 of Fonthill, Esq. 
 
TABLI 
 
 Shewing the Descent of Willi am Beckford, Esq., from King Edward the r 
 
 EDWARD III., King of England==P 
 founder of the most noble Order of I 
 the Garter : died 1377. 
 
 Lionel Plantagenet, " of Antwerp," 1 
 Duke of Clarence, K.G. third son of 
 King Edward III. : died 1368. 
 
 : Elizabeth de Burgh, daughter and heir 
 of William Earl of Ulster, by Maud 
 Plantagenet, daughter of Henry Earl 
 of Lancaster. 
 
 Edmond Mortimer, Earl of March :=r=Philippa Plantagenet, only child and 
 died 1381. heir of Lionel Duke of Clarence. 
 
 Henry Percy, " Hotspur," son and heir=pElizabeth Mortimer, daughter of Ed- 
 
 apparent of Henry Earl of Northum- 
 berland: slain 1402. 
 
 mond Earl of March. 
 
 John de Clifford, Lord Clifford, K.G. :=j=Elizabeth Percy, daughter of Henry 
 slain 1422. Lord Percy. 
 
 Sir Philip Wentworth, of Wentworth,=FMary de Clifford, only daughter of John 
 in the county of Suffolk, Knight. Lord Clifford. 
 
 Sir Henry Wentworth, of Wentworth ,=pElizabeth Saye, daughter of Sir John 
 Knight: died 1499. Saye, Knight. 
 
 Sir John Seymour, of Wolf Hall, in the=j=Elizabeth Wentworth, daughter of Sir 
 co.of Wilts, Knt. Banneret: diedl53(i. Henry Wentworth, Knight. 
 
 Edward Seymour, Duke of Somerset,=pCatharine Filloll, daughter and heir of 
 Protector of England, K.G. &c. . be- | Sir William Filloll, of Woodlands, in 
 headed 1552. the county of Dorset, Knight. 
 
 Sir Edward Seymour, of Bury Pomeroy,=Fjane Welch, daughter and heir of John 
 
 in the county of Devon, Knight, eldest 
 son: died 1593. 
 
 I 
 
 Sir Edward Seymour, of Bury Pomeroy,= 
 Bart. : died 1G13. 
 
 Welch, one of the Justices of the Com- 
 mon Pleas. 
 
 : Elizabeth Champernon, daughter of Sir 
 Arthur Champernon, of Dartingtou, 
 in the county of Devon, Knight. 
 
 Sir Edward Seymour, of Bury Pomeroy ,=f Dorothy Killigrew, daughter of Sir Henry 
 Bart. : died 1659. Killigrew, of Larock, in the county of 
 
 Cornwall, Knight. 
 
 Sir Thomas Hall, of Bradford, in the=f=Catharine Seymour, daughter of Sir Ed- 
 county of Wilts, Knight : died 1663. | ward Seymour, Bai t. 
 
 1 1 
 
 William Coward of Wells, Esq., M.P.=Bridget Hall, only daughter of Sir Tho 
 
 for that city: died 1705. 
 
 William Coward, of Wells, Esq., M.P.= 
 for that city: died 1716. 
 
 mas Hall, and heir to her brother, 
 John Hall, of Bradford, Esq. 
 
 : Mary Hastings, daughter of William 
 Hastings, of Hinton, in the county of 
 Northampton, Esq. 
 
 George Hamilton, 2nd surviving son of^Bridget Coward, daughter and sole heir 
 
 James, 6th Earl of Abercorn, M.P. 
 for Wells : died 1775. 
 
 of William Coward, Esq.: died 1775. 
 
 William Beckford, of Fonthill Gifford,==Maria Hamilton, daughter and coheir of 
 in the co. of Wilts, Esq., Lord Mayor the honourable George Hamilton: 
 and M.P. for London : died 1770. died 17**8. 
 
 John Plantagenet " of Gaunt," Duke=pCatharine de Roet, daughter of Sir Payne 
 of Lancaster, titular King of Castile I de Roet, and relict of Sir Otho Swin- 
 and Leon, K.G.: died 1399. ford, Knights. 
 
 r ' 
 
 John de Beaufort, Marquess of Dorset=pMargaret Holland, daughter of Thomas 
 and Earl of Somerset, K.G. : died I and sister and coheir of Edmond Earls 
 1410. of Kent. 
 
 James I. King of Scotland: slain 1436.=Fjoan de Beaufort, daughter of John 
 
 Marquess of Dorset : died 1446. 
 
 James II. King of Scotland : slain 1460.^=Mary of Gueldres, daughter of Arnolph 
 
 II. Duke of Gueldres. 
 
 James Hamilton, 2nd Lord Hamilton :=pMary Stuart, eldest daughter of King 
 
 James II. and relict of Thomas Boyd, 
 Earl of Arran. 
 
 died 1479. 
 
 James Hamilton, 3rd Lord Hamilton ; : 
 created Earl of Arran 1503 : died 
 1530. 
 
 r 
 
 Manet Bethune, daughter of Sir David 
 Bethune, uncle of Cardinal David 
 Bethune. 
 
 James Hamilton, 2nd Earl of Arran,=j=Margaret Douglas, eldest daughter and 
 created Duke of Chatelherault in coheir of James 3rd Earl of Morton. 
 France 1546: died 1575. 
 
 Claud Hamilton, 3rd son ; created Lord=j=Margaret Seton, daughter of George 6th 
 
 Paisley 1591 : died 1621. 
 
