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AN 
 
 ATTEMPT 
 
 TO 
 
 DISCRIMINATE THE STYLES 
 
 OF 
 
 Cnglish 
 
 FROM THE 
 
 Conquest to the Reformation ; 
 
 with Notices of 
 
 Preceded by 
 of the 
 
 GRECIAN AND ROMAN ORDERS. 
 
 By THOMAS KICK MAN, Architect, 
 
 Member of the Literary and Philosophical Societies of Liverpool and Chester. 
 THE SECOND EDITION, WITH ADDITIONS. 
 
 LONDON, 
 
 PUBLISHED BY LONGMAN, HURST, REES, OEMF, AND BROWN; 
 AND SOLD BY THE BOOKSELLERS IN GENERAL. 
 
preface* 
 
 outline of the present essay was written by the 
 Author for Smith's " Panorama of Science and Art," and 
 published in that work some years ago, but having 
 been frequently requested to enlarge and republish it, 
 he has now performed that task, and has subjoined a 
 copious list of buildings for the student's instruction. 
 
 The object of the present publication has been to 
 furnish, at a price which shall not present an obstacle to 
 extensive circulation, such a view of the principles of 
 Architecture, more particularly that of the British Isles, 
 as may not only be placed with advantage in the hands 
 of the rising generation, but also afford the guardians 
 of our ecclesiastical edifices such clear discriminative 
 remarks on the buildings now existing, as may enable 
 them to judge with considerable accuracy of the 
 restorations necessary to be made in those venerable 
 edifices that are under their peculiar care ; and also, 
 by leading them to the study of such as still remain 
 in a perfect state, to render them more capable of 
 deciding on the various designs for churches in imita- 
 tion of the English styles, which may be presented to 
 their choice. 
 
iv. 
 
 PREFACE. 
 
 As a text-book for the architectural student, little 
 need be said of this publication. The want of such a 
 work, particularly as it respects the English styles, is 
 generally acknowledged; and it has been the aim of 
 the Author, by a constant reference to buildings, to 
 instil the principles of practice rather than mere 
 theoretical knowledge. 
 
 This essay is by no means intended to supersede 
 that more detailed view of English architecture which 
 the subject merits and requires : an undertaking of 
 this nature must necessarily be expensive, from the 
 requisite number of plates, without which it is impos- 
 sible to give a full view of this interesting subject; but 
 should the present work be favourably received, the 
 Author may be stimulated, if time and opportunity be 
 afforded him, again to intrude himself on the Public. 
 
ADVERTISEMENT 
 
 TO THE SECOND EDITION. 
 
 The Author of this work cannot, in justice to his feelings, again appear before 
 
 the Public, without gratefully acknowledging the very fluttering communications he 
 has received from several eminent Prelates, and from various other distinguished 
 Personages, both of the Clergy and Laity, in approbation of the plan he has pursued; 
 and he indulges the hope, that under the present circumstances of the erection of 
 new churches, and of making additions to those of former limes, the elucidation 
 which he has attempted, of the real principles and essential differences of the styles 
 of ancient English Architecture, will derive an increasing degree of interest. 
 
 To increase the facility of recurring to original examples of the different styles, 
 the Author has in this edition greatly enlarged the notices of Buildings, some of 
 which, though highly valuable to the student, appear not to have been before 
 described; and an Index of English Buildings has been added, to increase the 
 usefulness of the work. 
 
 LIVERPOOL^ 2nd Mo. 25, 1811). 
 
CONTENTS. 
 
 INTRODUCTORY REMARKS 1 
 
 GRECIAN ARCHITECTURE 8 
 
 Tuscan Order 13 
 
 Doric 15 
 
 Ionic 21 
 
 Corinthian 26 
 
 Composite 30 
 
 Description of the Plates of Grecian Architecture 36 
 
 ENGLISH ARCHITECTURE 37 
 
 The First, or Norman Style 46 
 
 The Second, or Early English 56 
 
 The Third or Decorated English 71 
 
 The Fourth, or Perpendicular 89 
 
 Miscellaneous Remarks on Buildings of English Architecture, and a comparison 
 
 of the principles of Grecian and English Architecture 108 
 
 Description of the Plates of English Architecture 113 
 
 Enumeration of Buildings illustrating the principles of English Architecture 121 
 
 APPENDIX 147 
 
 INDEX OF ENGLISH BUILDINGS , 177 
 
3n attempt, It. 
 
 T he science of Architecture may be considered, in 
 its most extended application, to comprehend building 
 of every kind : but at present we must consider it in 
 one much more restricted ; according to which, Archi- 
 tecture may be said to treat of the planning and 
 erection of edifices, which are composed and embel- 
 lished after two principal modes, 
 
 ] st, the Antique, or Grecian and Roman, 
 
 2nd, the English or Gothic. 
 
 We shall treat of these modes in distinct disserta- 
 tions, because their principles are completely distinct, 
 and indeed mostly form direct contrasts. But before 
 we proceed to treat of them, it will be proper to make 
 a few remarks on the distinction between mere house- 
 building, and that high character of composition in 
 the Grecian and Roman orders, which is properly 
 styled Architecture ; for though we have now many 
 nobly architectural houses, we are much in danger of 
 having our public edifices debased, by a consideration 
 of what is convenient as a house ; rather than what is 
 correct as an architectural design. 
 
 In order properly to examine this subject, we must 
 consider a little, what are the buildings regarded as 
 our models for working the orders, and in what 
 climate, for what purposes, and under what circum- 
 stances they were erected. This may, perhaps, lead 
 to some conclusions, which may serve to distinguish 
 
 B 
 
2 
 
 that description of work, which, however rich or 
 costly, is still mere house-building, in point of its 
 composition. 
 
 It is acknowledged, on all hands, that our best 
 models, in the three ancient unmixed orders — the 
 Doric, Ionic, and Corinthian, are the remains of Gre- 
 cian temples. Most of them were erected in a climate, 
 in which a covering from rain was by no means 
 necessary, and we shall find this circumstance very 
 influential; for as the space within the walls was 
 always partially, and often wholly open, apertures in 
 those walls for light were not required; and we find, 
 also, in Grecian structures, very few, sometimes only 
 one door. The purpose for which these buildings 
 were erected, was the occasional reception of a large 
 body of people, and not the settled residence of any. 
 But, perhaps, the circumstances under which they 
 were erected, have had more influence on the rules 
 which have been handed down to us, as necessary to 
 be observed in composing architectural designs, than 
 either the climate or their use. It is now pretty gene- 
 rally agreed, that the Greeks did not use the arch, at 
 least in the exterior of their public buildings, till it was 
 introduced by the Romans. Here then we see at 
 once a limitation of the inter columniation, which must 
 be restrained by the necessity of finding stones of 
 sufficient length to form the architrave. Hence the 
 smaller comparative intercolumniations of the Grecian 
 buildings, and the constant use of columns ; and 
 hence the propriety of avoiding arches, in composi- 
 tions of the purer Grecian orders. 
 
 The Romans introduced the arch very extensively! 
 into buildings of almost every description, and made 
 several alterations in the mode of working the orders 
 they found in Greece, to which they added one order, 
 by mixing the Corinthian and Ionic, and another by 
 stripping the Doric of its ornaments. Their climate, 
 also, was so far different as to require more general 
 roofing, but still, from the greater necessity of pro- 
 
3 
 
 viding a screen from the heat of the sun, than apei- 
 tures to admit the light, it does not appear that large 
 windows were in general use, and hence an important 
 difference in modern work. Although, by roofs and 
 arches, much more approximated to modern necessi- 
 ties than the Grecian models, still those of Home 
 which can be regarded as models of composition, are 
 temples, or other public edifices, and not domestic 
 buildings, which, whenever they have been found, 
 appear unadapted to modern wants, and therefore 
 unfit for imitation. 
 
 In a few words, we may sum up the grand distinc- 
 tions between mere building and architectural design : 
 the former looks for convenience, and though it will 
 doubtless often use architectural ornaments, and pre- 
 serve their proportions, when used as smaller parts, yet 
 the general proportion may vary very widely from the 
 orders, and yet be pleasing, and perhaps not incorrect; 
 but all this is modern building, and not architecture 
 in its restricted sense; in this the columns are essential 
 parts, and to them and their proportions all other 
 arrangements must be made subservient; and here we 
 may seek, with care and minuteness, amongst the 
 many remains yet left in various parts, (and of which 
 the best are familiar to most architectural students, 
 from valuable delineations by those who have accurately 
 examined them,) for models, and in selecting and 
 adopting these, the taste and abilities of the architect 
 have ample space. 
 
 As an introduction to the dissertations, it may not 
 be amiss to take a hasty sketch of the progress of 
 Architecture in England. 
 
 Of the British architecture, before the arrival of the 
 Romans in the island, we have no clear account ; but 
 it is not likely it differed much from the ordinary 
 modes of uncivilized nations; the hut of wood with 
 a variety of coverings, and sometimes the cavities of 
 the rock, were doubtless the domestic habitations of 
 the aboriginal Britons; and their stupendous public 
 
4 
 
 edifices, such as Stonehenge and others, still remain to 
 us. The arrival of the Romans was a new era ; they 
 introduced, at least in some degree, their own archi- 
 tecture, of which a variety of specimens have been 
 found ; some few still remain, of which, perhaps, the 
 gate of Lincoln is the only one retaining its original 
 use. Although some fine specimens of workmanship 
 have been dug up in parts, yet by far the greatest part 
 of the Roman work was rude, and by no means com- 
 parable with the antiquities of Greece and Italy, 
 though executed by the Romans. The age of purity, 
 in the Roman architecture, reaches down to several of 
 the first emperors, but very early with a degree of 
 purity of composition, there was such a profusion of 
 ornament made use of, as soon led the way to something 
 like debasement of composition. The palace of Dio- 
 clesian, at Spalatro, has descended to us sufficiently 
 perfect to enable us to judge of the style of both com- 
 position and ornamental details ; and the date of this 
 may be considered from A.D. 290 to 300; and Constan- 
 stine, who died in A. D. 337, erected the church of 
 St. John, without the walls of Rome, which, in fact, in 
 its composition, resembles a Norman building, and it 
 is curious to observe that the ornament afterwards used 
 so profusely in Norman work, is used in the buildings 
 of Dioclesian, whose Corinthian modillions are capped 
 with a moulding cut in zigzag, and which only wants the 
 enlargement of the moulding to become a real Norman 
 ornament. When the Romans left the Island, it was 
 most likely that the attempts of the Britons were still 
 more rude, and endeavouring to imitate, but not exe- 
 cuting on principle, the Roman work, their architecture 
 became debased into the Saxon and early Norman, 
 intermixed with ornaments perhaps brought in by the 
 Danes. After the conquest, the rich Norman barons, 
 erecting very magnificent castles and churches, the 
 execution manifestly improved, though still with 
 much similarity to the Roman mode debased ; but the 
 introduction of shafts, instead of the massive pier, first 
 
5 
 
 began to approach that lighter mode of building, 
 which, by the introduction of the pointed arch, and 
 by an increased delicacy of execution, and boldness 
 of composition, ripened, at the close of the twelfth cen- 
 tury, into the simple, yet beautiful Early English style. 
 At the close of another century, this style, from the 
 alteration of its windows, by throwing them into large 
 ones, divided by mullions, introducing tracery in the 
 heads of windows, and the general use of flowered 
 ornaments, together with an important alteration in 
 the piers, became the Decorated English style, which 
 may be considered as the perfection of the English 
 mode. This was very difficult to execute, from its 
 reqviiring flowing lines where straight ones were more 
 easily combined; and at the close of the fourteenth 
 century, we find these flowing lines giving way to per- 
 pendicular and horizontal ones, the use of which 
 continued to increase, till the arches were almost lost 
 in a continued series of pannels, which, at length, in 
 one building — the chapel of Henry the VII — covered 
 completely both the outside and inside; and the eye, 
 fatigued by the constant repetition of small parts, 
 sought in vain for the bold grandeur of design which 
 had been so nobly conspicuous in the preceding style. 
 The reformation, occasioning the destruction of many 
 of the buildings the most celebrated, and mutilating 
 others, or abstracting the funds necessary for their 
 repair, seems to have put an end to the working of the 
 English styles on principle; the square pannelled and 
 mullioned windows, with the wooden pannelled roofs 
 and halls, of the great houses of the time of Queen Eli- 
 zabeth, seem rather a debased English than any thing 
 else ; but during the reign of her successor, the Italian 
 architecture began to be introduced, first only in 
 columns of doors, and other small parts, and after- 
 wards in larger portions, though still the general style 
 was this debased English. Of this introduction, the 
 most memorable is the celebrated tower of the schools 
 at Oxford, where, into a building adorned with pin- 
 
6 
 
 nacles, and having mullioned windows, the architect 
 has crowded all the five orders over each other. Some 
 of the works of Inigo Jones are little removed beyond 
 this barbarism. Longleat, in Wiltshire, is rather 
 more advanced, and the banqueting-house, Whitehall, 
 seems to mark the complete introduction of Roman 
 workmanship. The close of the seventeenth century 
 produced Sir Christopher Wren, a man whose powers, 
 confessedly great, lead us to regret he had not studied 
 the architecture of his English ancestors with the suc- 
 cess he did that of Rome ; for while he has raised the 
 most magnificent modern building we possess, he seems 
 to have been pleased to disfigure the English edifice 
 he had to complete. His works at St. Mary Alder- 
 mary, and St. Dunstan in the east, prove how well he 
 could execute imitated English buildings when he 
 chose, though even in them he has departed, in several 
 respects, from the true English principles. By the 
 end of the seventeenth century, the Roman architec- 
 ture appears to have been well established, and the 
 works of Vitruvius and Palladio successfully studied ; 
 but Sir John Vanbrugh and Nicholas Hawksmoor 
 seem to have endeavoured to introduce a massiveness 
 of style which happily is peculiar to themselves. The 
 works of Palladio, as illustrated by some carpenters, 
 appear to have been the model for working the orders 
 during the greatest part of the eighteenth century; but 
 in the early and middle part of it, a style of ornament 
 borrowed from the French was much introduced in 
 interiors, the principal distinctions of which were the 
 absence of all straight lines, and almost of all regular 
 lines. The examples of this are now nearly extinct, 
 and seem to have been driven out by the natural ope- 
 ration of the advance of good workmanship in the 
 lower class of buildings. 
 
 All ornamental carvings were with difficulty execut- 
 ed in wood, and were very expensive ; but towards 
 the latter end of the eighteenth century, the Adams 
 introduced a style of ornament directly contrary to the 
 
7 
 
 heavy carving of their predecessors. This was so flat 
 as to be easily worked in plaster and other con posi- 
 tions, and ornament was sold very cheap, and pro- 
 fusely used in carpenters' work. This flatness was 
 more or less visible in many considerable buildings; 
 but near the close of the century, the magnificent 
 works of Stuart and Revet, and the Ionian antiquities 
 of the Dilletante Society, began to excite the puMic 
 attention, and in a few years a great alteration was 
 visible; the massive Doric, and the beautiful plain 
 Grecian Ionic began to be worked, and our ordinary 
 door-cases, &c. soon began to take a better character. 
 The use of the simple,, yet bold mouldings and orna- 
 ments of the Grecian models, is gradually spreading, 
 and perhaps we may hope, from the present general 
 investigation of the principles of science, that this will 
 continue without danger of future debasement, and 
 that a day may come when we shall have Grecian, 
 Roman and English edifices erected on the principles 
 of each. 
 
 wvwvwv«wvvwv\v\v\v\v\v\w 
 
8 
 
 GRECIAN ARCHITECTURE. 
 
 The many valuable treatises and excellent delinea- 
 tions of the Grecian and Roman buildings, and the 
 details of their parts, will render unnecessary, in this 
 dissertation, that minuteness which, from the total 
 absence of a previous system, it will be proper to 
 adopt in the description of the English styles. But 
 in this sketch a similar plan will be followed, of first 
 giving the name and grand distinctions of the orders, 
 then describing the terms and names of parts necessary 
 for those who have not paid attention to the subject 
 to understand, and a concise description of each order 
 will follow ; with respect to the examples in England, 
 it will be most proper to leave the reader to select 
 his own, because in this country we have not, as in 
 the English architecture, the originals to study, but a 
 variety of copies, adapted to the climate, and to the 
 convenience of modem times. 
 
 In dividing the Grecian and Roman architecture, 
 the word order is used, and much more properly than 
 style; the English styles regard not a few parts, but 
 the composition of the whole building, but a Grecian 
 building is denominated Doric or Ionic, merely from 
 its ornaments ; and the number of columns, windows, 
 &c\ may be the same in any order, only varied in their 
 proportion. 
 
 The orders are generally considered to be five, and 
 are usually enumerated as follows: 
 Tuscan, 
 Boric, 
 Ionic, 
 
 Corinthian, 
 Composite. 
 
 Their origin will be treated of hereafter. Their 
 prominent distinctions are as follow: 
 
 The Tuscan is without any ornament whatever. 
 
9 
 
 The Doric is distinguished by the channels and pro- 
 jecting intervals in the frieze, called trig lyp lis* 
 
 The Ionic by the ornaments of its capital, which 
 are spiral, and are called volutes. 
 
 The Corinthian by the superior height of its capital, 
 and its being ornamented with leaves, which support 
 very small volutes. 
 
 The Composite has also a tall capital with leaves, 
 but is distinguished from the Corinthian by having the 
 large volutes and enriched ovolo of the Ionic capital. 
 
 In a complete order there are three grand divisions, 
 which are occasionally executed separately, viz. 
 
 The column, including its base and capital, 
 
 The pedestal, which supports the column, 
 
 The entablature, or part above and supported by the 
 column. 
 
 These are again each subdivided into three parts : 
 The pedestal into base, or lower mouldings ; dado or 
 
 die, the plain central space; and surbase, or upper 
 
 mouldings. 
 
 The column into base, or lower mouldings ; shaft, or 
 central space; and capital, or upper mouldings. 
 
 The entablature, into architrave, or part immedi- 
 ately above the column; frieze, or central flat space; 
 and cornice, or upper projecting mouldings. 
 
 These parts may be again divided thus : the lower 
 portions, viz. the .base of the pedestal, base of the 
 column, and the architrave, divide each into two 
 parts; the first and second into plinth and mouldings, 
 the third into face or faces, and upper moulding or 
 tenia. 
 
 Each central portion, as dado of the pedestal, shaft 
 of the column, and frieze, is undivided. 
 
 Each upper portion, as surbase of the pedestal, 
 capital of the column, cornice of the entablature, 
 divides into three parts: the first into bedmould, or the 
 part under the corona; corona, or plain face; and cyma- 
 Hum, or upper moulding. 
 
 The capital into neck, or part below the ovolo; 
 
10 
 
 ovolo, or projecting round moulding; and abacus or tile, 
 the flat upper moulding, mostly nearly square. These 
 divisions of the capital, however, are less distinct than 
 those of the other parts. 
 
 The cornice into bedmould, or part below the corona; 
 corona, or flat projecting face; cymatium, or moulding 
 above the corona. 
 
 Besides these general divisions, it will be proper to 
 notice a few terms often made use of. 
 
 The ornamental moulding running round an arch, 
 or round doors and windows, is called an archifrave. 
 
 A horizontal moulding for an arch to spring from, 
 is called an impost. 
 
 The stone at the top of an arch, which often pro- 
 jects, is called a key -stone. 
 
 The small brackets under the corona in the cornice, 
 are called mututes or modillions ; if they are square, or 
 longer in front than in depth, they are called mutules, 
 and are used in the Doric order. If they are less in 
 front than their depth, they are called modillions, and 
 in the Corinthian order have carved leaves spread 
 under them. 
 
 A truss is a modillion enlarged, and placed flat 
 against a wall, often used to support the cornice of 
 doors and windows. 
 
 A console is an ornament like a truss carved on a 
 key-stone. 
 
 Trusses, when used under modillions in the frieze, 
 are called cantalivers. 
 
 The space under the corona of the cornice, is called 
 a soffit, as is also the under side of an arch. 
 
 Dentils are ornaments used in the bedmould of cor- 
 nices ; they are parts of a small flat face, which is cut 
 perpendicularly, and small intervals left betw een each. 
 
 A flat column is called a pilaster; and those which 
 are used with columns, and have a different capital, are 
 called antce. 
 
 A small height of pannelling above the cornice, is 
 called an attic; and in these pannels, and sometimes 
 
V 
 
 11 
 
 in other parts, are introduced small pillars, swelling 
 towards the bottom, called balustres, and a series of 
 them a balustrade. 
 
 The triangular portion over a series of columns is 
 called a pediment, and the plain space bounded by the 
 horizontal and sloping cornices, the tympanum; this is 
 often ornamented with figures or other work in relief. 
 
 Pedestals and attics are far from settled as to their 
 proportions, or the mode of their execution, depending 
 almost entirely on circumstances connected with the 
 particular design, rather than the order they are used 
 with. However, for pedestals, about one-fifth of the 
 whole height, including pedestal and entablature, is a 
 good proportion, though it may be often necessary to 
 to alter it from local circumstances. In general an order 
 looks much better, executed without pedestals. 
 
 Columns are sometimes ornamented by channels, 
 which are called flutes. These channels are sometimes 
 partly filled by a lesser round moulding ; this is called 
 cabling the flutes. 
 
 If the joints of the masonry are channelled, the 
 work is called rustic, which is often used as a basement 
 for an order. 
 
 For the better understanding the description to be 
 given of the orders, it will be proper first to notice the 
 mouldings which, by different combinations, form their 
 parts. 
 
 The most simple mouldings are, 
 1st, The ovolo, or quarter round. 
 2nd, The cavetto, or hollow. 
 3rd, The torus, or round. 
 
 From the composition of these are formed divers 
 others, and from the arrangement of them, with plain 
 flat spaces between, are formed cornices and other 
 ornaments. A large flat space is called a corona, if in 
 the cornice ; a face or fascia in the architrave ; and the 
 frieze itself is only a flat space. A small flat face is 
 called a fillet, and is interposed between mouldings to 
 divide them. 
 
12 
 
 A fillet is, in the bases of columns and some other 
 parts, joined to a face, or to the column itself by a 
 small hollow, then called apophys es. 
 
 The torus, when very small, becomes an astragal, 
 which projects; or a bead, which does not project. 
 
 Compound mouldings are, the cyma recta, which has 
 the hollow uppermost and projecting. 
 
 The cyma reversa, or ogee, which has the round 
 uppermost and projecting. 
 
 The scotia, which is formed of two hollows, one 
 over the other, and of different centres. 
 
 In the Roman works, the mouldings are generally 
 worked of equal projection to the height, and not 
 bolder than the above regular forms ; but the Grecian 
 mouldings are often bolder, and worked with a small 
 return, technically called a quirk, and these are of 
 various proportions. 
 
 The ogee and ovolo are most generally used with 
 quirks. 
 
 Several beads placed together, or sunk in a flat face, 
 are called reedings. 
 
 All these mouldings, except the fillet, may be 
 occasionally carved, and they are then called enriched 
 mouldings. 
 
 From these few simple forms, (by adding astragals 
 and fillets, and combining differently ornamented 
 mouldings, faces, and soffits,) are all the cornices, 
 pannels, and other parts formed, and the modern com- 
 positions in joiners, plasterers, and masons' work, are 
 very numerous, and too well known to need describing. 
 
 There are several terms applied to large buildings, 
 which it is proper also to explain, 
 
 A series of columns of considerable length, is called 
 a colonnade. 
 
 A series of columns at the end of a building, or 
 projecting from the side of a building, is called a 
 
 portico. 
 
 A portico is called tetra style, if of four columns ; 
 hexa style, if of six; octo style, if of eight. 
 
13 
 
 Tuscan <©tHer* 
 
 Though this is not, perhaps, the most ancient of the 
 orders, yet, from its plainness and simplicity, it is 
 usually first noticed. Its origin is evidently Italian, for 
 the Grecian work, however plain, has still some of the 
 distinctive marks of massive Doric, whilst the Tuscan 
 always bears clear marks of its analogy to the Roman 
 Doric. 
 
 The pedestal, when used, is very plain, but the 
 column is more often set on a plain square block plinth, 
 which suits the character of the order better than the 
 higher pedestal. This block projects about half the 
 height of the plinth of the base beyond its face. 
 
 The column, including the base and capital, is about 
 seven diameters high. The column, in the lloman 
 orders, is sometimes only diminished the vipper two- 
 thirds of its height. This diminution is bounded by a 
 curved line, which is variously determined, but does 
 not differ much from what an even spring would 
 assume, if one part of it were bound, in the direction 
 of the axis of the shaft, to the cylindrical third, and 
 then, by pressure at the top only, brought to the 
 diminishing point. The Grecian columns are mostly 
 diminished from the bottom, and conical! y. The 
 quantity of diminution varies from one-sixth to one- 
 fourth of the diameter just above the base. 
 
 The Tuscan base is half a diameter in height, and 
 consists of a plain torus with a fillet and apophyges, 
 which last is part of the shaft, and not of the base, as 
 indeed all apophygae are considered to be ; and also all 
 the astragals underneath the capitals, as well as the 
 upper fillet of the base in all the richer orders, and in 
 masonry should be executed on the shaft stones. 
 
 The capital of the Tuscan order is (exclusive of the 
 astragal) half a diameter in height, and consists of a 
 neck on which is an ovolo and fillet, joined to the ne< k 
 by an apophyges, and over the ovolo a square tile, 
 which is ornamented by a projecting fillet. 
 
14 
 
 The shaft is never fluted, but many architects have 
 given to this order, and some have even added to the 
 richer orders, large square blocks, as parts of the 
 shaft, which are called rustications, and are sometimes 
 roughened. 
 
 The Tuscan entablature should be quite plain, 
 having neither mutules nor modillions. The archi- 
 trave has one or sometimes two faces, and a fillet; 
 the frieze quite plain, and the cornice consisting of 
 a cyma recta for cymatium, and the corona with a 
 fillet, and a small channel for drip in the soffit. The 
 bedmould should consist of an ovolo fillet and cavetto. 
 
 This Tuscan is that of Palladio ; some other Italian 
 architects have varied in parts, and some have given a 
 sort of block modillions like those vised in Co vent 
 Garden church, but these are of wood, and ought not 
 to be imitated in stone. 
 
 This order is little used, and will most likely, in 
 future, be still less so, as the massive Grecian Doric is 
 an order equally manageable, and far more elegant. 
 
 Having explained the parts of one order, it will be 
 necessary to make a few remarks, which could not so 
 well be previously introduced. If pilasters and columns 
 are used together, and they are of the same character, 
 and not antas, the pilasters should be diminished like 
 the columns ; but where pilasters are used alone, they 
 may be undiminished. 
 
 The fillet and moulding under the cymatium, which, 
 in rich orders, is often an ogee, is part of the corona, 
 and as such is continued over the corona in the hori- 
 zontal line of pediments, where the cymatium is omit- 
 ted; and is also continued with the corona in interior 
 work, where the cymatium is often with propriety 
 omitted. 
 
 In pediments, whose cornices contain mutules, 
 modillions, or dentils, those in the raking cornice 
 must be placed perpendicularly over those in the hori- 
 zontal cornice, and their sides must be perpendicular, 
 though their under parts have the rake of the cornice 
 
15 
 
 The ancient Grecian Doric appears to have been an 
 order of peculiar grandeur ; simple and bold, its orna- 
 ments were the remains of parts of real utility, and 
 perhaps originally it was worked with no moulding but 
 the cymatium,to cover the ends of the tiles, its triglyphs 
 being the ends of the beams, and its mutules those of 
 the rafters. In after times, its proportions were made 
 rather less massive, and its mouldings and ornaments, 
 though not numerous, were very beautiful. The 
 Romans considerably altered this order, and by the 
 regulations they introduced, rendered it peculiarly 
 difficult to execute on large buildings. As the exam- 
 ples of the tw o countries are very different, we shall 
 treat of them separately, and therefore first of the 
 
 Grecian Dome. 
 
 The columns of this order were, in Greece, generally 
 placed on the floor, without pedestal and without 
 base ; the capital, which occupied a height of about 
 half a diameter, had no astragal, but a few plain fillets, 
 with channels betw r een them, under the ovolo, and a 
 small channel below the fillets. The ovolo is generally 
 flat, and of great projection, with a quirk or return. 
 On this was laid the abacus, which was only a plain 
 tile, without fillet or ornament. 
 
 In the division of the entablature, the architrave 
 and frieze have each more than a third in height, and 
 the cornice less. The architrave has only a plain broad 
 fillet, under which are placed the drops or guttas, 
 which appear to hang from the triglyphs. 
 
 The triglyph, in Greece, appears to have been gene- 
 rally placed at the angle, thus bringing the interior 
 edge of the triglyph nearly over the centre of the 
 angular column. The metope, or space between the 
 triglyphs, w r as nearly the square of the height of the 
 frieze, and a mutule was placed not only over each 
 
16 
 
 triglyph, but also over each metope. The cornice of 
 this order, in Greece, consisted of a plain face, under 
 the mutule, which was measured as part of the frieze, 
 and then the mutule, which projected sloping forward 
 under the corona, so that the bottom of the mutule in 
 front was considerably lower than at the back. Over 
 the corona was commonly a small ovolo and fillet, and 
 then a larger ovolo and fillet for the cymatium; and 
 below the corona a fillet about equal in height to the 
 mutule. 
 
 The ornaments of this order, in Greece, were, 1st, 
 the flutings of the column, which are peculiar to the 
 order, and are twenty in number, shallow, and not 
 with fillets between them, but sharp edges Ihcse 
 flutes are much less than a semi-circle, and should be 
 elliptic. 
 
 2nd, At the corner, in the space formed in the 
 soffit of the corona, by the interval between the tv, o 
 angular mutules, was sometimes placed a flower, and 
 the cymatium of the cornice had often lions' heads, 
 which appear to have been real spouts. 
 
 3rd, In addition to the drops under the triglyph, 
 the mutules also had several rows of drops of the same 
 shape and size. 
 
 This order appears in general to have been worked 
 very massive ; the best examples are from five to six 
 diameters high, which is lower than the Italians usually 
 worked the Tuscan ; but this gave peculiar grandeur 
 to the temples in which it is thus employed. 
 
 Our present authorities for the Grecian orders are 
 scattered through a variety of very expensive works, 
 and in them presented in very irregular succession, 
 whether we regard their supposed dates, their purity, or 
 their orders ; and it would be a valuable present to the 
 architectural student, if the good authorities of each 
 order were collected, figured, and some account given 
 of their variations. With respect to the Doric order, 
 this has been ably done in a treatise by Edmund 
 Aikin, from which we shall take the liberty of extract- 
 ing a few remarks. 
 
17 
 
 " On viewing and comparing the examples of the 
 Doric order, the first emotion will probably be 
 surprise, at beholding the different proportions, — a 
 diversity so great, that scarcely any two instances 
 appear which do not materially differ in the relative 
 size of their parts, both in general and in detail, and 
 presenting differences which cannot be reconciled upon 
 any system of calculation, whether the diameter or 
 the height of the column, or the general height of the 
 order be taken as the element of proportion. At the 
 same time, they all resemble one another in certain 
 characteristic marks, which denote the order; the 
 differences are not generic, but specific, and leave 
 unimpaired, those plain and obvious marks, which 
 enable us to circumscribe the genuine Doric order, 
 within a simple and easy definition. 
 
 " Interesting would be the investigation, could we 
 trace the history of the Doric order in its monuments, 
 and mark what progressive improvements it may have 
 received in the course of time ; but of the monuments 
 of antiquity few, comparatively, have survived the 
 injuries of time, and the more speedy and effectual 
 destruction of violence ; and of these still fewer retain 
 either inscriptions, or, in the records of history, the 
 dates of their erection." 
 
 The examples of Grecian Doric, of which we have 
 accounts and figures, that may be depended on, are: 
 
 The temple of Minerva at Athens, called the Par- 
 thenon. 
 
 The temple of Theseus, at Athens 
 The Propylea, at Athens. 
 The temple of Minerva, at Sunium. 
 The portico of the Agora, at Athens. 
 A temple at Corinth. 
 
 The temple of Jupiter Nemaeus, between Argoa 
 and Corinth. 
 
 The temple of Apollo, at Delos. 
 The portico of Philip, at Delos. 
 The temple of Jupiter Pannellenius, in JEgina. 
 
 c 
 
18 
 
 The temple of Minerva, at Syracuse. 
 
 The temple of Juno Lucina, at Agrigentum. 
 
 The temple of Concord, at Agrigentum. 
 
 The temple of Jupiter, at Selinus. 
 
 A smaller temple, at Selinus. 
 
 A temple at iEgesta. 
 
 Three temples at Poestum. 
 
 Our limits will not permit us to enter minutely into 
 the question, which of these examples might be now 
 considered as the most valuable for imitation ; but one 
 circumstance it is requisite to notice, which is, that in 
 the Athenian examples, and many of the others, the 
 architrave projects over the top of the shaft, so as to 
 be nearly perpendicular to the front of the bottom of 
 the shaft, an arrangement never seen at Rome, but 
 which contributes much to the boldness of the Grecian 
 temples : and it is curious to observe, that in the 
 temple of Apollo at Delos, of Concord at Agrigentum, 
 and the temple at JSgesta, this projection is very small, 
 compared with that of the other examples; and that 
 in the portico of Philip, at Delos, and all the temples 
 at Poestum, there is no projection, but the face of the 
 architrave is set over the diminished part of the shaft, 
 the same as in Roman examples. 
 
 Two of the temples at Poestum have capitals, with 
 some trivial additions about the neck, and such a great 
 projection of the echinus and abacus, as well as some 
 appearances in the entablature, that take very much 
 from their beauty. 
 
 The other temple at Poestum has (excepting the 
 projection above spoken of) all the characters of the 
 Grecian examples. 
 
 On the whole, the temples of Minerva and Theseusr 
 at Athen|j and Minerva at Sunium, appear those 
 examples which deserve the most attentive considera- 
 tion, as well from the general beauty of the composi- 
 tion, as the excellence of the details and execution. 
 But in this order, as well as in Architecture generally, 
 the duty of the Architect is not to be a servile copyist 
 
19 
 
 of any example, however fine, but by seizing the 
 principles and spirit, of the age of his best models, 
 to form such a composition as, by its fitness for the 
 purpose to which it is applied, should appear that 
 edifice which, for a similar purpose, the great Archi- 
 tects, whose works he seeks rather to renew than 
 imitate, would have erected. 
 
 Roman Doric. 
 
 This differs from the Grecian in several important 
 particulars, which will appear from the following rules : 
 from the strictness of which follows that extreme 
 difficulty of execution which has been so often com- 
 plained of in this order: 1st, the triglyphs must be 
 precisely over the centre of the columns; 2d, the 
 metopes must be exact squares ; 3d, the mutules also 
 must be exact squares. 
 
 As, therefore, the intercolumniation must be of a 
 certain number of triglyphs, it will be easily conceived 
 how difficult it will be, in large buildings, where a 
 triglyph is several feet, to accommodate this order to 
 the internal arrangements. 
 
 The Roman Doric is sometimes set on a plinth, and 
 sometimes on a pedestal, which should be of few and 
 plain mouldings. The bases usually employed, are 
 either the attic base of a plinth, lower torus, scotia, 
 and upper torus, with fillets between them, or the 
 proper base of one torus and an astragal ; or, in some 
 instances, of a plinth and simple fillet. The shaft, 
 including the base and capital, each of which is half a 
 diameter, is generally eight diameters high, and is fluted 
 like the Grecian. The capital has an astragal and neck 
 under the ovolo, which has sometimes threfe sm^ll 
 fillets projecting over each other, and sometimes 
 another astragal and fillet. The ovolo should be a 
 true quarter round. The abacus has a small ogee and 
 fillet on its upper edge. 
 
20 
 
 The architrave has less height than the Grecian, 
 being only two-thirds of the frieze, which is equal in 
 height to the cornice. In a few instances the archi- 
 trave has two faces, but mostly only one. 
 
 The frieze has nothing peculiar to this mode ; if 
 plain, its metopes being, as before observed, square. 
 
 The cornice differs much from the Grecian, having 
 its soffit flat, and the mutules square, with a square 
 interval between them. The Grecian drops in the 
 mutules generally appear in front, below the mutules ; 
 but the Roman do not, and are sometimes omitted ; 
 the drops also are of a different shape, being more 
 complete cones. 
 
 The cymatium is often a cavetto, and sometimes 
 a cyma recta, with an ogee under it. The mutules 
 have a small ogee, which runs round them, and also 
 round the face they are formed of; and under the 
 mutules are an ovolo and small fillet, and the flat fillet 
 which runs round the top of the triglyphs here belongs 
 to the cornice, and not, as in the Grecian, to the 
 frieze. 
 
 The Roman Doric is susceptible of much ornament, 
 for in addition to the flutes, the guttae of the triglyphs, 
 and the roses in the soffit of the corona, the neck of 
 the capital has sometimes eight flowers or husks placed 
 round it, the ovolo carved, and the metopes in the 
 frieze filled with alternate ox-skulls and paterae, or 
 other ornaments. In interior decorations, sometimes 
 one or two of the mouldings of the cornice are 
 enriched ; but with all this ornament, the Roman 
 Doric is far inferior, in real beauty, to the Grecian. 
 
 The Doric we have now described, and its rules, 
 should rather be considered Italian than Roman ; for 
 it is in fact the Doric worked by modern Italian 
 architects, rather than the Doric of ancient Rome, 
 of which we have only one example, which is far from 
 giving such a Doric as above described. 
 
 This example is the theatre of Marcellus, which 
 has dentils in the cornice, and of which the corona 
 
21 
 
 was so decayed even near 150 years back, as to give 
 no trace of any thing but an indication of a mutule, 
 which appears a little like a Grecian mutule. This 
 theatre is considered to have been erected by Augustus, 
 and it appears most probable that the portico of the 
 Agora, at Athens, was erected about the same time ; 
 if so, it becomes a curious question, how and why the 
 order should be so altered in Rome. 
 ♦ The first order of the Coliseum is a much later 
 work, and is extremely poor in its combinations, but 
 has a capital very much like the theatre of Marcellus, 
 and its cornice has an uncut dentil face. 
 
 ionic ©rtjer* 
 
 As the Greeks and Romans differed much in their 
 modes of working the Doric Order, so there was 
 considerable difference in their execution of the Ionic, 
 though by no means so great as in the former, 
 
 The distinguishing feature of this order is the 
 capital, which has four spiral projections called volutes. 
 These in Greece were placed flat on the front and back 
 of the column, leaving the two sides of a different 
 character, and forming a balustre; but this at the 
 external angle producing a disagreeable effect, an 
 angular volute was sometimes placed there, showing 
 two volutes, one flat the other angular, to each 
 exterior face, and a balustre to each interior; but this 
 not forming a good combination, a capital was invented 
 with four angular volutes, and the abacus with its 
 sides hollowed out. This is called the modern Ionic 
 capital. In the ancient^ the list or spiral line of the 
 volute runs along the face of the abacus, straight 
 under the ogee; but in the modern, this list springs 
 from behind the ovolo, and in the hollow of the abacus, 
 which is an ovolo, fillet, and cavetto, is generally 
 placed a flower. The abacus of the ancient capital 
 nas only a small ogee for its moulding. 
 
 There are examples at Athens of an astragal to the 
 ancient Ionic capital below the volutes, leaving a neck 
 
22 
 
 which is adorned with carvings, but these examples 
 are rare. 
 
 The Ionic shaft, including the base, which is half 
 a diameter, and the capital to the bottom of the 
 volute generally a little more, is about nine diameters 
 high. 
 
 The pedestal is a little taller, and more ornamented 
 than the Doric. 
 
 The bases used to this order are very various ; some 
 of the Grecian examples are of one torus and two 
 scotiae, with astragals and fillets ; others of two large 
 tori and a scotia of small projection; but the attic 
 base is very often used, and with an astragal added 
 above the upper torus, makes a beautiful and appro- 
 priate base for the Ionic. 
 
 The cornices of this order may be divided into three 
 divisions; 1st, the plain Grecian cornice; 2nd, the 
 dentil cornice ; 3d, the modillion cornice. 
 
 In the first, the architrave is of one or two faces; 
 the frieze plain, and the cornice composed of a corona 
 with a deep soffit, and the bedmould moulding hidden 
 by the drip of the soffit, or coming very little below 
 it. The cymatium generally a cyma recta, and ogee 
 under it. 
 
 The second has generally two faces in the architrave, 
 and the cornice, which is rather more than one-third 
 of the height of the entablature, has a corona with 
 a cyma recta and ogee for cymatium, and for bed- 
 mould a dentil face between an ovolo and ogee. The 
 soffit of the corona is sometimes ornamented. 
 
 The third, or modillion entablature, has the same 
 architrave, frieze, and cymatium of its cornice as the 
 last, but under the soffit of the corona are placed 
 modillions, which are plain, and surrounded by a small 
 ogee; one must be placed over the centre of each 
 column, and one being close to the return, makes a 
 square pannel in the soffit at the corner, and between 
 each modillion, which is often filled with a flower. 
 
23 
 
 The bedmould below is generally an ovolo fillet and 
 cavetto. 
 
 This modillion cornice is, in fact, as well as the 
 capital, rather Italian than Roman, as the ancient 
 examples have the dentil cornice ; and in point of time, 
 there may be some doubt, whether the modern Ionic 
 capital is not rather a deduction from the Composite 
 than the contrary ; for the angular volute of Greece is 
 not such a one as, if repeated, would make the modern 
 Ionic capital. The alteration of this order is in many 
 respects valuable, for although not equal in simplicity 
 to the Grecian Ionic, yet it is so easily manageable, 
 especially with a dentil cornice, as to be easily adapted 
 to modern wants ; and when executed on a large scale, 
 the modillion cornice has a bold effect. The great 
 difficulty in the Grecian Ionic is the return at the 
 angle; it does not look well to have a column sideways 
 in a range with others fronting, and this arrangement 
 is so often wanted, and so ill attained by the Greek 
 angular volute, that many times there is no alternative 
 but the use of the modern capital. 
 
 It was once the custom to work the Ionic frieze 
 projecting like a torus, thus giving an awkward 
 weight to an order which ought to be light. The 
 introduction of good Grecian models has driven out 
 this impropriety, and much improved the present 
 execution of the order, which is very beautiful, if 
 well executed. 
 
 The Ionic shaft may be fluted in twenty -four flutes, 
 with fillets between them; these flutes are semi- 
 circular This order may be much ornamented if 
 necessary, by carving the ovolo of the capital, the 
 ogee of the abacus, and one or two mouldings of both 
 architrave and cornice; but the ancient Ionic looks 
 extremely well without any ornament whatever. 
 
 Our Ionic examples are not so numerous as the 
 Doric, nor so complete, several of them not being 
 entirely figured without conjecture. They are : 
 
 The temple on the Illisus, at Athens. 
 
24 
 
 The temples in the Acropolis, of Minerva Polias, 
 and Erichtheus. 
 
 The aqueduct of Adrian, at Athens. 
 
 The temple of Apollo Didymeus, at Miletus. 
 
 The temple of Bacchus, at Teos. 
 
 The temple of Minerva Polias, at Priene. 
 
 The temple of Fortuna Virilis, at Rome. 
 
 Of these, for simplicity and elegance of composition, 
 the now-destroyed temple on the Missus, is pre-eminent; 
 its volutes plain, but of excellent proportion, and it 
 had an angular volute to the external capital; its base 
 was in mouldings the attic, but the tori were large, 
 and the scotia flat ; there was a small astragal above 
 the upper torus, and that torus was cut into small 
 flutes. The entablature was very plain, having an 
 architrave of one face only, a frieze plain, but which 
 there is some reason to suppose was carved in some 
 parts, and a corona with deep soffit, and for bedmould 
 only an ogee, with a fillet above, and astragal below. 
 
 The temples in the Acropolis are small, but extremely 
 rich, having many members carved. The cornice is 
 the same as the last example, but the architrave is of 
 three faces. There are three ranges of columns, and 
 the capitals of each have minute differences, but they 
 may all be described together : they have an ornamented 
 neck and astragal below the volutes ; the fillets of the 
 volutes are double, thus making the volute much more 
 elaborate, though not more beautiful; the bases are 
 enriched with carvings, and the columns fluted ; the 
 bases are nearly those of the last example, but want 
 the astragal. Of these examples, the architraves have 
 a small projection from the top of the column, though 
 not near so much as the Doric. 
 
 The aqueduct of Adrian is plain, but of good com- 
 position ; it has a good volute, an architrave of two 
 faces, and a small projection in front of the column ; 
 a plain frieze, and a good plain dentil cornice. 
 
 The temples of Minerva Polias, at Priene, and 
 Apollo, at Miletus, have a base which is curious, but 
 
25 
 
 by no means deserving of imitation ; it consists of a 
 large torus, resting on two scotise, which are divided 
 from it, and from each other and the plinth, by two 
 astragals at each division. This base gives the column 
 so unsteady an appearance, that it spoils an otherwise 
 beautiful order. 
 
 The temple of Bacchus, at Teos, has an attic base 
 with an astragal added, and a cornice with dentils of 
 of greater projection than usual. These three last 
 examples have their volutes smaller than those of 
 Athens, which takes much from the grandeur of the 
 order. 
 
 The temple of Fortuna Virilis, at Rome. This 
 example is far inferior to those we have before noticed. 
 The Romans seem to have had a singular predilection, 
 particularly in their declining works, for very large 
 fillets, and it is abundantly shown in this edifice, 
 where the fillet of the tenia of the architrave is very 
 nearly as large as the ogee under it, and larger than 
 one face of the architrave ; this, though the capital is 
 pretty good, spoils the order, and the cornice is poor 
 from the trifling appearance of the corona. The base 
 is the attic of very good proportion. 
 
 The temple of Concord, at Rome, is figured by 
 Desgodets, but it is only remarkable for its deformity, 
 and having an appearance of the modern Ionic. The 
 capitals have angular volutes, but under the usual 
 ovolo and astragal is a cyma recta, enriched with 
 leaves, and a large astragal and fillet. The entablature 
 is of a very poor character, and has small dentils and 
 large plain modillions. The base is of two tori divided 
 by two scotise, which are separated by a fillet. In this 
 example, the fillet on the bottom of tjie shaft is nearly 
 as large as the upper torus. 
 
26 
 
 <ffortntl)tan <©r&et\ 
 
 This order originated in Greece, and the capital is 
 said to have been suggested by observing a tile placed 
 on a basket left in a garden, and round which sprung 
 up an acanthus. All the other orders have, in various 
 countries and situations, much variety ; but the 
 Corinthian, though not without slight variations, even 
 in the antique, is much more settled in its proportions, 
 and its greater or less enrichment is the principal 
 source of variety. 
 
 The capital is the great distinction of this order ; its 
 height is more than a diameter, and consists of an 
 astragal, fillet and apophyges, all of which are measured 
 with the shaft, then a bell and horned abacus. The 
 bell is set round with two rows of leaves, eight in each 
 row, and a third row of leaves supports eight small 
 open volutes, four of which are under the four horns 
 of the abacus, and the other four, which are sometimes 
 interwoven, are under the central recessed part of 
 the abacus, and have over them a flower or other 
 ornament. These volutes spring out of small twisted 
 husks placed between the leaves of the second row, 
 and which are called caalicoles. The abacus consists 
 of an ovolo, fillet, and cavetto, like the modern Ionic. 
 There are various modes of indenting the leaves, 
 which are called, from these variations, acanthus, 
 olive, &c. The column, including the base of half a 
 diameter, and the capital, is about ten diameters high. 
 
 Of the Corinthian capital, although the best exam- 
 ples have all some trifling difference, principally in the 
 raffling of the leaves, and the connexion of the central 
 small volutes; yet there is one capital so different from 
 the others that it deserves some remark, more especially 
 as it has been lately introduced into some considerable 
 edifices. This capital is that of the circular temple 
 at Tivoli, called by some a temple of Vesta, by others 
 the Sybils' temple. In this capital the angular 
 volutes are large, so much so as to give the capital the 
 
27 
 
 air of a Composite, till more minutely examined; it is 
 however a real Corinthian, for it has central volutes, 
 though they are small, and formed out of the stalks 
 themselves, and not as in the ordinary capital rising 
 from them. Its great beauty, however, is the very 
 bold manner of raffling the leaves, which gives it a 
 very different appearance from the other capitals, and 
 one which, in particular circumstances, may make it 
 valuable. The flower over the centre volutes, is 
 very different from the common one, and much larger. 
 
 If a pedestal is used, it should have several mould- 
 ings, some of which may, if necessary, be enriched. 
 The base may be either an attic base, or with the 
 addition of three astragals, one over each torus, and 
 one between the scotia and upper torus ; or a base of 
 two tori and two scotiae, which are divided by two 
 astragals, and this seems the most used to the best 
 examples; one or two other varieties sometimes occur. 
 
 The entablature of this order is very fine. The 
 architrave has mostly two or three faces, which have 
 generally small ogees or beads between them, 
 
 The frieze is flat, bvit is often joined to the upper 
 fillet of the architrave by an apophyges 
 
 The cornice has both modillions and dentils, and is 
 usually thus composed; above the corona is a cyma- 
 tium, and small ogee; under it the modillions, whose 
 disposition, like the Ionic, must be one over the 
 centre of the column, and one close to the return of 
 the cornice. 
 
 These modillions are carved with a small balustre 
 front, and a leaf under them; they are surrounded at 
 the upper part by a small ogee and fillet, which also 
 runs round the face they spring from. Under the 
 modillions is placed an ovolo, and then a fillet and the 
 dentil face, which is often left uncut in exterior work. 
 Under the dentils are a fillet and ogee. In some cases 
 this order is properly worked with a plain cornice, 
 omitting the modillions, and leaving the dentil face 
 uncut. 
 
28 
 
 The enrichments of this order may be very con- 
 siderable; some of the mouldings of the pedestal and 
 base may be enriched ; the shaft may be fluted, as the 
 Ionic, in twenty-four flutes, which may be filled one- 
 third high by staves, which is called cabling the flutes ; 
 the small mouldings of the architrave, and even 
 some of its faces, and several mouldings of the cornice, 
 may be enriched; the squares in the soffit of the 
 corona pannelled and flowered, and the frieze may be 
 adorned with carvings. But though the order will 
 bear all this ornament without overloading it, yet, for 
 exteriors, it seldom looks better than when the capitals 
 and the modillions are the only carvings. 
 
 The principal Corinthian examples are in Rome; 
 there are, however, some Grecian examples, which we 
 shall first notice: 
 
 A portico, at Athens. 
 
 The arch of Adrian, at Athens. 
 
 The Incantada, at Salonica. 
 
 A temple at Jackly, near Mylassa. 
 
 Of these, the first has an entablature, which is almost 
 exactly that which has been generally used for the 
 Composite; the others have all dentil cornices, without 
 modillions. In two examples, the horns of the abacus, 
 instead of being cut off as usual, are continued to a 
 point, which gives an appearance of weakness to the 
 capital. The bases are mostly attic, with an additional 
 astragal, and at Jackly the tori are carved. 
 
 The temple of Vesta, at Tivoli, has the capital 
 noticed above ; its entablature is simple, with an 
 uncut dentil face, and the frieze carved in festoons. 
 The astragal, under the capital, has a fillet above, as 
 well as below, and the base has a fillet under the upper 
 torus omitted. The flutes are stopt square, and not 
 as usual rounded at the ends. 
 
 The remain, called the frontispiece of Nero, has 
 the complete block entablature, usually called Com- 
 posite. The capitals good, with attic base, and the 
 whole of good character. 
 
29 
 
 The temple of Vesta, at Rome, 
 
 The Basilica of Antoninus, and 
 
 The temple of Mars the Avenger, 
 are all incomplete; the first has pointed horns, and 
 the two first the attic base. 
 
 The temple of Antoninus and Faustina, and 
 
 The portico of Severus, 
 have both a cornice with dentil face only, and uncut; 
 the first an attic base. 
 
 The baths of Dioclesian have a good entablature, and 
 the attic base ; some of the capitals are Composite. 
 
 The forum of Nerva, 
 
 The inner order of the Pantheon, 
 
 The outer order of the Pantheon, 
 
 The temple called Jupiter Tonans, and 
 
 The temple called Jupiter Stator, 
 are all excellent, and beautiful in their proportions and 
 execution; the fillets small, and the order much 
 enriched. The forum of Nerva, and the temple of 
 Jupiter Tonans, have no bases visible; the others have 
 the real Corinthian base with two scotias. The last may 
 be considered the best existing model of Corinthian ; 
 it is one of the most enriched, and nothing can better 
 stamp its value than a minute and rigorous examina- 
 tion of it with any of the other examples. 
 
 These are only a part of the antique remains of this 
 order, but they are the best known, and may be 
 sufficient to induce the student to examine every 
 example for himself. 
 
 It will not be right to quit this order without 
 adverting to two stupendous magazines of it, the ruins 
 of Balbec and Palmyra ; but although they are worth 
 examining as matters of curiosity, they are of com- 
 paratively little value; however rich, they contain 
 much of the faulty and crowded detail of the later 
 Roman work, and to what extent this was carried in 
 very great Roman works, the best evidence is the 
 palace of Dioclesian, at Spalatro, where, amidst a 
 profusion of ornament, we meet with great poverty . 
 
30 
 
 of composition, and combinations of mouldings so 
 barbarous as to lead to a degree of astonishment, how 
 they could be executed by persons before whose eyes 
 were existing such examples as Rome even now 
 contains. In the decline of the Roman empire, it 
 became a fashion to remove columns; there are 
 therefore in Rome, many edifices with a variety of 
 valuable columns erected without their own entablature; 
 and Constantine, in the church of St. Paul withovit 
 the walls, began the Norman arrangement by springing 
 arches off the columns without an entablature, and 
 carrying up the wall to the clerestory windows, with 
 little or no projection; thus annihilating the leading 
 feature of the orders — a bold cornice. 
 
 arompostte #rDer, 
 
 The Romans are said to have formed this order by 
 mixing the Corinthian and Ionic capitals; like the 
 Corinthian, the capital is its principal distinction. 
 This is of the same height as the Corinthian, and it is 
 formed by setting, on the two lower rows of the leaves 
 of the Corinthian capital*, the modern Ionic volutes, 
 ovolo, and abacus. The small space left of the bell is 
 filled by caulicoles, with flowers, and the upper list of 
 the volute is often flowered. 
 
 From the great variety of capitals which are not 
 Corinthian, (for it seems most commodious to term 
 those only Corinthian which have four volutes in each 
 face, or rather eight sets round the capital; four at 
 the angles and four in the centre,) it may seem at first 
 difficult to say what should be called Composite, and 
 what considered as merely a Composed order; but 
 there appears an easy way of designating the real 
 Composite capital, viz. that of considering the Ionic 
 volute, and the Ionic ovolo and astragal under the 
 abacus, as essential parts; for this ovolo and astragal 
 not existing in Corinthian capitals, forms a regular 
 • distinction between the two. 
 
31 
 
 The column is of the same height as the Corinthian, 
 and the pedestal and base differ very little from those 
 of that order, the pedestal being sometimes a little 
 plainer, and the base having an astragal or two less. 
 
 The entablature mostly used with this order is plainer 
 than the Corinthian, having commonly only two faces 
 to the architrave, the upper mouldings being rather 
 bolder; and the cornice is different, in having, instead 
 of the modillion and dentil, a sort of plain double 
 modillion, consisting of two faces, the upper projecting 
 farthest, and separated from the lower by a small ogee; 
 under this modillion is commonly a large ogee, astra- 
 gal, and fillet. The assumption of this entablature 
 for the Composite is rather Italian than Roman, for 
 the examples of Composite capitals in Rome have 
 other entablatures, and this is found with Corinthian 
 capitals ; but we must suppose that Palladio ^nd 
 Scammozzi, who both give this cornice to the Com- 
 posite, had some authority on which they acted, and 
 considering the great destruction of ancient buildings 
 for their columns, this is not improbable. 
 
 A plain cornice, nearly like that used to the Corin- 
 thian order, is sometimes used to this order, and also 
 a cornice with the modillions bolder, and cantalivers 
 under them in the frieze. 
 
 This order may be enriched in the same manner as 
 the Corinthian. 
 
 The Composite examples we have to notice are few, 
 and these are, 
 
 The temple of Bacchus, 
 
 The arch of Septimus Severus, and 
 
 The arch of the Goldsmiths. 
 
 These are all at Rome, and all have an attic base; 
 they have all large fillets. The first entablature is 
 plain, and lias no dentil face; the second has a dentil 
 face cut, as lias the third, but the latter has an 
 awkward addition of a second ogee under the dentils, 
 apparently taken out of the frieze, which is thus made 
 very small. 
 
32 
 
 The baths of Dioclesian : — this example is placed in 
 the same room with Corinthian columns; it has an 
 attic base, and the Corinthian entablature. 
 
 The arch of Titus : — this example has a real Corin- 
 thian base and entablature; in short, it has nothing 
 Composite but the capital. 
 
 On the whole, an attentive examination of the 
 subject will lead us rather to discourage the use of this 
 order than otherwise; it cannot be made so elegant an 
 order as the Corinthian, and can only be wanted when 
 columns are to be in two ranges ; and then the capital 
 of the temple of Vesta, at Tivoli, affords a sufficient 
 alteration of the Corinthian. 
 
 Having gone through the forms and distinctions of 
 the orders, it is proper to say, that, even in Greece 
 and Rome, we meet with specimens whose proportions 
 and composition do not agree with any of them. These 
 are comprised under the general name of Composed 
 orders, and though some are beautiful as small works, 
 scarcely any of the ancient ones are worthy of imitation 
 in large buildings. Of these composed orders we have 
 two examples in the Pantheon, one in the columns of an 
 altar, and the other in the pilasters of the attic: they 
 have both dentil cornices, with an uncut face ; the first 
 has angular Corinthian volutes, and none in the 
 centres, and water leaves instead of raffled leaves under 
 the volutes ; the other has no real volutes, but a scroll- 
 work gives the appearance of them, and this capital 
 is only fitted for pilasters. Modern composition has 
 run very wild, and produced scarcely any thing worth 
 prolonging by description. There was, however, one 
 attempt of a singular kind, made some years since by 
 an architect at Windsor, who published a magnificent 
 treatise, and executed one colonnade and a few door- 
 cases in and near Windsor. This was H. Emlyn, who 
 conducted the restoration of St. George's chapel. His 
 
33 
 
 order, he says, was first brought into his mind by the 
 twin trees in Windsor forest. He makes an oval shaft 
 rise about one-fourth of its height, and then two round 
 shafts spring from it, close to each other, and the 
 diminution affords space for two capitals, which have 
 volutes, and instead of leaves, feathers like the caps 
 of the knights of the garter. His entablature has 
 triglyphs, and his cornice mutules. The triglyphs are 
 ostrich feathers, the guttse acorns, and the metopes are 
 tilled with the star of the garter. 
 
 To conceal the awkward junction of the two 
 columns to the lower part, an ornament is placed 
 there, which is a trophy with the star of the garter in 
 the centre. 
 
 It is obvious that this order must be extremely 
 unmanageable, as it is difficult, and indeed almost 
 impossible to make a good angle column, and if its 
 entablature is proportioned to the diameter of one 
 column, it will be too small ; if to the whole diameter 
 it will be too heavy, and a mean will give the capitals 
 wrong; so that in any shape some error arises. In the 
 colonnade above mentioned, the entablature is so light 
 as to appear preposterous. This attempt is not 
 generally known, as the book was very expensive, and 
 the colonnade at a distance from a public road ; but it 
 deserves consideration, because, though the idea was 
 new, its execution seems completely to have failed, 
 and indeed in large designs, no composed order has 
 ever yet appeared that can come into competition with 
 a scrupulous attention to those excellent models of 
 Greece and Rome, now, through the effects of graphic 
 art, happily so familar to almost every English 
 architect. 
 
 There are a few small buildings in and near Athens, 
 which, though not coming within any of the orders 
 precisely, are yet so beautiful in some of their parts, 
 as to require express notice. These are, 
 
 The Choragic monument of Thrasyllus, 
 
 D 
 
34 
 
 The octagon tower of Andronicus Cyrrhestes, called 
 the temple of the Winds, 
 
 The Choragic monument of Lysicrates, called the 
 lantern of Demosthenes, and 
 
 The temple of Pandrosus. 
 
 The first is now merely a face, its intervals being 
 walled up, but was originally the front of a cavern, 
 and consists of an entablature supported by three 
 antae, and covered by an attic lowered in the middle, 
 on which is a statue in a sitting posture. The mould- 
 ings of the antae are such as are used in Doric 
 buildings, and the architrave is capped by a plain fillet, 
 with a small fillet, and guttse below ; the guttae are 
 continued along with an interval about equal to each 
 drop. The frieze contains eleven wreaths of laurel, 
 and the cornice and attic mouldings are plain but 
 very good. 
 
 The whole of this monument is so simple, yet 
 possesses so beautiful a character as to render it worthy 
 of very attentive study. 
 
 The temple of the Winds is chiefly valuable for 
 its sculpture; it had two door- ways of a composed 
 order, and in the interior is a small order of a Doric, 
 of very inferior proportions, which rises to the support 
 of the roof from a plain string, below which are two 
 cornices or rather tablets. The roof is of marble cut 
 into the appearance of tiles. The outside walls are 
 plain, with an entablature, and a string below, forming 
 a sort of frieze, on which are the figures of the winds. 
 On the whole, this monument is rather curious than 
 beautiful. 
 
 The lantern of Demosthenes. This is one of the 
 most beautiful little remains of antiquity existing. 
 The whole height is but thirty-four feet, and its 
 diameter eight feet. It is a circular temple, with six 
 engaged columns standing on a basement, nearly as 
 high as the columns, and nearly solid. The capitals, 
 though not like most Corinthian capitals, are very 
 beautiful. The frieze is sculptured, and instead of a 
 
35 
 
 cymatium to the cornice, is an ornament of honey- 
 suckles, and above that on the roof, which is beautifully 
 carved in leaves, is a line of a waved projecting 
 ornament ; on the top is a vase, or rather the base of a 
 tripod. Our limits will not admit of particularizing 
 all the singularities of this delicate building, but it 
 well deserves study and imitation. » 
 
 The temple of Pandrosus is a building with Cary- 
 atids, or figures instead of columns ; they have each a 
 capital of an ornamented square abacus, and ovolo 
 carved. The entablature has no frieze, but an archi- 
 trave of three faces, the uppermost of which has plain 
 circles for ornament, and joins the cornice, which is a 
 dentil cornice, large, and of good mouldings. The 
 statues are good, and stand upon a continued pedestal 
 of two-thirds their own height; and there are two 
 ants which descend through the pedestal, and the 
 entablature is rather proportioned to these antse than 
 the Caryatids. Many of the mouldings are enriched, 
 and indeed the whole of this curious building, which 
 comprises the temples of Eryctheus, Minerva Polias, 
 and Pandrosus, is a fruitful source of most delicate 
 enrichment. 
 
 In this essay it has by no means been intended to 
 mention every valuable remaining example; all that 
 has been aimed at, is to give a general view of those 
 remains which must be considered as standards, and to 
 excite in the pupil that persevering attention to the 
 best models, which is the only way of arriving at a 
 complete knowledge of these very interesting sources 
 of architectural science. 
 
36 
 
 Description of the Plates of Grecian Architecture. 
 
 PLATE I. 
 
 The Tuscan order without a pedestal, having all 
 its parts, and their members divided, with the names 
 attached. 
 
 The various kinds of what are usually considered 
 simple mouldings, with their names, and a portion of 
 an arch with an architrave springing from an impost. 
 
 PLATE II. 
 
 Outlines of the Grecian and Roman Doric. The 
 Grecian nearly accords with the best Athenian 
 examples, but on this scale the minute parts cannot be 
 shown of their exact size, particularly the fillets of 
 the capital. The Roman is that which has been 
 many years used in England, as the standard of Roman 
 Doric, and is nearly that of Palladio. 
 
 PLATE III. 
 
 The Grecian and Roman Ionic. The parts of the 
 Grecian have been taken from various examples, in 
 order to combine as much as possible in one the general 
 appearance of the order. The Roman is the modern 
 Ionic of the Italian architects, as it has been executed 
 for many years in England with the modillion cornice. 
 The attic base has been applied in both instances, from 
 the difficulty of executing a more complicated one dis- 
 tinctly on so small a scale ; and when once this base is 
 clearly comprehended, any other will be easily under- 
 stood by the description in the former part of this work. 
 
 PLATE IV. 
 
 The Corinthian and Composite orders. The Corin- 
 thian capital is the one most commonly used, and is 
 nearly that of the temple of Jupiter Tonans ; the capital 
 of the temple of Jupiter Stator is too much enriched, 
 and the intersection of the middle volutes too delicate, 
 to be shown on so small a scale ; and for the same reason 
 the attic base is used in this plate as well as the last. 
 
 The example given of the Composite order has been 
 used in England for many years ; and the entablature 
 is that which appears most suited to the order. 
 
37 
 
 ENGLISH ARCHITECTURE. 
 
 In a work like the present, there will be little 
 propriety in a Lengthened disquisition on the origin of 
 this mode of building; we shall therefore proceed to 
 the detail of those distinctions, which, being once laid 
 down with precision, will enable persons of common 
 observation to distinguish the difference of age and 
 style in these buildings, as easily as the distinctions of 
 the Grecian and Roman orders. 
 
 It may, however, be proper here to offer a few 
 remarks on the use of the term English, as applied to 
 that mode of building usually called the Gothic, and 
 by some the pointed architecture. Although, perhaps, 
 it might not be so difficult as it has been supposed to 
 be, to show that the English architects were, in many 
 instances, prior to their continental neighbours, in 
 those advances of the styles about which so much has 
 been written, and so little concluded; it is not on 
 that ground the term is now vised, but because, as far 
 as the author has been able to collect from plates, and 
 many friends who have visited the Continent, in the 
 edifices there, (more especially in those parts which 
 have not been at any time under the power of 
 England,) the architecture is of a very different cha- 
 racter from that pure simplicity and boldness of 
 composition which marks the English buildings. 
 In every instance which has come under the author's 
 notice, a mixture, more or less exact or remote, 
 according to circumstances, of Italian composition, in 
 some parts or other, is present ; and he has little doubt 
 that a very attentive observation of the continental 
 buildings called Gothic, would enable an architect to 
 lay down the regulations of French, Flemish, Spanish, 
 German, and Italian styles, which were in use at the 
 time when the English flourished in England. 
 
 On the origin of the pointed arch, about which, 
 perhaps, there may be now more curiosity than ever, 
 
38 
 
 from the numerous accounts given by travellers of 
 apparently very ancient pointed arches in Asia, Africa, 
 and various parts of the Continent ; it will, doubtless, 
 be expected that something should be said ; and what 
 is necessary may be said in a few lines. To say nothing 
 on the impossibility, as far as at present appears, of 
 fixing an authentic date to those, which if dated, 
 might be of the most importance, there appears little 
 difficulty in solving the problem, if the practical part 
 of building is considered at the same time with the 
 theoretical. Intersecting arches were most likely an 
 early, and certainly a very widely-spread mode of 
 embellishing Norman buildings, and some of them 
 were constructed in places, and with stones, requiring 
 centres to turn them on, and the construction of these 
 centres must have been by something equivalent to 
 compasses: thus, even supposing (which could hardly 
 have been the case) that the arches were constructed 
 without a previous delineation, the centres would have 
 led to the construction of the pointed arch ; and when 
 once formed, its superior lightness and applicability 
 would be easily observed. To this remark it may 
 be added, that the arches necessarily arising in some 
 parts from Norman groining would be pointed. — 
 A careful examination of a great number of Norman 
 buildings will also lead to this conclusion — that the 
 style was constantly assuming a lighter character, and 
 that the gradation is so gentle into Early English, that 
 it is difficult, in some buildings, to class them, so 
 much have they of both styles : the same may be said 
 of every advance; and this seems to be a convincing 
 proof that the styles were the product of the gradual 
 operations of a general improvement, guided by the 
 hand of genius, and not a foreign importation. 
 
 During the eighteenth century, various attempts, 
 under the name of Gothic, have arisen in repairs and 
 rebuilding ecclesiastical edifices, but these have been 
 little more than making clustered columns and pointed 
 windows, every real principle of English architecture 
 
39 
 
 being, by the builders, either unknown or totally 
 neglected. 
 
 English architecture, may be divided into four dis- 
 tinct periods, or styles, which may be named, 
 
 1st, the Norman style, 
 
 2nd, the Early English style, 
 
 3rd, the Decorated English style, and 
 
 4th, the Perpendicular English style. 
 
 The dates of these styles we shall state hereafter, 
 and it may be proper to notice, that the clear distinc- 
 tions are now almost entirely confined to churches ; for 
 the destruction and alteration of castellated buildings 
 have been so great, from the changes in the modes of 
 warfare, &c. that, in them, we can scarcely determine 
 what is original and what addition. 
 
 Before we treat of the styles separately, it will be 
 necessary to explain a few terms which are employed 
 in describing the churches and other buildings which 
 exemplify them. 
 
 Most of the ancient ecclesiastical edifices, when 
 considered complete, were built in the form of a cross, 
 with a tower, lantern, or spire erected at the intersec- 
 tion. The interior space was usually thus divided: 
 
 The space westward of the cross, is called the nave. 
 
 The divisions outward of the piers, are called aisles. 
 
 The space eastward of the cross, is generally the 
 choir. 
 
 The part runtring north and south, is called the cross 
 or transept. 
 
 The choir is generally enclosed by a screen, on the 
 western part of which is usually placed the organ. 
 
 The choir, in cathedrals, does not generally extend 
 to the eastern end of the building, but there is a space 
 behind the altar, usually called the lady chapel. 
 
 The choir is only between the piers, and does not 
 include the side aisles, which serve as passages to the 
 lady chapel, altar, &c. 
 
 The transept has sometimes side aisles, which are 
 often separated by screens for chapels. 
 
40 
 
 Chapels are attached to all parts, and are frequently 
 additions. 
 
 The aisles of the nave are mostly open to it, and in 
 cathedrals both are generally without pews. 
 
 In churches not collegiate, the eastern space about 
 the altar is called the chancel. 
 
 To the sides are often attached small buildings over 
 the doors, called porches, which have sometimes 
 vestries, schools, &c. over them. 
 
 The font is generally placed in the western part of 
 the nave, but in small churches its situation is very 
 various. In a few churches a building like a chapel 
 has been erected over the font, or the font set in it. 
 
 In large churches, the great doors are generally either 
 at the west end, or at the end of the transepts, or 
 both ; but in small churches, often at the sides. 
 
 To most cathedrals are attached a chapter-house and 
 cloisters, which are usually on the same side. 
 
 The chapter-house is often multangular. 
 
 The cloisters are generally a quadrangle, with an 
 open space in the centre ; the side to which is a series 
 of arches, originally often glazed, now mostly open. 
 The other wall is generally one side of the church or 
 other buildings, with which the cloisters communicate 
 by various doors. The cloisters are usually arched 
 over, and formed the principal communication between 
 the different parts of the monastery, for most of the 
 large cross churches have been monasteries. 
 
 The lady chapel is not always at the east end of the 
 choir; at Durham it is at the west end of the nave, 
 at Ely on the north side. 
 
 The choir sometimes advances westward of the 
 cross, as at Westminster. 
 
 The spaces in the interior, between the arches, are 
 piers. 
 
 Any building above the roof may be called a steeple. 
 If it be square-topt, it is called a totver. 
 
 A tower may be round, square, or multangular. 
 The tower is often crowned with a spire, and some- 
 
41 
 
 times with a short tower of light work, which is called 
 a lantern,. An opening into the tower, in the interior, 
 above the roof, is also called a lantern. 
 
 Towers, of great height in proportion to their 
 diameter, are called turrets; these often contain stair- 
 cases, and are sometimes crowned with small spires. 
 
 Large towers have often turrets at their corners, and 
 often one larger than the others, containing a staircase ; 
 sometimes they have only that one. 
 
 The projections at the corners, and between the 
 windows, are called buttresses, and the mouldings and 
 slopes which divide them into stages, are called set-offs. 
 
 The walls are crowned by a parapet, which is 
 straight at the top, or a battlement which is indented ; 
 both may be plain, or sunk pannelled, or pierced. 
 
 In castellated work, the battlement sometimes pro- 
 jects, with intervals for the purpose of discharging 
 missiles on the heads of assailants; these openings are 
 called machicolations. 
 
 Arches are round, pointed, or mixed : 
 
 A semi-circular arch has its centre in the same line 
 with its spring. 
 
 A segmental arch has its centre lower than the 
 spring. 
 
 A horseshoe arch has its centre above the spring. 
 
 Pointed arches are either equilateral — described 
 from two centres, which are the whole breadth of the 
 arch from each other, and form the arch about an 
 equilateral triangle; or drop arches, which have a 
 radius shorter than the breadth of the arch, and are 
 described about an obtuse-angled triangle; or lancet 
 arches, which have a radius longer than the breadth of 
 the arch, and are described about an acute-angled 
 triangle. 
 
 All these pointed arches may be of the nature of 
 segmental arches, and have their centres below their 
 spring. 
 
 Mixed arches are of three centres, which look nearly 
 like elliptical arches; or of four centres, commonly 
 
42 
 
 called the Tudor arch; this is fiat for its span, and has 
 two of its centres in or near the spring, and the other 
 two far below it. 
 
 The ogee or contrasted arch has four centres ; two 
 in or near the spring, and two above it and reversed. 
 
 The spaces included between the arch and a square 
 formed at the outside of it, are called spandrells, and 
 are often ornamented. 
 
 Windows are divided into lights by mullions. 
 
 The ornaments of the divisions at the heads of 
 windows, &c. are called tracery. Tracery is either 
 flowing, where the lines branch out into the resem- 
 blance of leaves arches, and other figures ; or 
 perpendicular, where the mullions are continued 
 through in straight lines. 
 
 The horizontal divisions of windows and pannelling, 
 are called transoms. 
 
 The parts of tracery are ornamented with small 
 arches and points, which are called featherings or 
 foliations, and the small arches cusps ; and according 
 to the number in immediate connexion, they are called 
 trefoils, quatrefoils, or cinquefoils. 
 
 The cusps are sometimes again feathered, and this 
 is called double feathering. 
 
 Tablets are small projecting mouldings, or strings, 
 mostly horizontal. 
 
 The tablet at the top, under the battlement, is 
 called a cornice, and that at the bottom a basement, 
 under which is generally a thicker wall. 
 
 The tablet running round doors and windows, is 
 called a dripstone, and if ornamented, a canopy. 
 
 Hands are either small strings round shafts, or a 
 horizontal line of square, round, or other pannels, 
 used to ornament towers, spires, and other works. 
 
 JSiches are small arches, mostly sunk in the wall, 
 often ornamented very richly with buttresses and 
 canopies, and frequently containing statues. 
 
 A corbel is an ornamented projection from the wall. 
 
43 
 
 to support an arch, niche, beam, or other apparent 
 weight, and is often a head or part of a figure. 
 
 A pinnacle is a small spire, generally with fovir sides, 
 and ornamented; it is usually placed o{i the tops of 
 buttresses, both external and internal. 
 
 The small bunches of foliage ornamenting canopies 
 and pinnacles, are called crockets*: 
 
 The larger bunches on the top are called Jinials, and 
 this term is sometimes applied to the whole pinnacle. 
 
 The seats for the dean, canons, and other dignitaries, 
 in the choirs of collegiate churches, are called stalls. 
 
 The bishop's seat is called his throne. 
 
 The ornamented open work over the stalls, and in 
 general any minute ornamental open work, is called 
 tabernacle work. 
 
 In some churches, not collegiate, there yet remains 
 a screen, with a large projection at the top, between 
 the nave and chancel, on which was anciently placed 
 certain images ; this was called the rood loft. 
 
 Near the entrance door is sometimes found a small 
 niche, with a basin which held, in catholic times, their 
 holy water ; these are called stoups. 
 
 Near the altar, or at least where an altar has once 
 been placed, there is sometimes found another niche, 
 distinguished from the stoup by having a small hole 
 at the bottom to carry off water ; it is often double, 
 with a place for the bread. 
 
 On the south side, at the east end of some churches, 
 are found stone stalls, either one, two, three, or some- 
 times more, of which the uses have been much con- 
 tested. 
 
 Under several large churches, and some few small 
 ones, are certain vaulted chapels, these are called 
 crypts. 
 
 In order to render the comparison of the different 
 styles easy, we shall divide the description of each 
 into the following sections: 
 
 Doors, • ' 
 
 Windows, 
 
44 
 
 Arches, 
 Piers, 
 Buttresses, 
 Tablets, 
 
 Niches, and ornamental arches, or pannels, 
 Ornamental carvings, 
 Steeples, and 
 
 Battlements, roofs, fronts, and porches. 
 
 We shall first give, at one view, the date of the 
 styles, and their most prominent distinctions, and then 
 proceed to the particular sections as described above. 
 
 1st, the Norman style, which prevailed to the end 
 of the reign of Henry II, in 1 189 ; distinguished by its 
 arches being generally semi-circular; though sometimes 
 pointed, with bold and rude ornaments. This style 
 seems to have commenced before the conquest, but we 
 have no remains really known to be more than a very 
 few years older. 
 
 2nd, the Early English style, reaching to the end of 
 the reign of Edward I, in 1307 ; distinguished by 
 pointed arches, and long narrow windows, without 
 mullions; and a peculiar ornament, which, from its 
 resemblance to the teeth of a shark, we shall hereafter 
 call the toothed ornament. 
 
 3d, Decorated English, reaching to the end of the 
 reign of Edward III, in 1377, and perhaps from ten 
 to fifteen years longer. This style is distinguished by 
 its large windows, which have pointed arches divided 
 by mullions, and the tracery in flowing lines forming 
 circles, arches, and other figures, not running perpen- 
 dicularly ; its ornaments numerous, and very delicately 
 carved. 
 
 Perpendicular English. This is the last style, and 
 appears to have been in use, though much debased, 
 even as far as to 1630 or 1640, but only in additions. 
 Probably the latest whole building is not later than 
 Henry the VIII. The name clearly designates this 
 style, for the mullions of the windows, and the 
 ornamental pannellings, run in perpendicular lines, 
 
45 
 
 and form a complete distinction from the last style; 
 and many buildings of this are so crowded with 
 ornament, as to destroy the beauty of the design. The 
 carvings are generally very delicately executed. 
 
 It may be necessary to state, that though many 
 writers speak of Saxon buildings, those which they 
 describe as such, are either known to be Norman, or 
 are so like them, that there is no real distinction. But 
 it is most likely, that in some obscure country church, 
 some real Saxon work of a much earlier date may 
 exist ; hitherto, however, none has been ascertained to 
 be of so great an age. 
 
 Without venturing to fix a date to either, it will 
 be proper here to mention two towers which have 
 hitherto been very little noticed, and yet are of very 
 singular construction ; the first is, that of the old 
 church, St. Peter's, at Barton, in Lincolnshire ; this is 
 a short thick tower, with very thick walls, originally of 
 three stages ; the two lower of which are ornamented 
 by perpendicular stripes of stone, projecting from the 
 face of the wall, and near the top of each stage break- 
 ing into arches ; the lower set of arches semi-circular, 
 and the perpendicular lines springing from a stone set 
 on the top of the arch ; the second set are straight- 
 lined arches, and run up to a flat string or tablet, on 
 which is the third plain stage, with only two small 
 arches, (if so they may be called,) as in the second 
 stage. On the top of these three stages is one evidently 
 early Norman, having a regular double Norman win- 
 dow in it, with a shaft and capital in the middle ; this 
 stage being clearly Norman, it is evident, the substruc- 
 ture must be of an earlier date; and in the second 
 stage of the lower part is also a double window, with 
 round arches, and divided by something (evidently 
 original, for there are two) exactly resembling a rude 
 balustre ; all this arrangement is so different from 
 Norman work, that there seems a probability it may be 
 real Saxon ; and it should be noted, that the other, or 
 new church, St. Mary's, stands within 150 yards of 
 
46 
 
 the old church, and is principally a Norman building, 
 with an Early English tower, and a chancel of the 
 same ; and a very early Decorated east window, which, 
 of course, renders it necessary to go back to the con- 
 quest at least, for the date of the old one. The other 
 tower is that of Clapham church, in Bedfordshire ; 
 and this is principally remarkable for the extreme 
 simplicity and rudeness of its construction. It consists 
 of a square tower, without buttress or tablet, about 
 three squares high, with a rude round arch door, and 
 above it two heights of small round arched windows ; 
 above this part of the tower, with a plain set-off, 
 inwards is a Norman portion, with a Norman window 
 divided into two by a central shaft, plain, and of early 
 character ; this part is surmounted by a cornice and 
 battlement of later date. 
 
 We shall now begin to trace the first or Norman 
 style, and first of 
 
 Norman Doors. 
 
 There seems to have been a desire in the architects 
 who succeeded the Normans, to preserve the doors of 
 their predecessors, whence we have so many of these 
 noble, though, in most cases, rude efforts of skill 
 remaining. In many small churches, where all has 
 been swept away, to make room for alterations, even 
 in the perpendicular style, the Norman door has been 
 suffered to remain. The arch is semi-circular, and the 
 mode of increasing their richness, was by increasing 
 the number of bands of moulding, and, of course, the 
 depth of the arch. Shafts are often used, but not 
 always, and we find very frequently, in the same 
 building, one door with shafts, and one without. 
 When shafts are used, there is commonly an impost 
 moulding above them, before the arch mouldings 
 spring. These mouldings are generally much orna- 
 mented, and the wave or zigzag ornament, in some of 
 its diversities, is almost universal, as is a large round 
 moulding, with heads on the outer edge, partly pro- 
 
47 
 
 jecting over this moulding. There are also mouldings 
 with a series of figures enclosed in a running orna- 
 ment ; and at one church at York, these figures are 
 the zodiacal signs. The exterior moulding often goes 
 down no lower than the spring of the arch, thus form- 
 ing an apparent dripstone, though it does not always 
 project so as really to form one. The door is often 
 square, and the interval to the arch filled with 
 carvings. Amongst the great variety of these doors 
 in excellent preservation, Iffley church, near Oxford, 
 is perhaps the best specimen, as it contains three doors, 
 all of which are different ; and the south door is nearly 
 unique, from the flowers in its interior mouldings. 
 South Ockenden church, in Essex, has also a door of 
 uncommon beauty of design, and elegance of execution. 
 Ely, Durham, Rochester, Worcester, and Lincoln 
 cathedrals, have also fine Norman doors. In these 
 doors, almost all the ornament is external, and the 
 inside often quite plain. 
 