 James Hamilton, created Earl of Aber- 
 corn 1606: died 1618. 
 
 Sir George Hamilton, 4th son of James 1 
 1st Earl of Abercorn : died 1679. 
 
 .J 
 
 r 
 
 James Hamilton, eldest son and heir- 
 apparent of Sir George Hamilton : 
 slain 1673. 
 
 Sir James Hamilton, succeeded as 6th= 
 Earl of Abercorn in 1701 : died 1734. 
 
 Lord Seton, and sister of Robert Earl 
 of Winton. 
 
 ; Marian Boyd, eldest danghter of Tho- 
 mas 5th Lord Boyd. 
 
 : Mary Butler, 3rd daughter of Thomas 
 Viscount Thurles, and sister of James 
 Duke of Ormond. 
 
 -Elizabeth Colepeper, eldest daughter of 
 John Lord Colepeper. 
 
 : Elizabeth Reading, daughter and heir of 
 Sir Robert Reading, Bart, by Jane 
 Countess Dowager of Montrath. 
 
 George Hamilton, 2nd surviving son of=Bridget Coward, daughter and sole heir 
 James 6th Earl of Abercorn, M.P. for of William Coward, Esq. : died 1775. 
 Wells: died 1775. 
 
 William Beckford, of Fonthill Gifford,=Maria Hamilton, daughter and coheir of 
 in the co. of Wilts, Esq. Lord Mayor the honourable George Hamilton: 
 and M.P. for London : died 1770. died 1798. 
 
 William Beckford, 
 of Fonthill Abbey, Esq. 
 
 William Beckford, 
 of Fonthill Abbey, Esq. 
 
II. 
 
 omas lc Dispenser, Earl of Glouces-=FConstance Plantagenet " of York," only 
 ter : died 1400. | daughter of Edmond Duke of Y ork. 
 
 rd, through all the .sons of that monarch, from whom there is any issue. 
 
 IPPA, of Hainault, Queen 
 England : died 1369. 
 
 mond PLANTAGENET " of Langley, "T=Isabel of Castile, daughter and eoheir of 
 
 Juke of York, K.G., 5th sou of King 
 Cdward HI.: died 1402. 
 
 Peter " the Cruel," King of Castile 
 and Leon. 
 
 hard Beauchamp, Earl of Worcester^Isabel Despenser, daughter and at length 
 md Lord Abergavenny : slain 1422. sole heir of Thomas Earl of Gloucester. 
 
 1 
 
 ward Nevil, Lord Abergavenny, 4th=pElizabeth Beauchamp, daughter and sole 
 on of Ralph Earl of Westmorland : I heir of Richard Earl of Worcester, 
 lied 1476. 
 
 I J , . 
 
 Iprge Nevil, Lord Abergavenny: died=p\Iargaret Fenne, daughter and heir of 
 1492. Sir Hugh Fenne, Knight. 
 
 Edward Nevil, of Aldington Park, in=pEleanor Windsor, daughter of Andrew 
 
 he county of Kent, Knight, 3rd son : 
 eheaded 1538. 
 
 Lord AVindsor, and relict of Ralph 
 Lord Scrope, of Upsal. 
 
 inent Throckmorton, of Haseley, in=FKatherine Nevil, daughter of Sir Edward 
 he co. of Warwick, Esq. : died 1573. Nevil. 
 
 >maa Harby, of Alveston, in the co.-pKatherine Throckmorton, daughter of 
 )( Northampton, Esq. : died 1592. | Clement Throckmorton, Esq. 
 
 [ del Oxenbridge, of Daventry, in the-pKatherine Harby, daughter of Thomas 
 
 ounty of Northampton, and of Lon- 
 on, Esq. : died 1642. 
 
 Harby, Esq., and sister of Sir Job 
 Harby, Knight: died 1651. 
 
 1644. 
 
 L eb Cockcroft, of London, Esq.: died=j=Elizabeth Oxenbridge, daughter of Da- 
 niel Oxenbridge; married, secondly, 
 Oliver St. John, Lord Chief Justice of 
 the Common Pleas ; and, thirdly, Sir 
 Humphrey Sydenham, Kut. : died 1679. 
 
 haniel 
 
 Hering, of London, Esq. :=pElizabeth Cockcroft, daughter of Caleb 
 died 1678. Cockcroft, of London, Esq. 
 
 mes Hering, of Jamaica, Esq., a co-=Anne ; married, secondly, to Richard 
 onel in the army : died 1689-90. Scott, who married Grace, daughter 
 
 of Sir Thomas Mauliverer, Bart. 
 
 Hiam Beckford, of Fonthill Gifford,=FMaria Hamilton, daughter and coheir of 
 
 r Beckford, Esq., Speaker of the^Bathshua Hering, daughter of Julines 
 
 Assembly, in Jamaica: died 1735. 
 
 r 
 
 Hering, and sister and coheir of Na- 
 thaniel Hering, Esq.: died 1750. 
 
 i the co. of Wilts, Esq., Lord Mayor 
 id M.P. for London: died 1770. 
 
 the honourable George Hamilton : 
 died 1798. 
 
 William Beckford, 
 of Fonthill Abbey, Esq. 
 
 Thomas Plantaof.net, " of Wood-— 
 stock," Duke of Gloucester, K.G., 
 youngest son of King Edward III.: 
 died 1397. 
 
 William Bourchier, Lord Bourchier, 
 Earl of Eu, in Normandy : died 1420. 
 