 Almost every county in England contains many 
 Norman doors ; they are very often the only part 
 which patching and altering has left worth examining, 
 and they are remarkably varied, scarcely any two being 
 alike. In delicacy of execution, and intricacy of 
 design, the College Gate, at Bristol, seems equal, if 
 not superior, to most ; and indeed is so well worked, 
 that some persons have been inclined to ascribe it to 
 a later date ; but an attentive examination of many 
 other Norman works will show designs as intricate, 
 where there can be no doubt of the date. 
 
 Norman Windows. 
 
 The windows, in this style, are diminutive doors 
 as to their ornaments, except that, in large buildings, 
 shafts are more frequent, and often with plain mould- 
 ings. The size of these windows is generally small, 
 except in very large buildings ; there are no mullions, 
 but a double window divided by a shaft, is not 
 
48 
 
 uncommon. In small rich churches, the exterior is often 
 a series of arches, of which a few are pierced, as win- 
 dows, and the others left blank. The arch is semicir- 
 cular, and if the window is quite plain, has generally 
 sloped sides, either inside or out, or both. The pro- 
 portions of the Norman windows are generally those 
 of a door, and very rarely exceed two squares in height 
 of the exterior proportions, including the ornaments. 
 
 The existing Norman windows are mostly in build- 
 ings retaining still the entire character of that style ; 
 for in most they have been taken out, and others of 
 later styles put in, as at Durham, and many other 
 cathedrals. 
 
 There are still remaining traces of a very few circu- 
 lar windows of this style; the west window at Iffley 
 was circular, but it has been taken out; there is one in 
 Canterbury cathedral, which seems to be Norman ; 
 and there is one undoubtedly Norman at Barfreston, 
 rendered additionally singular by its being divided 
 by grotesque heads, and something like mullions, 
 though very rude, into eight parts. 
 
 There seems to have been little if any attempt at 
 feathering or foliating the heads of Norman doors or 
 windows. 
 
 Norman Arches. 
 
 The early Norman arches are semi-circular, and in 
 many instances this form of the arch seems to have 
 continued to the latest date, even when some of the 
 parts were quite advanced into the next style; of this 
 the temple church is a curious instance; here are piers 
 with some of the features of the next style, and also 
 pointed arches with a range of intersecting arches, and 
 over this, the old round-headed Norman window. But 
 though the round arch thus continued to the very end 
 of the style, the introduction of pointed arches must 
 have been much earlier, for we find intersecting arches 
 in buildings of the purest Norman, and whoever con- 
 
49 
 
 structed them, constructed pointed arches ; but it 
 appears as if the round and pointed arches were, for 
 nearly a century, used indiscriminately, as was most 
 consonant to the necessities of the work, or the 
 builder's ideas. Kirkstall and Buildwas abbeys, have 
 all their exterior round arches, but the nave has 
 pointed arches in the interior. There are some Nor- 
 man arches so near a semi-circle as to be only just 
 perceptibly pointed, and with the rudely carved 
 Norman ornaments. 
 
 There are a few Norman arches of very curious 
 shape, being more than a semi-circle, or what is called 
 a horse-shoe, and in a few instances a double arch. 
 These arches are sometimes plain, but are much oftener 
 enriched with the zigzag, and other ornaments 
 peculiar to this style. 
 
 Norman Piers. 
 
 These are of four descriptions, 1st, The round 
 massive columnar pier, which has sometimes a round, 
 and sometimes a square capital ; they are generally 
 plain, but sometimes ornamented with channels in 
 various forms, some plain zigzag, some like network, 
 and some spiral. They are sometimes met with but 
 little more than two diameters high, and sometimes 
 are six or seven. 
 
 2d, A multangular pier, much less massive, is some- 
 times used, generally octagonal, and commonly with 
 an arch more or less pointed. 
 
 3d, The common pier with shafts; these have 
 sometimes plain capitals, but are sometimes much 
 ornamented with rude foliage, and occasionally animals. 
 The shafts are mostly set in square recesses. 
 
 4th, A plain pier, with perfectly plain round arches, 
 in two or three divisions. 
 
 In some cases, the shafts are divided by bands, but 
 the instances are not many. 
 
 E 
 
50 
 
 Norman Buttresses. 
 
 These require little description ; they are plain, 
 broad faces, with but small projection, often only a few 
 inches, and running up only to the cornice tablet, and 
 there finishing under its projection. Sometimes they 
 are finished with a plain slope, and in a few instances 
 are composed of several shafts. Bands or tablets 
 running along the walls, often run round the buttresses. 
 There are, however, in rich buildings, buttresses 
 ornamented with shafts at the angles, and in addition 
 to these shafts, small series of arches are sometimes 
 used ; occasionally a second buttress, of less breadth, is 
 placed on the outside of the broad flat one. 
 
 Norman Tablets. 
 
 In treating of tablets, that which is usually called 
 the cornice, is of the first consideration; this is 
 frequently only a plain face of parapet, of the same 
 projection as the buttresses; but a row of blocks is 
 often placed under it, sometimes plain, -sometimes 
 carved in grotesque heads, and in some instances the 
 grotesque heads support small arches, when it is called 
 a corbel table. A plain string is also sometimes used 
 as a cornice. 
 
 The next most important tablet is the dripstone, or 
 outer moulding of windows and doors; this is some- 
 times undistinguished, but oftener a square string, 
 frequently continued horizontally from one window to 
 another, round the buttresses. 
 
 The tablets, under windows, are generally plain 
 slopes above or below a flat string. In the interior, 
 and in some instances in the exterior, these are much 
 carved in the various ornaments described hereafter. 
 
51 
 
 Norman Niches, &c. 
 
 These are a series of small arches with round and 
 often with intersecting arches, sometimes without, but 
 oftener with shafts. Some of these arches have their 
 mouldings much ornamented. 
 
 There are also other niches of various shapes over 
 doors, in which are placed figures ; they are generally 
 of small depth, and most of them retain the figures 
 originally placed in them. 
 
 Norman Ornaments. 
 
 The ornaments of this style consist principally of 
 the different kinds of carved mouldings surrounding 
 doors and windows, and used as tablets. The first 
 and most frequent of them, is the zigzag or chevron 
 moulding, which is generally used in great profusion. 
 The next most common on door mouldings, is the beak- 
 head moulding, consisting of a hollow and a large 
 round ; in the hollow are placed heads of beasts or 
 birds, whotfe tongues or beaks encircle the round. 
 After these come many varieties, almost every speci- 
 men having some difference of composition ; a good 
 collection of them may be seen in the Archseologia, 
 and King's Munimenta Antiqua. 
 
 The capitals of piers and shafts are often very 
 rudely carved in various grotesque devices of animals 
 and leaves, but in all the design is rude and the plants 
 are unnatural. 
 
 There is one moulding which deserves mention, 
 from its almost constant occurrence, very nearly of 
 the same pattern and proportions over every part of 
 the kingdom; this is the movdding of the square 
 abacus, over the flowered or cut part of the capital ; 
 it consists of a broad fillet and hollow, which are 
 separated by a little sunk channel, and it is sometimes 
 continued as a tablet along the walls. 
 
52 
 
 Norman Steeples. 
 
 The Norman steeple was mostly a massive tower, 
 seldom rising more than a square in height above the 
 roof of the building to which it belonged, and often 
 not so much. They are sometimes plain, but often 
 ornamented by plain or intersecting arches, and have 
 generally the flat buttress, but that of St. Alban's 
 runs into a round turret at each corner of the upper 
 stage, and at St. Peter's, Northampton, there is a 
 singular buttress of three parts of circles, but its date 
 is uncertain. The towers of Norwich and Winchester 
 cathedrals, and Tewksbury church, are very fine spe- 
 cimens of the Norman tower. It does not seem likely 
 that we have any Norman spires, but there are some 
 turrets crowned with large pinnacles, which may be 
 Norman — such is one at Cleve, in Gloucestershire, and 
 one of the towers at the side of the west front of 
 Rochester cathedral. 
 
 Norman Battlements. 
 
 From exposure to weather, and various accidents, 
 we find very few roofs in their original state, and from 
 the vicinity of the battlement we find this part also 
 very often not original. It seems difficult to ascertain 
 what the Norman battlement was, and there seems 
 much reason to suppose it was only a plain parapet ; 
 in some castellated Norman buildings, a parapet, with 
 here and there a narrow interval cut in it, remains, 
 and appears original ; and this, or the plain parapet, was 
 most likely the ecclesiastical battlement. Many 
 Norman buildings have battlements of much later 
 date, or parapets evidently often repaired. 
 
53 
 
 Norman Roofs. 
 
 The Norman wooden roof was often open to the 
 actual frame-timbers, as we see some remaining to 
 this day, as at Rochester and Winchester ; but at 
 Peterborough is a real flat boarded cieling, which is in 
 fine preservation, having lately been carefully repainted 
 from the original. It consists of a sort of rude 
 Mosaic, full of stiff lines ; and its general division is 
 into lozenges, with flowers of Norman character, and the 
 whole according in design with the ornaments of that 
 style. This kind of roof, particularly when the exterior 
 was covered with shingles, contributed much to spread 
 those destructive fires we so frequently read of in the 
 history of early churches. Of the Norman groined roof, 
 we have very many fine examples, principally in the 
 roofs of crypts, and in small churches ; they consist of 
 cross springers, and sometimes, but not always, of a 
 rib from pier to pier; they are sometimes plain, but 
 oftener ornamented with ribs of a few bold mouldings, 
 and sometimes with these mouldings enriched with 
 zigzag and other carved work of this style. The ruins 
 of Landisfarne, on the Northumberland coast, have 
 long exhibited the great cross springer rib, over the 
 intersection of the nave and transepts, remaining while 
 the rest of the roof is destroyed. 
 
 Norman Fronts. 
 
 The greatest part of the Norman west fronts have 
 been much changed by the introduction of windows of 
 later date (mostly large perpendicular windows.) The 
 ruins of Landisfarne, however, present us with one 
 nearly perfect. This consists of a large door with a 
 gallery or triforium over it, of which some of the 
 arches have been pierced through for windows ; and 
 above, one larger window. Rochester and Lincoln 
 cathedrals, Castle Acre priory, and Tewksbury church, 
 
54 
 
 all show what the Norman west fronts were, with the 
 exception of the introduction of the large window. 
 The east fronts much resembled the west, except the 
 door ; and in small churches we have both east and 
 west fronts perfect. Peterborough and Winchester 
 cathedrals furnish fine examples (except the insertion 
 of tracery to the windows) of transept ends ; these 
 generally rose in three tiers of windows, and had a fine 
 effect, both interiorly and exteriorly. There are a few 
 large buildings, and many small ones, with semi- 
 circular east ends; and of these, the east ends of 
 Norwich and Peterborough cathedrals are the finest 
 remaining, but in both, the windows are altered by 
 the insertion of tracery, and in parts, of new windows. 
 
 Norman Porches. 
 
 There are many of these remaining to small churches ; 
 they are generally shallow, and the mouldings of the 
 outer gate are often richer than those of the inner. 
 
 The general appearance of Norman buildings is 
 bold and massive. Very few large buildings remain 
 without much alteration and mixture with other styles ; 
 perhaps the nave at Peterborough and that of Roches- 
 ter cathedrals, present as little mixture as any, though 
 in these the windows have been altered; but of smaller 
 churches, Barfreston in Kent, Stewkley in Bucking- 
 hamshire, and Adel in Yorkshire, have had very 
 little alteration. Tickencote, in Rutland, till within 
 a few years, was one of the most valuable remains in 
 the kingdom ; but it has been rebuilt sufficiently near 
 in its likeness to the original to deceive many, and 
 so far from it as to render it not a copy, but an 
 imitation ; yet it is still curious, and the interior of the 
 chancel is original. The interior arrangement of large 
 Norman buildings is considerably varied : sometimes 
 the large circular pier is used alone, as at Gloucester 
 cathedral; sometimes mixed with the pier composed 
 of shafts, as at I^urham ; and sometimes of that pier 
 
55 
 
 of shafts only, as at Peterborough, Norwich, &c. — 
 The triforia are various; some, as at Southwell and 
 Waltham abbey, a large arch quite open, but oftener 
 broken by small shafts and arches, and the clerestory 
 windows have often an arch on each side of the window, 
 forming a second gallery ; of these galleries, which are 
 partly pierced, the tower of Norwich forms the best 
 example. In many large churches we find the Norman 
 work remaining only to the string running over the 
 arches, and later work above that ; this is the case at 
 Canterbury and Hereford. The arrangement at Oxford 
 cathedral is curious, as under the great arches, 
 springing from the piers, are other arches springing 
 from corbels, and between these two are shafts and 
 arches as ornaments, but not open as a gallery. In 
 small churches the gallery is generally omitted. 
 
 Of this style, it will be proper to remark two 
 buildings that deserve attention ; the one for its sim- 
 plicity and beauty of composition, the other from its 
 being nearly unique, and being at the same time 
 a very fine specimen of ornament. The first is the 
 vestibule, or entrance to the chapter-house, at Bristol, 
 and the other the staircase leading to the registry at 
 Canterbury cathedral. With respect to ornaments, 
 few surpass those of a mined tower at Canterbury, 
 generally called Ethelbert's, and those on the front of 
 Castle Acre priory. Norman fronts are very numerous, 
 perhaps as much so as Norman doors, and some 
 are very curious from the rudeness and intricacy of 
 the decorations. There are many fine Norman cas- 
 tellated remains ; of these it may be enough to mention 
 those of Rochester in Kent, Hedingham in Essex, 
 Connisburgh in Yorkshire, and Guildford in Surrey. 
 
 The transition from Norman to Early English was 
 gradual, and it is sometimes very difficult to decide 
 on the character of some remains ; in general, the 
 square abacus to the capital is the best mark, for the 
 arch is none, many pure Norman works having the 
 pointed arch. The mouldings of later Norman work 
 
56 
 
 approach very near to Early English. The Temple 
 church, London, is one of those buildings which seems 
 to belong as much to one style as the other; and two 
 Lincolnshire buildings, not far distant from each other, 
 show a curious crossing of the marks of these two 
 styles : — one, the front of the hospital of St. Leonard, 
 at Stamford, presents a semi-circular arch with pure 
 Norman mouldings, but the shafts are in two rows, 
 stand free, and have a round abacus of several mould- 
 ings, which are quite Early English. The other, part 
 of Ketton church, has the square Norman abacus and 
 semi-circular arch with Norman mouldings, and another 
 pointed one on the side ; but both these have a drip- 
 stone filled with the toothed ornament, which also runs 
 down by the shafts, which are banded and have an 
 Early English base. 
 
 <©f tf)e g>eccmlr, or lEatlp ISngltsi) jgtple. 
 
 Early English Doors. 
 
 As the Norman doors may be said to be all of semi- 
 circular arches, these may be said to be all pointed, at 
 least all the exterior ornamented ones; for there are 
 small interior doors of this style with flat tops, and 
 the sides of the top supported by a quarter circle from 
 each side. The large doors of this style are often 
 double, the two being divided by either one shaft or 
 several clustered, and a quatrefoil or other ornament 
 over them. The recess of these doors is often as deep 
 as the Norman, but the bands and shafts are more 
 numerous, being smaller; and in the hollow mould- 
 ings they are frequently enriched with the peculiar 
 ornament of this style — a singular toothed projection, 
 which, when well executed, has a fine effect. But 
 although this ornament is often used, (and sometimes 
 a still higher enriched moulding, or band of open-work 
 
57 
 
 flowers,) there are many doors of this style perfectly 
 plain ; of this kind the door of Christ church, Hants, 
 is a fine specimen. 
 
 The dripstone is generally clearly marked, and often 
 small, and supported by a head. In many doors, a 
 trefoil, and even cinquefoil feathering is used, the 
 points of which generally finish with balls, roses, or 
 some projecting ornament. The principal moulding 
 of these doors has generally an equilateral arch, but 
 from the depth and number of the mouldings, the 
 exterior becomes often nearly a semi-circle. In 
 interiors, and perhaps sometimes too in the exterior, 
 there are instances of doors with a trefoil-headed arch. 
 The shafts attached to these doors are generally round, 
 but sometimes filleted, and they generally, but not 
 always, stand quite free. They have a variety of 
 capitals, many plain, but many with delicate leaves 
 running up and curling round under the cap-moulding, 
 often looking like Ionic volutes. The bases are 
 various, but a plain round and fillet is often used, and 
 the reversed ogee sometimes introduced. The most 
 prevalent base, and what is used not only to shafts, 
 but sometimes as a base tablet, is curious, from its 
 likeness to the Grecian attic base ; like that it consists 
 of two rounds, with a hollow betw een, and that hollow 
 is often deepened, so that if water gets into it the water 
 remains, and it is almost the only instance of a mould- 
 ing used in English work which will hold water, they 
 being in general so constructed as entirely to free 
 themselves of rain, and in a great measure of snow. 
 All these mouldings are cut with great boldness, the 
 hollows form fine deep shadows, and the rich bands 
 of open-work leaves are as beautiful as those executed 
 at any subsequent period, being sometimes entirely 
 hollow, and having no support but the attachment at 
 the sides, and the connexion of the leaves themselves. 
 These doors are not so numerous as the INorman, 
 yet many still remain in perfect preservation — York, 
 Lincoln, Chichester, and Salisbury, have extremely 
 
58 
 
 fine ones, and Beverley minster one, of which the 
 mouldings are bolder than most others. The door 
 of the transept at York, and those of the choir-screen 
 at Lincoln, have bands of the richest execution, and 
 there is a fine double door at St. Cross. Litchfield 
 cathedral presents a door curious for its resemblance to 
 some foreign cathedrals ; it is placed in a shallow porch 
 formed in the thickness of the wall, the arch of which 
 is richly feathered, and otherwise ornamented ; the 
 interior aperture is divided into two doorways by a pier 
 of shafts, and this pier, as well as the side piers of 
 both the apertures, has a statue fixed against it, resting 
 on a corbel, and crowned with a canopy. The recess 
 is groined, and the whole is worked with great 
 delicacy, and full of rich ornament ; the interior por- 
 tion is in tolerable preservation, the exterior much 
 decayed; the doors appear original, and are covered 
 with beautiful ramifications of scroll-work, in iron. 
 Indeed there are many wooden doors, both of this style 
 and Norman, which seem to be of the same age as the 
 stone-work. 
 
 Early English Windows. 
 
 These are, almost universally, long, narrow, and 
 lancet-headed, generally without feathering, but in 
 some instances trefoiled. 
 
 A variety of appearance results from the combination 
 of this single shape of window. At Salisbury, one 
 of the earliest complete buildings remaining, there are 
 combinations of two, three, five, and seven. Where 
 there are two, there is often a trefoil or quatrefoil 
 between the heads; and in large buildings, where 
 there are three or more, the division is often so small 
 that they seem to be the lights of a large window, 
 but they are really separate windows, having their 
 heads formed from individual centres, and in general 
 separate dripstones. This is the case even at Westmin- 
 ster, where they approach nearer to a division by 
 
59 
 
 mullions, from having a small triangle pierced beside 
 the quatrefoil, and a general dripstone over all. It 
 appears that the double window, with a circle over it, 
 sometimes pierced and sometimes not, began to be 
 used early in the style, for we find it at Salisbury; 
 and this continued the ornamented window till the 
 latest period of the style ; it was indeed only making 
 a double door into a window. In the more advanced 
 period it was doubled into a four-light window — at 
 Salisbury, in the cloisters and chapter-house ; and the 
 east window of Lincoln cathedral is of eight lights, 
 formed by doubling the four-light, still making the 
 circle the ornament. This window is in fact a Deco- 
 rated window, but together with the whole of that 
 part of the choir is singularly and beautifully accom- 
 modated to the style of the rest of the building. In 
 small buildings, the windows are generally plain, with 
 the slope of the opening considerable, and in some 
 small chapels they are very narrow and long. In large 
 buildings they are often ornamented with very long 
 and slender shafts, which are frequently banded. 
 Most of our cathedrals contain traces of windows of 
 this character, but some, as at Durham, have tracery 
 added since their original erection. Salisbury, Chi- 
 chester, Lincoln, Beverley, and York, still remain 
 pure and beautiful ; at York north transept are 
 windows nearly fifty feet high, and about six or eight 
 wide, which have a very fine effect. Although the 
 architects of this style worked their ordinary windows 
 thus plain, they bestowed much care on their circles. 
 Beverley minster, York and Lincoln, have all circles 
 of this style peculiarly fine; that of the south transept 
 at York, usually called the marygold window, is 
 extremely rich, but the tracery of the circles at West- 
 minster is of a much later date. 
 
 There is in all the long windows of this style, one 
 almost universal distinction ; from the straight side of 
 the window opening, if a shaft is added, it is mostly 
 insular, and has seldom any connexion with this side, 
 
60 
 
 so as to break it into faces, though the shafts are 
 inserted into the sides of the doors, so as to give great 
 variety to the opening. 
 
 At Westminster abbey, there are a series of win- 
 dows above those of the aisles, which are formed in 
 spherical equilateral triangles. 
 
 Early English Arches. 
 
 The window-arch of this style being generally a 
 lancet arch, and some persons having considered the 
 shape of the arch to be a very distinguishing feature 
 of the different styles, it may be necessary in this 
 place to say a few words on arches generally. If we 
 examine with care the various remains of the different 
 styles, we shall see no such constancy of arch as has 
 been apprehended ; for there are composition lancet 
 arches used both at Henry the VII.'s chapel W est- 
 minster, and at Bath ; and there are flat segmental 
 arches in the Early English part of York ; and upon 
 the whole it will appear, that the architect was not 
 confined to any particular description of arch. The 
 only arch precisely attached to one period, is the four- 
 centred arch, which does not appear in windows, &c. 
 if it does in composition, before the Perpendicular style. 
 In large buildings, the nave arches of the Early English 
 style were often lancet, but in some large and many 
 small ones, they are flatter, some of one-third drop, 
 and perhaps even more, and sometimes pointed 
 segmental. 
 
 At Canterbury, in the choir, are some curious 
 pointed horse-shoe arches, but these are not common. 
 
 The architraves of the large arches of rich buildings 
 are now beautifully moulded like the doors, with deep, 
 hollow mouldings, often enriched with the toothed 
 ornament. Of this description, York transepts, and 
 the nave and transepts of Lincoln, are beautiful 
 specimens ; Salisbury is worked plainer, but not less 
 really beautiful, and Westminster abbey is (the nave 
 
61 
 
 at least) nearly plain, but with great boldness of 
 moulding. 
 
 The arches of the gallery in this style, are often 
 with trefoiled heads, and the mouldings running round 
 the trefoil, even to the dripstone ; Chester choir is a 
 fine specimen, and there are some plain arches of this 
 description in Winchester cathedral which are very 
 beautiful. 
 
 Early English Piers. 
 
 Of the piers of large buildings of this style, there 
 are two distinguishing marks ; first, the almost con- 
 stant division, by one or more bands, of the shafts 
 which compose them ; and secondly, the arrangement 
 of these shafts for the most part in a circle. In 
 general they are few, sometimes only four, sometimes 
 eight, set round a large circular one ; such are the 
 piers of Salisbury and of Westminster abbey ; there 
 are sometimes so many as nearly to hide the centre 
 shaft, as at Lincoln and York ; but the circular arrange- 
 ment is still preserved, and there are some few, as at 
 the choir at Chester, which come very near the 
 appearance of Decorated piers. Amongst other piers, 
 one not very common deserves to be noticed ; it is 
 found at Beverley minster, and in a few other churches ; 
 it consists of shafts, some of which are plain rounds, 
 others filleted rounds, and some whose plan is a 
 spherical triangle, with the edge outwards ; at Run- 
 corn church, Cheshire, is a pier consisting of four 
 of these triangular shafts, with a handsome flowered 
 capital, which has altogether a very fine effect. 
 
 The capitals of these shafts are various ; in many, 
 perhaps the greater number of buildings, they are 
 plain, consisting of a bell with a moulding under it, 
 and a sort of capping, with more mouldings above, 
 and these mouldings are often continued round the 
 centre pier, so as to form a general capital. The 
 dividing bands are formed of annulets and fillets, and 
 
62 
 
 are often continued under windows, &c. as tablets, 
 and are, like the capitals, sometimes continued round 
 the centre shaft. Another and richer capital is some- 
 times used, which has leaves like those in the capitals 
 of the door shafts. This kind of capital is generally 
 vised where the shafts entirely encompass the centre 
 one, as at York and Lincoln, and has a very fine 
 effect, the leaves being generally extremely well 
 executed. The bases used are frequently near 
 approaches in contour to the Grecian attic base, but 
 the reversed ogee is sometimes employed. There is 
 another pier, in buildings that appear to be of this 
 style, which is at times very confusing, as the same 
 kind of pier seems to be used in small churches even 
 to a very late date ; this is the plain multangular 
 (generally octagonal) pier, with a plain capital of a 
 few very simple mouldings, and with a plain sloped 
 arch. Piers of this description are very frequent, and 
 it requires great nicety of observation and discrimina- 
 tion to refer them to their proper date ; but a minute 
 examination will often, by some small matter, detect 
 their age, though it is impossible to describe the 
 minutiae without many figures. In general the capitals 
 and bases will carry in their character sufficient marks 
 to determine their date, except in the transition from 
 Early English to Decorated. 
 
 Early English Buttresses. 
 
 These are of four descriptions : 
 
 1st. A flat buttress is often used, but it is not always 
 so broad as the Norman; its tablets are more delicate, 
 and it has often the small shaft at the angle like the 
 Norman. 
 
 2nd. A buttress not so broad as the flat one, but 
 nearly of the same projection as breadth, and carried up> 
 sometimes with only one set-off, and sometimes without 
 any, and these have often their edges chamfered from 
 the window tablet. They sometimes have a shaft at 
 
63 
 
 the comer, and in large rich buildings are occasionally 
 pannelled. These buttresses have also, at times, much 
 more projection than breadth, and are sometimes, as 
 at Salisbury, filled with niches and other ornaments. 
 
 3d. A long slender buttress, of narrow face and 
 great projection in few stages, is used in some towers, 
 but is not very common. 
 
 4th. Towards the latter part of this style, the but- 
 tress in stages was used, but it is not very common, 
 and is sufficiently distinguished by its triangular head, 
 the usual finish of this style, which can hardly be 
 called a pinnacle, though sometimes it slopes off from 
 the front to a point. From the buttresses of the aisles 
 to those of the nave, choir, &c. now began to be used 
 the flying buttress, of which Salisbury and Chichester 
 cathedrals present various fine examples. 
 
 Early English Tablets. 
 
 The cornice is sometimes rich in mouldings, and 
 often with an upper slope, making the face of the 
 parapet perpendicular to the wall below. There are 
 cornices of this style still resembling the Norman 
 projecting parapet, but they consist of several mould 
 ings. The hollow moulding of the cornice is generally 
 plain, seldom containing flowers or carvings, except 
 the toothed ornament, but under the mouldings there 
 is often a series of small arches resembling the corbel 
 table. 
 
 The dripstone of this style is various, sometimes of 
 several mouldings, sometimes only a round with a 
 small hollow. It is, in the interior, occasionally 
 ornamented with the toothed ornament, and with 
 flowers. In some buildings, the dripstone is returned, 
 and runs as a tablet along the walls. It is in general 
 narrow, and supported by a corbel, either of a 
 head or a flower. There are frequently, in large 
 buildings, in the ornamented parts, bands of trefoils, 
 quatrefoils, &c. some of them very rich. Although a 
 
64 
 
 sort of straight canopy is used over some of the niches 
 of this style, yet it does not appear to have been used 
 over windows or doors. In some buildings where they 
 are found, they appear to be additions. The tablets 
 forming the base-mouldings are sometimes a mere 
 slope ; at others, in large buildings, are of several sets 
 of mouldings, each face projecting farther than the 
 one above it ; but the reversed ogee is very seldom 
 used, at least at large and singly. 
 
 Early English Niches. 
 
 The most important niches are those found in 
 chancels, in the walls of the south side, and of which 
 the uses do not yet appear to be decided. Of these 
 there are many of all stages of Early English ; there 
 are sometimes two, but oftener three, and they are 
 generally sunk in the wall, and adapted for a seat ; the 
 easternmost one is often higher in the seat than the 
 others. They have sometimes a plain trefoil head, 
 and are sometimes ornamented with shafts ; they are 
 generally straight-sided. The statuary niches, and 
 ornamented interior niches, mostly consist of a series 
 of arches, some of them slope-sided, and some with a 
 small but not very visible pedestal for the statue. 
 They are often grouped two under one arch, with an 
 ornamental opening between the small arches, and the 
 large one like the double doors ; a straight-sided 
 canopy is sometimes used, and a plain finial. These 
 niches, except the chancel stalls, and the stoup and 
 water-drain, are seldom single, except in buttresses, but 
 mostly in ranges. 
 
 Early English Ornaments. 
 
 The first ornament to be described is that already 
 noticed as the peculiar distinction of this style, to 
 which it seems nearly, if not exclusively confined ; it is 
 the regular progression from the Norman zigzag to 
 
65 
 
 the delicate four-leaved flowers so common in Deco- 
 rated English buildings. Like the zigzag, it is 
 generally straight-sided, and not round like the leaves 
 of a flower, though, at a distance in front, it looks 
 much like a small flower. It is very difficult to 
 describe it, and still more so to draw it accurately ; it 
 may perhaps be understood by considering it a succes- 
 sion of low, square, pierced pyramids, set on the edges 
 of a hollow moulding. This ornament is used very 
 profusely in the buildings of this style, in Yorkshire 
 and Lincolnshire, and frequently in those of other 
 counties. 
 
 Another ornament, which, though not peculiar, in 
 4 small works, to this style, was seldom but during its 
 continuance practised to so large an extent ; this is the 
 filling of the spaces above the choir-arches with squares, 
 enclosing four-leaved flowers. This is done at West- 
 minster, at Chichester, and in the screen at Lincoln, 
 in all which the workmanship is extremely good, and 
 it has a very rich effect. 
 
 In many parts, as in the spandrels of door-arches, 
 and other plain spaces, circles filled with trefoils and 
 quatrefoils, with flowered points, are often introduced. 
 These are of small depth, and are used in many build- 
 ings very freely. Sometimes instead of sunk pannels 
 a sort of boss of leaves and flowers is used, of which 
 there are some fine examples in the Early English 
 part of York minster. In the early period of the style, 
 crockets were not used, and the finial was a plain 
 bunch of three or more leaves, or sometimes only a 
 sort of knob ; but in small rich works, towards the 
 end of the style, beautiful finials and crockets were 
 introduced. 
 
 Early English Steeples. 
 
 The Norman towers were short and thick, the Early 
 English rose to a much greater height, and on the 
 tower they placed that beautiful addition the spire. 
 
 F 
 
06 
 
 Some of our finest spires are of this age, and the 
 proportions observ ed between the tower and spire, are 
 generally very good. Chichester is clearly of this 
 style, and Salisbury, though perhaps not erected till 
 within the period of the Decorated style, is yet in its 
 composition so completely of Early English character, 
 that it should be considered as such, notwithstanding 
 the date and the advance of its ornaments ; in beauty 
 of proportion it is unrivalled. The towers of Lincoln 
 and Litchfield, though perhaps not finished within the 
 date of the style, are yet of its composition; the spires 
 of Litchfield are of much later date. Wakefield 
 steeple is finely proportioned, though plain, and it is 
 singular for its machicolations in the top of the tower. 
 The towers are flanked by octagonal turrets, square 
 flat buttresses, or, in a few instances, with small long 
 buttresses; and generally there is one large octagonal 
 pinnacle at the corners, or a collection of small niches. 
 When there is no parapet, the slope of the spire runs 
 down to the edge of the wall of the tower, and finishes 
 there with a tablet ; and there is a double slope to 
 connect the corners with the intermediate faces. The 
 spire is often ornamented by ribs at the angles, some- 
 times with crockets on the ribs, and bands of squares 
 filled with quatrefoils, &c. surrounding the spire at 
 different heights. There are many good spires of 
 this style in country churches. 
 
 Early English Battlements. 
 
 During nearly the whole of this style, the parapet, 
 in many places plain, in others ornamented, continued 
 to be used; at Salisbury it has a series of arches and 
 pannels, and at Lincoln quatrefoils in sunk pannels. 
 Perhaps some of the earliest battlement is that at the 
 west end of Salisbury cathedral, plain, of nearly equal 
 intervals, and with a plain capping moulding ; but it 
 may be doubted if even this is original. In small 
 ornamented works, of the latter part of this style, a 
 small battlement of equal intervals occurs 
 
67 
 
 Early English Roofs. 
 
 The roof of the nave of Salisbury cathedral presents 
 the best specimen of Early English groined roof; it 
 has cross springers, and the rib from pier to pier, but 
 it has no rib running longitudinally or across at the 
 point of the arches. Another description of groining, 
 also peculiar to Early English works, is one with an 
 additional rib between the cross springer and the wall, 
 and between the cross springer and the pier rib; this 
 has a longitudinal and cross rib at the point of the 
 arches, but it does not run to the wall, being stopt by 
 the intermediate rib. The old groining, in a passage 
 out of the cloisters, at Chester, is a very good speci- 
 men of this roof. Another variety is found at 
 Litchfield, where there is no pier rib, but the two 
 intermediate ribs are brought nearer together, and the 
 longitudinal rib runs between them. The rib mouldings 
 of these groins are not very large, and consist of 
 rounds and hollows, and often have the toothed 
 ornament in them, and at Litchfield a sort of leaf. 
 The bosses in these roofs are not many or very large, 
 the intersections being frequently plain, but some of 
 the bosses are very well worked. There do not 
 appear to be any Early English wooden roofs which 
 can clearly be distinguished to be such. 
 
 Early English Fronts. 
 
 There is, perhaps, a greater variety in the Early 
 English fronts, than in those of any other style ; the 
 west front of Salisbury is, no doubt, the finest ; but 
 the transept ends of Salisbury, York, and Beverley, 
 are very fine, and all different in composition. The 
 ruins of Tynemouth priory, Valle Crucis abbey, 
 By land abbey, and Whitby abbey, all exhibit the 
 remains of excellent work. Of the smaller works the 
 east end of the lady-chapel at Salisbury, the extreme 
 
68 
 
 east end of Hereford cathedral, and the north transept 
 of Headon church, near Hull, deserve attention. In 
 general the west fronts and transept ends have a door, 
 and one, two, three, or even four ranges of niches, 
 windows, and arches over them. The transepts of 
 Westminster abbey are very fine, but much of the 
 work is not original. The west front of Lincoln 
 minster deserves minute examination for its details; 
 the old Norman front is encompassed by Early English, 
 the workmanship of which is very superior; and a 
 large feathered circle over the great door is nearly 
 unique, from the exquisite workmanship of its mould- 
 ings, which consist of open-work bands of flowers. 
 The west front of Peterborough cathedral is different 
 from all the rest; it consists of three large arches, 
 forming a sort of screen to the front. These arches 
 have piers of many shafts, and fine architraves, and 
 the gables enriched with much small work of circles 
 and arches, and a profusion of the toothed ornament 
 over the whole. 
 
 Early English Porches. 
 
 Of these, which are in general larger than the 
 Norman porches, it will be sufficient to mention two; 
 one the north porch of Salisbury cathedral, and the 
 other the south porch at Lincoln. The first is 
 attached to the north side of the nave, of which it 
 occupies one division, rising as high as the aisles; it 
 consists of a noble plain arched entrance, over which 
 are two double windows, close together, resting 
 on a tablet ; and quite in the peak of the gable, two 
 small niches close together resting on another string. 
 The interior is groined in two divisions, and its walls 
 ornamented witn sunk pannelling. The porch at Lin- 
 coln is placed in a singular situation, running westerly 
 from the west side of the south transept. The lower 
 part is a rich piece of groined work, with three 
 entrances — north, south, and west, over which is a 
 
69 
 
 small room ; the whole of this porch, both interior and 
 exterior, is well worked, and richly ornamented. 
 
 The general appearance of Early English building 
 is magnificent, and rich rather from the number of 
 parts than from its details. In those buildings where 
 very long windows are used, there is a grandeur 
 arising from the height of the divisions ; in smaller 
 buildings there is much simplicity of appearance, 
 and there is a remarkable evenness in the value of the 
 workmanship. There is much of the other styles which 
 appears evidently to be the copy by an inferior hand 
 of better workmanship elsewhere; this is remarkably 
 the case in Perpendicular work, but is hardly any 
 where to be found in Early English work, all appears 
 well designed and carefully executed. 
 
 Of this style we have the great advantage of one 
 building remaining, worked in its best manner, of 
 gnat size and in excellent preservation; this is Salis- 
 bury cathedral, and it gives a very high idea of the 
 great improvement of this style on the Norman. 
 Magnificent without rudeness, and rich, though simple, 
 it is one uniform whole. The west front is ornament- 
 ed, but by no means loaded, and the appearance of 
 the north side is perhaps eqvial to the side of any 
 cathedral in England. The west front of Lincoln is 
 fine, but the old Norman space is too visible not to 
 break it into parts. Peterborough and Ely have 
 perhaps the most ornamented fronts of this style. 
 As interiors, after Salisbury, the transepts of York are 
 perhaps the best specimens, though there are parts of 
 many other buildings deserving much attention. 
 
 In the interior arrangement of large buildings we 
 find the triforium a very prominent feature; it is large 
 in proportion to the work above and below it, and is 
 generally the most ornamented part of the work. In 
 small churches the triforium is generally omitted. 
 Among the greatest beauties of this style are some of 
 the chapter-houses, of which Lincoln and Litchfield, 
 both decagons, but of very different arrangement; 
 
70 
 
 and those of Chester and Oxford, both parallelograms, 
 deserve particular attention ; but that of Salisbury, a 
 regular octagon, and of a character quite late in the 
 style, is one of the most beautiful buildings remaining. 
 Its composition is peculiarly elegant, and its execution 
 not excelled by any. 
 
 There appear to be fewer fonts of this style remain- 
 ing than of any other, at least of such as can be 
 clearly marked as belonging to the style. 
 
 Not much has been done in either restoring or 
 imitating this style; it is certainly not easy to do 
 either well, but it deserves attention, as in many 
 places it would be peculiarly appropriate, and perhaps 
 is better fitted than any for small country churches. 
 It may be worked almost entirely plain, yet if 
 ornament is used, it should be well executed; for the 
 ornaments of this style are in general as well executed 
 as any of later date, and the toothed ornament and 
 hollow bands equal, in difficulty of execution, the 
 most elaborate Perpendicular ornaments. 
 
 If the transition from Norman to Early English 
 was gradual, much more so was that from Early 
 English to Decorated ; and we have several curious 
 examples of this transition on a large scale. West- 
 minster abbey, though carried on for a long time, 
 appears to have been carefully continued on the original 
 design ; and except a very few parts, some of which 
 are quite modern, may be considered good Early 
 English throughout; but in the cloisters there is much 
 gradation. Ely cathedral presents Early English of 
 several dates, from just clear of Norman to almost 
 Decorated character. The nave of Litchfield, though 
 clearly Early English in composition, has the windows 
 of the aisles as clearly Decorated. Perhaps the finest 
 piece of accommodation between the styles is the lady- 
 chapel at Lincoln, which is evidently Decorated, but 
 executed so as beautifully to harmonize with the work 
 about it. 
 
71 
 
 Early English staircases (except round ones in 
 towers) are not common; it is proper therefore to 
 remark a small one, of rich character, at Beverley min- 
 ster; it leads from the north aisle of the choir to some 
 adjacent building, and consists of a series of arches 
 rising each higher than the former, with elegant shafts 
 and mouldings. There is another in the refectory (now 
 a grammar-school) at Chester, leading up to a large 
 niche or sort of pulpit, for the reader. 
 
 In this style ought to be noticed those beautiful 
 monuments of conjugal affection, the crosses of 
 Queen Eleanor. Of these, three remain sufficiently 
 perfect to be restored, if required, and to do which 
 little would be wanted to two of them. One at 
 Geddington in Northamptonshire, is comparatively 
 plain, but those of Northampton and Waltham are 
 peculiarly rich, and of elegant composition; there is 
 enough of Early English character in them to mark 
 their date, and enough of Decorated richness to 
 entitle them to be ranked as buildings of that style; 
 that of Northampton is the most perfect, but that at 
 Waltham is, on the whole, the most beautiful in its 
 details. 
 
 There are few, if any, castellated remains in which 
 this style can be clearly made out. 
 
 t\)t &t)ttU, or Becorateti fgngltsf) gtple* 
 
 Decorated English Doors. 
 
 The large doors of the last style are mostly double, 
 and there are some fine oner* of this, but they are not 
 so common, there being more shigle doors, which are 
 often nearly as large as the Earl} English double ones, 
 and indeed but for the ornaments they are much alike, 
 having shafts and line hollow mouldings. The small 
 doors are frequently without shafts, but the arch- 
 
72 
 
 mouldings run down the side, and almost to the 
 ground, without a base, — the mouldings being set upon 
 a slope, and frequently, when the base tablets consist 
 of two sets of mouldings with a face between, it is 
 only the lower one which runs into the architrave to 
 stop the mouldings. The shafts do not in this style 
 generally stand free, but are parts of the sweep of 
 mouldings; and instead of being cut and set up 
 lengthways, all the mouldings and shafts are cut on 
 the arch-stone, thus combining great strength with all 
 the appearance of lightness. The capitals of these 
 shafts differ from the Early English, in being formed 
 of a woven foliage, and not upright leaves ; this, in 
 small shafts, generally has an apparent neck, but in 
 larger ones often appears like a round ball of open 
 foliage. There are also, in many good buildings, plain 
 capitals without foliage ; these have an increased number 
 of mouldings from those of the last style, and they 
 generally consist of three sets, — one which may be 
 considered the abacus, then a hollow and another set, 
 then the bell of the capital, and then the mouldings 
 forming the astragal: and both in plain and flowered 
 capitals, where the shaft is filleted, it is common for 
 the fillet to run through the astragal, and appear to 
 die into the bell. Of these plain capitals, the cathedral 
 of Exeter, and the cloisters of Norwich, furnish very 
 fine specimens. The bases to these shafts mostly 
 consist of the reversed ogee, but other mouldings are 
 often added, and the ogee made in faces. Although 
 the doors in general are not so deeply recessed, as the 
 Norman and Early English, yet in many large build- 
 ings they are very deep. The west doors of York 
 are of the richest execution, and very deep. 
 
 To the open-work bands of the last style, succeeds 
 an ornament equally beautiful, and not so fragile ; this 
 is the flowered moulding ; there are often three or four 
 in one door- way, and to the toothed ornament succeeds 
 a flower of four leaves, in a deep moulding, with 
 considerable intervals between. This flower, in some 
 
73 
 
 buildings, is used in great profusion to good effect. 
 Over these doors, there are several sorts of canopies; 
 the dripstone is generally supported by a corbel, 
 which is commonly a head ; in some instances a plain 
 return is used, but that return seldom runs horizon- 
 tally. The canopy is sometimes connected with the 
 dripstone, and sometimes distinct. The common 
 canopy is a triangle, the space between it and the 
 dripstone is filled with tracery, and the exterior 
 ornamented with crockets, and crowned with a finial. 
 The second canopy is the ogee, which runs about half 
 up the dripstone, and then is turned the contrary way, 
 and is finished in a straight line running up into a 
 finial. This has its intermediate space filled with tracery, 
 &c. and is generally crocketed. Another sort of canopy 
 is an arch running over the door, and unconnected 
 with it, which is doubly foliated ; it has a good effect, 
 but is not common. On the side of the doors, small 
 buttresses or niches are sometimes placed. 
 
 In small churches, there are often nearly plain doors, 
 having only a dripstone and a round moulding on the 
 interior edge, and the rest of the wall a straight line 
 or bold hollow, and in some instances a straight 
 sloping side only. In some doors of this style, a series 
 of niches with statues are carried up like a hollow 
 moulding; and in others, doubly foliated traceiy, 
 hanging free from one of the outer mouldings, gives 
 a richness superior to any other decoration. The south 
 door of the choir at Lincoln is perhaps hardly any 
 where equalled of the first kind, and a door in the 
 cloisters of Norwich of the other. 
 
 Decorated English Windows. 
 
 In these, the clearest marks of the style are to be 
 found, and they are very various, yet all on one prin 
 ciple. An arch is divided by one or more mullions, 
 into two or more lights, and these mullions branch 
 into tracery of various figures, but do not run in 
 
74 
 
 perpendicular lines through the head. In small 
 churches, windows of two or three lights are common, 
 but in larger four or five lights for the aisles and 
 clerestory windows, five or six for transepts and the 
 end of aisles, and in the east and west windows seven, 
 eight, and even nine lights, are used. Nine lights 
 seem to be the extent, but there may be windows of 
 this style containing more. The west window of 
 York, and the east window of Lincoln cathedrals, are 
 of eight lights each; the west window of Exeter 
 cathedral, and the east window of Carlisle cathedral, 
 are of nine, and these are nearly, if not quite, the 
 largest windows remaining. 
 
 There may be observed two descriptions of tracery, 
 and although, in different parts, they may have been 
 worked at the same time, yet the first is generally the 
 oldest. In this first division, the figures, such as 
 circles, trefoils, quatrefoils, &c. are all worked with 
 the same moulding, and do not always regularly join 
 each other, but touch only at points. This may be 
 called geometrical tracery; of this description are the 
 windows of the nave of York, the eastern choir of 
 Lincoln, and some of the tracery in the cloisters at 
 Westminster abbey, as well as most of the windows 
 at Exeter. 
 
 The second division consists of what may be truly 
 called flowing tracery. Of this description, York 
 minster, the minster and St. Mary's, at Beverley, 
 Newark church, and many northern churches, as well 
 as some southern churches, contain most beautiful 
 specimens. The great west window at York, and the 
 east window at Carlisle, are perhaps the most elabo- 
 rate. In the richer windows of this style, and in both 
 divisions, the principal moulding of the mullion has 
 sometimes a capital and base, and thus becomes a 
 shaft. One great cause of the beauty of fine flowing 
 tracery, is the intricacy and delicacy of the mouldings ; 
 the principal moulding often running up only one or 
 two mullions, and forming only a part of the larger 
 
75 
 
 design, and all the small figures being formed in 
 mouldings which spring from the sides of the prin- 
 cipal. The architraves of windows of this style are 
 much ornamented with mouldings, which are some- 
 times made into shafts. The dripstones and canopies 
 of windows are the same as in the doors, and have 
 been described under that head. Wherever windows 
 of this style remain, an artist should copy them ; the 
 varieties are much greater than might be supposed, for 
 it is very difficult to find two alike in different 
 buildings. 
 
 It does not appear that the straight horizontal 
 transom was much if at all used in windows of this 
 style; wherever it is found there is generally some 
 mark of the window originating after the introduction 
 of the Perpendicular style ; but it may have been used 
 in some places, and there are a very few instances of 
 a light being divided in height by a kind of canopy 
 or a quatrefoil breaking the mullion; the church of 
 Dorchester, in Oxfordshire, has some very curious 
 windows of this kind. In some counties, where flint 
 and chalk are used, the dripstone is sometimes omitted. 
 The heads of the windows of this style are most 
 commonly the equilateral arch; though there are 
 many examples both of lancet and drop arches; but 
 the lancet arches are not very sharp. There are a few 
 windows of this style with square heads ; but they are 
 not very common. 
 
 The circular windows of this style are some of them 
 very fine ; there are several very good ones in compo- 
 sition at Exeter and Chichester, and the east window 
 of old St. Paul's was a very fine one ; but perhaps the 
 richest remaining is that at the south transept at 
 Lincoln, which is completely flowing. 
 
 Towards the end of this style, and perhaps after the 
 commencement of the next, we find windows of most 
 beautiful composition, with parts like the Perpendicular 
 windows, and sometimes a building has one end 
 Decorated, the other Perpendicular; such is Melrose 
 
76 
 
 abbey, whose windows have been extremely- fine, and 
 indeed the great east window of York, which is the 
 finest Perpendicular window in England, has still 
 some traces of flowing lines in its head. 
 
 This window has also its architrave full of shafts 
 and mouldings, which kind of architrave for windows 
 m seldom continued far into the Perpendicular style; 
 and therefore when a Perpendicular window has its 
 architraves so filled with mouldings, it may be con- 
 sidered early in the style. 
 
 Decorated English Arches. 
 
 Though the arch most commonly used for general 
 purposes in this style is the equilateral one, yet this 
 is by no means constant. At York this arch is used, 
 but at Ely a drop arch. The architrave mouldings of 
 interior arches do not differ much from those of the 
 last style, except that they are, perhaps, more fre- 
 quently continued down the pier without being stopt 
 at the line of capitals, and that the mouldings 
 composing them are of larger size and bolder character, 
 though in large buildings still consisting of many 
 mouldings ; of this, one of the finest examples is the 
 architrave of the choir-arches at Litchfield, which is 
 one of the best specimens of the different combinations 
 of mouldings in this style. The distinction between 
 the Early English small multiplied mouldings and the 
 bold Decorated ones, may be well observed at Chester, 
 where the arch between the choir and lady -chapel is 
 very good Early English, and the arches of the nave 
 as good Decorated work ; and these two also show the 
 difference of character of the two descriptions of pier. 
 
 The dripstones are of delicate mouldings, generally 
 supported by heads. The arches of the galleries are 
 often beautifully ornamented with foliated heads, and 
 fine canopies; and in these arches the ogee arch 
 is sometimes used, as it is freely in composition in the 
 heads of windows. 
 
77 
 
 Decorated English Piers. 
 
 A new disposition of shafts marks very decidedly 
 this style in large buildings, they being arranged 
 diamondwise, with straight sides, often containing as 
 many shafts as will stand close to each other at the 
 capital, and only a fillet or small hollow between 
 them. The shaft which runs up to support the roof, 
 often springs from a rich corbel between the outer 
 architrave mouldings of the arches; Exeter and Ely 
 are fine examples. The capitals and bases of these 
 shafts are much the same as those described in the 
 section on doors. Another pier of the richest effect, 
 but seldom executed, is that at York minster, where 
 the centre shaft is larger than those on each side, and 
 the three all run through to the spring of the roof. 
 Three also support the side of the arch; these shafts 
 are larger in proportion than those of Exeter, &c. and 
 stand nearly close without any moulding between. 
 
 Another pier, common towards the end of this style, 
 and the beginning of the next, is composed of four 
 shafts, about two-fifths engaged, and a fillet and bold 
 hollow half as large as the shafts between each ; this 
 makes a very light and beautiful pier, and is much 
 used in small churches. All these kinds of piers 
 have their shafts sometimes filleted, and the architrave 
 mouldings are often large ogees. In small country 
 churches, the multangular flat-faced pier seems to have 
 been used. 
 
 Decorated English Buttresses. 
 
 These, though very various, are all more or less 
 worked in stages, and the set-offs variously ornamented, 
 some plain, some moulded slopes, some with triangular 
 heads, and some with pannels; some with nkhes in 
 them, and with all the various degrees of ornament. 
 The corner buttresses of this style are often set 
 
78 
 
 diagonally. In some few instances small turrets are 
 used as buttresses. The buttresses are variously 
 finished; some slope under the cornice, some just 
 through it; some run up through the battlement, and 
 are finished with pinnacles of various kinds. 
 
 Of rich buttresses there are three examples which 
 deserve great attention ; the first is in the west front 
 of York minster, and may be considered in itself as a 
 magazine of the style; its lower part, to which it 
 ascends without set-off, consists of four series of niches 
 and pannelling of most delicate execution ; above this, 
 part it rises as a buttress to the tower, in four stages 
 of pannels, with triangular crocketed set-offs. The 
 first of these stages contains a series of statuary niches, 
 the rest are only pannelled. This buttress finishes 
 under the cornice with an ornamented pannel and 
 crocketed head ; the projection of the lower part of 
 this buttress is very great, and gives to the whole 
 great boldness as well as richness. The second is a 
 ruin, the east end of Howden church, Yorkshire; it 
 has also some niches, but not so many as that at 
 York. The third is also a ruin, the east end of the 
 priory at Walsingham, in Norfolk; this is very late, 
 and perhaps may be considered as almost a Per- 
 pendicular work, but it has so much of the rich 
 magnificence of the Decorated style, that from its great 
 plain spaces it deserves noticing as such ; it is in fact 
 a flat buttress set up against one face of an octagonal 
 turret, and terminates in a fine triangular head richly 
 crocketed. The buttress of the aisles of the nave of 
 York minster are small compared with those at the 
 west end, but their composition is singular, and of very 
 fine effect; they run high above the parapet as a stay 
 for the flying buttresses, and are finished by rich 
 pinnacles. 
 
79 
 
 Decorated English Tablets. 
 
 The cornice is very regular, and though in some 
 large buildings it has several mouldings, it principally 
 consists of a slope above, and a deep sunk hollow, 
 with an astragal under it ; in these hollows, flowers at 
 regular distances are often placed, and in some large 
 buildings, and in towers, &c. there are frequently 
 heads, and the cornice almost filled with them. The 
 dripstone is of the same description of mouldings, but 
 smaller, and this too is sometimes enriched with 
 flowers. The small tablet running under the window 
 has nearly the same mouldings, and this sometimes 
 runs round the buttress also. The dripstone very 
 seldom, if ever, runs horizontally, though in a few 
 instances a return is used instead of the more common 
 corbel head. 
 
 The general base tablet of this style is an ogee, 
 under which is a plain face, then a slope and another 
 plain face ; and it is not common to find real Decorated 
 buildings with more tablets, although both in the 
 Early English and Perpendicular styles, three, four, 
 and even five are sometimes used. And here another 
 singularity with respect to tablets may be mentioned; 
 it is common in Early English work for the dripstone 
 to be carried horizontally after the return at the spring 
 of the arch, till stopt by a buttress, &c. and sometimes 
 it is even carried r3und the buttress : — and the same 
 arrangement is common in Perpendicular work, but 
 very rarely, if ever, is it so used in the Decorated style. 
 
 Decorated English Niches. 
 
 These form one of the greatest beauties of the style, 
 and are very various, but may be divided into two 
 grand divisions, which, if necessary, might be again 
 variously divided, such is their diversity, but these 
 two may be sufficient. The first are pannelled niches, 
 
80 
 
 the fronts of whose canopies are even with the face of 
 the wall or buttress they are set in. These have their 
 interiors either square with a sloping side, or are 
 regular semi-hexagons, &c. In the first case, if not 
 very deep, the roof is a plain arch; but in the latter 
 case, the roof is often most delicately groined, and 
 sometimes a little shaft is set in the angles, or the ribs 
 of the roof are supported by small corbels. The pedes- 
 tals are often high and much ornamented. 
 
 The other division of niches have projecting cano- 
 pies ; these are of various shapes, some conical like a 
 spire, some like several triangular canopies joined at 
 the edges, and some with ogee heads; and in some 
 very rich buildings are niches with the canopy 
 bending forwards in a slight ogee, as well as its con- 
 tour being an ogee; these are generally crowned with 
 very large rich finials, and very highly enriched. 
 There were also, at the latter part of this style, some 
 instances of the niche with a flat-headed canopy, which 
 became so common in the next style. These project- 
 ing niches have all some projecting base, either a large 
 corbel, or a basement pedestal carried up from the 
 next projecting face below. All these niches are 
 occasionally flanked by small buttresses and pinna- 
 cles ; those of the first kind have very often beautiful 
 shafts. 
 
 The chancel stalls, of this style, are many of them 
 uncommonly rich, their whole faces being often 
 covered with ornamental carving. 
 
 Under this head, though not strictly niches, may 
 be mentioned, what appears to be very rare, some 
 wood carvings of a screen of this style; they consist 
 of ten or more divisions of pannelling in the church 
 of Lancaster; part form at present a screen for a 
 vestry, &c. and part are in a gallery as a lining to the 
 wall ; their composition is alike and simple, being an 
 arched head pannel with a triangular canopy between 
 two buttresses crowned with pinnacles; they are, 
 however, extremely rich, and varied in their details; 
 
81 
 
 the buttresses are pannelled with diversified tracery, 
 and the arch is an ogee canopy doubly feathered, and 
 filled with tracery, as is the space between the ogee 
 canopy and the triangular one, and both canopies are 
 crocketed and crowned by rich finials; though they 
 may be late in the style, yet the diversity of tracery 
 and boldness of character, combined with simplicity 
 of composition, so different from the elaborate and 
 gorgeous screen-work of Perpendicular date, seem to 
 mark them clearly as of the Decorated style. 
 
 Decorated English Ornaments. 
 
 As the word Decorated is used to designate this 
 style, and particularly as the next has been called florid, 
 as if it were richer in ornament than this, it will be 
 necessary to state, that though ornament is often 
 profusely used in this style, yet these ornaments are 
 like Grecian enrichments, and may be left out without 
 destroying the grand design of the building, while the 
 ornaments of the next are more often a minute division 
 of parts of the building, as pannels, buttresses, &c. 
 than the carved ornaments used in this style. In 
 some of the more magnificent works, a variety of 
 flowered carvings are used all over, and yet the build- 
 ing does not appear overloaded; while some of the 
 late Perpendicular buildings have much less flowered 
 carvings, yet look overloaded with ornaments, from 
 the fatiguing recurrence of minute parts, which 
 prevent the comprehension o£ the general design. 
 
 The flower of four leaves in a hollow moulding, has 
 already been spoken of, and in these hollow mouldings 
 various other flowers are introduced, as well as heads 
 and figures, some of them very grotesque; and the 
 capitals are very seldom found two alike. The foliage 
 forming the crockets and finials is also extremely rich, 
 and the pinnacle, in its various forms, is almost 
 constantly used. The spandrels of ornamental arches 
 are sometimes filled with beautiful foliage. 
 
 Gr 
 
82 
 
 An ornament almost as peculiar to the Decorated 
 style as the toothed ornament to the Early English, is 
 a small round bud of three or four leaves, which open 
 just enough to show a ball in the centre; this is 
 generally placed in a hollow moulding, and has a 
 beautiful effect. On the steeple of Salisbury, knobs 
 are used very profusely in many parts as crockets; 
 these are plain, but are so most likely on account of 
 the distance from the eye; these and some other details 
 show the Decorated date of this steeple, though its 
 composition is assimilated to the Early English build- 
 ing it is raised upon. It is seldom safe to judge of 
 date solely by the character of the ornamental carvings, 
 yet in many instances these will be very clear distinc- 
 tions. It is extremely difficult to describe, in words, 
 the different characters of Early English and Decorated 
 foliage, yet any one who attentively examines a few 
 examples of each style, will seldom afterwards be 
 mistaken, unless in buildings so completely transitional 
 as to have almost every mark of both styles. There 
 is in the Early English a certain unnatural character 
 in the foliage, which is extremely stiff, when compared 
 with the graceful and easy combinations, and the 
 natural appearance of most of the well - executed 
 Decorated foliage ; in no place can this be examined 
 with better effect than at the cathedrals of York and 
 Ely, both of which contain very excellent examples of 
 each style. 
 
 Decorated English Steeples. 
 
 At the commencement of this style, several fine 
 spires were added to towers then existing, and in after 
 times many very fine towers and spires were erected, 
 Grantham, Newark, and several other Lincolnshire 
 spires are very fine. These are generally flanked with 
 buttresses, many of which are diagonal, and are 
 generally crowned with fine pinnacles. Of these 
 spires, Newark deserves peculiar attention, it rises 
 
83 
 
 engraved in the west end of the church, and the lowef 
 parts are Early English 1 , but it is the upper story of 
 the tower and the spire which are its principal beauties. 
 This story rises from a band (which completely sur- 
 rounds the tower) of sunk pannels. The stoiy consists 
 of a flat buttress of not much projection on each side, 
 thus making eight round the tower ; these are in three 
 stages, the two lower plain, with small plain set-offs, 
 the upper pannelled with an ogee head, and an ogee 
 canopy, above which is a triangular head to the 
 buttress richly crocketed, which finishes the buttress 
 under the cornice. Between these buttresses are two 
 beautiful two-light windows, with rich canopies on the 
 dripstone, and a general canopy over both, crocketed 
 and finishing in a rich finial; in the point of this 
 canopy, between the heads of the windows, is a statue 
 in a plain small niche, and on each side of the windows 
 are other statues in niches with ogee crocketed cano- 
 pies. The tracery of these windows is very good, and 
 the architraves, both of windows and niches, are 
 composed of shafts. The cornice is filled with flowers 
 and other ornaments at small intervals, and from the 
 corners rise short octagonal pedestals, on which are 
 beautiful pinnacles finishing in statues for finials. The 
 parapet is enriched with sunk quatrefoil pannels, and 
 the spire has plain ribs and additional slopes on the 
 alternate sides; there are four heights of windows in 
 alternate faces, all, except the top row, richly crocketed. 
 On the whole, perhaps there are no specimens superior 
 in composition and execution, and few equal. There 
 are many small towers and spires which appear to be 
 Decorated ; but there are so many of them altered, 
 and with appearances so much like the next style, that 
 they require more than common examination before 
 they are pronounced absolutely Decorated; and there 
 does not appear (as far as the author has been able to 
 examine) any rich ornamented tower of large size 
 remaining, that is a pure Decorated building. The 
 west towers of York minster come the nearest to 
 
84 
 
 purity, though the tracery of the belfry windows and 
 the battlements are decidedly Perpendicular. 
 
 Decorated English Battlements. 
 
 A parapet continues frequently to be used in the 
 Decorated style, but it is often pierced in various 
 shapes, of which quatrefoils in circles or without that 
 inclosure, are very common, but another not so com- 
 mon is more beautiful ; this is a waved line, the spaces 
 of which are trefoiled ; it is well executed at the small 
 church of St. Mary Magdalen, at Oxford. Pierced 
 battlements are become very common ; of these the 
 nave of York presents a fine specimen ; the battlement 
 is an arch trefoiled or cinquefoiled, and the interval a 
 quatrefoil in a circle, the whole covered with a running 
 tablet which runs both horizontally and vertically. 
 This round quatrefoil is sometimes exchanged for a 
 square quatrefoil, as at Melrose abbey. The plain 
 battlement most in use in this style is one with small 
 intervals, and the capping moulding only horizontal; 
 but there may be some battlement perhaps of this date 
 with the capping running both vertically and horizon- 
 tally. In some small works of this style a flower is 
 occasionally used as a finish above the cornice, but it 
 is by no means common. 
 
 Decorated English Roofs. 
 
 The Decorated groined roof is an increase on the 
 last style in the number of ribs ; those of the simplest 
 kind consisted of the longitudinal and crossing rib at 
 the point of the arches, with the cross springers and 
 pier rib, with also an intermediate rib between the 
 cross springers and the pier rib and the wall arch ; and 
 these intermediate ribs increased in number, and 
 adorned with small ribs forming stars and other figures 
 by their intersections, give a variety to the groining 
 almost equal to the tracery of windows. In this style, 
 
85 
 
 the rib mouldings are generally an ogee for the 
 exterior, and hollows and rounds, with different fillets, 
 towards the ceiling; in some few instances a principal 
 and secondary rib are employed. The bosses are placed 
 at all the intersections, and are often most beautifully 
 carved. Exeter cathedral is a fine example of the 
 plain roof, and the nave of York of the richer descrip- 
 tion, as is also the chapter-house of York. 
 
 There are buildings in which, though the upper 
 roof is shown, there is a preparation for an inner roof ; 
 such is Chester cathedral, where only the lady-chapel, 
 and the aisles of the choir, are groined, and the whole 
 of the rest of the church is open ; but on the top of 
 the shafts is the commencement springing of a stone 
 roof. There is a chapel in a church in Cambridgeshire, 
 Willingham, between Ely and Cambridge, which 
 has a very singular roof ; stone ribs rise like the timber 
 ones, the intervals are pierced, and the slope of the 
 roof is of stone; it is high pitched, and the whole 
 appears of Decorated character. 
 
 There remain a few roofs, which appear to be of 
 Decorated character, that are open to the roof framing, 
 and have a sort of pannelled work in ogee quatrefoils 
 in timber, between the principals, which have arched 
 ornamental work ; of this kind is the roof of Eltham 
 palace. These are getting very scarce, as they are hardly 
 ever repaired but by new work of a totally d^ereiit 
 kind. 
 
 Decorated English Fronts. 
 
 The east fronts of Decorated buildings consist so 
 often of one large window for the chancel or choir, and 
 two smaller ones for the aisles, if there be any, that 
 little need be said of their composition, as all its 
 variation in general depends on the variety of but- 
 tresses, &c. used as finishings. Of these it may be 
 sufficient to mention three, the east ends of Lincoln 
 and Carlisle cathedrals, and Howden church. The 
 
86 
 
 first consists of a centre, and side aisles divided, and 
 flanked by tall buttresses without set-offs, but pan- 
 nelled, with canopy heads and small corbels, the angles 
 finished with shafts, and the tops of the buttresses 
 with a triangular crock eted head ; under the windows, 
 along the whole front, runs a line of pannels divided 
 by small shafts, and above them a tablet. The 
 great centre window has been described before ; it 
 has eight lights, has over it one of five lights, flanked 
 by arch-headed pannels, and the gable has an orna- 
 mented crocketed capping, and a cross; behind the 
 buttresses rise octagonal pinnacles with rich finials : the 
 windows of the aisles are of three lights, and over them 
 the gables are filled with three tier of pannels and a 
 circle, plain capping, and a cross at the point. This 
 front has a very fine effect, and is almost the only east 
 front of a cathedral which can be seen at a proper 
 distance. The east end of Carlisle is evidently a 
 Decorated wall added to an Early English building; 
 its aisles are different from each other, but all the 
 buttresses are rich ; its great beauty is the east window, 
 which is of nine lights, and in the composition of the 
 tracery is superior even to the west window of York, 
 to which the centre mullion gives a stiffness not 
 visible at Carlisle. At Howden, the tracery of the 
 great window is destroyed, and the whole in ruins; 
 but enough remains to show the symmetry of the 
 composition, and the richness and delicacy of the 
 execution. 
 
 The east end of Litchfield cathedral is a semi-hexa- 
 gon, with very fine long windows of rich tracery ; this 
 is late in the style, and seems to have been much 
 repaired at a still later date f Of west fronts one only 
 need be mentioned, but that must be allowed to be 
 nearly, if not quite, the finest west front in the king- 
 dom; it is that of York; its towers and buttresses have 
 already been spoken of, and it only remains to say, that 
 the three doors are the finest specimens of Decorated 
 4oors in the kingdom; its great window is only 
 
87 
 
 excelled by that of Carlisle. The central part over the 
 window finishes bv a horizontal cornice and battlement, 
 above which rises the pierced canopy of the window, 
 and at some distance behind the gable of the roof 
 rises with a front of fine tracery, and a pierced battle- 
 ment. It is to be regretted, that this beautiful front is 
 surrounded by buildings so near, that no good view 
 can be obtained of it, as, from the eye being brought 
 too near, the fine elevation of the tow ers is almost lost. 
 Of smaller churches, the east end of Trinity church, 
 Hull, deserves attention ; the windows are very fine, 
 but the centre one has a trace of Perpendicular work 
 in it, 
 
 Decorated English Porches. 
 
 There are not many of these remaining, but under 
 this head should be noticed three beautiful gates, which 
 are in some degree assimilated to porches ; these are 
 the gates of the abbey at Bury St. Edmund's, of 
 Thornton abbey in Lincolnshire, and of Augus- 
 tine's monastery at Canterbury; they have all rich 
 and beautifully ornamented gateways, with rooms over 
 then], and their fronts ornamented with niches, win- 
 dows, &c. and at St. Augustine's, two fine octagonal 
 towers rise above the roof. These three are of very 
 varied composition, but all contain very valuable 
 details. 
 
 The general appearance of Decorated buildings is at 
 once simple and magnificent ; simple from the small 
 number of parts, and magnificent from the size of the 
 windows, and easy flow of the lines of tracery. In 
 the interior of large buildings Ave find great breadth, 
 and an enlargement of the clerestory windows, with a 
 corresponding diminution of the triforium, which is 
 now rather a part of the clerestory opening than a 
 distinct member of the division. The roofing, from 
 the increased richness of* the groining, becomes an 
 object of attention. 
 
88 
 
 Though we have not the advantage of any one large 
 building of this style in its pure state, like Salisbury 
 in the last style, yet we have, besides many detached 
 parts, the advantage of four most beautiful models, 
 which are in the highest preservation. These are 
 at Lincoln, Exeter, York, and Ely ; and though differ- 
 ently worked, are all of excellent execution. Of these, 
 Exeter and York are far the largest, and York, from 
 the uncommon grandeur and simplicity of the design, 
 is certainly the finest; ornament is no-where spared, 
 yet there is a simplicity which is peculiarly pleasing. 
 Lincoln has already been spoken of as assimilated to 
 the Early English work around it ; and Ely has, from 
 the same necessity of assimilation to former work, a 
 larger triforium arrangement than common; though 
 not so bold in its composition as the nave of York, 
 the work at Ely is highly valuable for the beauty and 
 delicacy of its details. Amongst the many smaller 
 churches, Trinity church, at Hull, deserves peculiar 
 notice, as its Decorated part is of a character which 
 could better than any be imitated in modern work, 
 from the great height of its piers, and the smallness of 
 their size. The remains of Melrose abbey are ex- 
 tremely rich, and though in ruins, its parts are yet very 
 distinguishable. In imitations of this style, great 
 delicacy is required to prevent its running into the 
 next, which, from its straight perpendicular and hori- 
 zontal lines, is so much easier worked; whatever 
 ornaments are used, should be very cleanly executed, 
 and highly finished. 
 
 Though not so numerous as the Norman or Perpen- 
 dicular fonts, yet there are many good fonts of this 
 style remaining, and at Luton in Bedfordshire, is 
 erected round the font a beautiful chapel or baptistery, 
 of very fine composition. 
 
 As an example of transition from this style to the 
 next, the choir of York may be cited; the piers and 
 arches retain the same form as in the Decorated work 
 in the nave, but the windows, the screens, and above 
 
89 
 
 all, the east end, are clearly Perpendicular, and of very- 
 excellent character and execution. The windows still 
 retain shafts and mouldings in the architraves, and the 
 east window has a band of statuary niches as part of 
 its architrave. 
 
 There are many fine castellated remains of this style; 
 of these, it may be enough to mention Caernarvon 
 castle, and the noble gateway to Lancaster castle. 
 
 #f tl)e dfourtf), or |3erpentitcuiar j^tpie* 
 
 Perpendicular, English Doors. 
 
 The great distinction of Perpendicular doors from 
 those of the last style, is the almost constant square 
 head over the arch, which is surrounded by the outer 
 moulding of the architrave, and the spandrel filled 
 with some ornament, and over all a dripstone is gene- 
 rally placed. This ornamented spandrel in a square 
 head, occurs in the porch to Westminster hall, one of 
 the earliest Perpendicular buildings, and is continued 
 to the latest period of good execution, and in a rough 
 way much later. In large, very rich doors, a canopy 
 is sometimes included in this square head, and some- 
 times niches are added at the sides, as at King's college 
 chapel, Cambridge. This square head is not always 
 used interiorly, for an ogee canopy is sometimes used, 
 or pannels down to the arch, as at St. George's, 
 Windsor; and there are some small exterior doors 
 without the square head. The shafts used in these 
 doors are small, and have mostly plain capitals, which 
 are often octagonal, and the bases made so below 
 the first astragal. But there are still, in the early part 
 of the style, some flowered capitals; and in those to 
 the shafts of piers, in small churches, it is common for 
 the capital to have in its hollow one or two square 
 flowers. The mouldings of the capitals often contain 
 
90 
 
 (more particularly in the later dates of the style) a 
 member which is precisely the cy ma-recta of Grecian 
 work. In small works, the bases of shafts have many 
 mouldings, repetitions of ogees are mostly used, 
 intermixed with hollows or straight slopes. The 
 architraves of these doors have generally one or more 
 large hollows, sometimes filled with statuary* niches, 
 but more often plain ; this large hollow, in the archi- 
 traves of both doors and windows, is one of the best 
 marks of this style. 
 
 Perpendicular English Windows. 
 
 These are easily distinguished by their mullions 
 running in perpendicular lines, and the transoms, 
 which are now general. The varieties of the last style 
 were in the disposition of the principal lines of the 
 tracery; in this, they are rather in the disposition of 
 the minute parts ; a window of four or more lights is 
 generally divided into two or three parts, by strong 
 mullions running quite up, and the portion of arch 
 between them doubled from the centre of the side 
 division. In large windows, the centre one is again 
 sometimes made an arch, and often in windows of 
 seven or nine lights, the arches spring across, making 
 two of four or five lights, and the centre belonging to 
 each. The heads of windows, instead of being filled 
 with flowing ramifications, have slender mullions 
 running from the heads of the lights, between each 
 principal mullion, and these have small transoms till 
 the window is divided into a series of small pannels ; 
 and the heads being arched, are trefoiled or cinque- 
 foiled. Sometimes these small mullions are crossed 
 over each other in small arches, leaving minute 
 quatrefoils, and these are carried across in straight 
 lines. Und^r the transom is generally an arch ; but in 
 Yorkshire, Lincolnshire, and Nottinghamshire, and 
 perhaps in some other parts, there is a different mode 
 of foliating the straight line without an arch, which 
 
91 
 
 has a singular appearance. In the later windows of 
 this style, the transoms are often ornamented with 
 small battlements, and sometimes with flowers, which, 
 when well executed, have a very fine effect. Amidst 
 so great a variety of windows, (for perhaps full half 
 the windows in English edifices over the kingdom are 
 of this style,) it is difficult to particularize ; but 
 St. George's, Windsor, for four lights, and the cleres- 
 tory windows of Henry the VIL's chapel for five, are 
 some of the best executed. For a large window, the 
 east window of York has no equal, and by taking its 
 parts, a window of any size may be formed. There 
 are some good windows, of which the heads have the 
 mullions alternate, that is, the perpendicular line rises 
 from the top of the arch of the pannel below it. The 
 windows of the Abbey-church, at Bath, are of this 
 description. The east window of the Beauchamp 
 chapel at Warwick, is extremely rich, and has both 
 within and without many- singularities. The mullions 
 which divide it into three parts, have a part of the 
 great hollow for their moulding, which on the inside 
 is filled with very rich statuary niches ; the centre part 
 of this window is divided into very minute pannellings 
 in the upper part. 
 
 It is necessary here to say a little of a window 
 which may be mistaken for a Decorated window; this 
 is one of three lights, used in many country churches ; 
 the mullions simply cross each other, and are cinque- 
 foiled in the heads, and quatrefoiled in the three upper 
 spaces; but to distinguish this from a Decorated win- 
 dow, it will generally be necessary to examine its arch, 
 its mullion mouldings, and its dripstone, as well as its 
 being (as it often is) accompanied by a clearly Perpendi- 
 cular window at the end, or connected with it so as to 
 be evidently of that time. Its arch is very often four- 
 centred, which at once decides its date; its mullion 
 mouldings are often small, and very delicately worked ; 
 its dripstone in many instances has some clear mark, 
 
92 
 
 and when the Decorated tracery is become familiar, it 
 v, ill be distinguished from it by its being a mere folia- 
 tion of a space, and not a flowing quatrefoil with the 
 mouldings carried round it. 
 
 Large circular windows do not appear to have been 
 in use in this style; but the tracery of the circles in 
 the transepts of Westminster abbey appear to have 
 been renewed during this period. At Henry the VII. s 
 chapel, a window is used in the aisles which seems to 
 have led the way to that wretched substitute for fine 
 tracery, the square-headed windows of queen Eliza- 
 beth and king James the first's time. This window is 
 a series of small pannels forming a square head, and it 
 is not flat but in projections, and these, with the 
 octagonal towers used for buttresses, throw the exterior 
 of the building into fritter, ill-assorting with the bold- 
 ness of the clerestory windows. In most of the later 
 buildings of this style, the window and its architrave 
 completely fill up the space between the buttresses, 
 and the east and west windows are often very large; 
 the west window of St. George's, Windsor, has fifteen 
 lights in three divisions, and is a grand series of 
 pannels, from the floor to the roof; the door is amongst 
 the lower ones, and all above the next to the door is 
 pierced for the window. The east window at Glouces- 
 ter is also very large, but that is of three distinct 
 parts, not in the same line of plan. 
 
 When canopies are used, which is not so often as 
 in the last style, they are generally of the ogee 
 character, beautifully crocketed. 
 
 Perpendicular English Arches. 
 
 Although the four-centred arch is much used, 
 particularly in the latter part of the style, yet, as in 
 all the other styles, we have in this also arches of 
 almost all sorts amongst the ornamental parts of niches, 
 &c. and in the composition lines of pannels, are arches 
 from a very fine thin lancet to an almost flat segment. 
 
93 
 
 Yet, with all this variety, the four-centred arch is the 
 one most used in large buildings, and the arches of 
 other character, used in the division of the aisles, begin 
 to have what is one of the great distinctions of this 
 style, — the almost constant use of mouldings running 
 from the base all round the arch, without any stop 
 horizontally, by way of capital; sometimes with one 
 shaft and capital, and the rest of the lines running; 
 the shafts in front running up without stop to the 
 roof, and from their capitals springing the groins. In 
 window arches, shafts are now very seldom used, the 
 architrave running all round, and both window arches 
 and the arches of the interior, are often inclosed in 
 squares, with ornamented spandrels, either like the 
 doors, or of pannelling. Interior arches have seldom 
 any dripstone when the square is used. 
 
 Another great distinction of these arches, in large 
 buildings, is the absence of the triforium or gallery, 
 between the arches of the nave and the clerestory 
 windows; their place is now supplied by pannels, 
 as at St. George's, Windsor, or statuary niches, as at 
 Henry the VII.'s chapel ; or they are entirely removed, 
 as at Bath, and Manchester Old church, &c. 
 
 Perpendicular English Piers. 
 
 The massive Norman round pier, lessened in size 
 and extended in length, with shafts set round it, 
 became the Early English pier: the shafts were mul- 
 tiplied, and set into the face of the pier, which became, 
 in its plan, lozenge, and formed the Decorated pier. 
 We now find the pier again altering in shape, becoming 
 much thinner between the arches, and its proportion 
 the other way, from the nave to the aisle, increased, 
 by having those shafts which run to the roof, to sup- 
 port the springings of the groins, added in front, and 
 not forming a part of the mouldings of the arch, but 
 having a bold hollow between them : this is particularly 
 apparent at King's college chapel, Cambridge, St. 
 
}>4 
 
 George's, Windsor, and Henry the VII.'s chapel, the 
 three great models of enriched Perpendicular style; but 
 it is observable in a less degree in many others. In 
 small churches, the pier mentioned in the last style, of 
 four shafts and four hollows, is still much used; but 
 many small churches have humble imitations of the 
 magnificent arrangement of shafts and mouldings 
 spoken of above. There are still some plain octagonal, 
 &c. piers, in small churches, which may belong to this 
 age. 
 
 Though filleted shafts are not so much used as in 
 the last style, the exterior moulding of the architrave 
 of interior arches is sometimes a filleted round, which 
 has a good effect; and in general the mouldings and 
 parts of piers, architraves, &c. are much smaller than 
 those used in the last style, except the large hollows 
 before mentioned. 
 
 PERPENDICULAR ENGLISH BUTTRESSES. 
 
 These differ very little from those of the last style, 
 except that triangular heads to the stages are much 
 less used, the set-offs being much more often bold 
 projections of plain slopes; yet many fine buildings 
 have the triangular heads. In the upper story, the 
 buttresses are often very thin, and have diagonal 
 faces. There are few large buildings of this style 
 without flying buttresses, and these are often pierced ; 
 at Henry the VII.'s chapel they are of rich tracery, 
 and the buttresses are octagonal turrets. At King's 
 college chapel, Cambridge, which has only one height 
 within, the projection of the buttresses is so great as 
 to allow chapels between the wall of the nave, and 
 another level with the front of the buttresses. At 
 Gloucester, and perhaps at some other places, an arch 
 or half arch is pierced in the lower part of the buttress. 
 There are a few buildings of this style without any 
 buttresses. All the kinds are occasionally ornamented 
 with statuary niches, and canopies of various descrip- 
 
95 
 
 tions, and the diagonal corner buttress is not so common 
 as in the last style; but the two buttresses often leave 
 a square, which runs up, and sometimes, as at the 
 tower of the Old church at Manchester, is crowned 
 with a third pinnacle. 
 
 Although pinnacles are used very freely in this style, 
 yet there are some buildings, whose buttresses run up 
 and finish square without any ; of this description is 
 St. George's, Windsor, and the Beauchamp chapel. 
 The buttresses of the small eastern addition at Peter- 
 borough cathedral are curious, having statues of saints 
 for pinnacles. 
 
 In interior ornaments, the buttresses used are some- 
 times small octagons, sometimes pannelied, sometimes 
 plain, and then, as well as the small buttresses of 
 niches, are often banded with a band different from 
 the Early English, and much broader. Such are the 
 buttresses between the doors of Henry the VII.'s 
 chapel. 
 