 : Eleanor de Bohun, daughter and coheir 
 of Humphrey Earl of Hereford, Es- 
 sex, and Northampton : died 1399. 
 
 Sir John Bourchier, Lord Berners,= 
 K.G. : died 1473. 
 
 I 
 
 Sir Humphrey Bourchier, Knight : slain= 
 at Barnet Field, in the life-time of his 
 father, 1471. 
 
 Thomas Fenys, Lord Dacres of the- 
 South : died 1534. 
 
 Sir Henry Norris, Knight: beheaded= 
 1537. 
 
 Sir Arthur Champernon, of Dartington,= 
 in the county of Devon, Knight: died 
 1578. 
 
 : Anne Plantagenet, daughter of Thomas 
 Duke of Gloucester, and sister and co- 
 heir of Humphrey Earl of Buckingham. 
 
 : Margery Berners, daughter and heir of 
 Sir Richard Berners. 
 
 : Elizabeth Tilney, daughter and heir of 
 Sir Frederick Tilney ; married, se- 
 condly, to Thomas Duke of Norfolk. 
 
 =Anne Bourchier, daughter of Sir Hum- 
 phrey Bourchier, Knight. 
 
 : Mary Fenys, daughter of Thomas Lord 
 Dacres. 
 
 : Mary Norris, daughter of Sir Henry, 
 and sister of Henry Lord Norris : died 
 1601. 
 
 Sir Edward Seymour, of Bury Pomeroy^Elizabeth Champernon, daughter of Sir 
 
 in the county of Devon, Bart., grand- 
 son of Edward Duke of Somerset : 
 died 1613. 
 
 Arthur Champernon, Knight. 
 
 I 
 
 Sir Edward Seymour, of Bury Pomeroy,=Dorothy Killigrew, daughter of Sir Hen 
 Bart.: died 1659. — B ™ " c * : - A * 
 
 ry Killigrew, of Larock, in the county 
 of Cornwall, Knight. 
 
 Sir Thomas Hall, of Bradford, in the=pCatherine Seymour, daughter of Sir Ed- 
 county of Wilts, Knight : died 1663. | ward Seymour, Bart. 
 
 1 
 
 William Coward, of AVells, Esq. M.P.=pBridget Hall, only daughter of Sir Tho- 
 for that city : died 1705. I mas Hall, and heir to her brother, 
 
 John Hall, of Bradford, Esq. 
 
 r- 
 
 William Coward, of Wells, Esq., M.P. 
 for that city : died 1716. 
 
 Mary Hastings, daughter of William 
 Hastings, of Hinton, in the county of 
 Northampton, Esq. 
 
 George Hamilton, 2nd surviving son of=pBridget Coward, daughter and sole heir 
 James 6th Earl of Abercorn ; M.P. I of William Coward, Esq.: died 1775. 
 for Wells: died 1775. 
 
 William Beckford, of Fonthill G i fiord ,=f=M aria Hamilton, daughter and coheir of 
 in the co. of Wilts, Esq., Lord Mayor the honourable George Hamilton: 
 and M.P. for Loudon : died 1770. " died 1798. 
 
 William Beckford, 
 of Fonthill Abbey, Esq. 
 
TABLE III 
 
 ewing the Descent of William Beckford, Esq. from the Noble House of 
 
 Latimer. 
 
 William Latimer, Lord Latimer, Baron of=Alice, daughter and coheir of Walter Ledet, of 
 
 Corby, summoned to Parliament 28 to 31 
 Edw. I. 
 
 Braybrooke, county of Northampton. 
 
 I 
 
 I .... : ■ 
 
 Sir John Latimer, of Duntish, in the county-pJoan, daughter and coheir of Sir William le 
 of Dorset, Knt. : died 10 Edw. III. Gouis, Knt. 
 
 Sir Robert Latimer, of Duntish, Knt. : died-r-Catherine, daughter and heir of Sir Robert 
 
 T 
 
 35 Edw. III. Hull, Knt. 
 
 Sir Robert Latimer, of Duntish, Knight -pMargaret, daughter of Sir William Pechc, Knt. 
 
 j 1 
 
 John Latimer, of East Pulham, in the co.=j=Margaret, daughter of Sir John Pipard, Knt. 
 of Dorset, Esq. 
 
 \— — J 
 
 Sir Nicholas Latimer, of Duntish, Knight :=T=Joan, daughter of Sir John Hody, Knt. 
 died 1505. 
 
 John Green, of Stotfould, in the county of=j=Edith Latimer, daughter and coheir of Sir Ni- 
 
 Bedford, Esq. 
 
 cholas Latimer ; married, secondly, Sir John 
 Mordaunt; thirdly, Sir John Carew. 
 
 John Mervyn, of Fonthill, Esq =Elizabeth, daughter and coheir of John Green, 
 
 I Esq. 
 
 Thomas Hall, of Bradford, in the county ofyElizabeth Mervyn, daughter of John and sister 
 Wilts, Esq. of Sir John Mei vyn, of Fonthill. 
 
 i 
 I 
 
 John Hall, of Bradford, Esq =Dorothy, daughter and heir of Anthony Ro- 
 gers, of Bradford, Esq. 
 
 I — 
 
 John Hall, of Bradford, Esq. : living 1623 . .=Elizabeth, daughter of Henry Brune, of Athel- 
 
 hampton, county of Dorset, Esq. 
 