 The small buttresses of this style attached to screen- 
 work, stall-work, and niches, are different from any 
 before used, and they form a good mark of the style. 
 The square pedestal of the pinnacle being set with an 
 angle to the front, is continued down, and on each side 
 is set a small buttress of a smaller face than this pedes- 
 tal, thus leaving a small staff between them; these 
 buttresses have set-offs, and this small staff at each 
 set-off has the moulding to it, which being generally 
 two long hollows, and a fillet between, has on the staff 
 an appearance of a spear head. It is not easy to 
 describe this buttress in words, but when once seen, 
 it will be easily recognised; and as almost every 
 screen and tabernacle niche is ornamented with them 
 in this style, they need not be long sought. The 
 niches in front of Westminster hall, (one of the best 
 and earliest Perpendicular examples,) and the niches 
 under the clerestory windows of Henry the VII.'s 
 chapel, (one of the latest) have them almost exactly 
 similar. 
 
96 
 
 Perpendicular English Tablets 
 
 The cornice is now, in large buildings, often - com- 
 posed of several small mouldings, sometimes divided 
 by one or two considerable hollows, not very deep ; 
 yet still, in plain buildings, the old cornice mouldings 
 are much adhered to; but it is more often ornamented 
 in the hollow with flowers, &c. and sometimes with 
 grotesque animals; of this the churches of Gresford 
 and Mold, in Flintshire, are curious examples, being 
 a complete chase of cats, rats, mice, dogs, and a 
 variety of imaginary figures, amongst which various 
 grotesque monkeys are very conspicuous. In the 
 latter end of the style, something very analogous to an 
 ornamented frieze is perceived, of which the canopies 
 to the niches, in various works, are examples; and 
 the angels so profusely introduced, in the later rich 
 works, are a sort of cornice ornaments. These are 
 very conspicuous at St. George's, Windsor, and 
 Henry the VII.'s chapel. At Bath, is a cornice of 
 two hollows, and a round between with fillets, both 
 upper and under surface nearly alike. The dripstone 
 of this style is, in the heads of doors and some 
 windows, much the same as in the last style, and it 
 most generally finishes by a plain return; though 
 corbels are sometimes used, this return is frequently 
 continued horizontally. 
 
 Tablets under the windows are like the dripstone, 
 and sometimes fine bands are carried round as tablets. 
 Of these there are some fine remains at the cathedral, 
 and at the tower of St. John's, Chester. 
 
 The basement mouldings ordinarily used are not 
 materially different from the last style ; reversed ogees 
 and hollows, variously disposed, being the principal 
 mouldings; but in rich buildings several mouldings 
 and alternate faces are used. 
 
97 
 
 Perpendicular English Niches. 
 
 These are very numerous, as amongst them we 
 must include nearly all the stall, tabernacle, and 
 screen-work in the English churches; for there appears 
 little wood- work of an older date, and it is probable 
 that much screen-work was defaced at the Reformation, 
 bvit restored in queen Mary's time, and not again 
 destroyed; at least the execution of much of it would 
 lead to such a supposition, being very full of minute 
 tracery, and much attempt at stiffly ornamented 
 friezes. The remains of oak screen- work and tracery 
 are much greater than would be conceived possible, 
 considering the varied destructions of the Reformation 
 and civil war. Most of our cathedrals, and very many 
 smaller churches, contain tabernacle and screen-work 
 in excellent condition, and of beautiful execution ; and 
 amongst this kind of work should be reckoned the 
 great number of stalls with turn-up seats and benches; 
 these, though many of them are of abominable com- 
 position, are by no means all so; the ceremonies of 
 the church, legends, and above all, figures of animals, 
 flowers, and foliage, admirably designed and exe- 
 cuted, make up by far the greater number. At St. 
 Michael's church, Coventry, are many of the best cha- 
 racter. The benches before these stalls present, in their 
 ends and fronts, combinations of pannelling and flower- 
 work of great beauty. As an instance how late 
 wood-work was executed in a good style, there is some 
 screen-work in the church at Huyton in Lancashire, 
 in which the date is cut in such a way as to preclude 
 any doubt of its being done at the time; and the date 
 is corroborated by armorial bearings carved on the 
 same work ; this date is 1 663, a time at which all idea of 
 executing good English work in stone seems to have 
 been lost. Many niches are simple recesses, with rich 
 ogee canopies, and others have over-hanging square- 
 
 H 
 
98 
 
 headed canopies, with many minute buttresses and 
 pinnacles, crowned with battlements ; or, in the latter 
 part of the style, with what has been called the Tudor 
 flower, an ornament used instead of battlement, as an 
 upper finish, and profusely strewed over the roofs, &c. 
 of rich late buildings. Of these niches, those in 
 Henry the VII.'s chapel, between the arches and 
 clerestory windows, are perhaps as good a specimen as 
 any. Of the plain recesses, with ogee canopies, there 
 are some fine ones at Windsor. 
 
 The whole interior of the richer buildings of this 
 style, is more or less a series of pannels ; and therefore, 
 as every pannel may, on occasion, become a niche, we 
 find great variety of shape and size ; but like those 
 of the last style, they may generally be reduced to one 
 or other of these divisions. 
 
 Perpendicular English Ornaments. 
 
 The grand source of ornament, in this style, is pan- 
 nelling; indeed, the interior of most rich buildings is 
 only a general series of it; for example, King's college 
 chapel, Cambridge, is all pannel, except the floor; for 
 the doors and windows are nothing but pierced pannels, 
 included in the general design, and the very roof is a 
 series of them of different shapes. The same may be 
 said of the interior of St. George's, Windsor; and still 
 further, Henry the VII.'s chapel is so both within and 
 without, there being no plain wall all over the chapel, 
 except the exterior from below the base moulding, all 
 above is ornamental pannel. All the small chapels of 
 late erection in this style, such as those at Winchester, 
 and several at Windsor, are thus all pierced pannel. 
 Exclusive of this general source of ornament, there 
 are a few peculiar to it; one, the battlement to transoms 
 of windows, has already been mentioned ; this, in 
 works of late date, is very frequent, sometimes 
 extending to small transoms in the head of the window, 
 as well as the general division of the lights. Another, 
 
99 
 
 the Tudor flower, is, in rich work, equally common, 
 and forms a most beautiful enriched battlement, and 
 is also sometimes used on the transoms of windows in 
 small work. Another peculiar ornament of this style, 
 is the angel cornice, used at Windsor and in Henry the 
 VII.'s chapel ; but though according with the character 
 of those buildings, it is by no means fit for general 
 use. These angels have been much diffused, as 
 supporters of shields, and as corbels to support roof- 
 beams, &c. Plain as the Abbey-church at Bath is in 
 its general execution, it has a variety of angels as 
 corbels, for different purposes. 
 
 A great number of edifices of this style appear to 
 have been executed in the reign of Henry the VII, as 
 the angels so profusely introduced into his own works, 
 and also his badges — the rose and portcullis, and 
 sometimes his more rare cognizances, are abundantly 
 scattered in buildings of this style. 
 
 Flowers of various kinds continue to ornament cor- 
 nices, &c. and crockets were variously formed towards 
 the end of the style, those of pinnacles were often 
 very much projected, which has a disagreeable effect; 
 there are many of these pinnacles at Oxford, prin- 
 cipally worked in the decline of the style. 
 
 Perpendicular English Steeples. 
 
 Of these there remain specimens of almost every 
 description, from the plain short tower of a country 
 church, to the elaborate and gorgeous towers of Glou- 
 cester and Wrexham. There are various fine spires 
 of this style, which have little distinction from those 
 of the last, but their age may be generally known by 
 their ornaments, or the towers supporting them. 
 Almost every conceivable variation of buttress, battle- 
 ment, and pinnacle, is used, and the appearance of 
 many of the towers combines, in a very eminent 
 degree, extraordinary richness of execution and 
 grandeur of design. Few counties in England are 
 
100 
 
 without some good examples ; besides the two already 
 mentioned, Boston in Lincolnshire, All Saints in 
 Derby, St. Mary's at Taunton, St. George's, Doncaster, 
 are celebrated; and the plain, but excellently propor- 
 tioned, tower of Magdalen college, Oxford, deserves 
 much attention. 
 
 Amongst the smaller churches, there are many 
 towers of uncommon beauty, but few exceed Gresford, 
 between Chester and Wrexham ; indeed, the whole of 
 this church, both interior and exterior, is worth atten- 
 tive examination. Paunton, near Grantham, has also 
 a tower curious for its excellent masonry. There are 
 of this style some small churches with fine octagonal 
 lanterns, of which description are two in the city of 
 York ; and of this style is that most beautiful compo- 
 sition, the steeple of St. Nicholas, at Newcastle-upon- 
 Tyne, — a piece of composition equally remarkable for 
 its simplicity, delicacy, and excellent masonic arrange- 
 ment. Early in this style also is the steeple of St. 
 Michael at Coventry, which, but for the extreme 
 destruction of its ornaments, in consequence of the 
 nature of the stone, would be nearly unequalled. To 
 notice all the magnificent towers of this style would 
 take a volume, but the cathedrals at Canterbury and 
 York must not be omitted. At Canterbury, the central 
 tower, which has octagonal turrets at the corners, is a 
 very fine one; and the south-west tower, which has 
 buttresses and fine pinnacles, though in a different 
 style, is little inferior. At York, the centre tower is 
 a most magnificent lantern ; its exterior looks rather 
 flat, from its not having pinnacles, which seem to have 
 been intended by the mode in which the buttresses are 
 finished ; but its interior gives, from the flood of light 
 it pours into the nave and transepts, a brilliancy of 
 appearance equalled by very few, if any, of the other 
 cathedrals. 
 
101 
 
 Perpendicular English Battlements. 
 
 Parapets still continue to be used occasionally. The 
 trefoiled pannel with serpentine line is still used, but 
 the dividing line is oftener straight, making the 
 divisions regular triangles. 
 
 Of pannelled parapets, one of the finest is that of 
 the Beauchamp chapel, which consists of quatrefoils in 
 squares, with shields and flowers. 
 
 Of pierced battlements there are many varieties, but 
 the early ones frequently have quatrefoils, either for 
 the lower compartments, or on the top of the pannels 
 of the lower, to form the higher; the later have often 
 two heights of pannels, one range for the lower, and 
 another over them forming the upper ; and at Lough- 
 borough is a fine battlement of rich pierced quatre- 
 foils, in two heights, forming an indented battlement. 
 These battlements have generally a running cap 
 moulding carried round, and generally following the 
 line of battlement. There are a few late buildings, 
 which have pierced battlements, not with straight 
 tops, but variously ornamented; such is the tomb- 
 house at Windsor, with pointed upper compartments ; 
 and such is the battlement of the eastern addition at 
 Peterborough, and the great battlement of King's 
 college chapel, Cambridge, and also that most delicate 
 battlement over the lower side chapels ; this is perhaps 
 the most elegant of the kind. Sometimes on the out- 
 side, and often within, the Tudor flower is used as a 
 battlement, and there are a few instances of the use of 
 a battlement analogous to it in small works long before; 
 such is that at Waltham cross. 
 
 Of plain battlements there are many descriptions : 
 1st, that of nearly equal intervals, with a plain 
 capping running round with the outline. 2nd, The 
 castellated battlement, of nearly equal intervals, and 
 sometimes with large battlements and small intervals, 
 with the cap moulding running only horizontally, and 
 
102 
 
 the sides cut plain. 3d, A battlement like the last, 
 with the addition of a moulding which runs round the 
 outline, and has the horizontal capping set upon it. 
 4th, The most common late battlement, with the cap 
 moulding broad, of several mouldings, and running 
 round the outline, and thus often narrowing the inter- 
 vals, and enlarging the battlement. To one or other 
 of these varieties, most battlements may be reduced; 
 but they are never to be depended on alone, in 
 determining the age of a building, from the very 
 frequent alterations they are liable to. 
 
 Perpendicular English Roofs. 
 
 These may be divided into three kinds ; first, those 
 open to the roof framing ; second, those ceiled flat or 
 nearly so; and thirdly, the regular groined roof. 
 
 Of the first kind are those magnificent timber roofs, 
 of which Westminster hall is one of the finest speci- 
 mens. The beams, technically called principals, are 
 here made into a sort of trefoil arch, and the interstices 
 of the framing filled with pierced pannellings ; there 
 are also arches from one principal to another. Crosby 
 hall in Bishopsgate-street, is another roof of this de- 
 scription, as is the hall of Christchurch, Oxford, and 
 many others: this roof is not often found in churches. 
 
 The second is common in churches, and is the Per- 
 pendicular ordinary style of cieling, rich, though easily 
 constructed; a rib crossed above the pier, with a small 
 flat arch, and this was crossed by another in the 
 centre of the nave, and the spaces thus formed were 
 again divided by cross ribs, till reduced to squares of 
 two or three feet ; and at each intersection, a flower, 
 shield, or other ornament was placed. This roof was 
 sometimes in the aisles made sloping, and occasionally 
 coved. In a few instances, the squares were filled 
 with fans, &c. of small tracery. A variety of this 
 roof which is very seldom met with, is a real flat 
 cieling, like the ordinary domestic cieling of the present 
 
103 
 
 day ; of this, the post room at Lambeth palace offers 
 one specimen, and a room attached to St. Mary's hall, 
 at Coventry, another ; both these have small ribs cross- 
 ing the cieiing, and dividing it into several parts. At 
 Coventry, the intersection of these ribs in the centre, 
 and their spring from the moulding, which runs round 
 from the side walls, are ornamented with carvings. 
 
 The third, or groined roof, is of several kinds. Of 
 this it may be well to notice, that the ribs in this 
 style are frequently of fewer mouldings than before, 
 often only a fillet and two hollows, like a plain 
 mullion. We see in the groined roofs of this style 
 almost every possible variety of disposition of the ribs, 
 . and in the upper part of the arch they are in many 
 instances feathered; and these ribs are increased in the 
 later roofs, till the whole is one series of net- work, of 
 which the roof of the choir, at Gloucester, is one of 
 the most complicated specimens. The late monu- 
 mental chapels, and statuary niches, mostly present in 
 their roofs very complicated tracery. 
 
 We now come to a new and most delicate descrip- 
 tion of roof, that of fan tracery \ of which probably 
 the earliest, and certainly one of the most elegant, is 
 that of the cloisters at Gloucester. In these roofs, 
 from the top of the shaft springs a small fan of ribs, 
 which doubling out from the points of the pannels, 
 ramify on the roof, and a quarter or half-circular rib 
 forms the fan, and the lozenge interval is formed by 
 some of the ribs of the fan running through it, and 
 dividing it into portions, which are filled with orna- 
 ment. King's college chapel, Cambridge, Henry the 
 VII.'s chapel, and the Abbey-church at Bath, are the 
 best specimens, after the Gloucester cloisters; and to" 
 these may be added the aisles of St. George's, Windsor, 
 and that of the eastern addition to Peterborough. To 
 some of these roofs are attached pendants, which, in 
 Henry the VII.'s chapel, and the Divinity school at 
 Oxford, come down as low as the springing line of 
 the fans. 
 
104 
 
 The roof of the nave and choir of St. George's, 
 Windsor, is very singular, and perhaps unique. The 
 ordinary proportion of the arches and piers is half the 
 breadth of the nave; this makes the roof compartments 
 two squares, but at Windsor the breadth of the nave 
 is nearly three times that of the aisles, and this makes 
 a figure of about three squares. The two exterior 
 parts are such as, if joined, would make a very rich, 
 ribbed roof ; and the central compartment, which runs 
 as a flat arch, is filled with tracery pannels, of various 
 shapes, ornamented with quatrefoils, and forming two 
 halves of a star ; in the choir, the centre of the star is 
 a pendant. This roof is certainly the most singular, 
 and perhaps the richest in effect of any we have ; it is 
 profusely adorned with bosses, shields, &c. 
 
 There still remains one more description of roof, 
 which is used in small chapels, but not common in 
 large buildings. This is the arch roof ; in a few instances 
 it is found plain, with a simple ornament at the spring 
 and the point, and this is generally a moulding with 
 flowers, &c. but it is mostly pannelled. Of this roof, 
 the nave of the Abbey-church at Bath is a most beau- 
 tiful specimen. The arch is very flat, and is composed 
 of a series of small rich pannels, with a few large ones 
 at the centre of the compartments formed by the 
 piers. The roofs of the small chapels, on the north 
 side of the Beauchamp chapel, at Warwick, are also 
 good examples; and another beautiful roof of this 
 kind is the porch to Henry the VII.'s chapel; but 
 this is so hidden, from the want of light, as to be 
 seldom noticed. 
 
 The ribbed roofs are often formed of timber and 
 plaster, but* are generally coloured to represent stone- 
 work. 
 
 There may be some roofs of different arrangements 
 from any of these; but in general they may be referred 
 to one or other of the above heads. 
 
105 
 
 Perpendicular English Fronts. 
 
 The first to be noticed of these, and by far the finest 
 west front, is that of Beverley minster, a building 
 much less known than its great value merits it should 
 be. What the west front of York is to the Decorated 
 style, this is to the Perpendicular, with this addition, 
 that in this front nothing but one style is seen, — all is 
 harmonious. Like York minster, it consists of a 
 very large west window to the nave, and two towers 
 for the end of the aisles. This window is of nine 
 lights, and the tower windows of three lights. The 
 w indows in the tower correspond in range nearly with 
 those of the aisles and clerestory windows of the nave ; 
 the upper windows of the tower are belfry windows. 
 Each tower has four large and eight small pinnacles, 
 and a very beautiful battlement. The whole front is 
 pannelled, and the buttresses, which have a very bold 
 projection, are ornamented with various tiers of niche- 
 work, of excellent composition and most delicate 
 execution. The doors are uncommonly rich, and have 
 the hanging feathered ornament; the canopy of the 
 great centre door runs up above the sill of the window, 
 and stands free in the centre light, with a very fine 
 effect. The gable has a real tympanum, which is filled 
 with fine tracery. The east front is fine, but mixed 
 with Early English. The west fronts of Winchester, 
 Gloucester, Chester, Bath, and Windsor, are all of 
 this style, and all of nearly the same parts; — a great 
 window and two side ones, with a large door and 
 sometimes side ones ; Chester has only one side window. 
 Though in some respects much alike, they are really 
 very different. Winchester has three rich porches to 
 its doors; Gloucester a very rich battlement, with 
 the canopy of the great window running through it ; 
 Chester a very fine door, with niches on each side; 
 Bath, a curious representation of Jacob's dream, the 
 ladders forming a sort of buttresses, and angels filling 
 
106 
 
 the space about the head of the great window ; Wind- 
 sor is plain, except its noble window and beautiful 
 pierced parapet and battlements : but it is curious that 
 in all these examples the nave is flanked by octagonal 
 towers ; at Winchester and Gloucester, crowned with 
 pinnacles; at Chester and Windsor with ogee heads, 
 and at Bath by an open battlement. The ends of 
 King's college chapel, Cambridge, are nearly alike, 
 but that one has a door and the other not ; these also 
 are flanked w T ith octagonal towers, which are finished 
 with buttresses, pinnacles, and an ogee top. Of east 
 ends, York is almost the only one which preserves the 
 whole elevation, and this is the richest of all; it is 
 highly ornamented with niches in the buttresses, and 
 has octagonal turrets which finish in very tall pinnacles, 
 of a size equal to small spires, but which, from the great 
 elevation of the front, do not appear at all too large. 
 Of small churches, the west end of St. George, Don- 
 caster, and Trinity church, Hull, are fine examples ; 
 as are the east ends of Louth church in Lincolnshire, 
 and Warwick church, as well as its beautiful com- 
 panion the Beauchamp chapel. 
 
 Perpendicular English Porches. 
 
 Of these there are so many that it is no easy matter 
 to chuse examples, but three may be noticed ; first, 
 that attached to the south-west tower of Canterbury 
 cathedral, which is covered with fine niches ; secondly, 
 the south porch at Gloucester, which has more variety 
 of outline, and is nearly as rich in niches ; the third 
 is the north porch at Beverley, and this is, as a pan- 
 nelled front, perhaps unequalled. The door has a 
 double canopy, the inner an ogee, and the outer a 
 triangle, with beautiful crockets and tracery, and is 
 flanked by fine buttresses breaking into niches, and the 
 space above the canopy to the cornice, is pannelled ; 
 the battlement is composed of rich niches, and the 
 buttresses crowned by a group of four pinnacles. The 
 
107 
 
 small porches of this style are many of them very 
 fine, but few equal those of King's college chapel, 
 Cambridge. 
 
 The appearance of Perpendicular buildings is very 
 various, so much depends on the length to which 
 pannelling, the great source of ornament, is carried. 
 The triforium is almost entirely lost, the clerestory 
 windows resting often on a string which bounds the 
 ornaments in the spandrels of the arches, but there is 
 not unfrequently under these windows, in large build- 
 ings, a band of sunk or pierced pannelling of great 
 richness. 
 
 Of this style so many buildings are in the finest 
 preservation, that it is difficult to select; but, on 
 various accounts, several claim particular mention. 
 The choir at York is one of the earliest buildings; 
 indeed it is, in general arrangements, like the nave, 
 but its ornamental parts, the gallery under the win- 
 dows, the windows themselves, and much of its 
 pannelling in the interior, are completely of Perpen- 
 dicular character, though the simple grandeur of the 
 piers is the same as the nave. The choir of Gloucester 
 is also of this style, and most completely so, for the 
 whole interior is one series of open-work pannels laid 
 on the Norman work, parts of which are cut away to 
 receive them ; it forms a very ornamental whole, but 
 by no means a model for imitation. 
 
 Of the later character, are three most beautiful 
 specimens, King's college chapel, Cambridge, Henry 
 the VII.'s chapel, and St. George's, Windsor; in 
 these, richness of ornament is lavished on every part, 
 and they are particularly valuable for being extremely 
 different from each other, though in many respects 
 alike. Of these, undoubtedly St. George's, Windsor, 
 is the most valuable, from the great variety of compo- 
 sition arising from its plan ; but the roof and single 
 line of wall of King's college chapel, Cambridge, 
 deserves great attention, and the details of Henry the 
 
108 
 
 VII.'s chapel will always command it, from the great 
 delicacy of their execution. 
 
 Of small churches, there are many excellent models 
 for imitation, so that in this style, with some care and 
 examination, scarcely any thing need be executed but 
 from absolute authority. The monumental chapels of 
 this style are peculiarly deserving attention, and often 
 of the most elaborate workmanship 
 
 The fonts of this style are very numerous, and 
 of all sorts of workmanship, from the roughest de- 
 scription, to that most elaborate specimen at Wal- 
 singham church in Norfolk. To some of these remain 
 font covers of wood, of which a few are composed of 
 very good tabernacle- work. 
 
 The castellated remains of this style are generally 
 much altered, to render them habitable; parts of 
 Windsor castle are good ; the exterior of Tattershall 
 castle, in Lincolnshire, remains nearly unaltered. 
 
 iHtsrellaneotts Remarks on iUtttlHtngs of fSngltst) 
 
 &rc|)fterture* 
 
 Having now given an outline of the details of the 
 different styles, it remains to speak of a few matters 
 which could not so well be previously noticed. As 
 one style passed gradually into another, there will be 
 here and there buildings partaking of two, and there 
 are many buildings of this description whose dates are 
 not at all authenticated. 
 
 There is one building which deserves especial men- 
 tion, from the singularity of its character, ornaments, 
 and plan; this is Iloslyn chapel. It is certainly 
 unclassable as a whole, being unlike any other building 
 in Great Britain of its age, (the latter part of the 
 fifteenth century,) but if its details are minutely 
 examined, they will be found to accord most com- 
 pletely, in the ornamental work, with the style then 
 
109 
 
 prevalent, though debased by the clumsiness of the 
 parts, and their want of proportion to each other. 
 There seems little doubt that the designer was a 
 foreigner, or at least took some foreign buildings for 
 his model. 
 
 It will be proper to add a few words on the alter- 
 ations and additions which most ecclesiastical edifices * 
 have received; and some practical remarks as to 
 judging of their age. The general alteration is that 
 of windows, which is very frequent ; very few churches 
 are without some Perpendicular windows. We may 
 therefore pretty safely conclude that a building is as 
 old as its windows, or at least that part is so which 
 contains the windows ; but we can by no means say 
 so with respect to doors, which are often left much 
 older than the rest of the building. 
 
 A locality of style may be observed in almost every 
 county, and in the districts where flint abounds, it is 
 sometimes almost impossible to determine the date of 
 the churches, from the absence of battlements, archi- 
 traves, and buttresses; but wherever stone is used, it 
 is seldom difficult to assign each part to its proper 
 style, and with due regard to do the same with plates 
 of ordinary correctness, a little habitual attention 
 would enable most persons to judge at once, at the 
 sight of a plate or drawing, of its correctness, from its 
 consistency, or the contrary, with the details of its 
 apparent style. 
 
 In a sketch like the present, it is impossible to 
 notice every variety; but at least the author now 
 presents the world with a rational arrangement of the 
 details of a mode of architecture on many accounts 
 valuable, and certainly the most proper for ecclesiastical 
 edifices. Still further to enable the reader to distin- 
 guish the principles of Grecian and English architecture, 
 he adds a few striking contrasts, which are formed by 
 those principles in buildings of real purity, and which 
 will at once convince any unprejudiced mind of the 
 impossibility of any thing like a good mixture* 
 
110 
 
 Grecian. 
 The general running 
 lines are horizontal. 
 
 Arches not necessary. 
 
 An entablature abso- 
 lutely necessary, consisting 
 always of two, and mostly 
 of three distinct parts, 
 having a close relation to, 
 and its character and orna- 
 ments determined by the 
 columns. 
 
 The columns can sup- 
 port nothing but an entab- 
 lature, and no arch can 
 spring directly from a 
 column. 
 
 A flat column may be 
 called a pilaster, which can 
 be used as a column. 
 
 The arch .must spring 
 from a horizontal line. 
 
 Columns the supporters 
 of the entablature. 
 
 English. 
 The general running 
 lines are vertical. 
 
 Arches a really funda- 
 mental principal, and no 
 pure English building or 
 ornament can be composed 
 without them. 
 
 No such thing as an 
 entablature composed of 
 parts, and what is called a 
 cornice, bears no real rela- 
 tion to the shafts which 
 may be in the same build- 
 ing. 
 
 The shafts can only sup- 
 port an arched moulding, 
 and in no case a horizontal 
 line. 
 
 Nothing analogous to a 
 pilaster; every flat orna- 
 mented projecting surface, 
 is either a series of pannels, 
 or a buttress. 
 
 No horizontal line ne- 
 cessary, and never any but 
 the small cap of a shaft. 
 
 Shaft bears nothing, and 
 is only ornamental, and 
 the round pier still a pier. 
 
1 
 
 11 
 
 Grecian. 
 No projections like but- 
 tresses, and all projections 
 stopped by horizontal lines. 
 
 Arrangement 
 ment fixed. 
 
 of pedi- 
 
 Openings limited by the 
 proportions of the column. 
 
 Regularity of composi- 
 tion on each side of a 
 centre necessary. 
 
 Cannot form good stee- 
 ples, because they must re- 
 semble unconnected build- 
 
 English. 
 Buttresses essential parts, 
 and stop horizontal lines. 
 
 Pediment only an orna- 
 mented end wall, and may 
 be of almost any pitch. 
 
 Openings almost unli- 
 mited. 
 
 Regularity of composi- 
 sition seldom found, and 
 variety of ornament uni- 
 versal. 
 
 From its vertical lines, 
 may be carried to any 
 practicable height, with 
 
 ings piled on each other, j almost increasing beauty 
 
 In the foregoing details w r e have said little of castel 
 lated or domestic architecture; because there does not 
 appear to be any remains of domestic buildings, so old 
 as the latest period of the English style, which are 
 unaltered; and because the castellated remains are so 
 uncertain in their dates, and so much dilapidated or 
 altered, to adapt them to modern modes of life or 
 defence, that little clear arrangement could be made, 
 and a careful study of ecclesiastical architecture will 
 lead any one, desirous to form some judgment of the 
 character of these buildings, to the most accurate 
 conclusions on the subject which can well be obtained 
 in their present state. 
 
112 
 
 Nor has any thing been said of monuments, because, 
 should they bear the name of the deceased, and the date 
 of his death, they were often erected long after; thus 
 Osric's tomb at Gloucester, and that of King John at 
 Worcester, are both of Perpendicular date, if their 
 style may be considered as any guide. Most of the 
 monuments which are valuable, will have their style 
 ascertained by what has been said of larger erections. 
 There are many which deserve much attention, for the 
 excellence of their workmanship and composition; of 
 these may be noted those of Aymer de Valance, earl of 
 Pembroke, in Westminster abbey, and a curious 
 monument in Winchelsea church, Sussex; the monu- 
 ment of the Percys at Beverley ; that of king Edward 
 the II. at Gloucester, and that of Richard Beauchamp, 
 earl of Warwick, in the centre of the Beauchamp 
 chapel ; with several at Canterbury, York, and Win- 
 chester. 
 
 There are two which are so singular, and so different 
 from the style in use at the time of their erection, that 
 they require particular remark; these are, the shrine 
 of Edward the Confessor, and the tomb of Henry the 
 III, both erected near the same time, and probably 
 by the same artist, who has been stated to be an 
 Italian; and this may account for the style of these 
 monuments, where, with some few traces of the 
 Early English, (the style in use at the time of their 
 erection,) there is much close resemblance to Roman 
 work ; added to which they are covered with Mosaic 
 work, which has been much used in Italy. 
 
 The object of this essay being to lead the student to 
 examine and judge of buildings for himself, it has 
 appeared advisable to refer him to some buildings in 
 almost every part of the Kingdom; and in forming 
 this list, (which follows the description of the plates,) 
 it has been rather sought to refer to examples of 
 good character than to swell the number by those 
 which were doubtful ; ruins have not often been 
 referred to, except where they contain, either in com- 
 
113 
 
 position or detail, some parts of considerable value; 
 sometimes it is only a part of the building referred to 
 which is valuable ; and it should always be borne in 
 mind, that the alterations which are continually taking 
 place, may make some of the references incorrect. It 
 is possible, that on the borders some churches may be 
 placed in a wrong county, from the division not being 
 well known. 
 
 Description of the Plates of English Architecture. 
 
 (No relative proportion has been preserved between the various subjects 
 engraved on each plate, it being the forms which are to be considered, each of 
 which is given of the size most convenient for the requisite clearness of 
 delineation.) 
 
 PLATE V. 
 
 The design, in the centre of this plate, is intended 
 to give a general view of various parts as usually 
 defined ; and no letters of reference are employed, that 
 the student may the more completely acquire the 
 knowledge of parts by mere description. It consists 
 of a portion of wall, in which is a Perpendicular win- 
 dow of three lights and a transom. The transom heads 
 of the lights are cinquefoiled in an ogee arch, and 
 the upper lights in a plain arch ; the secondary divisions 
 above are trefoiled. This window has a dripstone 
 with plain returns. There are three buttresses ; two 
 are square-set corner buttresses, (one seen in front and 
 one in flank;) and one diagonal one, which is seen at 
 its angle. These buttresses have each three stages, and 
 three set-offs, and die under the cornice, which is flow- 
 ered. The battlement is of equal intervals, and the 
 capping runs only horizontally. Under the window is 
 a tablet, which runs round the square buttresses, and 
 stops against, or dies into, the diagonal one. The 
 
 I 
 
114 
 
 base consists of two tablets ; one an ogee and hollow, 
 and the other a plain slope. This description ought to 
 be so fully comprehended, that if measures were added, 
 the student should be able to draw the design from the 
 description, being furnished with sections, or some 
 other mode of determining the mouldings. 
 
 The two uppermost lines of the plate contain various 
 arches : 
 
 a, The semi-circular arch, b, The segmental arch. 
 c, The equilateral arch, d, The drop arch. 
 e 9 The lancet arch. J] The horse-shoe arch. 
 g 9 The ogee arch. h 9 The four-centred arch. 
 Then follow foliations or featherings : 
 t, A plain arch, trefoiled. 
 
 Ar, A square quatrefoil pannel, double feathered. 
 
 l 9 A square window-head, cinquefoiled. 
 
 m, A transom, with ogee-head to the light, cinque- 
 foiled, and the spandrels trefoiled. 
 
 n 9 A trefoiled circle : this is of Early English cha- 
 racter, and the points flowered. 
 
 o 9 A cinquefoiled circle. 
 
 p, Plan of a plain Norman pier. 
 
 q 9 A Norman pier with shafts. 
 
 r, An Early English pier with a centre. 
 
 s 9 An Early English pier from Salisbury. 
 
 /, A Decorated English pier from Chester. 
 
 % A Decorated English pier from York. 
 
 iv 9 x 9 Two Perpendicular English piers. 
 
 PLATE VI. 
 
 This plate contains parts of various styles. 
 ti\ The top of an ogee canopy, with plain bold 
 crockets, and a finial which has under it a neck 
 
 moulding. 
 
 b 9 A pinnacle, and part of its pedestal, which is 
 pannelled, and has an ogee cinquefoiled head. The 
 pinnacle has its canopies crocketed, with finials, and 
 a plain neck moulding; the points stopt by figures. 
 
115 
 
 The pinnacle has a finial and neck moulding, consisting 
 of an astragal and two fillets. 
 
 c 9 The finishing of the buttresses of the Beauchamp 
 chapel. The set-off seen is of bold hollows, and the 
 pedestal rises with a two-light pannel with trefoiled 
 heads. The upper part has four square pannels, which 
 are quatrefoiled, and the plan made octagonal by- 
 figures at the corners supporting small shafts. In the 
 capping, a flower is placed in the corners, and the 
 whole has a small battlement. 
 
 d, A portion of a dripstone from York minster ; it 
 has the ball flower in the hollow, and two varieties of 
 crockets. 
 
 e 9 A capping moulding, with two varieties of Early 
 English crockets. 
 
 f 9 The common mullion moulding, used, with 
 various proportions of its parts, in both the Decorated 
 and Perpendicular styles. 
 
 g, A Perpendicular mullion of elaborate character, 
 from the chancel of Warwick church. 
 
 h, Part of the same mullion with the exterior archi- 
 trave. 
 
 i, Half of the principal mullxons of the window at 
 the west end of Beverley minster ; this w r indow con- 
 tains four sets of mullions. 
 
 k, The common battlement capping, showing how 
 it is finished at the back. 
 
 /, The common string moulding of Decorated and 
 Perpendicular work, used for cornices and tablets of 
 various descriptions, and of sizes according to its uses. 
 
 m, A beautiful tablet moulding, much used in rich 
 Decorated buildings. 
 
 n 9 The most common late base moulding. 
 
 o, The Early English toothed ornament between two 
 filleted rounds, its most usual position. 
 
 p, The square flower used in cornices, &c. ; it ii 
 often made much richer than here represented. 
 
 q> A rose often used in late Perpendicular works, 
 particularly in wood-work. 
 
116 
 
 r, Plan of a division of groining j that is, a repre- 
 sentation of its appearance looking up at it from under 
 its centre. The ribs, which run from corner to corner, 
 are called the cross springers, and the longer side line 
 will be in this example the pier rib, and the shorter 
 the arch rib on the wall; the short central line will be 
 the longitudinal rib, (this being a division from a 
 nave,) and the longer one the cross rib. In this exam- 
 ple there is only one additional rib between the cross 
 springers and the pier rib, and these are represented 
 of smaller size. There are bosses at the intersections. 
 
 PLATE VII. 
 
 Plan of a cathedral, collegiate, or other church, in 
 the form of a cross, with the usual additional buildings. 
 It is not the plan of any particular building, but 
 composed to introduce as many parts as it was expe- 
 dient to describe. The cross lines represent the 
 groinings of the roof, which, in plans of English 
 buildings, are usually laid down on the principle of 
 the division in the last plate. 
 
 a a 9 Towers at the west end. 
 
 b b 9 Porches. 
 
 c 9 The nave, d d, Side aisles of the nave. 
 
 e 9 The cloisters. f 9 The library. 
 
 g 9 The north transept. 
 
 % The south transept. 
 
 i i 9 The side aisles of the south transept. 
 
 k k k 9 Chapels. 
 
 /, Chapter-house, with passage from the cloisters. 
 m 9 Central tower, cross, or lantern. 
 n 9 Screen, over which is usually placed the organ 
 o 9 Choir, at the east end of which is generally the 
 altar. 
 
 p p 9 Side aisles of the choir. 
 q 9 Lady-chapel. 
 
 The small circles in several of the piers and walls, are 
 staircases ; the steps could not be shown on so small a 
 
117 
 
 scale. The organ screen, and inclosure of the choir, 
 are of a lighter tint than the walls, to show that they 
 are not continued to the top of the arches ; against this 
 inclosure are placed the stalls in a cathedral. The 
 place of the bishop's throne varies, but it is generally 
 on the south side, and the pulpit nearly opposite. 
 
 PLATE VIII. 
 
 Two steeples ; one a Perpendicular tower with 
 a lantern ; this has octagonal turrets at the corners, 
 with buttresses attached below ; the lowest stages of the 
 buttresses are pannelled. A band of quatrefoils runs 
 under the belfry window, which is of three lights, and 
 has a crocketed canopy ; under the band of quatrefoils 
 is a square-headed plain-arched cinquefoiled window. 
 The dripstone of the door runs as a tablet round the 
 buttresses. The base mouldings are of three tablets. 
 
 The other steeple in this plate is a Decorated tower 
 and spire. The tower has diagonal buttresses of three 
 stages, sloping to the wall, at some distance below the 
 cornice, which is plain. The battlement has small inter- 
 vals, and a horizontal capping. The spire is ribbed at 
 the angles, and has four small windows with plain 
 canopies. The belfry window is of two lights, set 
 upon a plain string, which dies against the buttresses. 
 Below is a small window without a dripstone, and at 
 the bottom a larger one with a dripstone, and set on 
 a string. The base mouldings have two tablets. 
 
 PLATE IX. 
 
 A Norman composition, which may be considered 
 as a view of one side of a nave, flanked with a small 
 tower, with two stages of ornamental arches, the 
 lower intersecting, and a window above. The but- 
 tresses are plain ; those below have a projection beyond 
 the parapet, those above are without. The windows 
 
118 
 
 are various, and the door-way has shafts and several 
 ornamented mouldings. 
 
 a, A string moulding, consisting of a fillet with the 
 alternate billet moulding, and a zigzag below, 
 
 b 9 A section of the same moulding. 
 
 c, A string, consisting of a fillet and the hatched 
 moulding. 
 
 d, A representation of part of a circle of beasts' 
 heads, with their beaks over the round. 
 
 plate x. 
 
 Part of a Norman interior, showing one side of the 
 nave, with the triforium and clerestory windows ; and 
 a wooden roof open to the rafters. The piers are the 
 massive circular piers, with ornamented arches; the 
 windows are varied, as are the divisions of the triforium, 
 to show the different modes of arrangement in this 
 style : through one of the arches is shown the roof of 
 the side aisle. 
 
 The lower portion is a roof and battlements, with a 
 cornice, and the pedestals of pinnacles. On the left hand, 
 the common battlement, with the capping running 
 only horizontally. In the centre, a division with 
 several descriptions of pierced battlement, and the 
 capping running round. On the right hand, the battle- 
 ment with one moulding running round, and the 
 capping running only horizontally. 
 
 PLATE XI. 
 
 An Early English composition, with a double door 
 and shafts, with leaved capitals and bands ; an orna- 
 mented circle above the centre of the doors. The 
 buttresses are nearly those of Salisbury cathedral, as 
 well as the pannelling in, and the arches under, the 
 parapet. 
 
 Above, is an ornamented division of three windows, 
 and below, one plain one ; at the end is a flying 
 
119 
 
 buttress. On each side over the door, are circular 
 sunk pannels with ornamented points. 
 
 PLATE XII. 
 
 The west end of a Decorated building. This has 
 square corner buttresses, which terminate with octa- 
 gonal pedestals for pinnacles. These buttresses are of 
 three stages ; the lowest have in front triangular croek- 
 eted heads, and square sunk niches. The second stage 
 is plain, with plain moulded set-offs ; the upper stage 
 is pannelled, and with triangular crocketed heads. 
 The parapet is plain, and the cornice flowered. The 
 window is set on a tablet, which runs round the 
 buttresses, and is of seven lights, with architrave of 
 mouldings, dripstone, and canopy, supported by 
 figures. The canopy is triangular, and crocketed ; the 
 interval filled with tracery in sunk pannels. The 
 door- way consists of mouldings set on the lower base- 
 tablet, and a plain dripstone, supported by heads. 
 The door is covered with ornamental iron- work. The 
 base mouldings consist of two tablets, an ogee, and 
 plain slope, 
 
 PLATE XIII. 
 
 A composition showing a Decorated interior, with 
 three aisles, all of the same height, and groined. The 
 piers are of the late slender description, and the groins 
 at the sides rise from single shafts, setting down on a 
 stone seat, which goes round the aisles. At the end 
 are three niches, with pedestals and ogee canopies, and 
 over them a circular window with flowing tracery. 
 In the wall of the aisle is shown a stoup, and in front 
 a font raised on steps. 
 
V20 
 
 PLATE XIV. 
 
 A Perpendicular porch set against the aisles of a 
 building, of which part of two windows are seen. 
 This porch has buttresses of three stages, set square, 
 and leaving a corner, on which is placed a battlemented 
 pinnacle. The buttresses have moulded set-offs. The 
 door-way has an arch within a square, the spandrels 
 pannelled and flowered, and the dripstone running as a 
 tablet, but not round the buttresses. The inner door- 
 way plain-arched, and a plain dripstone. Over the 
 door are two heights of pannelling up to the gable, in 
 seven lights, with a battlemented transom, and a line 
 of square quatrefoils. The parapet pannels consist of 
 round quatrefoils, in squares ; the capping crocketed, 
 and running up to flank a cross, of which the pedestal 
 appears springing from the cornice. The cornice is 
 plain. The base mouldings consist of three tablets. 
 
 a, Section of the architrave mouldings of a door in 
 the ruins of Birkenhead priory, in Cheshire, a singularly 
 varied and very beautiful specimen of Decorated 
 mouldings. 
 
 b 9 One variety of the Tudor flower. 
 
 c 9 Part of the pier mouldings of St. Michael's, at 
 Coventry ; — a specimen of Perpendicular mouldings,, 
 
121 
 
 ENUMERATION OF BUILDINGS, 
 
 ILLUSTRATING THE 
 
 PRINCIPLES OF ENGLISH ARCHITECTURE. 
 
 BelifotDstnre* 
 
 DUNSTABLE CHURCH. The remains of the ancient priory is the principal 
 object of curiosity in this county. Its general arrangement is Norman, and 
 it appears to consist of the nave only of the priory church. The windows have 
 been mostly filled with late tracery, and it is the west front which forms the 
 great object of attention; this is a curious piece of patchwork, containing the 
 old Norman central door-way, built up and filled with a Perpendicular door and 
 ornaments. The other part contains various gradations of Early and Decorated 
 English. The Norman work is a good specimen, both as to ornaments and the 
 interior composition. 
 
 LUTON CHURCH has a fine tower of alternate checkers of flint and stone, 
 and is curious for its baptistry, or chapel over the font, and a beautiful pierced 
 double arch in the chancel ; this is of late Perpendicular, but the principle 
 may be valuable in modern work. 
 
 CLAPHAM CHURCH has a tower which appears very ancient, and of 
 which particular mention has been made in a former part of this work. 
 
 FELMERSHAM CHURCH has a beautiful west end ; it is Early English, 
 and forms a composition very beautiful and not very common. 
 
 The other churches which may be mentioned are, those of Elstow, Leigh ton 
 Buzzard, Toddington, and Wimington. 
 
 ST. GEORGE'S CHAPEL, in the castle of Windsor, one of the finest Perpen- 
 dicular buildings in the kingdom. This building is perfectly regular in its plan, 
 and, except the remains of a much earlier wall, and one door at the east end, all 
 in one style. It is a most valuable edifice for study, but care must be taken to 
 distinguish between the ancient work and the modern restorations, or rather 
 additions, which include the altar screen, some of the work of the stalls, the 
 organ screen, the font, and several smaller parts. The west end of this chapel 
 is a very fine specimen of a large Perpendicular window. 
 
 SHOTTESBROOKE CHURCH is a beautiful miniature cross church, of 
 good design ; it is late Decorated work. 
 
 AVINGTON CHURCH has a Norman arch of singular shape, dividing the 
 chancel from the nave ; it is a portion of two arches, and being more than a 
 quadrant of each circle, it forms an obtuse depending point in the middle. 
 
122 
 
 WELFORD CHURCH is a curious little remain, containing all the styles — 
 a rude Norman round tower supports an Early English stage above it, and a 
 Decorated English spire, and the body of the church contains Perpendicular 
 work. 
 
 ABINGDON. A portion of St. Helen's church has rive divisions, or what, in 
 foreign churches, is frequently called five naves ; that is, an additional side 
 aisle on each side. 
 
 Other churches that may be mentioned are, those of St. Nicholas, Abingdon ; 
 St. Mary's and St. Lawrence's, Reading ; Faringdon, Padworth, Shillingford, 
 Sparsholt, Thatcham, Tidmarsh, and Windsor; and the Abbey-gate at Abing- 
 don, though mutilated, still remains. 
 
 STEWKLEY CHURCH is an object of curiosity, as well for its being a good 
 Norman structure, as for its having been heretofore almost constantly cited as 
 a Saxon church, although there does not appear any real evidence of its 
 erection before the Conquest ; and there is nothing about it to distinguish it 
 from many churches known to be erected after the Conquest. 
 
 ETON COLLEGE CHAPEL is a specimen of late Perpendicular, but its 
 interior is disfigured by Roman admixtures of screen-work. 
 
 MAID'S MORTON CHURCH has some stalls highly enriched. 
 
 Other churches Chetwode, Dinton, Haversham, Hillesdon, Great and 
 
 Little Marlow, Upton, and Water Stratford. 
 
 atambrOigeflifrtte. 
 
 ELY CATHEDRAL is of course the first object in this county. It contains 
 nearly a complete series of examples ; some valuable Norman work in the 
 older parts, and adjacent buildings of Early English, of several gradations; 
 Decorated work of most excellent execution, and good Perpendicular. The 
 central lantern is the finest in the kingdom of its kind ; its composition very 
 bold, and its execution extremely delicate. Trefoil niches, with pedestals of 
 foliage and ogee canopies, form an ornament under the windows, of Angular 
 beauty. There are some restorations which require to be distinguished from 
 the original work. 
 
 KING'S COLLEGE CHAPEL, Cambridge, the flower of Cambrid ge, and 
 in many respects of the Perpendicular style, needs little description ; simple in 
 its plan, bold in its elevation, rich in its detail, and exquisite in its execution, 
 it must be seen and studied to be properly appreciated. 
 
 CAMBRIDGE UNIVERSITY affords not much besides of architectural 
 purity. The ante-chapel of Jesus College has some Early English appearance, 
 but the rest of the colleges present very late work, when the Perpendicular 
 style was struggling with the introduction of the Italian mode. 
 
123 
 
 ST. SEPULCHRE'S CHURCH, Cambridge, is curious as a Norman building, 
 and as one of the few round churches. 
 
 ST. MARY'S CHURCH, Cambridge, amidst much addition and alteration, 
 presents, in the divisions of the nave, a good specimen of Perpendicular 
 arrangement. 
 
 ST. MICHAEL, ST. BOTOLPH, and ST. PETER'S CHURCHES, in 
 Cambridge, may also be noticed. WHITTLES EA CHURCH has a very fine 
 spire, and THORNEY ABBEY a front with a fine window. The roof of 
 WILLINGHAM CHAPEL has been mentioned before. 
 
 Other churches Babraham, Camps, Swavesey, Sawston, and Trumpington. 
 
 <£!)esf)tre* 
 
 CHESTER CATHEDRAL. This edifice, though its exterior seldom attracts 
 the attention it deserves, from the decay of the stone, and the destruction of 
 battlements and pinnacles, yet, to those who will take the pains to examine 
 its composition, it presents a fine series of very good work. The Norman por- 
 tions are small, but the chapter-house, its vestibule, and a passage beside it, 
 the lady-chapel, and some portions adjoining the north aisle of the choir, 
 present varied and excellent specimens of Early English. The transition to 
 Decorated work may be traced, and the completion of that style in the south 
 transept, and parts of the nave, with the organ screen, is very well marked. 
 The bishop's throne was once the shrine of Saint Werburgh, and deserves 
 peculiar attention. It is of pure Decorated character, and though disfigured 
 by paint, it is in excellent preservation. The west end, the south porch, 
 the cloisters, the upper part of the nave and transepts, and the central tower, 
 are Perpendicular work, mostly of good character, and the stalls and tabernacle- 
 work are peculiarly fine. 
 
 ST. JOHN'S CHURCH, Chester, presents a very fine specimen of Norman 
 and Early English, and the tower has been a very rich Perpendicular one; 
 but the perishable nature of the stone is such, that nearly all traces of the 
 once excellent pannelling are lost. 
 
 NANTWICH CHURCH contains some excellent work ; the stalls are fine, 
 and there are several good windows ; the tower, a small octagon over the inter- 
 section of the cross, is simple and elegant ; and the east end presents a tine 
 composition of buttresses, canopy, and battlements. 
 
 BEBBINGTON CHURCH is a curious mixture of plain Norman, with a 
 fine eastern portion of good Perpendicular work. 
 
 BIRKENHEAD PRIORY, in ruins, has in the chapel, in vaults, and in 
 the door-ways, some very good work. The mouldings of the door-ways are 
 of very excellent composition. 
 
 RUNCORN CHURCH contains good plain Early English work, and good 
 wood carvings. 
 
 The churches of MALPAS, MACCLESFIELD, and WlTTON, have all of 
 them parts, the composition of which is curious. 
 
124 
 
 Other churches Audlem, Great Budworth, Frodsham, Middlewich, and 
 
 little Peover. 
 
 LAUNCESTON CHURCH, though not very excellent in its composition, i3 
 yet curious for the very great profusion of ornament. The south porch, and 
 some parts adjacent, are literally covered with pannels and carvings. 
 
 PROBUS TOWER is a fine specimen of a Perpendicular tower. 
 
 ST. GERMAIN'S has a good Norman front, but there appears nothing to 
 warrant a supposition that its age is so great as that assigned to it by the 
 learned and elaboiate Whitaker. 
 
 Other churches Truro, Morvinstone, Kilkhampton, and Cury ; Egloshayle 
 
 has a curious stone pulpit. 
 
 Cumberland 
 
 CARLISLE CATHEDRAL, though mutilated, is still deserving of much 
 attention ; its eastern end is peculiarly fine. The window is by far the most 
 free and brilliant example of Decorated tracery in the kingdom. The roof is 
 good, and the general Early English arrangement very fine. 
 
 LANERCOST ABBEY and CHURCH, though partly in ruins, is yet in 
 sufficient preservation to show its composition to have been excellent, both in 
 its Norman and Early English parts. 
 
 PENRITH CHURCH may also be mentioned. 
 
 ALL SAINT'S CHURCH, Derby, has a tower of uncommon beauty; it is 
 late, but its composition is very good, and it is not very like any other tower in 
 the kingdom. 
 
 Other churches Ashbourn, Bakewell, Bonsai, Chesterfield, Ham, and 
 
 Matlock. 
 
 EXETER CATHEDRAL. The nave and choir of this cathedral present 
 one uniform arrangement of simple elegance. The work is plain, but very 
 good ; it is of the Decorated style, and the windows are very various in their 
 tracery, perhaps the most varied of any building in England, and some of them 
 very excellent. The eastern window is a Perpendicular one, as are those of 
 the chapter-house, where Perpendicular work has been curiously added to 
 Early English. The plan of this church is curious ; the transepts are two very 
 massive towers of Norman work, with various stages of ornamental arches, and 
 
125 
 
 a very large window inserted in the lower part of each tower. The screen 
 which forms the west front is very rich, and full of statuary niches ; it is of late 
 date, and forms a great contrast to the upper part of this front, which is very 
 plain. There is or was lately remaining, on the ridge of the roof, an ornament 
 in lead much like the Tudor flower, perhaps the only one remaining in England. 
 
 ST. MARY OTTERY CHURCH is large, and has two towers in nearly the 
 same situation as Exeter cathedral. 
 
 Other churches Plympton St. Mary's, Paignton, Bishop's Teignton, East 
 
 Teignmouth, and Totness. 
 
 ST. MARY'S CHURCH, Sherborne, is a large and fine church ; a porch 
 at the west end, on the south, contains some good Norman work ; the rest of the 
 church is principally of the Perpendicular style, and of good character. The 
 tower is short and massive, but of good composition. 
 
 WIMBORNE MINSTER is a large and not very elegant structure ; it has a 
 very massive Norman tower at the intersection of the cross, with a row of plain 
 and one of intersecting arches ; and there is also a tower of later date, and not 
 so thick, at the west end. 
 
 DURHAM CATHEDRAL is a large and noble pile, and from its situation, 
 the vicinity of the palace, and some other buildings, and the surrounding 
 scenery, it is almost unequalled. Its interior (the exterior has been chiseled 
 over,) is very massive, and a fine specimen of Norman. The east end is a 
 series of chapels, once called the nine altars, of elegant Early English; but 
 with tracery of later date put into the windows. There are some fine windows 
 of flowing tracery, and the central tower is of the Perpendicular style. The 
 cwo western towers are Norman, and there is a low chapel of the same style 
 at the west end. There are some very rich Norman doors in several parts, 
 and a very fine throne and altar-screen, of Decorated or early Perpendicular 
 work. 
 
 Other churches Dalden, Easington, Hartlepool, Houghton-le-Spring, 
 
 Pittington, and Staindrop. 
 
 WALTHAM ABBEY CHURCH, from its size and antiquity, claims the first 
 notice in this county ; its arrangement is that of very bold Norman ; the present 
 church is only the original nave, and at its west door has a portion of good 
 Decorated work. 
 
 SOUTH OCKENDON CHURCH has a very fine Norman door. 
 
126 
 
 GREENSTEAD CHURCH is curious from its construction, being buiH 
 with chesnut-trees set up lengthwise for the sides. 
 
 LITTLE MAPLESTEAD is a round church, and is a most elegant little 
 specimen of the Decorated style, of beautiful composition. 
 
 SAFFORN WALDEN, and THAXTED CHURCHES, are very fine 
 examples of late Perpendicular work ; the latter has a fine spire. 
 
 Other churches Borking, Chingford, Thundersley, and East Ham. 
 
 HEDINGHAM CASTLE contains some good Norman remains. 
 
 ST. JOHN'S ABBEY GATE, Colchester, is of good composition. 
 
 Cloucestersfjtre* 
 
 GLOUCESTER CATHEDRAL is a curious and very magnificent edifice. 
 The principal part is Norman, and the crypts are fine and perfect. The 
 windows have been altered nearly all over the building, but the princi- 
 pal alteration is the casing of the Norman work of the choir, and some other 
 parts, with very rich Perpendicular work, which, from the necessity of 
 retaining various Norman forms, is, in many parts, very curious ; at this time 
 also, the tower, one of the most beautiful in the kingdom as to composition 
 and ornament, was erected ; and also the lady-chapel, a building of uncommon 
 ornament in the interior, though rather plain on the exterior. The west front, 
 and the very magnificent south porch, are additions, in a very fine style. 
 There are many small parts about this cathedral worthy of equal attention. 
 The monument of king Edward the II, some cells in the north transepts, and 
 various other parts might be mentioned ; the entrance to the choir is disgraced 
 by a screen, as barbarous as it is well possible to compose. The cloisters 
 are the richest in England, and seem to have been the first roofs cf fan 
 tracery, which is executed here with a freedom and brilliancy more analogous 
 to the Decorated than the Perpendicular style. 
 
 TEWKESBURY CHURCH is another noble Norman remain, with various 
 insertions and additions. Here were once some fine cloisters, and the remains 
 of some of the pannelling is still visible. 
 
 FAIRFORD CHURCH is said to have been built for the purpose of contain- 
 ing some foreign glass, which was presented to it. 
 
 Other churches Almondsbury, Arlingham, Avening, Bibury, Charfield, 
 
 Cheltenham, Cherrington, Cirencester, Cleve, Cold Ashton, Cromhall, Down 
 Amney, Harscomb, Northleach, Siddington, and South Cerney. 
 
 WINCHESTER CATHEDRAL presents a variety of excellent work ; its 
 general basis was Norman, but like many others, it has been much altered. 
 The transepts and centre tower remain nearly in their original state. The nave 
 appears to have been cased on the original Norman piers, or to accommodate 
 
127 
 
 its appearance to the massiveness of that style, to have been worked in a style 
 of peculiar strength. The west end has three flue porches of a singular kind, 
 plain pannelling on the outside, and rich groining on the interior. East of the 
 present choir is a portion which is a very fine specimen of Early English. The 
 choir itself, and an additional east chapel, is good Perpendicular ; the piers seem 
 very early. There are several monumental chapels, and monuments of different 
 dates, principally very rich Perpendicular work. 
 
 ROMSEY CHURCH, CHRIST-CHURCH, Twiname, and the HOSPITAL 
 of ST. CROSS, near Winchester, are three very fine specimens of Norman 
 work, with various later additions ; and St. Cross presents some curious gradations 
 and singularities of Norman. 
 
 NETLEY ABBEY, though in ruins, still presents some very fine Early 
 English composition. 
 
 SHALFLEET CHURCH, in the Isle of Wight, and some other churches, 
 contain detached parts worth examining,, 
 
 f^ereforHsfjtre. 
 
 HEREFORD CATHEDRAL. The west end of this cathedral, which had 
 two Norman towers, fell down in 1786, and the reparations consequent on 
 this accident, have much altered the nave, of which the lower part is Nor- 
 man, with massive round piers ; the rest of the building is principally Norman, 
 but much altered by introductions and additions, particularly windows. The 
 extreme east end has been a fine specimen of Early English, but is now much 
 mouldered. There is an additional cloister leading from some of the out- 
 buildings, beside the usual cloisters. The chapter-house is destroyed. 
 
 Other churches Leominster, Madelv, and Ross. 
 
 ST. ALBANY ABBEY CHURCH. This magnificent pile is principally 
 Norman, of a very bold plain character; but it also contains, in its various 
 parts, many gradations of style even to very late work, and some of it very 
 good ; but many reparations have been made of very inferior character. 
 
 Other churches Abbot's Langley, King's Langley, Aldenham, Berkhamp- 
 
 sted, Broxbourne, and Bushey. 
 
 ST. NEOTS CHURCH has a fine tower of late Perpendicular, with some, 
 singularities, but on the whole a fine composition. 
 
 Other churches All Saints, Huntingdon ; Buckden, Godmanchester, 
 
 Kirnbolton, and St. Ives. 
 
128 
 
 CANTERBURY CATHEDRAL. This most extensive and magnificent 
 edifice contains examples of style, which (including monuments and small 
 parts) form almost a continued series of gradation, from Early Norman to very 
 late Perpendicular ; its buildings in immediate connection with the cathedral, 
 are nearly complete, and it has a more than ordinary diversity of chapels. The 
 plan of this cathedral, westward of the centre tower, is not uncommon. Two 
 towers form the flanks of the west end of the nave, to the northern side of 
 which the cloisters are attached. The portion, eastward of the centre tower, 
 is curious from the diversity of its parts ; behind the altar in the choir, the 
 two next arches are set sloping, so as to narrow the middle aisle of Trinity- 
 chapel, and place the side chapels on a slope also. The eastern part of 
 Trinity-chapel is circular, and has attached to it, eastward, a circular chapel 
 called Becket's crown. The eastern portion of the buildings is mostly Norman, 
 with Early English upper parts, and mixed variously with the Norman, of which 
 style the eastern transept principally consists. Several of the chapels have the 
 eastern part circular. The western transept, the nave, cloisters, and south-west 
 tower, are all good Perpendicular work. The north-west tower is Norman. 
 The cloisters, though deprived of their pinnacles, battlements, and part of 
 their canopies, are still fine ; and the large window at the west end of the 
 chapter-house adds much to their appearance. Of the chapels, that of king 
 Henry the IV. must be noticed as a beautiful piece of Perpendicular work ; it 
 is simple, but the roof is an excellent specimen of fan tracery. St. Anselm's 
 chapel has had introduced a very fine Decorated window. There are several 
 other chapels which claim attention, and the church is very rich in monu- 
 ments. The crypt is extensive, and from its variety, very curious. The 
 general exterior appearance of the church is magnificent, from its very fine 
 central tower ; and a judicious addition of pinnacles to the north-west tower, 
 would add much to the general effect. Attached to the south-west tower 
 is a rich and beautiful porch. The entrance gate, called Christ-church gate, 
 is a good specimen of late Perpendicular. 
 
 ST. AUGUSTINE'S ABBEY. There still remains some part of this build- 
 ing of good character, particularly the fragment of St. Ethelbert's tower, and 
 the gate-house, a very beautiful piece of work. 
 
 ROCHESTER CATHEDRAL. This venerable building, though possessing 
 comparatively little diversity, has yet some parts deserving attention; its 
 general arrangement is Norman and Early English, the nave and west end a 
 fine specimen of the former. The door leading to the present chapter-house is 
 a very rich specimen of niches in architrave mouldings. The additional build- 
 ings to this church have been mostly destroyed, and there has been much 
 modern casing. 
 
 BARFRESTON CHURCH. This curious little Norman church has, like 
 Stewkley, been generally cited as Saxon, and with much the same reason ; it 
 has many singularities, of which perhaps the circular east window is one of 
 the greatest. 
 
 Other churches Beaksbourne and Westwell ; St. Mary's, Dover ; St. 
 
 Clement's, Sandwich ; Minster and St. Peter's, in the Isle of Thanet ; New 
 Romney ; St. Mildred's, Canterbury ; and Mailing Abbey. The remains of St. 
 Andrew's priory, Rochester, and Eltham palace, may also be mentioned. 
 
129 
 
 MANCHESTER OLD CHURCH, though the whole is of late Perpendi- 
 eular, and some very bad reparations were made some years back, yet, 
 from the very careful restoration it appears now to be undergoing, and the 
 valuable screen-work and cieling of the choir, is becoming increasingly 
 deserving of attention. The tower is fine, and the stall-work in the choir 
 excellent ; and of its own dark colour without paint. The church is very large, 
 and from the addition of chapels, forms in the western part five aisles, and 
 accommodates a very large congregation. 
 
 WARRINGTON CHURCH. The arches of the central tower are gooo 
 Perpendicular, and the chancel Decorated work of good character ; but all thr 
 rest of the church, except a portion of the north transept, has been rebuilt ir 
 a most barbarous style. 
 
 HALS ALL CHURCH. The north aisle and north wall of the chancel, and 
 east end window of the south aisle, are all of Decorated character, and in the 
 chancel is a fine canopy over a tomb of this style. The rest of the chancel is 
 early Perpendicular work of excellent execution ; and of rather later date, is 
 the tower and spire, and the arches of the nave. There are no clerestory 
 windows, and the roof, which appears original, has three flowered mouldings, 
 one at the point, and the others at the spring of a plain arch. The exterior 
 of this chancel has been executed in a very careful manner. 
 
 LANCASTER CHURCH has not much to attract notice, (though part of 
 the interior is good Perpendicular,) except the very fine carved wood-work 
 before noticed. The tower of this church, from its height, looks well at a distance, 
 but is in reality a most barbarous composition. 
 
 Other churches Cartmel, Winwick, and Holland chapel. There are 
 
 considerable remains of Furness Abbey, and some of Cockersand. 
 
 ilet'cestersijtre^ 
 
 ALL SAINTS, and ST. MARY'S, Leicester; and the churches of Loughs 
 borough, Melton Mowbray, and Oadby. 
 
 &mcalnsljtte* 
 
 LINCOLN CATHEDRAL. This noble edifice, from its singular situation, 
 is seen over a great extent of country, and its three towers have a very 
 fine effect. The west and ea?t fronts have already been noticed. The division 
 of the Norman work, and later additions to the western towers, are very 
 plain. The nave is very fine, and the piers peculiarly rich. The proportions 
 of the nave and side aisles are such as do not often occur, the aisles being 
 remarkably narrow, but the whole has an exellent effect. The view of the 
 transept is very fine, and the lantern is good, though rather obscure, from 
 the small size of the windows. At each end of the transept is a circular 
 window, the north a good Early English one, the south one of the finest 
 
 K 
 
130 
 
 Decorated circles remaining. This window is set in an arch of open stone- 
 work, which is nearly, if not quite, unequalled. The screen under the organ 
 is one of the finest examples of late Early English work ; it has some little 
 resemblance to the character of queen Eleanor's crosses, but its principal 
 beauty is in the workmanship of the bands of open foliage, round the doors. 
 The walling of the arches is filled with square flowers, and these have been 
 painted and gilt, traces of which still remain. The arrangement of the 
 intersection of the smaller eastern transept is very good, and adds much to 
 the beauty of the choir. Some beautiful small chapels are attached to the 
 lady-chapel, and the south door is peculiarly elegant. Three sides of the 
 cloisters, of good Decorated work, remain in their original state ; the fourth 
 is a modern library. From the eastern side of the cloisters is the passage 
 to the chapter-house, which is a decagon, and though not equal to Salisbury, 
 it is yet very fine. Marks of the Roman operations are remarkably clear 
 at Lincoln. The north gate of this city is the Roman arch still retaining its 
 original use : in the wall of the castle is another arch walled up, but evidently 
 Roman ; and in the midst of the area of the cloisters, some feet below the sur- 
 face, is a fine Tessellated pavement. To all this it may be added, that the north 
 road, towards Brigg and Barton, continues in a straight line for many miles. 
 
 BOSTON CHURCH claims the next attention, as the highest, and one of 
 the finest Perpendicular towers in the kingdom. The church itself contains 
 good Decorated work. The tower is simple in its composition, but rich, from 
 being completely pannelled ; and on its top rises a fine lantern of open-work. 
 
 THORNTON ABBEY, and CROYLAND ABBEY, both contain remains 
 of very good work; and near the latter is the celebrated triangular bridge, 
 which seems evidently of Decorated workmanship. 
 
 LOUTH CHURCH presents a very fine specimen of good Perpendicular 
 work. The tower and spire are very elegant, both in proportion and execu- 
 tion, and the east window is a composition of more boldness and simplicitv 
 than is usually met with. 
 
 GRANTHAM CHURCH has a very fine spire. 
 
 SLEAFORD CHURCH contains portions of all the styles, the Decorated 
 part particularly fine, especially the windows, and a door. 
 
 BRENT BROUGHTON, near Newark, is a beautiful little church. ' 
 
 BARTON. Two churches have been noticed in another part, when speak- 
 ing of the probability of Saxon remains. The tower of the new church is a 
 piece of good Early English. 
 
 FOLKINGHAM CHURCH ha* a tower of late Perpendicular work, of 
 which the battlements, pinnacles, and a band under them, are very elegant. 
 
 STAMFORD contains several churches of different styles, worthy of great 
 attention, particularly the Early English parts. St. Martin's, Stamford Baron, 
 is of good Perpendicular work, and contains several tombs of the Cecils, in 
 the mixed Italian style. The small remains of the White-friar's gate, and 
 St. Leonard's hospital, are curious pieces of composition. 
 
 Other churches Clee, Colby, Freston, Kirton, Ketton, Great Grimsby, 
 
 Market Raisin j Stoke Rochford ; Silk Willoughby, and Stow. 
 
131 
 
 iLontion, 
 
 Although various causes have contributed to strip the Metropolis of ancient 
 English edifices, and particularly that wide desolater, the fire of 1666, there 
 are yet remaining some very curious specimens. 
 
 The CHAPEL in the White Tower, now the Record Room, is one of the 
 most complete specimens of a Norman church, on a small scale, which 
 remains j and in some other parts of the White Tower are Early English 
 remains. 
 
 The CHURCH of ST. BARTHOLOMEW the GREAT, in West Smithfield, 
 contains much good Norman work, and its entrance gate, from Smithfield, is 
 Early English, with the toothed ornament in its mouldings. 
 
 The TEMPLE CHURCH, of which the mixed part has been mentioned 
 before, and is one of the best of the few round churches. The eastern part 
 is a most excellent specimen of plain light Early English, and its groining 
 and slender piers are perhaps unequalled. 
 
 The DUTCH CHURCH, Austin Friars, contains some very good Decorated 
 windows. 
 
 The end of ELY CHAPEL, fronting Ely-place, has one fine Decorated 
 window of curious composition. 
 
 The CHURCH of ST. CATHARINE, near the Tower, though sadly dis- 
 figured by alterations of various dates, still contains several parts worthy 
 of attention, particularly in the eastern portion. 
 
 ST. JOHN'S GATE, Clerkenwell, is Perpendicular work of pretty good 
 character, 
 
 The front of GUILDHALL CHAPEL, though much decayed and disfigured, 
 is a good piece of pannelling. Guildhall itself has been so altered that it 
 can hardly be now considered an ancient building. 
 
 The remains of CROSBY HALL, Bishopsgate-street, are so very excellent 
 in their kind, that it is a pity they cannot be restored to their original state : 
 erected as a domestic mansion, they furnish many good hints for modern 
 work, and the details are- as good as any Perpendicular work remaining of 
 the kind. 
 
 WESTMINSTER ABBEY. This building has been too often figured and 
 described to need much notice in this place. The general arrangement is of 
 an elegant and valuable description of Early English, and it would have 
 been well if Sir C. Wren had extracted from the building before him, (which 
 he might have done, even if he had not consulted other buildings, which we 
 know, from his remarks on Salisbury, he had an opportunity to do,) priuci- 
 
132 
 
 pies to have adapted his towers to their lower part, instead of introducing a 
 barbarous mixture, which has no likeness to auy thing except his own barba- 
 risms at Oxford. As Britons, we cannot regret the use of this most magnificent 
 pile, though as architects we may regret that the principles of English archi- 
 tecture have not been more attended to in those (taken as insulated pieces,) 
 admirable efforts of the sculptor's art, which are spread over these walls. 
 The Corinthian altar-piece of marble, in the choir, would be a valuable 
 present to some Grecian church, and if replaced by an appropriate compo- 
 sition, would harmonize a choir now rendered very discordant. 
 
 The cloisters of the abbey are fine specimens of tracery, and some of 
 the additional buildings deserve more attention than is usually paid them. 
 
 Of HENRY the VII.'s CHAPEL it is difficult to speak in proper terms 
 as a magazine of parts, one of the most valuable in the kingdom ; as a whole, 
 a mass of frittered ornament. The porch, which is seldom to be seen for 
 want of light, is one of the most chaste and beautiful vestibules of the 
 style, and many of the parts of the chapel, taken separately, are unequalled. 
 The tomb of Henry the VII, sufficiently shows how early a degree of 
 debasement took place. 
 
 The exterior of this building has been under repair, and parts are added 
 which have not existed for many years past. 
 
 WESTMINSTER HALL. The roof, and west end of this building, are 
 very fine. The niche-work on each side of the door, covered up for many 
 years, is as good a specimen of Perpendicular niche-work as any extant, The 
 walls of this building to the bottom of the windows, appear to be Norman. 
 There were many curious remains in the adjacent buildings, but the late 
 additions and alterations have taken away or hidden the greatest part of them. 
 
 The Parish churches within a circuit of from twenty to thirty miles round 
 the metropolis, are, with a very few exceptions, small and poor buildings j and 
 the following list in this county will be found to contain only a small portion 
 of good work in most of them : Bedfont, Greenford, Hadley, Hanworth, Har- 
 lington, Hillingdon, Harrow-on-the-Hill, Ickenham, Rislip, South Mims, and 
 5 tan well. * 
 
 i^ranmoutljsljtre. 
 
 is*T. THOMAS S CHURCH, Monmouth. LLANTHONY ABBEY 
 
 e. ?* f - flatfiJlfe* 
 
 NORWICH CATHEDRAL. This venerable pile presents a variety or 
 styles, and some of its parts are of great value. The nave, central tower, and 
 eastern portion, present a continued line of Norman work of excellent character, 
 and with not much alteration except in the windows and the roof \ the latter is of 
 Perpendicular character, as is the centre of the west front, the door, and large 
 west window. The east end is circular, and is a very fine composition; in its 
 aisles are some good Norman groined roofs. Parts of the choir arches have 
 been filled up and altered with rich Perpendicular work of good character. 
 The tower, both inside and out, presents one of the best specimens of Norman 
 ornament extant. The spire is good, of Decorated or early Perpendicular 
 
133 
 
 character. The cloisters are large and fine, and comprise a curious series of 
 work, from early Decorated to middle Perpendicular; and the gradation 
 is easily observed in the character of the tracery, though something of the 
 same general forms are preserved ; there is a very fine door, and some lavatories 
 of very good work, in these cloisters. There are some remains of good work 
 about the ancient buildings of the bishop's palace, and a very rich late Perpen- 
 dicular gate at the western entrance to the cathedral. 
 
 Some of the other churches in Norwich, particularly St. Peter's, Mancroft, 
 deserve attention. 
 
 LYNN contains four buildings, all valuable, St. Mary's church, St. Nicholas's 
 chapel, the Greyfriars, and the Red-mount chapel. This last is so beautiful a 
 specimen of small interior work, that it is much to be wished that some care 
 may be taken, at least to preserve, if not to restore it. 
 
 At Walsingham, the ruins of the PRIORY, and the beautiful font in the 
 church, have already been mentioned. 
 
 BINHAM PRIORY ; the west end is a good specimen of Early English, the 
 interior is Norman. 
 
 ATTLEBURGH has some good windows. 
 
 CASTLE ACRE PRIORY has a west front of very rich Norman work, 
 and some of the adjacent buildings are curious. 
 
 otViPr ^nrr»iies Houghton-le-Dale, SwafFham, Shottisham, and Waloole. 
 
 PETERBOROUGH CATHEDRAL. The approach to this cathedral has 
 a very monastic appearance. Passing under a Norman gate, with later addi- 
 tions, a court is entered, the right side of which is a line of the domestic 
 buildings of the abbey, still retaining much of their original appearance; at 
 the end of the court is the noble front of the cathedral, consisting of three 
 fine Early English arches, but their beauty is much diminished by the small 
 chapel or porch, which, in another place, would have been very beautiful. 
 The general arrangement of this building is Norman, but nearly all the 
 windows have had tracery inserted, and in some parts, the windows enlarged. 
 The east end is circular, and the aisles are made out square by a Perpendicular 
 addition, which has some excellent fan tracery groining. This work is plain 
 in its exterior appearance, and the buttresses have sitting statues instead of 
 pinnacles. The choir has a wooden groined roof, of very inferior workmanship 
 and appearance. The central tower is low, and forms a lantern. The screen 
 is a barbarous piece of painted wood-work. A very small part of the back 
 arches (apparently a lavatory) of the cloisters remains, and there is a portion 
 of arch-work near, of very good Early English character, most likely the 
 hall or refectory of the convent. The north-eastern pier of the central tower 
 is decayed, and kept together with several bands of iron. 
 
 QUEEN'S CROSSES, at Geddington and Northampton, have been before 
 mentioned. 
 
 NORTHAMPTON, St. Peter's, is a curious Norman remain, much of it in 
 its original state. 
 
134 
 
 ST. SEPULCHRE'S is one of the round churches, and appears the latest, 
 except Little Maplestead ; it has a tower of later work added to it, and a pretty 
 good spire. 
 
 ST. GILES'S contains some good work of several styles. 
 
 HIGHAM FERRARS. The spire and upper part of the tower have been 
 rebuilt, but the west door and shallow porch are curious specimens of good 
 Decorated work ; the composition of the door is not common, being double, 
 with flat arches. There is a Perpendicular school-house near the church, and a 
 ruined chapel of the bead-house. 
 
 IRTLINGBOROUGH CHURCH has an Early English tower, and on it 
 an octagonal lantern of later date. 
 
 Other churches Barnack, King's Sutton, Oundle, Raunds, Stanwick, 
 
 Thrapstone, Twywell, and Woodford. 
 
 jiortlmmbetlanti. 
 
 ST. NICHOLAS, Newcastle. This church contains several good parts, but 
 its chief excellence is its beautiful tower and lantern spire ; a building imitated 
 in various parts, but equalled by none. The spire is supported on arches, which 
 spring from the octagonal turrets at the corners. The work is Perpendicular, 
 plain, but of very good character. 
 
 TYNEMOUTH PRIORY. The east end shows, though in ruins, an admi- 
 rable piece of Early English composition. 
 
 LANDISFARNE is in ruins, but still retains some curious and excellent 
 Norman work. 
 
 HEXHAM CHURCH, though only part remains, shows some good work in 
 several styles. 
 
 jiQttmgljamsIjtre* 
 
 The COLLEGIATE CHURCH of Southwell is a cross church of consider- 
 able magnitude. The nave and cross, the two towers at the west end, and 
 the central tower, are all Norman ; that of the nave is very massive. The 
 choir is Early English, of good character ; and it has a screen of good Deco- 
 rated work ; on the north side is the chapter-house, an octagon of very good 
 Decorated character, the entrance to which is by a double door, with some 
 very rich flowered mouldings in the architrave. At the west end of the nave, 
 a large Perpendicular window has been introduced. 
 
 The remains of NEWSTEAD ABBEY are sufficiently perfect to deserve 
 attention. 
 
 The CHURCH and GATE, Worksop, have parts of good character in their 
 respective styles. 
 
135 
 
 The CHURCH at Newark is one of the largest and finest parish churches in 
 the kingdom. The plan is of considerable breadth. The tower and spire rise 
 engaged in the west end, the lower part Early English, the upper part has been 
 before described. The south aisle is Decorated, of excellent workmanship, 
 and the window at the west end. of this aisle is one of the most beautiful six- 
 light Decorated windows in the kingdom. The eastern part is Perpendicular, 
 of very good workmanship ; the buttresses are very light and elegant. The 
 windows various and good, the heads of many of the smaller divisions feathered, 
 straight without an arch, in the manner so common in this part of the king- 
 dom. There is a fine font, and much good work in the interior; the roof 
 of the aisles is flat, and looks very well. On the whole this church deserves 
 a much more minute examination and description than it has yet obtained. 
 
 Other churches Balderton, Retford, and St. Mary's, Nottingham. 
 
 The CATHEDRAL of CHRIST-CHURCH, which is the chapel of the 
 college, and the cathedral of the diocese, claims the first notice. It is a 
 Norman building, of singular character, from the disposition of its arches, 
 which are double, a lower one springing from corbels attached to the piers ; 
 part of the nave has been demolished, and many windows of late date inserted 
 in different parts. The roof of the choir is a curious and beautiful groined 
 roof, with pendants; on the north side of the choir are some chapels of later 
 character than the rest of the church, and the northernmost one, called the 
 Latin chapel, has some Decorated windows. Part of the cloisters remain; 
 they are of Perpendicular character, and the chapter-house is a very beautiful 
 and valuable specimen of Early English. The tower is in the centre of the 
 cross, and is a plain Early English one with a spire. 
 
 ST. MARY'S CHURCH. This is a large Perpendicular building, with a 
 good spire placed in a situation not common, viz on the north side of the 
 nave. The nave is fitted up for the university, with ascending seats, and the 
 chancel part shut off by a screen; on the south side is one of the early 
 attempts at Corinthian, a porch with twisted columns. 
 
 ST. PETER'S in the east. This church has a Norman crypt, and some 
 part of the walls are of the same age, but there has been many additions 
 and introductions ; the south door is a good one, and some parts of the interior 
 have Norman groins, with the ribs much ornamented. This is one of the 
 churches which have been called Saxon. 
 
 The CHURCH of ST. MARY MAGDALEN, at the end of Broad-street, 
 is a small church little noticed, but has some good windows, very elegant 
 buttresses and niches, and the Decorated pierced parapet with a waving line. 
 
 Many of the COLLEGES exhibit in their gateways, halls, and chapels, 
 specimens of late Perpendicular work ; and several, that intermixture of Italian 
 which took place in the reign of James the I. 
 
 The DIVINITY SCHOOL has a very fine roof with pendants. 
 
 MERTON COLLEGE CHAPEL exhibits some good Decorated and Per- 
 pendicular windows, and the tower is a fine specimen of Perpendicular work. 
 
136 
 
 MAGDALEN COLLEGE CHAPEL has been new roofed by James Wyatt. 
 The tower has before been mentioned. There is a late Perpendicular door, 
 curious from an ornamental arch of stone, standing free in a square head. 
 
 NEW COLLEGE CHAPEL has had much modern alteration, but enough 
 remains of the ancient work to show the excellence of its composition. 
 
 CHRIST-CHURCH has had much modern alteration, and the principal front 
 is a barbarous mixture, by Sir Christopher Wren. 
 
 ALL SOULS has another portion as barbarous, by Nicholas Hawksmoor. 
 
 IFFLEY CHURCH is a very valuable specimen of Norman ; it has three 
 rich doors, and a good short tower, with battlements of much later date. 
 The eastern portion is Early English, and some Decorated and Perpendicular 
 windows have been introduced. This church has been called Saxon. 
 
 DORCHESTER CHURCH has some curious Decorated windows, particu- 
 larly one with a genealogical tree worked in the mullions and appendages. 
 
 Other churches Burford, Ensham, Henley, Witney, Adderbury, Bloxham, 
 
 and Eweim. 
 
 Mutlantisfnte* 
 
 TICKENCOTE CHURCH, near Stamford. This church has been partially 
 rebuilt, but the interior of the chancel is original, and the division-arch is a 
 very deep one, with varied and singular mouldings. The outside of the 
 chancel has been rebuilt so as to be nearly, but not exactly, like the old 
 church, and therefore requires great discrimination. 
 
 Other churches Essendine, Market Overton, Okeham, and Uppingham. 
 
 SHREWSBURY ABBEY CHURCH. The basis of this church is Norman, 
 but it is much reduced in size, and many alterations have been made, parti- 
 cularly the introduction of a very large Perpendicular window over the west 
 door. 
 
 BUILDWAS ABBEY, WEN LOCK ABBEY, and LUDLOW CASTLE, 
 present some very good remains, principally Norman and Early English. 
 
 SHIFNALL CHURCH is principally Norman, with some good later windows. 
 
 Other churches St. Mary's, Shrewsbury; Hodnet, Morton Corbet, and 
 
 Shawbirch. 
 