 I 
 
 Sir Thomas Hall, of Bradford, Knight: died=Catherine, daughter of Sir Edward Seymour, 
 
 1663. 
 
 of Bury Pomeroy, co. Devon, Bart. 
 
 i 
 
 William Coward, of Wells, Esq.: died 1705 =j=Bridget Hall, daughter of Sir Thomas Hall, 
 
 and sister and heir of John Hall, Esq. 
 
 William Coward, of Wells, Esq. : died 1716 =j=Mary, daughter of William Hastings, of Hin- 
 
 ton, county of Northampton, Esq. 
 
 1 
 
 George Hamilton, second son of James 6th==Bridget Coward, daughter and heir of William 
 Earl of Abercorn : died 1775. Coward, Esq. 
 
 William Beckford, of Fonthill, Esq.: died=Maria Hamilton, daughter and coheir of the 
 1770. Hon. George Hamilton. 
 
 I 
 
 William Beckford, 
 of Fonthill Abbey, 
 Esq. 
 
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 Alexis Delahaut, Esq. Paris 
 
 Rev. Benjamin Donne, Shaftesbury 
 
 J. C. Denham, Esq. Chelsea 
 
 William Pitts Dimsdale, Esq. London 
 
 Mr. Charles Duffield, Bookseller, Bath 
 
 Messrs. Duffield and Weller, Literary Saloon, 
 
 Cheltenham 
 John Dimsdale, Esq. London 
 Colonel Duke, Appleshaw 
 John Durant, Esq. Poole 
 Mr. Richard Downs, Shaftesbury 
 Mr. R. Drysdale, Fonthill Giffbrd 
 Mr. William Dalley, Rudge, Wilts 
 Mr. William Dore, Bath 
 Mr. John Davy, London 
 
 F. T. Egerton, Esq. Roche Court, Wilts 
 
 Rev. Edward Everard, Brighton 
 
 Mr. Thomas Earle, Bookseller, Salisbury 
 
 W. Raphael Eginton, Esq. Birmingham 
 
 The Enfield Book Society 
 
 Mr. Edmund English, Bath 
 
 Messrs. Evans and Jordan, London. 2 copies 
 
 A Friend to the Undertaking. 20 copies 
 Hon. Mrs. Fortescue 
 
 Charles Foot, Esq. Berwick, St. John, Wilts 
 
 Mr. John Fairbairn, Hindon 
 
 Mr. Charles Fellows, Bookseller, Salisbury 
 
 Mr. Charles Frost, Bookseller, Bristol. 2 copies 
 
 Mr. Farrett, Bath 
 
 John Gordon, Esq. Wincombe, Wilts 
 John Goodford, Esq. Yeovil, Somerset 
 Miss Green, Bath 
 
122 
 
 LIST OF SUBSCRIBERS. 
 
 Mr. Guy, Southampton 
 
 Mr. Godwin, Bookseller, Bath. 2 copies 
 
 Mr. Charles Gore, Bookseller, Southampton 
 
 Thomas Gaspey, Esq. Lambeth 
 
 W. D. Gibbon, Esq. London 
 
 William George, Esq. London 
 
 Matthew Gregson, Esq. Liverpool 
 
 Capt. Haynes, R.N. Donhead Lodge, Wilts 
 Capt. Halton, Grittleton 
 
 Hicks, Esq. London 
 
 Dr. Hunter, Newbury, Berks 
 John Hodgkinson, Esq. London 
 Henry Host Henley, Esq. Sandringham, Norfolk 
 Thomas Hurst, Esq. Highgate 
 Rev. G. Rivers Hunter, Okeford Fitzpaine, 
 Dorset 
 
 John Hussey, Esq. Marnhull, Dorset 
 John Harrison, Esq. Poole 
 Robert Horner, Esq. Architect, London 
 Mr. Thomas Harrison, Hindon 
 Mr. Thomas Harrison, Junr. Hindon 
 Mr. A. P. Harrison, Bookseller, London 
 Mr. John Hall, Bookseller, Newport, Isle of 
 Wight 
 
 Messrs. Havell and Son, Engravers, London 
 
 Mr. John Hunt, Stower, Dorset 
 
 Mr. Harrington, Salisbury 
 
 Mr. Hammond, Blandford. 
 
 Capt. Hall, Durham 
 
 Mr. Hoffman, London 
 
 Rev. Charles Jackson, New College, Oxon 
 Mr. Francis Joseph, Bookseller, Bath 
 Mr. M. G. Jones, London 
 
 Messrs. Jacob and Johnson, Booksellers, Win- 
 chester 
 Mr. James, Shaftesbury 
 William Jackson, Esq. Lincoln 
 
 Lord Kinnaird, London 
 
 James Kemp, Esq. Poole 
 
 John Kynaston, Esq. Poole 
 
 Thomas King, Esq. Alvesdiston, Wilts 
 
 Henry King, Esq. Chilmark, Wilts 
 
 Rev. J. Lowndes, Tollard Royal, Wilts 
 David Lander, Esq. Poole 
 
 Monsieur Pierre Lafontaine, Peintre du Roi, a 
 Paris 
 
 Wm. Leake, Esq. M.P. London 
 
 Thomas Lawford, Esq. Hindon 
 
 Mr. Henry Lambert, Bridzor, Wilts 
 
 Messrs. Longman & Co. Booksellers, London. 
 
 10 copies. 
 Mr. Thomas Lewis, Shaftesbury 
 Mr. William Lindsell, Bookseller, London 
 Mr. John Lankester, Bookseller, Poole 
 Mrs. Lings, Southampton 
 Mr. Lander, Engraver, Bristol 
 Thomas Lawrence, Esq. London 
 Mr. A. Leighton, London 
 George Lucy, Esq. M.P. London 
 William Lynch, Esq. London 
 E. Leslie, Esq. London 
 
 John Mel liar, Esq. Sherborne 
 Rev. Henry Martin, Stower Provost, Dorset 
 A. Moffatt Mills, Esq. Knoyle House, Wills 
 Mrs. Medlycott, Close, Salisbury 
 Robert Major, Esq. Poole 
 J. D. Merest, Esq. Lynford Hall, Norfolk 
 Rev. G. A. Montgomery, Bishopstone 
 Mr. Meyler, Bookseller, Bath 
 Mr. J. Mintorn, Bookseller, Bristol 
 Messrs. Moore and Sydenham, Booksellers, Poole 
 Mr. Robert Moir, Bookseller, West Cowes, Isle 
 of Wight 
 
 Mr. J. N. Morcom, Bookseller, Bristol 
 Messrs. Merridews, Booksellers, Coventry 
 Mr. John Major, Bookseller, London, 2 copies 
 Mr. D. S. Maurice, London 
 
 Josiah Neave, Gillingham, Dorset 
 
 Mr. Norton, Bookseller, Bristol. 2 copies. 
 
 Sir Henry Onslow, Bart. Donhead Hall, Wilts 
 Mr. Thomas Oakley, Bookseller, Blandford 
 
LIST OF SUBSCRIBERS. 
 
 123 
 
 Thomas Bulkeley Owen, Esq. Tedsmore Hall, 
 Shrewsbury 
 
 The Right Hon. Robert Peel, London 
 William Peel, Esq. M. P. London 
 John H. Penruddocke, Esq. M. P. Compton, 
 Wilts 
 
 Captain Peyton, R. N. Motcombe House, Dorset 
 Henry Pigou, Esq. Bath 
 T. E. Pitcher, Esq. London 
 William Parr, Esq. Poole 
 
 Pinchard, Esq. Taunton 
 
 Mr. J. Pearce, Bookseller, Bath 
 
 Mr. John Poole, Bookseller, Taunton 
 
 Mr. John Percy, Bookseller, Somerton, Somerset 
 
 Messrs. Penny and Son, Booksellers, Sherborne 
 
 Mrs. Plowden, Newton Grove, Lymington 
 
 Mr. Thomas Piper, Camberwell 
 
 Messrs. Pool and Harding, Booksellers. Chester 
 
 Lord Rolle, Bovey House, Devon 
 The Countess Dowager of Roden, London 
 John Roden, Esq. Clifton 
 Mrs. Rigby, Salisbury 
 George Ripley, Esq. London 
 Rev. C. B. Rosenberg, Brighton 
 Mr. John Rees, Bookseller, Bristol. 2 copies 
 Mr. William Richardson, Bookseller, Bristol. 2 
 copies 
 
 Mr. James Rowden, Bookseller, Newport, Isle of 
 Wight 
 
 Mr. Robbins, Bookseller, Winchester. 2 copies 
 
 Mr. Joseph Randall, Bath 
 
 William Rutter, London 
 
 George Rowlandson, Esq. London 
 
 Benjamin Rouse, Esq. London 
 
 John Rennie, Esq. London 
 
 The Duchess of Somerset, Bradley House, Wilts 
 Sir John W. Smith, Bart. Down House, Dorset 
 Evelyn Shirley, Esq. Shipston on Stour 
 Rev. John Still, Fonthill Gifford 
 James Charles Still, Esq. Knoyle, Wilts 
 
 William Storey, Esq. Shaftesbury 
 
 George South, Esq. Charlton, Wilts 
 
 Henry Seymour, Esq. London 
 
 J. F. Spencer, Esq. Fonthill Gifford 
 
 Richard Spencer, Esq . Ditto 
 
 Robert Slade, jun. Esq. Poole 
 
 Mr. James Shrimpton, Shaftesbury 
 
 John Hugh Smyth, Esq. Waxall-lodge, Somerset 
 
 John Swayne, Esq. Wilton 
 
 Messrs. E. Skelton & Co. Booksellers, Southamp- 
 ton 
 
 Mrs. Street, Bookseller, Ditto 
 
 William Sharp, Esq. Romsey 
 
 Mr. Richard Sharp, Bookseller, Ditto 
 
 James Seager, Esq. Poole 
 
 Mr. J. Shipp, Bookseller, Blandford. 3 copies 
 
 Mr. Strong, Bookseller, Bristol 
 
 Mr. Sims, Bookseller, Bath 
 
 Mr. Charles Smith, Bath 
 
 George Smith, Esq. Egham 
 
 Mr. T. Smyth, Bookseller, Exeter. 3 copies 
 
 George Silk, Esq. Doctors' Commons 
 
 C. Kemeys K. Tynte, Esq. M. P. Hallswell, 
 
 Somerset 
 
 Charles J. Tynte, Esq. Wincombe, Wilts. 
 