 The ABBEY CHURCH at Bath. This building has been before referred to ; 
 there is a small portion of Norman wall, with the exception of which the church 
 is a uniform Perpendicular building of very late date, very plain, yet in many 
 
137 
 
 respects elegant, but much dilapidated of pinnacles, &c. The curious repre- 
 sentation of Jacob's dream, on the west front, has been noticed. The central 
 tower is not square, its north and south dimensions being much larger than 
 the east and west. The monumental chapel of Prior Bird, is a beautiful speci- 
 men of enriched work, with fine square pannels, and a very good fan tracery 
 roof. 
 
 The CATHEDRAL of Bristol. This is principally early Perpendicular 
 work, with windows much resembling Decorated windows. The portions of 
 the cloisters remaining are of varied design, and of late Perpendicular cha- 
 racter. There is only the transept and parts eastward, now roofed ; and in 
 size and appearance this church yields much to its elegant neighbour St. 
 Mary RedclirTe. 
 
 The CATHEDRAL of Wells. This is principally Early English, with a 
 west end, curious for the number of statues remaining. The east window 
 is Perpendicular, and the roof of the choir very rich. The nave is plain, but 
 of good character, and under the w estern arch of the great tower is a fine 
 reversed arch, forming a very fine screen. 
 
 The CHURCH of ST. CUTHBERT, in Wells, is a beautiful Perpendicular 
 building, and its tower curious for the length and construction of the upper 
 windows, which give to the upper half of the tower the lightness of an 
 elegant lantern. * • 
 
 The CHURCH of ST, MARY REDCLIFFE, Bristol, is in many respects 
 superior to the cathedral of Bristol ; it is a cross church of considerable size, 
 and of various ages. The tower is Early English, but of late date ; some 
 portions of the interior, and the very curious north porch^ are Decorated 
 work, but the general appearance of the south side is rich Perpendicular. 
 The groining is very fine, and much of the interior of very excellent execu- 
 tion. The lower part only of the spire remains ; about a square of the tower 
 in height, and an ornamented parapet has been added to its top, and some 
 iron-work supporting a vane; it has an awkward appearance, which takes 
 much from the beauty of the church. 
 
 TAUNTON CHURCH has a very fine tower, indeed one of the finest in 
 England ; it is of late Perpendicular, and very rich. 
 
 GLASTONBURY ABBEY and CHURCH contains some beautiful parts. 
 The kitchen of the abbey remains, and -is a very curious relic. 
 
 ILMINSTER CHURCH has a fine tower, of a light and uncommon con- 
 struction. 
 
 Other churches Lullington, Bath Easton, and the Temple-church, Bristol. 
 
 LITCHFIELD CATHEDRAL. The general character of the nave and 
 transept of this church is Early English, but of a curious character ; it has 
 not the simplicity of Salisbury cathedral and Westminster abbey, nor the very 
 rich detail of some parts of Lincoln minster, but it approaches in composition, 
 in some parts, much nearer to Decorated work than either of them. In the 
 
138 
 
 transepts are various traces of Norman, and the whole has a very rich appear- 
 ance. The choir is Decorated, of very good character, with later reparations 
 and additions. There is some good Perpendicular niche- work remaining, which 
 has been copied with partial additions for the stalls. The screen is modern, 
 and several modern alterations have taken place. Of the usual additional 
 buildings, this church has only the chapter-house, a beautiful decagon. The 
 cast end is hexagonal, and the church has an advantage few possess of being 
 completely insular, and some fine trees not far off, add much to the beauty 
 of its appearance at some distance, and with its three spires, form various 
 beautiful combinations in several directions. The plan of this cathedral is 
 curious; the walls of the nave and choir not being in a straight line, those 
 of the choir inclining a little to the north. 
 
 STAFFORD CHURCH is a large cross church of various dates, some good 
 Early English, some Decorated, and some Perpendicular work. 
 
 PENKRIDGE has a fine Decorated east window, and some good work in 
 the interior. 
 
 WOLVERHAMPTON is a large church, much patched and modernized, 
 but its tower is still a fine one. 
 
 Other churches Barton-under-Needwood, Abbot's Bromley, Grcenhill 
 
 and Stow, (near Litchfield,) Tutbury, and Uttoxeter. 
 
 The ABBEY-GATE, at Bury St. Edmonds, is, though in a decayed state, 
 a fine specimen of Decorated work. The buttresses are singular, and would 
 lead one to suppose that it was a casing or at least a rebuilding of Norman 
 
 work 
 
 The CHURCH GATE is as good a specimen of Norman, as the other gate 
 is of Decorated work. 
 
 ORFORD CHURCH has the remains of some Norman piers, of curious 
 character. 
 
 Other churches Wisset, Brayesworth, and Blithburgh. 
 
 LAMBETH PALACE, though hitherto but little noticed as to its architec- 
 ture, contains many parts worthy of attention ; and various gradations from 
 Early English to late Perpendicular. The post-room is curious, as furnishing 
 one of the very few specimens of an ornamented flat cieling. 
 
 ST. MARY OVERY, near London-bridge, is a very large church, and 
 deserving of much attention ; though its exterior, from various patching, is not 
 very promising, the interior is fine. The nave and lower part of the tower is 
 Early English of late character, and there are various additions to several parts 
 of the later styles, and also introductions of windows. Near this church stood 
 
139 
 
 the palace of the bishops of Winchester, which contained a very beautiful 
 circular window of Decorated character j it was superior to most windows of its 
 age, and has been engraved. 
 
 Other churches Beddington and Merton. 
 
 CHICHESTER CATHEDRAL. A portion of the walls of the nave of 
 this church is Norman, the rest of the church Early English, but in the nave 
 are two additional aisles of later character, thus making what foreigners call 
 five naves. The tower and spire are fine specimens of plain Early English. 
 The lady-chapel is of later date, as is the north wall of the nave, which has 
 some curious buttresses. The end of the south transept has a fine Decorated 
 window of seven lights, and a beautiful circle over it; there is also a good 
 circle at the east end. There is no detached chapter-house, and the cloisters 
 occupy three sides of an irregular piece of ground, and are placed much 
 eastward of the usual position. The upper part of the north-western tower 
 is destroyed ; the south-western tower is plain, its two upper stages plain 
 Early English. Near the west end is a very fine bell tower, which is a very 
 good composition, with a lantern connected by small flying buttresses, with 
 octagonal turrets that spring from the corners above the battlement. 
 
 The MARKET CROSS, at Chichester, is an octagon of very beautiful Per- 
 pendicular work, with details of great elegance. 
 
 WINCHELSEA CHURCH is a Decorated building with a fine monument. 
 
 NEW and OLD SHOREHAM CHURCHES contain good Norman work, 
 and the latter some fine Early English. 
 
 ARUNDEL CHURCH has some good Decorated work. 
 
 Other churches— — Boxgrave, Alfriston and Trotton. 
 
 WARWICK CASTLE, although the apartments in use are modernized, 
 yet, in its outward arrangements and general forms, retains much of the 
 bold outline and grandeur of the ancient abodes of the English nobility. 
 One tower, called Guy's tower, is nearly untouched ; it appears to be of 
 Decorated character ; though very plain, it is perhaps the most perfect remain 
 of its kind in existence — is very curious both as to composition and construction, 
 and its outline seen from a distance is peculiarly fine. 
 
 WARWICK CHURCH. The whole of this church, except the chancel 
 and its adjuncts, is a composition of the greatest barbarity, but the chancel 
 is an uncommonly beautiful specimen of Perpendicular work, and the east 
 front is remarkably fine, simple in its arrangement, yet rich from the elegance 
 of its parts, and the excellent execution of its details. The interior is equally 
 beautiful, and there are, on the north side, a monumental chapel and vestry 
 of very good character; but the great feature of the church is the Beauchamp 
 chapel, an erection whose date, cost, and operative builders, are all well 
 
140 
 
 known ; it is completely enriched both within and without, its details of the 
 most elegant character and excellent execution, and in very good preserva- 
 tion. It consists of a chapel of several arches, and a small aisle or rather 
 passage on the north side, between the chapel and the chancel of "the church. 
 This aisle is arch-roofed in three divisions, each a different pattern ; the 
 cbapel itself is groined with a flat four-centred arch, and is a very beautiful 
 specimen of composition. At the back of the altar is a small room formed in 
 the projection of the buttresses, which is very great. In the centre of the 
 chapel stands a very rich altar tomb, with the effigies of Richard Beauchamp, 
 earl of Warwick, whose executors erected the chapel ; there are some other 
 monuments, but some of the largest of them are of much later date, and rather 
 disfigure the chapel than add to its beauty. The pannelling and minute 
 details of this chapel are remarkably good, and with the adjoining chancel, 
 form an assemblage of various details not often met with. 
 
 The city of COVENTRY is very rich in curious building. Of Perpendi- 
 cular wood-work, there is a great abundance in various parts of the town, 
 particularly one almshouse forming a small square, and a house near St. Mary's 
 hall. The ancient public buildings are also numerous. 
 
 ST. MARY'S HALL is the meeting place of the corporation, and is a 
 very curious building ; the kitchen, and some other parts, appear much older 
 than the hall itself, which is very excellent Perpendicular work, and it has 
 a small but very beautiful oriel, in which stands a plain but real ancient table. 
 The hall has a fine timber roof, and at the bottom stands a very fine carved 
 oak chair, most parts of which are in excellent preservation. It is much to be 
 regretted that this beautiful and valuable edifice is greatly out of repair; in 
 1815, a few hundred pounds, judiciously laid out, would have secured it for many 
 years, but if the dilapidations are suffered to continue a few years longer, 
 as many thousands will scarcely suffice. 
 
 The present HOUSE of INDUSTRY is a large and irregular collection of 
 buildings, amongst which are ail the remains of the WHITE - FRIAR'S 
 MONASTERY, consisting principally of a portion of the cloisters, and some 
 adjacent buildings ; these are carefully preserved, (the line of cloister being the 
 dining-room,) and contain some very good specimens of early Perpendicular 
 work. The groining of the cloisters is uncommon, and very beautiful; it is also 
 well adapted for modern plaster-work. There are other detached parts of 
 value, particularly the remains of a gate, and a doorway now blocked up, and 
 a small window placed in it. 
 
 The ecclesiastical buildings in COVENTRY are four, exclusive of the remains 
 of the cathedral, which are hardly discernible, and all traces of their details 
 are gontj; but they appear to have been Early English. 
 
 The GREY FRIAR'S STEEPLE. This beautiful remain stands in a garden, 
 and consists of the central part of a cross church, on which rises a short 
 tower, which becomes octagonal, and has an elegant spire. The small remains 
 of the buildings attached, show it to have been late Early English, but the 
 tower itself is good early Decorated work, with bold mouldings of excellent 
 character ; the spire appears to be later. 
 
 ST. MICHAEL'S CHURCH. If the stone of which this church was built 
 had been more durable, this would have been the finest Perpendicular steeple 
 in England. The church has many traces of being erected on foundations of 
 earlier date, but it is now all Perpendicular as to general appearance. The 
 
141 
 
 steeple is early in the style. The tower has four stages, all of them adorned 
 with niches and pannelling of very excellent character. The spire has several 
 stages, some of which are pannelled ; and round the bottom is arranged a 
 lantern, which gives to this spire a peculiar appearance of lightness. The 
 steeple is very high, and when viewed at such a distance as not to show the decay- 
 ed appearance of the details, is one of the most satisfactory as to its proportions 
 of any in the kingdom. The church is large and undivided ; its interior 
 arrangement is fine^Tfom the great breadth of the aisles, and the lightness of 
 the piers. The divisions are pannelled down to the arches, of which pannel- 
 ling the clerestory windows form part. There is in this church and its vestry, 
 a large collection of stall seats. 
 
 TRINITY CHURCH has also a fine spire, and the distance between the 
 two spires not being more than a hundred yards, their combinations at a 
 distance are very fine. This is a cross church, and in many of its parts much 
 resembles St. Michael's, but the design is not so good. In this church is a 
 large stone pulpit. 
 
 ST. JOHN'S, or BAB LAKE CHURCH, also resembles St. Michael's in "the 
 - pannelling over the arches, but the clerestory windows are longer and square- 
 headed. There are several singularities about the composition of this church 
 that deserve attention. 
 
 STRATFORD-ON-AVON CHURCH has much resemblance in some of its 
 arrangements to the above three chnrches, but there are parts of much earlier 
 date. 
 
 ASTON CHURCH, near Birmingham, has a good tower and spire, but 
 the latter has had some modern alterations ; the tower has some of its details 
 so much like those of the chancel at Warwick as to warrant a belief that 
 it may be the work of the same architect. 
 
 TAMWORTH CHURCH is large, and contains much curious and excellent 
 work. There is a small portion of Early English, and more Decorated work, 
 but the greatest part is Perpendicular The tower has a singular double 
 staircase, one from the outside leading to the leads and some other parts, 
 and one from the inside leading to the various stages, but having no commu- 
 nication with the former except at the top. 
 
 COLESHILL has a fine spire of late Perpendicular work, of better 
 design than execution. The spire is crocketed, and standing high, is very 
 extensively seen to great advantage. 
 
 KENILWORTH CHURCH has some Norman remains. 
 
 KENILWORTH CASTLE has extensive remains, some of which are Nor- 
 man, but the details of most parts remaining are of the age of Elizabeth, or very 
 little earlier. 
 
 In this county may be noticed the churches of KENDAL, BROUOn, ana 
 KIRKBY LONSDALE. 
 
142 
 
 SALISBURY CATHEDRAL. This edifice is deserving of great attention. 
 It is the only cathedral in England of one style, and completed entirely on 
 one plan, and that plan complete as to all its parts. It is also remarkably 
 free from introductions of later date, for till some late reparations, the organ- 
 screen was of the same date as the church. The only ancient introduction 
 is an arch on each side the nave, to connect the east and west piers of the 
 great tower together. This is Perpendicular work, as is also part of the 
 wooden screen-work ; all the rest, except the monuments and modern repairs, 
 is Early English of very excellent character and execution. The north side 
 of this cathedral is well laid open, and the numerous fine trees in the precincts 
 add very much to the effect of its combinations. 
 
 The CHURCH of BISHOP CANNING'S has some parts of very good 
 Early English work. 
 
 MALMSBURY ABBEY and CROSS, particularly the former, deserve atten- 
 tion ; at the abbey are some very fine Norman remains. . v , <M 
 
 Other churches St. John, and St. James Devizes, Chippenham, Cricklade, 
 
 and Wotten Basset. 
 
 SiSiomstersijtre* 
 
 WORCESTER CATHEDRAL. The general appearance and arrangements 
 of this church are Early English, with various introductions, particularly 
 windows, most of which are altered. The tower, though, like Salisbury, 
 accommodated to the long lines of the Early English style, has much of 
 Decorated character. The e^st and west windows are fine, and very large. In 
 the choir is a stone pulpit of remarkably beautiful design. The cloisters are 
 good, and the chapter-house a decagon, Norman, with later windows, and a 
 centre pier. There is a fine Perpendicular porch on the north side. 
 
 EVESHAM ABBEY TOWER is a fine Perpendicular remain. 
 
 GREAT MALVERN CHURCH has Norman piers, but the exterior is 
 principally Perpendicular, and the tower is remarkably beautiful. The 
 abbey-gate, of Perpendicular date, remains. 
 
 PERSHORE CHURCH has some curious Norman parts, and we may also 
 notice those of Little Malvern and Kidderminster. 
 
 YORK MINSTER. This magnificent cathedral has a portion of all the 
 styles, but the Norman only appears in a fine crypt under part of the choir, 
 which reduces the general appearance to the three latter styles; of these the 
 transepts are Early English ; the nave, and arches supporting the great tower, 
 are Decorated, and the choir and upper part of the great tower, are Perpen- 
 dicular. The cloisters are destroyed, but the chapter-house remains; and at 
 
143 
 
 some distance is a building lately restored as a library. The church is much 
 shut up with buildings on the south side ; the north is more open, but is not 
 a public passage. There have been so many references to this building in the 
 former part of this work, that less detail will be required here; but it will be 
 proper to remark the excellent effect produced by the great simplicity of 
 composition in the nave. The organ-screen is very fine, and the choir is just 
 so much richer than the nave, as to indicate its superior appropriation. The 
 altar-screen is light and beautiful, and the tabernacle-work of the stalls very 
 good. The lady-chapel is a continuation of the choir on a different level, 
 the altar being much raised. The chapter-house is of Decorated character, 
 and of admirable execution ; it is an octagon beautifully groined. The 
 exterior appearance of this church is very fine from its great size, and the 
 excellent effect of its three towers; and in the value of its details, both 
 within and without, it is equalled by few buildings, and exceeded by none. 
 
 BEVERLEY MINSTER. This church also has been much referred to ; in 
 addition it may be remarked, that its appearance is not benefited by a sort of 
 cupola which forms a very awkward finish for its central tower. The general 
 character of this church is Early English, with many introductions ; many 
 windows in the nave are Decorated, and there are several Perpendicular 
 windows, besides those of the east and west fronts. The transepts are very 
 little altered. The choir has a screen which is a strange attempt at mixing 
 Grecian and English work. In the choir is a most beautiful monument of 
 Decorated character, and of most exquisite execution ; it is a double arch 
 groined within, and triangular canopies with rich buttressses. The arch is 
 an ogee, double feathered, with tracery between the ogee head and triangle ; 
 all the points have heads or half figures, and in the tracery are angels with 
 censers. The spandrels of the featherings are filled with armed figures, bear* 
 ing shields. Both canopies are richly docketed; the finial of the upper is tali 
 and very rich ; the lower finial is a corbel, on which is a figure, seated in 
 the attitude of benediction ; and behind the crockets, about the middle of 
 the upper canopy, are two figures supporting corbels on which are angels. 
 All the small mouldings are filled with the ball ornament, and the whole is 
 in very good preservation, except the tomb, which is plain, and has had some 
 fine brass-work, which is gone. In the north transept is a fine altar-tomb of 
 good Decorated workmanship, and there are several other tombs. In the 
 nave there are Doric galleries in each arch, which, though in themselves not 
 bad, are certainly out of place. 
 
 RIPPON MINSTER is a large and venerable edifice, containing various 
 parts worthy of attention, particularly its west front, which is a very fine 
 specimen of bold Early English, and, except the battlements and pinnacles, 
 without alteration. 
 
 ST. MARY'S CHURCH, Beverley, if it had not so rich a neighbour as 
 the minster, would be thought a curious and valuable church ; its west front is 
 very fine, with beautiful pierced towers, very fine windows, and a door of 
 great beauty, very rich in mouldings, and the hanging feathering. The 
 chancel has some good Decorated work, and some curious groining. The 
 western part is early Perpendicular, and the interior piers and arches very fine. 
 
 COTTINGHAM CHURCH, between Hull and Beverley, is a curious small 
 church, with some good Decorated work, and a very excellent Perpendiculax 
 chancel ; the tower is a light and beautiful design. 
 
144 
 
 TRINITY, or the HIGH-CHURCH, at Hull, is a large and fine building ; its 
 east end to the street is Decorated, and of good composition ; it is a cross 
 church, and in the centre has a very lofty and beautiful tower. The western 
 part is Perpendicular, of good character, remarkably light, and with very 
 small piers. The transepts are of very early Decorated work, and the great 
 window of the south transept is very curious from its tracery and mouldings. 
 Only part of the nave is pewed ; the chancel is open, and has a very fine 
 effect ; there is in it a Decorated monument, with rich canopy and buttresses. 
 
 The LOW CHURCH has some good Perpendicular windows, much like 
 some of the High-church windows. 
 
 PAUL, a village on the Humber, below Hull, has a small cross church of 
 good Perpendicular character, and in the south transept is a water-drain in 
 good preservation, with the spout on the outside complete. 
 
 HEAD ON, near Hull, has a very fine church, some parts of which are 
 sadly mutilated, particularly a once fine window in the south transept. A large 
 portion of the church is Early English, of which the front of the north 
 transept is an uncommonly fine specimen. The tower, which is in the centre, 
 is lofty, of good Perpendicular work. 
 
 BILTON, a small church or chapel between Headon and Hull, is a curious 
 portion of plain Early English work , the windows are very long and narrow. 
 
 SKIRLAW CHAPEL, in Holderness, deserves mention ; it was built by Walter 
 Skirlaw, bishop of Durham, and archbishop of York ; and is a very beautiful 
 specimen of a Perpendicular chapel ; there are parts of it of curious design. 
 
 DONCASTER CHURCH is principally remarkable for its tower, the details 
 of which are some of the richest exterior work in the kingdom, particularly the 
 canopies of the buttress stages. The church is a large cross church, mostly of 
 Perpendicular character, but with various traces of earlier work ; the interior 
 does not answer the expectations so highly excited by the richness of the exterior. 
 
 HOWDEN CHURCH. The east end of this church has already been men- 
 tioned, and there are many other parts deserving attention. 
 
 The. ABBEYS of Whitby, Fountains, Rivaux, Byland, Eastby, Kirkham, 
 Kirkstall, and Richmond, though all in ruins, contain remains which will well 
 repay an examination of tjiem. 
 
 On the BRIDGE at Wakefield is a small chapel, the front of which is an 
 elegant specimen of rich Perpendicular work, with canopies and very rich 
 tracery. 
 
 CROFTON, near Wakefield, is a small but very neat cross church, of good 
 character. 
 
 ADEL > near Leeds, is a good specimen of a Norman church. 
 
 Other churches Bardsey, Bradford, Godmanham, Guiseley, Haysgarth 
 
 Halifax, Hemmgborough, Malton, Newbald, Pontefract, Richmond, Sherbourne, 
 Selby, Thornhill, and Wakefield, as well as several in the city of York. 
 
145 
 
 In York should also be noticed, the GUILDHALL, and ST. MARY'S 
 ABBEY, which, though in ruins, presents some curious and beautiful details, in 
 an elegant transition from Early English to Decorated work. 
 
 The Welsh cathedrals of ST. DAVID, LLANDAFF, BANGOR, and ST. 
 ASAPH, though inferior in size and magnificence to most of the English cathe- 
 drals, yet all contain parts deserving attention, though amidst much alteration 
 and decay. 
 
 The ABBEYS of LLANTHONY, TINTERN, MARGAM, VALLE 
 CRUCIS, and BASINGWERK, though all in ruins, yet contain parts that 
 are valuable both as to composition and detail. 
 
 The CHAPEL erected over the celebrated spring at Holywell, is a Perpen- 
 dicular erection of very great beauty ; and as a piece of composition, has rarely 
 been exceeded in the elegance of its groins and niche-work; it is very rich, 
 but the ornament is much more judiciously arranged than in most edifices of a 
 similar date. 
 
 WREXHAM CHURCH has a very fine tower, perhaps the finest in Wales ; 
 it is late, but good Perpendicular, very much enriched, the buttresses, full of 
 niches, and the whole pannelied ; the church is good, but not equal to the tower. 
 
 MOLD CHURCH is a good Perpendicular building, the tower modern. 
 
 NORTHOPE CHURCH has a fine plain tower, and some parts of the church 
 are good. 
 
 GRESFORD CHURCH, near Wrexham, is small but very complete ; the 
 west walls, and part of the tower, appear to be Decorated, the rest Perpendicular 
 in excellent preservation, and of good character ; on the whole, a more complete 
 little church is seldom met with, and its situation is very beautiful. 
 
 The church of FLINT, and that of CLYNOG near Caernarvon, may also be 
 noticed. 
 
 In Wales, the architectural student should not neglect the castellated remains 
 they are ven* numerous, and many of them contain very valuable specimens of 
 castellated adaptations of the styles. 
 
 gcotlanU. 
 
 ROSLYN CHAPEL has already been mentioned for its singular composition, 
 
 The cathedrals of GLASGOW, DUMBLAINE, ABERDEEN, ELGIN, and 
 that of ST. MAGNUS, at Kirkwall, in the island of Orkney, have all been mag- 
 nificent structures, and though most of them are partially dilapidated, and 
 variously altered, still contain enough to induce the student to a careful 
 examination of their remains. 
 
 L 
 
146 
 
 JEDBURG ABBEY has some fine Norman remains. 
 
 MELROSE ABBEY is in many respects the finest remain in Scotland ; the 
 Decorated portions are of very excellent character, and the tracery of the south 
 transept window has seldom been exceeded. The eastern part is Perpendicular, 
 and the east window has been a remarkably fine one, and one of which it is 
 extremely difficult to restore the arrangement of the broken tracery. 
 
 , The chapel of HOLYROOD PALACE, though in ruins, has some good work. 
 
 SrelanU. 
 
 The CATHEDRAL of ST. PATRICK, in Dublin, is the only building the 
 Author can with confidence refer to ; this is mostly of Early English character, 
 with various introductions and alterations. No doubt the island contains other 
 edifices worthy of attention, though they have not as yet come under the Author's 
 notice. 
 
147 
 
 APPENDIX. 
 
 In these additions, the same mode of division into Counties will be pursued as in 
 the former enumeration, and it may become necessary to mention again some 
 Buildings which are contained therein, as greater opportunities of examination 
 have elucidated various particulars not before sufficiently noticed. 
 
 The CHURCH of LOW SUNDON has a south transept of Decorated cha- 
 racter, and other interesting remains. 
 
 MARSTON MORTAINE CHURCH is a good Perpendicular building, and 
 its tower stands in the church-yard at some distance from the church. 
 
 WILLINGTON CHURCH has some good Perpendicular work. 
 
 The church of HOUGHTON REGIS, and the chapel of HEATH, deserve 
 examination.— The font at EATON BRAY is a very curious specimen, and 
 more distinct in its architectural character than fonts usually are. 
 
 Although most of the buildings of the ABBEY at READING are in ruins, 
 and the walls stript of their stone casing, there still exists, in tolerable condition, 
 one of the gates, which well deserves attention ; and there may yet remain 
 some traces of ancient work in the Abbey Mill, which may be curious from 
 the great rarity of any other than castellated or ecclesiastical remains of such 
 early date. 
 
148 
 
 I3urtunguam*fmr 
 
 HITCHENDEN CHURCH contains some good relics of plain Normau 
 work, a curious font, and some other parts deserving of examination. 
 
 STANTON BURY CHURCH has a fine and much enriched Norman door. 
 
 Tt will be proper again to call the attention to several parts of ELY CATHE- 
 DRAL; the east end is Earl} English of very great beauty, combining sim- 
 plicity of composition with excellence of ornament. — The windows in that 
 part of the lantern ranging with the clerestory of the church are very fine, 
 and have before them in the upper part a singular and beautiful open screen of 
 stone, to reduce the sharpness of the arch ; and the same expedient is used in 
 the great arch across the eastern portion, and the tracery of this latter arch is 
 remarkably rich. The screen at the entrance of the choir is a tine composition. 
 The Early English work, all over the building, deserves minute attention, from 
 the variety and gradual advance of its character. 
 
 TRINITY CHURCH, Ely, heretofore the Lady Chapel of the Cathedral, is 
 a building of peculiar delicacy of execution ; its character is very early Per- 
 pendicular, and some of its details, particularly a range of niches in the interior, 
 deserve great attention. The general proportions are fine, and the groining of 
 the roof excellent. 
 
 ST. MARY'S CHURCH, Ely, has two curious door-ways, and various other 
 parts of value, principally Early English. 
 
 BARTLOW CHURCH has a round tower, in general a mark of great an- 
 tiquity, these being mostly Noiman. 
 
 ISELHAM CHURCH is the remains of the Priory Church, of plain Norman 
 architecture, with a semicircular east end. 
 
 STUNTNEY. a chapel to Trinity Church, Ely, is also of Norman character. 
 
 The churches of HAUXTON-NEWTON, PAMPISFORD, KIRTLTNG, 
 HADDENHAM, and STURBRIDGE, are all principally Norman, and contain 
 many valuable remains. 
 
 The remains of DENNY ABBEY, now converted into a farm-house, retain 
 the ancient Norman arches and windows. — There are also some interesting re- 
 mains of Anglesey Abbey. 
 
 In addition to what has been said of CHESTER CATHEDRAL, it is but 
 justice to notice the care of the present excellent Bishop of that See, in clearing 
 
149 
 
 cut and rendering accessible one of the finest Norman crypts remaining ; it 
 anciently supported the great hall of the monastery, but has been so built over, 
 as to be concealed till its late clearance ; it has been ventilated by windows com- 
 municating with the cloisters being unstopped, and presents the student with 
 a very valuable Norman composition, in very good preservation. 
 
 The whole eastern part of ST. JOHN'S CHURCH, Chester, has been lately 
 re-built and very much altered. 
 
 At NANTWICH CHURCH is a stone pulpit of good workmanship, but of 
 late date. 
 
 The east window of BEBBINGTON CHURCH is very curious, and deserves 
 minute attention ; its mouldings are good, and a species of twisting of the 
 tracery amidst the perpendicular lines usually found, renders it nearly if not 
 quite unique. 
 
 The CHAPEL, at BIRKENHEAD, is Norman, with an excellent plaint 
 groined roof, and has some Perpendicular windows inserted. 
 
 arorntoall* 
 
 The various buildings on the top of ST. MICHAEL'S MOUNT, deserve 
 particular attention. 
 
 Btfrfigafnte. 
 
 MELBOURNE CHURCH is a very fine and complete specimen of Norman 
 work. 
 
 HOGNASTON and SWARKESTON have Norman doors ; and the CHAPEL 
 at STEETLY, now a barn, contains some fine Norman remains. 
 
 In this county, the valuable remains of ancient domestic architecture at 
 WINGEIELD MANOR-HOUSE and HADDON HALL, the one much 
 ruined, and the other in good preservation, and also HARD YY ICK HALL, 
 deserve peculiar attention. 
 
 DRONFIELD CHURCH has a chancel of good Decorated work ; the east 
 window has been a very fine one, but now sadly mutilated. 
 
 The CHURCH at CHESTERFIELD, the leaning spire of which has excited so 
 much attention, deserves investigation, from its valuable and curious parts.— 
 The apparent leaning of the spire arises partly from the curious spiral mode of 
 putting on the lead, and partly from a real inclination of the general lines of 
 the woodwork of the spire. The tower is at the intersection of the cross, and 
 with the nave, and some other parts of the church, is of good, but singular De- 
 corated character ; the dripstones are almost all returned, the windows good, 
 the mQuldings and buttresses good, with very plain but elegant pinnacles. The 
 
150 
 
 clerestory of the nave, the east window, and various parts are Perpendicular, 
 and there is a portion of good wood screen-work. 
 
 REPTON CHURCH has a tine spire and a crypt, and some other Norman 
 remains. 
 
 In addition to what has been said of EXETER CATHEDRAL, it is proper to 
 call the attention of the student to the very rich and excellent stalls on the south 
 side of the choir near the altar, and also to a tomb of beautiful design and excel- 
 lent execution, evidently of the Perpendicular style. To this last particular atten- 
 tion is necessary, because in a late publication it is said to be of the date of 1283, 
 apparently because Bishop Bronscombe, by whose name it is called, died in 
 1281 ; and not satisfied with thus giving to a specimen, with nearly every possible 
 mark of Perpendicular date, the age of an Early English, or at least very early 
 Decorated erection ; the author of the book in question gives the four-centered 
 arch of the tomb, in his plate of arches, as one of the date of 1283, and this 
 in a work stated to be expressly for the elucidation of the principles of English 
 architecture. — These remarks are rendered necessary, not only by the gross 
 misapplication of date in the above instance, but by the determination of some 
 describers to use, in publications which have appeared since the first edition 
 of this work, those terms which the Author alone has adopted as descriptive of 
 peculiar dates, not only withoirt any acknowledgment to whom they are in- 
 debted for the terms, but to mix them in the same description, and sometimes 
 the same sentence, with those vague names which it has been the study of the 
 Author to supersede by attaching precise definitions to the terms he has 
 introduced. 
 
 Here it may be proper to repeat the remark made in the body of this work, 
 on the great uncertainty introduced by attaching the date of a man's death to the 
 tomb which goes by his name ; there is much reason to suppose that the monument 
 of King John, at Worcester, is not much older than Henry VIl's time, though the 
 statue may perhaps be older than the tomb ; and the tomb of Osrick, a Saxon 
 king, at Gloucester, is evidently of late Perpendicular character. 
 
 AXMINSTER CHURCH has a fine Norman door, and in ATHERINGTON 
 CHURCH is a Norman font, of peculiar excellence of composition. 
 
 YEALMPTON CHURCH has some pretty good Perpendicular work. 
 
 IDurtjam 
 
 The very small number of the remains of domestic buildings of early date, 
 should induce the student to examine those which do remain with particular 
 attention, and of the buildings surrounding the CATHEDRAL at DURHAM, 
 many are very curious. The ancient kitchen is a singular specimen of plain 
 groining with an aperture. 
 
 DARLINGTON CHURCH is a fine specimen of Early English. 
 
151 
 
 STAINDROP CHURCH has some good stone stalls in the chancel, of late 
 Early English character, and a fine monument of Decorated character in the 
 south aisle, with a canopy and flat segmental arch ; the mouldings of this arch 
 are good, and it forms an excellent authority for the use of that description of 
 arch in modern work, where a flat arch is required, and purity of composition 
 forbids the use of a four-centerd arch. 
 
 BRANCEPETH CHURCH has some very elegant wood stall-work ; and there 
 is an oak chest of very early date, curiously carved. 
 
 BISHOP'S AUKLAND CHURCH has also some very good wood carving. 
 
 MONK WEARMOUTH CHURCH has a very ancient tower. 
 
 BISHOP WEARMOUTH has also an ancient tower. 
 
 The CASTLES of RABY, LUMLEY, BRANCEPETH, and HILTON, are 
 all deserving of particular attention, especially Hilton and Raby, which have 
 very fine entrances. 
 
 The ruins of FINCHALE ABBEY and JARROW PRIORY, contain interest- 
 ing fragments. 
 
 issgrr. 
 
 FIFIELD CHURCH has a chancel, with some curious work of Decorated 
 character. 
 
 CASTLE HEDINGHAM CHURCH has a very early circular window at the 
 east end, and other interesting parts. 
 
 TILTEY CHURCH has some Decorated stone stalls in the chancel. 
 
 HADLEIGH CHURCH has a Norman semicircular east end.' 
 
 The churches of GREAT BENTLEY, GREAT LEIGH, BRAXTED 
 MIDDLETON, RAINHAM, COPFORD, and MARGARET RODINg', 
 have all considerable Norman remains. 
 
 CANEWDON CHURCH has a massive Perpendicular tower, with very bold 
 buttresses, and some windows of the same character. 
 
 BOCKING CHURCH has a tower of late but good Perpendicular character. 
 
 EAST HORNDON CHURCH has remains of various styles. 
 
 NORTH WELD and LAYER MARNEY CHURCHES are principally of 
 the Perpendicular style. 
 
 SOUTH WELD has a very curious Norman door. 
 
 HATFIELD PEVEREL has a fine Norman west door. 
 
152 
 
 BUM NOW CHURCH has a Decorated chancel, and the other parts good 
 Perpendicular. 
 
 NEWPORT CHURCH is of the Perpendicular style ; the tower and south 
 porch deserve attention. 
 
 DEDHAM CHURCH has a fine Perpendicular tower, with octagonal turrets, 
 rich pinnacles, and an elegant pannelled battlement. 
 
 Although mention has been made in the body of the work of WALTHAM 
 CROSS, the Author cannot refrain from bringing it again before the notice of 
 the student; it is a remain of such singular delicacy and beauty, that it were 
 much to be wished that it should be judiciously restored. — TOTTENHAM 
 CROSS, of which only the brick nucleus remained, has been lately restored 
 with cement, but in a style, at least a century later than the date of its 
 erection. Waltham still has enough of its detail remaining to be accurately 
 repaired, and its value, as an architectural study, is equal to any editice of its 
 size in the kingdom. 
 
 The church at MALDEN is curious from its triangular tower, which is plain, 
 and is either Norman or very early Early English. 
 
 Some portions may still remain of BYCKNACRE PRIORY, which was of 
 good late Norman. 
 
 An ancient CHAPEL at HARLOW-BURY, has some good Norman fea- 
 tures. 
 
 In addition to what has been said of GLOUCESTER CATHEDRAL, the 
 west front should be noticed ; it is of Perpendicular character with some singu- 
 larities, but is altogether worthy of great attention. — The south porch, and a 
 door from the north aisle to the cloisters, are very fine specimens of rich Per- 
 pendicular composition. The centre tower, both within and without, is of 
 excellent proportion, and the details very good. — The monument of King Ed- 
 ward II. is one of the very few pieces of real Decorated tabernacle-work re- 
 maining. 
 
 At ESSINGTON CHURCH is a curious Norman door with a square head, 
 and a sort of pediment. 
 
 At TEWKSBURY CHURCH, the multangular east end and the chapels, 
 are very curious ; and there is a fine monument of stone tabernacle^work in a 
 chapel. 
 
 In the church-yard at IRON ACTON, are the remains of a fine cross, of 
 Perpendicular character. 
 
 STANLEY ST. LEONARD, HAMPTON, and HAWKESBURY 
 CHURCHES, have all parts deserving of attention. 
 
J 53 
 
 WINCHESTER CATHEDRAL contains some uncommonly fine screen 
 work in the choir, and the aitar screen is as rich a portion of tabernacle-work 
 as any in England. — The east end of the choir is contracted by the last arch 
 having the side wall sloped ; this may have been done to accommodate some 
 former piers remaining at the erection of the choir. 
 
 The gate of ST. CROSS, built by Cardinal Beaufort, is a beautiful specimen 
 of plain Perpendicular. 
 
 The church of ST. CROSS is peculiarly valuable, for the very gradual transi- 
 tion from Norman to Early English j and in the west window verging to Decorated 
 work. 
 
 CHRIST CHURCH, TWINAME, is a church deserving of very great atten- 
 tion. The nave is Norman, of very curious character, the eastern part prin- 
 cipally Perpendicular, of simple but elegant design. The altar screen is of 
 uncommon beauty, as is an Early English double door of entrance on the north 
 side. 
 
 ROMSEY CHURCH is of early Norman, and presents the bold features of 
 that style in great perfection ; the south transept is peculiarly fine ; there are 
 various inserted windows, but the whole of the south front is an almost unaltered 
 specimen of Norman arrangement. 
 
 CARISBROOK CASTLE has some valuable remains, particularly a fine 
 entrance gate. 
 
 Of HEREFORD CATHEDRAL, the north side is very fine, and the north 
 transept deserves particular attention, both w ithin and without. The north porch 
 and a chapel on the south side of the lady chapel, are beautiful specimens of 
 Perpendicular.— In this cathedral, great care should be taken to distinguish 
 between the modern alterations and the ancient construction of the building. 
 
 The church of KILPECK is a fine specimen of the Norman style. 
 
 Although GOODRICH CASTLE is mostly in ruins, yet there are still 
 portions of it sufficiently perfect to deserve very minute inspection; an arched 
 passage, with a succession of bold ribs, is peculiarly fine. 
 
 In the ABBEY CHURCH of ST. ALBANS, the very excellent altar screen 
 should be noticed ; and also the very beautiful porch at the west entrance. 
 
 ST. PETER'S CHURCH, ST. ALBANS, has a singular door, with very good 
 mouldings, and the arches very flat. 
 
 ivt 
 
154 
 
 BROXBOURNE CHURCH has some good Perpendicular work. 
 
 At AYOT, ST. LAWRENCE, the old church, though in ruius, has some 
 portions well deserving of examination. 
 
 HITCHTN CHURCH has a very fine Perpendicular porch. 
 
 HEMEL HEMPSTED has some fine Norman remains. 
 
 ST. NEOT'S CHURCH is deserving of attention, not only for its fine tower, 
 but for the general construction of the church, which, though of late Perpendi- 
 cular, is of good composition. 
 
 ST. MARY'S and ALL SAINTS, HUNTINGDON, are both deservin g of 
 attention. 
 
 At GREAT GIDDING CHURCH is a curious holy water basin, resembling 
 a Norman capital. 
 
 ALL WALTON CHURCH has one of the most singular combinations of 
 Norman and Early English to be met with. —The piers are round, the bases and 
 capitals with mouldings considerably advanced in the Early English style, 
 while the arch is semicircular, and the architrave Norman, and the dnpstone is 
 also a Norman moulding, while the supporters are flowers of good Early Eng- 
 lish character. There are three plain seats in the chancel, of a character still 
 more advanced than the capital above-named ; and there is also in the church, a 
 singular corbel and a door-way, in which the shafts and mouldings are curiously 
 combined. 
 
 RAMSEY CHURCH has some piers and arches, in which the Norman and 
 Early English styles are mixed ; but here the piers are Norman, and the arch is 
 pointed, and the dripstone clearly Early English. 
 
 LEIGHTON BROMSWOLD CHURCH has another singular instance of 
 mixture ; two recesses for the screen of the altar have interesting arches, sup- 
 ported by shafts, the character and mouldings of which are advanced Early 
 English. 
 
 The font at CONNINGTON CHURCH has also a portion of the same 
 mixed character. 
 
 UPTON CHURCH has a curious trefoil Early English door, and a font of 
 very curious character, with the same mixtures noticed above. 
 