 Mr. William Trenchard, Shaftesbury 
 
 John Turner, Esq. Architect, Whitchurch, 
 
 Shropshire 
 John Boys Tucker, Esq. Shaftesbury 
 Charles H. Turner, Esq. London 
 J. P. Thomas, Esq. Southwark 
 Thomas Thomson, jun. Compton, Dorset 
 Samuel Taylor, Esq. Maston, near Manchester 
 Messrs. Taylor and Hessey, Booksellers, London 
 Edward Thomas, Bristol 
 Charles Tucker, Esq. Temple, London 
 Mr. Triphook, Bookseller, London. 3 copies 
 
 Mr. J. Upham, Bookseller, Bath 
 
 Luke White, Esq. M.P. Dublin 
 R. Wilkinson, Esq. London 
 
124 
 
 LIST OF SUBSCRIBERS. 
 
 George Warner, Esq. London 
 Mr. Walmsley, London 
 
 Thomas Wirgman, Esq. Timberham Lodge, 
 Surrey 
 
 Matthew Wise, Esq. Leamington Spa, Warwick 
 
 John Washbourn, Esq. Gloucester 
 
 Charles Wyatt, Esq. London 
 
 Samuel Wilson, Esq. Islington 
 
 Louis W. Wyatt, Esq. London. 2 copies 
 
 George Williamson, Esq. London 
 
 Richard Samuel White, Esq. Lincoln's-Inn 
 Samuel Wakefield, Esq. London 
 Thomas Windus, Esq. London 
 Stedman Whitwell, Esq. Architect, London 
 Mr. Effingham Wilson, Bookseller, London 
 Mr. Will iani Wheaton, Bookseller, Ringwood 
 
 Mr. Henry R. Young, Bookseller, London. 3 
 copies 
 
 &mall Paper* 
 
 Capt. Argles, Southampton 
 
 George Atherley, Esq. Ditto 
 
 Messrs. J. and A. Arch, London. 6 copies 
 
 Mr. Thomas Abbott, Shaftesbury 
 
 Mr. Edwin Andrews, Shroton, Dorset 
 
 Mr. Thomas Abraham, Bookseller, Wimborne 
 
 Samuel Ashby, Staines, Berks. 
 
 P. H. Acott, Esq. Hendon, Middlesex 
 
 Rev. H. St. Andrew St, John, Putney, Surry 
 
 George Baker, Esq. Salisbury 
 Miss Benett, Norton House, Wilts 
 Waring Biddle, Esq. Poole 
 John Burnet, Esq. Dorchester 
 Mr. J. Barratt, Bookseller, Bath. 12 copies. 
 Mrs. Ann Binns, Ditto 
 Mr. Richard Buckland, Shaftesbury 
 Mr. Charles E. Buckland, Ditto 
 Mr. James Lush Buckland, Ditto 
 Mr. William Bulgin, Bookseller, Bristol 
 Mr. Buchan, Southampton 
 Mr. Bracewell, Bookseller, Winchester 
 Messrs. Brodie and Dowding, Booksellers, Salis- 
 bury. 6 copies 
 Mr. J. Berryman, Engraver, London 
 Mr. Richard Blanchard, London 
 Mr. J. Boucher, Bookseller, Yeovil 
 J. G. Bourne, Esq. Dudley, Worcestershire 
 
 Mrs. Barton, Ropley, Alresford, Hants 
 
 Mr. J. Belsher, Birmingham 
 
 Mr. R. Bickersteth, London 
 
 Dr. Bloxam, Rugby 
 
 Mr. John Bolster, Cork. 4 copies 
 
 Edward Castleman, Esq. Wimborne 
 
 Mr. J. Carter, Engraver, London 
 
 Mr. Richard Carver, Bridgewater, Somerset 
 
 Mr. John Cooper, Shaftesbury 
 
 Mr. J. Cleghom, Engraver, London 
 
 Mr. William Candy, Fonthill Gifford 
 
 Dr. Clark, Southampton 
 
 Mr. Samuel Chaplin, Southampton 
 
 Mr. Alexander Clarke, Newport, Isle of Wight 
 
 Mr. J. Chilcott, Bookseller, Bristol 
 
 Mr. E. Collings, Bookseller, Bath. 2 copies 
 
 J. Clark, Esq. Hartgrove, Dorset 
 
 Thomas Cope, Esq. Coventry 
 
 Mr. William Jocelyn Cooper, Portings, Kent 
 
 Mr. Creswick, London 
 
 George Cosier, jun. Esq. Whitechurch, Salop 
 
 Henry Crowley, Alton, Hants 
 
 Mr. Thomas Clay, Bookseller, London. 2 copies 
 
 W. Cowburn, Esq. London 
 
 Mr. Combauld, London 
 
 Mr. G. Cruikshank, Liverpool 
 
 William Cook, Esq. Liverpool 
 
LIST OF SUBSCRIBERS. 
 
 12.5 
 
 Rev. E. Duke, Lake, Wilts 
 Mr. Dufficld, Bookseller. Bath 
 Messrs. Duffield and Weller, Booksellers, Chel- 
 tenham 
 
 Samuel Doddington, Esq. London 
 The Very Rev. the Dean of Sarum 
 Major De la Motte, Sandhurst 
 
 Thomas Evans, Esq. Architect, London 
 George Evans, Esq. Architect, Wimborne 
 Mr. Thomas Earle, Bookseller, Salisbury 
 Messrs. Evans, Chegwin, and Hall, Booksellers, 
 Liverpool 
 
 Hon. Newton Fellowes, Eggesford, Devon 
 Mr. James Field, Brixton Rise, Surrey 
 Mr. Isaac Fletcher, Bookseller, Southampton 
 Mr. Charles Fellowes, Bookseller, Sarum 
 Mr. Fowler, Southampton 
 
 Mr. Charles Frost, Bookseller, Bristol. 2 copies 
 Mr. James Fidel, Farringdon, Berks 
 Daniel Fossick, London 
 Mr. M. Fisher, Salisbury 
 
 Henry Eycott, Esq. Easington, Gloucestershire 
 Thomas Fowler, Esq. London 
 
 Sir George Garratt, Portsmouth 
 Henry Garling, Esq. Architect, London 
 Rev. L. Gravenor, Bristol t 
 Mr. Charles Godwin, Bookseller, Bath. 4 copies 
 Mr. Jasper Guy, Shaftesbury 
 Mr. Charles Gore, Bookseller, Southampton 
 Mr. J. P. Gillmore, Southampton 
 Messrs. Gossling and Eccley, Bookseller, Lon- 
 don. 2 copies 
 
 Henry Hobhouse, Esq. Hadspen House, Somerset 
 
 Rev. W. Huntingford, Winchester 
 
 Rev. P. Harrison, Fisherton, Wilts 
 
 William Hearn, Esq. Newport, Isle of Wight 
 
 Mr. Harriss, Westbury, Wilts 
 
 Mr. William Hone, London 
 
 Sarah de Horne, Poole 
 
 Edward Hannam, Gillingham, Dorset 
 
 Samuel Hannam, Gillingham, Dorset 
 Mr. John R. Harding, Bristol 
 Mr. John Hall, Bookseller, Newport, Isle of 
 Wight 
 
 Mr. Robert Hayter, Fonthill Gifford 
 
 Rev. Dr. Hardy, Loughborough, Leicestershire 
 
 John Hutton, Esq. Richmond 
 
 Mr. Jones, Pantechnetheca, Birmingham 
 Messrs. Jacob and Johnson, Booksellers, Win- 
 chester 
 
 Mr. Thomas Johnson. Shaftesbury 
 
 T. J. Shaftesbury 
 
 M. Jones, Esq. London 
 
 W. Jacobs, Esq. Leeds , 
 
 George Johnson, Esq. Egham 
 
 N. Lipscombe Kentish, Esq. Surveyor, Winches- 
 ter 
 
 Mr. Charles Knight, Windsor 
 
 Mr. Thomas King, Newport, Isle of Wight 
 
 Thomas Knight, Esq. Alton, Hants 
 
 Thomas King, Esq. Walcot, Bath 
 
 Rev. W. Kay, Magdalen College, Oxford 
 
 Mrs. Shaw Lefevre, Heckfield-place, Hants 
 E. Luxford, Esq. Bradford, Wilts 
 Stephen Lintott, Esq. Southampton 
 The Literary Society of Friends, London 
 Mr. W. S. Lager, Bath 
 Mr. A. Lowe, London 
 
 Messrs. Longman, Hurst, & Co. Booksellers, 
 
 London. 40 copies. 
 J. T. Lewis, Esq. Surveyor, Winchester 
 Mr. Odiarne C. Lane, Bookseller, Clifton 
 Mr. James Lampard, Fonthill Gifford 
 Mr. W. Lindsell, Bookseller, London 
 Mr. J. Lankester, Bookseller, Poole 
 Robert Long, Esq. Dawlish, Devon 
 Mr. R. W. Lower, Lewis 
 
 Sir Scrope B. Morland, Bart. London 
 Miss Milne, Dinton, Wilts 
 Mary Milgrove, Bristol 
 Miss Mary Manning, Poole 
 
126 
 
 LIST OF SUBSCRIBERS. 
 
 Mr. Moule, Bookseller, London 
 Mr. William Mullet, Shaftesbury 
 Messrs. Moore & Sydenham, Booksellers, Poole 
 Mr. Robert Moir, Bookseller, Cowes, Isle of 
 Wight 
 
 Mr. Thomas Missing, Southampton 
 
 Mr. Mecey, Ditto 
 
 Mr. Minnet, Ditto 
 
 Mr. Robert Miller, Ditto 
 
 Mr. John Major, Bookseller, London. 4 copies 
 
 Mr. T. J. Manchee, Bookseller, Bristol 
 
 Mr. J. N.Morcom, Ditto 
 
 Mr. C. Midlane, London 
 
 Mrs. Mackerbarth, Upton 
 
 John Thomas Mayne, Esq. Teffont 
 
 John Baptist Morton, Esq. Cheltenham 
 
 Messrs. Motley & Harrison, Portsmouth 
 
 Edward Neave, Gillingham, Dorset 
 Mr. Norton, Bookseller, Bristol. 2 copies 
 Mr. Edward Norton, Fonthill Gifford 
 Dr. Newell, Cheltenham 
 
 Lady Pollen, Bulford, Wilts 
 
 G. Collins Poore, Esq. Park Place, Wickham 
 
 John Pepper, Esq. Southampton 
 
 C. F. Porden, Esq. Architect, London 
 
 Rev. Edward Peacock, Fifehead, Dorset 
 
 Jacob Player, Froome, Somerset 
 
 Mr. Edward Palk, Southampton 
 
 Mr. Pinhorn, Bookseller, Cowes, Isle of Wight 
 
 Mr. Nathaniel Pegler, Southampton 
 
 Messrs. Penny and Son, Booksellers, Sherborne 
 
 Thomas Pares, Esq. Hopwell Hall, Derby 
 
 Greenway Robins, Esq. Southwark 
 Samuel Rutter, Bristol 
 
 Mr. »J. Rowden, Bookseller, Newport, Isle of 
 Wight 
 
 Mr. Edward Randall, Southampton 
 
 Messrs. Roe and Son, Builders, Ditto 
 
 Mr. Robbins, Bookseller, Winchester. 2 copies 
 
 Mr. John Rees, Ditto, Bristol. 2 copies 
 
 Messrs. Rattle and Brine, Booksellers, Bath 
 
 Hon. Mrs. Robinson, Manor House, Durnford 
 Mr. Relfe, Bookseller, London. 2 copies 
 Messrs. Reid and Henderson, Booksellers, Glas- 
 gow 
 
 Mr. John Rodford, Bookseller, Hull. 2 copies 
 
 Mr. S. S. Strong, Poole 
 Mr. John Snelgrove, Fonthill Gifford 
 Messrs. E Skelton & Co. Booksellers, Southamp- 
 ton 
 
 Mr. William Skelton, Bookseller, Ditto 
 Mr. Shipp, Bookseller, Blandford. 3 copies 
 Mrs, Street, Bookseller, Southampton 
 Mr. Sims, Bookseller, Ditto 
 Mr. Richard Sharp, Bookseller, Romsey 
 Mr. Strong, Bookseller, Bristol 
 Joseph Sharpies, Hitchen, Herts 
 Dr. Stock, Clifton 
 
 Mr. Shipp, Bookseller, Blandford. 3 copies 
 John Stoley,jun. Esq. Torrington, Devon. 
 John Slade, Esq. Torrington, Devon 
 Rev. J. H. Smyth, Exeter 
 Mr. Thomas Smyth, Exeter 
 Mr. E. Shalders, Ipswich 
 
 Mr. George Thomas, Shaftesbury 
 
 Rev. J. Taylor, Marnhull, Dorset 
 
 Mr. William Turner, Donhead, Wilts 
 
 Mr. Thrasher, Winchester 
 
 Joseph Thompson, Bridgewater 
 
 Mr. William Tyson, Bookseller, Bristol 
 
 Mr. J. W. Tatham, Hawkchurch, Devon 
 
 Mr. Joseph Towsey, Builder, Gillingham, Dorset 
 
 John Thompson, Hitchen, Herts 
 
 Samuel Tregallas, Falmouth 
 
 Mr. Triphook, Bookseller, London. 2 copies 
 
 Mr. Talbot, London 
 
 James Thompson, Esq. London 
 
 Mr. A. Tucker, Christ-church, Hants 
 
 Mr. William Upjohn, Surveyor, Shaftesbury 
 Mr. James Upjohn, Shaftesbury 
 Mr. J. Upham, Bookseller, Bath 
 E. N. Utterson, Esq. London 
 
LIST OF SUBSCRIBERS. 
 
 127 
 
 Mr. Varral, Engraver, London 
 
 Rev. C. Wrottesley, Knoyle, Wilts 
 
 Capt. W. L. Watson, Hotwells 
 
 Rev. S. Webber, Fonthill Bishop 
 
 Kemp Welch, Esq. Poole 
 
 Mr. James Wallbridge, Shaftesbury 
 
 Mr. W. Williams, Bristol 
 
 Mr. John Wills, Donhead, Wilts 
 
 Mr. W. Wheaton, Bookseller, Ringwood 
 
 Mr. Walmsley, London 
 
 Mr. F.Wilson, London 
 
 W. H. Whitby, Esq. London 
 
 George Walker, Esq. Great Torrington, Devon 
 
 Mr. P. Watkins, Cirencester 
 
 Mr. G. A. Williams, Cheltenham 
 
 Mr. H. R. Young, London. 3 copies 
 
 Names received too late for regular insertion. 
 
 Lord Rosehill, Winchester 
 
 Right Rev. Lord Bishop of Winchester 1 
 
 Right Rev. Lord Bishop of London 
 
 Richard Blakemore, Esq. 2 copies 
 
 Mr. Calvert, London 
 
 George Louis, Esq. Axminster 
 
 P. A. Henrott, Esq. London 
 
 William Little, Esq. Newbold Pacy, Warwick 
 
 Henry Grea, Esq. Blackheath 
 
 Mr. Daniel Pordevin, London 
 
 Mr. Relfe, Bookseller, London. 3 copies 
 
 Mr. Jennings, Bookseller, London. 4 copies 
 
 Benjamin George Hodges, Esq. Lambeth 
 
 Michie Forbes, Esq. London 
 
 William Delmar, Esq. Kenfield, Canterbury 
 
 Joseph Pirn, Esq. London 
 
 B. G. Windus, Esq. London 
 
 Francis Wilson, Esq. London 
 
 Samuel Dobree, Esq. London 
 
 George Hibbert, Esq. London 
 
 W. George Law, Esq. London 
 
 Colonel Baillie, London 
 
 Colonel M. White, Bath 
 
 T. Fitzgerald, Esq. London 
 
 Mr. H. Lamport, Plymouth 
 
 Rev. Dr. Woodcock, Romsey 
 
 J. Oldham, Esq. London 
 
 J. Pocock, Esq. Architect, Knightsbridge. 
 
 2 copies 
 H. L. Browne, Esq. Axminster 
 T. West, Esq. Sutton Courtney, Berks 
 J. Dorrinton, Esq. London 
 Rev. H. Turner, Clifton 
 
 S 
 
92 -B 
 e. I