 SAWTRY ALL SAINTS has three seats of very plain work on the north 
 side of the altar ; they are curious, from their breadth, and their being on the 
 north side of the church, instead of the south. 
 
 WOOTON CHURCH has a chancel of very great beauty, the east end par- 
 ticularly; it is Early English, and the mouldings remarkably fine. 
 
155 
 
 BURY CHURCH is the eastern portion of a large cioss church, containing 
 many valuable remains. 
 
 fUnt 
 
 In CANTERBURY CATHEDRAL, the very valuable tombs of the Arch- 
 bishops should be noticed ; these, with some few other monuments in the cathe- 
 dral, form nearly a regular series from very early date till the reformation. — 
 The nave of the cathedral is peculiarly fine ; the shafts of the piers have a divi- 
 sional band, like the Early English shafts ; the eastern portion of the nave next 
 the great tower, presents an appearance remarkably magnificent, from the 
 numerous steps, and the arches with pierced parapets leading to various parts. 
 
 ALLINGTON CHURCH has a curious door-way in the north porch, of 
 Early English character. 
 
 OSPRINGE and BEAKSBOURNE have Norman doors. 
 
 HARBLEDOWN HOSPITAL CHAPEL has some curious Norman re- 
 mains, and a font of beautiful proportion and good Perpendicular composition. 
 
 PATRICKSBOURNE CHURCH has two very fine Norman doors. 
 
 ST. MARGARET'S, at CLIFF, has various fine Norman remains. 
 
 ST. MARTIN'S and ST. DUNSTAN'S CHURCH, CANTERBURY, have 
 both parts deserving of attention. 
 
 WROTHAM CHURCH has a curious passage under the tower. 
 
 GILLINGHAM CHURCH is deserving of attention. 
 
 The gateway of ST. AUGUSTINE'S MONASTERY is so fine a specimen of 
 Decorated work, that it deserves very minute examination ; the bold recess of 
 the gate, the fine proportion of the turrets, the peculiarly rich band of niche- 
 work, of very varied character, forming the second, stage, and the elegance of 
 the battlements, all combine to render it a most valuable study ; the interior 
 groining is very good. 
 
 The remains of the NUNNERY at DAVINGTON, have some good Nor- 
 man features. 
 
 3Leite&ttv&t)m. 
 
 ST. MARY'S, LEICESTER, has some fine portions of Norman work remain- 
 ing, particularly at the east end ; and some of the other churches have portions 
 deserving of attention. 
 
 GADDESBY CHURCH has a south aisle of Decorated character, the west 
 end of wjiich deserves particular attention. 
 
 KEG WORTH CHURCH has various parts of plain Decorated character. 
 
156 
 
 MARKET HARBOROUGH and MELTON MOWBRAY CHURCHES, 
 have considerable portions of Decorated work of excellent character. 
 
 BOTTESFORD CHURCH tower and spire are deserving of examination. 
 
 HALLATON CHURCH has various curious portions. 
 
 Other churches— COLD-OVERTON, CLAY BROOK, FRISBY, HOUGH- 
 TON, REDMILE, SOMERBY, and WALTHAM. 
 
 The ruins of the castle of ASHBY-DE-LA-ZOUCH, contain parts worth 
 examining. 
 
 3ltnroitt0tHte. 
 
 Most of our cathedrals would form a sufficient basis for several years' study, 
 and none more than LINCOLN ; the variety and singular character of the 
 greatest part of the building is such, that it would be an interesting and valu- 
 able employment to compare the character of many of its details and arrange- 
 ments with other buildings of like dates. As the western portion from the 
 transept can only be seen in detail by a very close view, (from the near 
 approach of the surrounding buildings,) the character of the work (rich Early 
 English) has a peculiarly imposing effect, from the number, variety, and beauty 
 of the mouldings near the eye ; and as these are in excellent preservation, this 
 is perhaps one reason of the general ascription of peculiar magnificence to this 
 cathedral. The porch attached to the west side of the south transept, and 
 some chapels on the east side of the same, are particularly deserving of atten- 
 tion for the intricacy and beauty of the mouldings, and the singulaiity and 
 excellence of their general composition. 
 
 The churches of the city of LINCOLN are poor, mostly small, and much 
 mutilated, both as to portions of the churches and as to their details, Of five 
 churches in the street east of the river, four have Norman towers, all very 
 nearly resembling those of the villages of Braeebridge and Harmston, a few 
 miles to the eastward of them. 
 
 Of these five churches, ST. PETER, at Goat, ST. MARY, and ST. BENE- 
 DICT, all have parts remaining of good character, particularly St. Benedict. 
 
 In this street is a conduit with some late Perpendicular remains, and a malt- 
 house has a very fine Norman arch ; opposite to which, on the side of a private 
 house, is a very beautiful Oriel window, the character Decorated or early 
 Perpendicular, of excellent design and execution, and in good preservation. 
 
 On the line of hill which runs from Lincoln to Grantham, is a succession of 
 villages at very short distances from each other, the churches of some of which 
 present the student a most valuable series of details and curious composition. 
 
 BRACEBRIDGE, below the hill, and HARMSTON upon it, have been 
 noticed ; and WADDLSGTON between them, contains still enough of the 
 Norman features about it in the interior, to allow it to be considered as 
 originally of the same date. 
 
157 
 
 Of COLEBY, the lower part of the tower, and a portion of the nave, is 
 Norman ; the rest of the church principally Early English, with later additions ; 
 a late and not very good Perpendicular spire and addition to the tower. The 
 south door of the church is a very fine specimen of Norman, and has been 
 engraved. 
 
 BOOTHBY, the next church, is small, and contains nothing deserving of 
 attention but a Decorated window at the east end ; the tower is very ancient, 
 at least Early English, but as well as the church, has been strangely patched 
 and modernized. 
 
 NAVENBY contains some very valuable details; a portion of the church is 
 Early English, and has some curious piers both of that style and the next, but 
 the most valuable portion is the chancel, the windows of which are of Decorated 
 character, and very fine, particularly the east window, the mullions of which are 
 extremely delicate, and the tracery (or at least what is left for the head, has 
 been most disgracefully mutilated to ceil the chancel) remarkably fine ; it is of 
 six lights, and in excellence of composition scarcely yields to any in England : 
 on the south side of the chancel is a depository for the service of the altar, and 
 also three stalls, and on the north side a large monumental arch, and a smaller 
 upright one of not very common construction. All these works are inserted in 
 the walls of the chancel, and are in the very best character of the Decorated 
 style, and in good preservation ; but covered with so many coats of whitewash, 
 as to require an eye well accustomed to such work duly to appreciate their 
 beauties. The exterior of the chancel is plain, but very good, and the canopies 
 of the eastern buttresses have very fine finials. 
 
 WELLINGORE has a tower and short spire, and various parts deserving of 
 attention, but the work is not of that excellent character which is seen at 
 Navenby. 
 
 WELBOURNE presents some excellent and curious features ; the tower is 
 very early Early English, and on it has been placed a Decorated spire of a 
 singular shape, the line of the rib being curved, and making the spire approach 
 the shape of a sugar loaf; the spire has flying buttresses from the angles of the 
 tower, is docketed, and of good workmanship. The clerestory of the church is 
 Perpendicular, of a good and rather singular character ; the chancel has been 
 rebuilt in a very poor style ; all the remainder of the church is Decorated, of 
 very good character ; the piers are octagonal, with very excellent mouldings to 
 the bases and capitals. The tracery of the windows is very good, with some 
 singular forms, and there is a south door and porch, of good design and excel- 
 lent workmanship. Above the chancel roof, in the gable of the nave, to the east, 
 is a rich circle of tracery of early Decorated character, and over it a singular 
 projecting niche and canopy, apparently to hold a very small bell. On the 
 whole, this church deserves more attention than in its situation, (away from any 
 considerable road,) it is likely to obtain. 
 
 LEADENHAM. This church has a tower and spire of most graceful pro- 
 portions, its character Early Perpendicular, of good design and execution ; the 
 chancel and porches are also Perpendicular, the rest of the church very ex- 
 cellent Decorated work, the north door peculiarly fine, with a canopy and 
 most excellent crocketing and mouldings ; the piers, arches, and mouldings all 
 over the church peculiarly good, and the windows good tracery, with flat 
 
158 
 
 arches, but many of them sadly mutilated by cutting away part of the mullions 
 and tracery j the buttresses are canopied at top, and have good moulded set- 
 off* ; the spire is croeketed, has rich windows, and the tower has very good 
 buttresses, with octagonal pinnacles. 
 
 FULBECK. The general exterior appearance of this church is late Perpen- 
 dicular, the tower, clerestory, porch, and most^ of the south side being of that 
 character ; the chancel is of earlier date, but has been partly modernized. 
 There are three Early Decorated stalls on the south side ; the nave has Early 
 English piers, evidently set on old Norman foundations, the arch into the 
 chancel a good one. The font is a very fine specimen of a Norman font ; the 
 exterior of the clerestory is rich, and has pinnacles and pannelling ; some 
 figures in relief are attached to the south-east corner pinnacle, which, at a 
 small distance, become indistinct, and resemble an awkward bag hung about 
 the pinnacle j the tower has eight pinnacles, and its outline is very good. 
 
 CAYTHORPE CHURCH is also in the line of villages'; it is a cross church 
 of very great singularity. The chancel has been rebuilt, and all its ancient 
 features lost ; the north transept has a Perpendicular window ; all the rest of 
 the church is of Decorated character, and generally well executed ; the tower 
 stands on four very fine piers and arches, with good mouldings ; its buttresses 
 good, with canopied tops, four pinnacles and four fine pierced flying buttresses; 
 the spire croeketed, slightly sugar-loaved, and pierced with quatrefoils, in circles, 
 for windows ; the battlement of the tower pierced, with the waved line 
 feathered. The plan of the nave is most likely uuique; il has two windows and 
 three buttresses at the west end, (under one of these a Perpendicular door 
 has been inserted,) and two arches and piers run down the middle of the nave, 
 and half an arch abuts at the apex, against the centre of the west wall of the 
 tower, above the tower arch : this curious arrangement is worked in the same 
 good style, and nearly of the same date as the tower. The windows of the nave 
 are very irregularly situated, and have some curious and good tracery ; the 
 south door is very good, and the west end a fine composition. This singular 
 church is one of the very few in which the whole of the steeple is of Deco- 
 rated character. The pinnacles of this church are curious, being like some at 
 Beverley Minster, cut so that the angular crockets, instead of rising as usual 
 from the corbels at the angle of the pedestal,, rise from behind the finial of the 
 canopy. 
 
 BRANT BROUGHTON, on the road from Newark to Sleaford, is a very 
 curious church ; the chancel has been lately rebuilt, but the other parts of the 
 church remain in their original state ; the tower and spire, and the west end of 
 the aisles Decorated, the belfry window very fine, the spire croeketed, and 
 pierced with quatrefoils for windows, the nave early Perpendicular, the piers 
 and arches plain, the buttresses very rich, like those of Newark, the window 
 architraves very rich, and the hollows filled with flowers, two porches with 
 very curious stone roofs, with very elaborate ribs and bosses, many good pinna- 
 cles and sunk pannelled battlements ; the windows good Perpendicular. On 
 the whole, this is one of the richest and most curious small churches in England, 
 and from the similarity of work, it is most likely that it was executed by the 
 same artists as Newark church. 
 
 BECKINOHAM. The tower of this church is Perpendicular, with eight 
 good pinnacles ; the nave, piers, and arches good Early English, with shalts, 
 
159 
 
 some banded, and with the nail-head ornaments in ?ome of the capitals ; the 
 windows good Decorated, with fiat arches ; the north door a very curious one, 
 of mixed Norman and Early English character ; the south door and south porch 
 both excellent Early English, but with the zigzag mixed with the toothed orna- 
 ment. In the church-yard, on the ground, exposed to constant trampling on, is 
 a fine ancient female figure, evidently from a monument ; its continuance there 
 is a great disgrace to those w ho could turn out of the church so tine a piece 
 of ancient sculpture, and take into it so abominably wretched a piece of com- 
 position and execution as the altar-piece of this church, but which was proba- 
 bly placed there before the incumbency of the present learned and polite 
 rector. 
 
 CODDTNGTON. This is a small church, but has various portions of good 
 Early English work remaining. 
 
 The church at BOURNE is the remain of a fine collegiate church, the west 
 end has two towers of Early English character, and very fine composition. 
 
 At SEMPRINGHAM the remains of the priory church is of good Norman, 
 and at SUTTERTON the church has some fine Norman remams. 
 
 DEEPING ST. JAMES, and KIRTON LINDSAY CHURCHES, have both 
 of them considerable Norman portions. 
 
 GOSBARTON and SPALDING CHURCHES are deserving of attention, 
 as is the tower of GREAT PONTON, which is of Perpendicular character, 
 and celebrated for the beauty of its masonry. 
 
 B ELTON CHURCH has some curious portions, and GRANTHAM 
 CHURCH, besides its very fine steeple, has much good Perpendicular and 
 some earlier work. 
 
 BARTON ST. PETER'S (the old church.) The tower will be again noticed 
 in speaking of Earls Barton, in Northamptonshire. The church has good Early 
 English piers, and various good Decorated windows; the chancel Perpendicular. 
 
 BARTON ST. MARY'S (the new church.) This tower is one of the finest 
 specimens of an Early English tower ; the west door and windows very good, 
 and the mouldings peculiarly fine ; the nave has the north piers Norman, the 
 arches just pointed ; the south piers Early English, with some excellent flowered 
 capitals ; the clerestory is good Perpendicular, and the chancel and south aisle 
 early Decorated work of good character. 
 
 ST. MARY'S CHURCH, STAMFORD, has a steeple deserving peculiar 
 attention ; the tower is an Early English composition of great excellence, in five 
 stages, and the spire is early Decorated, with remarkably elegant canopied 
 windows and niches ; this spire is not crocketed, but has plain ribs at the 
 angles. 
 
 LEVERTON CHURCH has three very rich stalls in the chancel. Various 
 parts of Lincolnshire abonnd with churches containing very excellent specimens, 
 of which few have been properly examined, and still fewer engraved. 
 
160 
 
 Of the buildings surrounding NORWICH CATHEDRAL, several deserve 
 particular attention ; the Erpingham Gate is a very excellent example of enriched 
 Perpendicular ; St. Ethelbert's Gate is a curious specimen of Decorated work, 
 particularly the upper part, of flint, with stone tracery. A gateway in the 
 precincts of the episcopal palace is of very good Decorated character, and its 
 composition remarkably curious; the font in the cathedral is a very excellent 
 specimen of Perpendicular character, and is very highly enriched. 
 
 ST. JULIAN'S CHURCH, NORWICH, has some Norman remains. 
 
 ST. PETER S, MANCROFT, NORWICH, is a large and fine Perpendicular 
 church ; the tower is of good composition, richly pannelled, but loses much of 
 its effect from the very awkward manner in which its para[>et is now finished. 
 
 ST. MARY'S, NORWICH, has an ancient round tower; the rest of the 
 church principally Perpendicular, of good character. 
 
 YARMOUTH CHURCH is a large and fine cross church, principally Early 
 English, but with many insertions ; the belfry story of the tower is peculiarly- 
 elegant, from its simplicity of composition. 
 
 ST. MARGARET'S CHURCH, LYNN, has an east end of very singular and 
 beautiful composition ; it is in two stages, the lower has a rich band above the 
 base, and three fine nirhes ; the second stage has a circular window, and two 
 octagonal turrets form the flanking buttresses. 
 
 ST. NICHOLAS'S CHAPEL is a large building, with some very excellent 
 portions, the character is a singular mixture of Decorated and Perpendicular 
 composition and detail. 
 
 In the church-yard at EAST DEREHAM, over a spring, is a plain but 
 curious Norman arch. 
 
 BURNHAM THORPE CHURCH has some curious portions, principally 
 of Perpendicular character. 
 
 GILLINGHAM CHURCH is principally Norman, the tower in the middle, 
 and a fine Norman door at the west end. 
 
 FRAMLINGHAM EARL'S CHURCH is a small Norman building, with 
 two small but curious doors, and a good interior arch of separation. 
 
 WYMONDHAM CHURCH is large, and of various styles, with a fine tower 
 in ruins. 
 
 HILLINGDON CHURCH has a Norman door of uncommon beauty; its 
 details peculiarly fine and curious. 
 
161 
 
 CROMER CHURCH is a Perpendicular building of great beauty, its tower 
 is a remarkably fme composition, and some other portions of the church have 
 very excellent details. 
 
 KENINGHALL CHURCH has a south door of very singular Norman 
 composition. 
 
 CLAY CHURCH is a large and very curious edifice ; the clerestory windows 
 verv curious, being alternately of the usual shape and circular. The south aisie 
 is of very rich Perpendicular, with a fine porch, and to the eastward, a chapel 
 partly ruinated, in which has been a fine decorated window. The battlements 
 and parapets of this church are very fine and remarkably rich, and the windows 
 of very good composition. 
 
 THWAITE CHURCH has a fine Norman door. 
 
 SALE CHURCH is a curious and valuable composition ; the tower is remark- 
 ably well proportioned and its parts excellent, the general style Perpendicular, 
 rich, but not over loaded ; the west front has a singular appearance from two 
 staircase towers of bold character leading to rooms over the two porches ; these, 
 with various other parts, are deserving of attentive examination. 
 
 CAWSTON CHURCH has parts of various character, some portions Decorated, 
 but mostly Perpendicular; the top of the tower has a peculiarly awkward appear- 
 ance from being deprived of its battlements. 
 
 SNETTISHAM is a large and curious Church, with various interesting 
 portions. 
 
 CATFIKLD CHURCH has a chancel of good Perpendicular, and other 
 portions deserving of attention. 
 
 CASTLE RISING CHURCH has a west end of remarkably fine Norman 
 composition, a fine door and large window above, with intersecting arches on 
 each side. This church has also other portions worth examining. 
 
 HADOISCOE CHURCH has a round tower, and its other portions of good 
 character. 
 
 LITTLE SNORING CHURCH has a door-way exhibiting, in a curious man- 
 ner, the mixture of Norman and Early English character; it has shafts with 
 Early English capitals, and the square Norman abacus. The head of the door is 
 a round arch, and its immediate surrounding moulding is a hollow, (a common 
 feature in much later times,) then follows a sharp jointed arch, with a very bold 
 zigzag, and above all a moulding in a horse-shoe shape, consisting of a small 
 round, and a hollow filled with dowers. On the whole, this is one of the most 
 singular doors extant. 
 
 The ABBEYS of THETFORD, L ANGLE Y, WEST ACRE, and NORTH 
 CREAK, and BEES i ON PRIO iY, are ail in ruins, but contain some beautiful 
 portions, principally Early English. 
 
 The porch of entrance to ARMINGHALL OLD HALL, is a very singular 
 and beautiful composition. 
 
 v 
 
162 
 
 PETERBOROUGH CATHEDRAL. The remains of the monastic buildings 
 in the court in front of this cathedral, deserve very minute attention ; though 
 their style is much varied, and there are various insertions, yet they present on 
 the whole, a valuable specimen of that bold and varied outline, both of plan and 
 elevation, which has been so often attempted to be imitated in modern times with 
 very little success. The nave of this cathedral is a very good specimen of that 
 description of Norman work which has its piers composed of shafts ; the propor- 
 tions are good, and the general appearance fine, without that overwhelming 
 heaviness which appears in those edifices where the great circular piers are 
 used. 
 
 QUEEN'S CROSS, NORTHAMPTON, the most perfect of Queen Eleanors 
 monuments, is a very fine example of a transition from the Early English to the 
 Decorated style ; though in some respects not so rich in detail as Waltham Cross, 
 it is remarkably beautiful in its proportions. 
 
 CASTOR CHURCH, and MAXEY CHURCH, have both Norman towers. 
 
 The tower of EARLS BARTON CHURCH resembles in some degree the 
 tower of St. Peter's, at Barton on the Humber, in Lincolnshire, but is evidently 
 more advanced, both as to design and execution, particularly in the door-way; 
 they are, however, so much alike, that they deserve most attentive examination. 
 
 The tower of BARNACK CHURCH has something of the same character as 
 Earls Barton ; the body of the church is Norman, a porch Early English, the 
 chancel Decorated, and the chapel on the south side Perpendicular; thus present- 
 ing, if we allow the tower to have been built before the conquest, a complete 
 series of the styles. 
 
 LOWICK and FOTHERINGAY CHURCHES present various parts deserv- 
 ing of attention. 
 
 KETTERING CHURCH is of good Perpendicular character. 
 
 WARMINGTON CHURCH is an interesting specimen of Early English. 
 
 ROTH WELL CHURCH has a fine Early English door, and other curious 
 parts. 
 
 GREAT BRINGTON and MARHOLME CHURCHES are neat specimens 
 •f Perpendicular work. 
 
 LONGTHORPE CHURCH has some curious parts. 
 
 GREAT ADDINGTON CHURCH has a porch in which the Norman and 
 Early English characters are mixed. 
 
 CANONS ASHBY CHURCH has some fine Early English features. 
 
 kSTANWICK CHURCH has a curious steeple. 
 
163 
 
 ^orttmtnfccrlantr. 
 
 NORHAM CHURCH has a large portion of good Norman work. 
 
 The remains of the PRIORY CHURCH of BRINKBURNE, though ia 
 ruins, contain various curious specimens of transition from Norman to Early 
 English. 
 
 In castellated work this county is rich. The keep of BAMBOROUGH 
 CASTLE is a fine example of massive Norman. 
 
 At ALNWICK are two ancient gates; and though much of the castle is 
 ©f modern repair, yet most probably some ancient parts remain, 
 
 WAR K WORTH CASTLE is one of the finest castellated remains we have, 
 and cannot be too carefully studied. 
 
 &ottinqt)axn$t>in. 
 
 ST. MARY'S CHURCH, NOTTINGHAM, is a very large cross church, 
 of Perpendicular character. The west end, and much of the interior, modern, 
 in a very bad taste ; a restoration is now going on, which appears to be very 
 carefully conducted. The exterior has many singularties about it, particularly 
 in the arrangement and mouldings of the buttresses. The tower is large and 
 fine, taken two stages above the roof, and crowned with a good battlement and 
 pinnacles. The church has a very large proportion of window, equal if not superior 
 to any church in England ; the character is good Perpendicular, though like the 
 exterior, with some singularities. The south porch is a very curious one, its 
 front extremely rich, with pannels and hanging tracery, and a very curious stone 
 roof, with pannels. Over the great window, in the north transept, is a canopy 
 with very bold crockets. The south transept has been very fine, and is restoring. 
 Under the windows at the end of the north and south transepts, in the interior, 
 are two monuments of Perpendicular character, of the finest design and the 
 best execution ; the foliage peculiarly curious, and vying in elegance with the 
 work of our best eathedrals ; these most excellent specimens, which are very little 
 known, are much hidden by pewing ; as their design is much varied from 
 each other, they deserve, from the very great diversity of detail, the most 
 careful attention of the student. 
 
 ST. PETER'S CHURCH has some portions of tolerably good work ; but the 
 greatest part of the church has been modernized. 
 
 The east end of the church at KINGSTON, is of late Perpendicular, and 
 built for the reception of a monument of the same date, of uncommon splendor, 
 
 HOVERINGHAM CHURCH has a Norman porch. 
 
 The church at MANSFIELD deserves minute attention ; the tower has its two 
 lower portions Early Norman, built of small stones, and the outside plastered j 
 and this it appears to have been, at least very anciently, if not originally. The 
 belfry story is Decorated, with a good two-light|window ; the arches and piers are 
 mostly of good early Decorated character ; there is one Early English window 
 
104 
 
 remaining, ami a good north door of Decorated character. Some of the windows 
 are Perpendicular, particularly a handsome three-light at the west end of the 
 north aisle, of very good mouldings. 
 
 BINGHAM CHURCH has a curious Early English tower, and a later belfry 
 story and spire. The piers of the church are small, and remarkably curious, 
 having varied foliage of excellent design and execution, some late Early English, 
 others very early Decorated. The transepts and chancel are of later date than 
 the nave. There are Early English, Decorated, and Perpendicular windows. 
 The cornice of the tower is curious, and there are the remains of statues, which 
 have served for pinnacles. 
 
 NEWARK CHURCH. Although this church has been mentioned before, 
 much remains to be noticed. In the nave is a Norman pier remaining on each 
 side, and a part of the tower is evidently built on a Norman base. The general 
 exterior appearance is Perpendicular, yet on a minute examination, it appears as 
 if ail the pif rs and arches, both of the nave and chancel, the fine corresponding 
 buttresses each side of the east window, and various other buttresses, as well as 
 the whole western portion of the south aisle, were erected by the Decorated 
 architects. The screen at the back of the altar is also of Decorated character. 
 The Perpendicular work is early, and of excellent character ; the east window 
 is of very large dimensions, and had a good transom, which has been taken away, 
 and re-placed by one so bad, as to show that its designer, though he would not 
 condescend to copy, could not invent ; for the mode adopted to unite the princi- 
 pal and subordinate mouldings is one of the most bungling of modern attempts. 
 Over the east gable of the cross is a fine specimen of a bell niche, one of the 
 most ornamented remaining ; the style is good Perpendicular The buttresses of 
 this church, both Decorated and Perpendicular, are very excellent, and there 
 are some good doors, and in the interior, some good wood screen-work and stalls, 
 but to the screen work some modern portions have been added. 
 
 FARNDON and THORPE CHURCHES, near Newark, have each portions 
 of tolerable work, particularly the latter. 
 
 HAUGHTON, or HALLOUGHTON, near Newark, on the south side of the 
 Trent, deserves peculiar attention. The tower is of fine outline, but poor in its 
 detail and execution ; part of the nave of the same character, which is very late 
 Perpendicular. The piers and arches of the nave are Early English ; but the 
 principal attraction of the church is the chancel, which is of the purest and best 
 Decorated work, and in many respects nearly unrivalled. The windows are 
 good, with excellent mouldings, and the east window remarkably fine, and 
 curious for the irregularity of its composition, (almost exactly resembling one in 
 the church of East Retford, in this county ;) with one of the side windows, a 
 door, evidently of the date of the window, is singularly complicated on one side. 
 The chancel is not large, but both north and south sides are covered nearly the 
 whole length, by niche-work of the most excellent character. On the north side, 
 are three distinct monumental niches in the wall; under the centre, the figure of 
 a knight (a Molyneux) is recumbent ; these are all varied, the westward a small 
 upright one, the centre a large ogee arch, and the third a composition of peculiar 
 delicacy and beauty, in two stages, the lower of four and the upper Of three 
 niches, with the most elaborate foliage and tracery. On the south side, are 
 thrc e stalls, and a water-drain, arranged in the customary manner, but of uncom- 
 mon beauty of design, and delicacy of execution. This chancel has been so 
 
165 
 
 minutely described, to draw the attention of artists to it. The details, though 
 sadly filled with whitewash, are of the highest style, both for purity and beauty; 
 and as the church is on no road but from one village to another, (though within 
 a mile of the great north road, and about two from Newark,) it is unlikely to be 
 visited, unless by those who go on purpose, and no adequate notice of it seems 
 yet to have appeared. 
 
 BALDERTON CHURCH has a porch and two doors of good Norman work, 
 and various portions Early English. The lower stage of the tower Decorated, 
 the upper, and spire, Perpendicular. 
 
 The front still remaining of NEYVSTEAD ABBEY CHURCH, can hardly be 
 spoken of in too high terms ; like St. Mary's Abbey, in York, it is of the latest 
 Early English, and in delicacy of execution and elegance of composition, has 
 hardly an equal , it is in excellent preservation, though only a mere wall, and 
 most of its delicate ornaments nearly as fresh as when first carved. 
 
 Untlatiiwtfive. 
 
 ESSEX]) INE CHURCH is a small Norman building, with a south door, which 
 has been engraved ; there are two arches for bells, which appear to be Norman. 
 
 GREAT and LITTLE CASTERTON have both portions deserving of atten- 
 tion, principally Early English. 
 
 RYHALL has a fine tower and spire of very late Early English, and some 
 singularities ; the rest of the church principally very good Perpendicular. 
 
 OKEHAM CHURCH has various portions of good work, principally Per- 
 pendicular. 
 
 KETTON, which though on the edge of Lincolnshire, is in this county, has a 
 very fine Early English tower, and Decorated spire. Some of the windows are 
 Early English; the singular mixture of Norman and Early English character in 
 part of this church has been noticed before, it has transepts, and some portions 
 of good Perpendicular. 
 
 A beautiful Decorated arch, standing alone, is all that remains of the ruined 
 church of PICKWORTH. 
 
 EMPINGHAM has a very singular tower and spire, partly Early English, 
 with Decorated additions ; the composition is curious, and on the whole very 
 fine. The interior of the church is of various styles, the windows mostly Per- 
 pendicular. 
 
 The assizes are held in the hall of the CASTLE of OKEHAM, which, amidst 
 various introductions and mutilations, has preserved enough of its original 
 features to show it to have been good work of very late Norman, or very early 
 Early English. 
 
166 
 
 The large window in the tower of the ABBEY CHURCH at SHREWSBURY, 
 is deserving of attention, and also some other parts of the church ; but the 
 principal attraction is the stone puipit still standing in the garden ; it is of 
 Decorated character, of most excellent design and execution; the series of 
 mouldings forming the corbel, which projects the front from the wall, is of great 
 beauty, and the groining of the roof is of equal excellence ; it is to be regretted 
 that so much ivy covers the top, that its upper finishing cannot even be guessed 
 at, and the ivy must materially injure a building which, including the excellence 
 of its character, is nearly, if not quite unrivalled. 
 
 The towers of ST. JULIAN and ST. ALKMOND have both some ancient 
 portions, but of little value. 
 
 Of the OLD CHURCH of ST. CHAD, a small but very curious portion 
 remains, and is now a school ; it contains Norman, Early English, and Decorated 
 remains, and appears to have been part of the south aisle of the chancel. 
 
 ST. MARY'S, SHREWSBURY. This is a large and very fine cross church; 
 the lower part of the tower, and the south porch, good Norman work, the rest 
 of the church principally Early English, with various insertions of windows, 
 the whole of the clerestory being Perpendicular. The nave has round arches, 
 though evidently of Early English character ; there are some very good and 
 curious Early English windows, particularly the ends of the transepts, and one 
 on the north side of the chancel. There is a portion of very good wooden roof, 
 and a very good font of Perpendicular character. The south aisle of the 
 chancel is a school; has some Decorated windows, and has had a very large 
 one at the east end, now stopped up. 
 
 ELLESMERE CHURCH has an east window of fine early Perpendicular 
 composition. 
 
 WELLS CATHEDRAL. The west front of this cathedral, as well as that 
 of Litchfield, has an appearance much resembling some of the Continental 
 buildings, not only from the number of statues remaining, but from the manner 
 in which these statues are crowded together ; bnt Wells still more assimilates to 
 the Foreign cathedrals, from the towers, which above the line of the roofs are 
 of very fine Perpendicular character, with long narrow windows. The upper 
 part of the central tower is much in the same style ; the north porch is Early 
 English, of very early character, with the Norman abacus, and is a very excel- 
 lent specimen of its date ; the cloisters are good, but some of the finest features 
 about the church are the chapter-house and its crypt ; it is an octagon of early 
 and excellent Decorated character, with a central pier ; it is very rich, both 
 within and without, and the crypt, though plain, has very good mouldings, and 
 is one of the best examples of such a substructure in the kingdom. 
 
 There are in this county very many fine Perpendicular churches, and the 
 following list have all more or less of Norman remains : ASHILL, BARTON 
 
167 
 
 DAVID, BECKINGTON, BLACKFORD, CHURCH DRAYTON, CHRIS- 
 TON, DOULTING, ENGLISH COMBE, HAWK RIDGE, HOL.COM BE 
 LANGRIDGE, MIDDLE CKINNOCK, MIDSUMMER NORTON, MIL- 
 TON CLEVEDON, PEN ALLER, STONE E ASTON, and SUTTON 
 BINGHAM. 
 
 The porch of BRIDGEWATER CHURCH has a door-way of very curious 
 character ; it is good Decorated work, and has what in modern imitation may 
 well be used as au authority for a fan-light. 
 
 BATHFORD CHURCH has some curious portions, and BATH EASTON 
 a beautiful tower. 
 
 BATH WICK and WESTON CHURCHES, deserve attention. 
 
 LITCHFIELD CATHEDRAL. To this edifice some considerable restora- 
 tions are now making. The niches surrounding the eastern part of the choir 
 under the windows, deserve notice ; they are of very good Decorated charac ter, 
 much of the foliage varied, and very excellent. Though not perhaps quite 
 connected with the immediate subject of the present essay, the Author cannot 
 do justice to his feelings, without noticing that most admirable effort of sculpture 
 by Chantrey, lately placed in this cathedral, the monument of the two grand- 
 daughters of the present worthy Dean ; it is a composition so sweet, and of such 
 exquisite truth, that to be justly appreciated it must be seen; to attempt to 
 describe it were vain, and for various reasons no plate or drawing of it is likely 
 to give half its beauties. 
 
 HANDSWORTH CHURCH has some piers of Early English character, and 
 some rather curious hexagonal ones of a later date. 
 
 WEST BROMWICH. The lower portion of the tower and one window, are 
 Decorated, but of country work ; the church and upper part of the tower 
 modern. 
 
 WALSALL CHURCH is a large and very irregular pile, principally Perpen- 
 dicular, except the tower, which is Decorated, but much decayed and 
 mutilated ; the spire modern. Most of the windows of the church have been 
 despoiled of their tracery. There is a public passage through a good archway 
 under the eastern division of the chancel. 
 
 WEDNESBURY CHURCH has some tolerably good ornamented Perpen- 
 dicular parts ; its east end is octagonal. 
 
 TUTBURY CHURCH deserves particular notice, for its splendid west front ; 
 its principal entrance has few rivals in the kingdom. 
 
 The remains of CROXDEN ABBEY, on the edge of DERBYSHIRE, hav« 
 some very fine Early English features. 
 
168 
 
 Suffolk. 
 
 WIS SET CHURCH has a fine Norman door on the north side. 
 
 ORFORD CHURCH, and the ruins of the chapel, present some very curious 
 remains. 
 
 The remains of MEND HAM PRIORY have some fine Norman features, 
 particularly the entrance to the chapter-house. 
 
 BRAIS WORTH and HOLTON CHURCHES have each a very fine Nor- 
 man door, and the latter a font of Perpendicular character. 
 
 The remains of COVEHITHE CHURCH have some curious features, par- 
 ticularly of chequered masonry. 
 
 ST. MARY'S CHURCH, BURY, is a large and fine specimen of plain 
 Perpendicular work ; and ST. JAMES'S CHURCH is also Perpendicular. 
 
 LONG MELFORD is a large Perpendicular church, with some curious 
 chequered masonry at the eastern end ; the tower modern. 
 
 LAVENHAM CHURCH has an imposing general appearance, but its 
 details are not of adequate value ; it is late Perpendicular. 
 
 EAST BERGHOLT CHURCH has some curious portions, principally 
 Perpendicular. 
 
 WOOLPIT CHURCH is deserving of attention, particularly the very 
 elegant south porch. 
 
 BOTTESDALE CHAPEL has some good portions of Perpendicular work, 
 and some curious inscribed stones built into the walls. 
 
 SOUTHWOLD CHURCH is a large and fine Perpendicular church, with 
 much chequered masonry, and a fine south porch. 
 
 WORLINGWORTH CHURCH has a fine font, and rich wood cover. 
 
 The remains of the Gatehouse, BUTLEY ABBEY, are very curious, some- 
 thing in the style of St. Ethelbert's Gate at Norwich. 
 
 The church of ST. MARY OVERY, SOUTHWARK, being so near the 
 metropolis, deserves more attention than it usually obtains ; it is a very large 
 church, and some of the eastern chapels contain very curious parts. 
 
 MICKLEHAM CHURCH has some good Decorated portions. 
 
169 
 
 A part of the BISHOP of WINCHESTER'S PALACE, at FARNHAM, 
 contains some Decorated work of good character, and the remains of the 
 ABBEY of WAVEiiLEY, near Farnham, contain many curious features. 
 
 BATTLE CHURCH, and also the ABBEY, contain curious portions. 
 
 BURPHAM CHURCH has some remains of Norman work. 
 
 HERSTMONCEAUX CASTLE, though only the walls remain, is so curious 
 a relic of that kind of half defensive, half domestic edifice, which succeeded the 
 castles of real defence, that it deserves very great attention. 
 
 STEYNING CHURCH is Norman, with some of the finest Norman enriched 
 mouldings. 
 
 KNOWLE CHURCH is principally Perpendicular work, the chancel of 
 good character, and it has a siigut angle in the wail of the easternmost diyision, 
 like that noticed at the Winchester cathedral. 
 
 SHELDON CHURCH. The church and chancel very plain, the north aisle 
 good Decorated work ; the west window of this aisle a four-light window, of 
 excellent design, though of only middling execution. Between the windows of 
 this aisle, in the interior, is a very beautiful piece of niche-work, in three divi- 
 sions, of early Perpendicular character, and very excel. ent execution ; a portion 
 has been cut away, to insert a mode rn monument. The tower, though of late 
 Perpendicular character, is of good design, and all the openings, except the 
 large west window, canopied. The porch has had some weii-carved wood 
 beams. 
 
 SOLTHULL. This is a large and curious cross church ; the west end of the 
 nave and the south aisle are late Perpendicular, the west window of the nave 
 a singular but good composition. The rest of the church and lower part of the 
 tower are 1 ecorated work, of an early and curious character, particularly the 
 chancel, which, as well as the transepts, h is very good windows ; and attached 
 to the north side of the chancel is a small chapel of equal character, now used 
 as the vestry, and under it a small but beautiful plain-groined crypt. In both 
 the chancel and the vestry are the usual niche on the south side, for the vessels of 
 the altar ; that in the chancel a richly canopied niche, and that in the vestry 
 plainer. The tracery and mouldings about these parts of the church are very 
 good, and there are some corbels in the wall of the chancel that are hard!) to 
 be equalled for the spirit and beauty of their foliage ; they are very perfect, and 
 deserve great attent on. This church, particularly the chancel, is carefully 
 attended to, as to those minute repairs and cleaning onvh.ch the stability of 
 ancient edifices so much depends. 1 he piers of the tower are plain, but very 
 good ; the be 'fry story is Perpendicular, and the spire modern. There is a 
 littie good tabernacle and screen work in the church. 
 
 RYTON CHURCH has some Early English features. 
 
 o 
 
170 
 
 DUNCHURCH CHURCH has a small but good Decorated door, and some 
 of the piers are of the same character, and of curious composition. 
 
 imitative. 
 
 The remains of LYYCOCK ABBEY deserve much attention, as they con- 
 tain many very valuable portions. 
 
 CORSTON CHURCH has some good Perpendicular portions. 
 
 mioYct&tit&utt* 
 
 KING'S NORTON CHURCH has a remarkably fine spire, the tower is of 
 very good composition, it is of Perpendicular character, and rather late, but 
 good ; the spire is docketed, and has canopied windows. The church is large, 
 principally plain Decorated work, with Perpendicular insertions and additions ; 
 north and south doors Decorated ; south porch Perpendicular. The church is 
 large, but has no clerestory windows. 
 
 YARD LEY CHURCH. This has also a fine tower and spire of Perpen- 
 dicular character, but not so rich as King's Norton. This church has much 
 Decorated work, and some Early English about the chancel. Some windows in 
 this church remarkably exhibit the difference between superior and country 
 work ; they are of the same size and design, but in one the mouldings are 
 delicate and very carefully executed, in the other the mouldings are much less 
 elaborate, and roughly executed. There is a good Perpendicular north door, 
 and a very curious wooden south porch, which is most likely of Decorated date ; 
 it is of oak, and though rude, and portions of the ornament defaced, yet from the 
 character of the work, and particularly the roof framing, seems entitled to be 
 really considered of that style. Some good ornamental hanging feathering has 
 been carved on the front, but is almost obliterated by time. 
 
 HALES OWEN CHURCH has some curious portions, both Norman and 
 Early English. 
 
 The following list of churches all contain some Norman portions : — ALVE- 
 CHURCH, ASTLEY, CHADDESLEY CORBETT, DROITWICH, EAST- 
 HAM, GRIMLEY, HOLT, NORTHFIELD, PEDMORE, ROCK, ROUS- 
 LENCH, STOCKTON, STOKE PRIOR, STONE, and UPTON WARREN. 
 
 DUDLEY CASTLE, though considerably ruinated, deserves minute atten- 
 tion ; the entrance to the great court, and portions of what appears to have 
 been the keep, have still details in very good condition; they are of early 
 Decorated character, and form most excellent specimens of castellated orna- 
 mental work ; there is also a real ogee bearing arch, of Decorated character, 
 with good mouldings, but there is in the interior a segmental arch round it, 
 that takes away the principal bearing. The walls of the buildings are standing 
 to a great extent, but a large portion of them are very late Perpendicular work. 
 
171 
 
 YORK MINSTER. The more minutely this magnificent edifice is examined, 
 the more will its great value appear. The simplicity and boldness, and at the 
 same time the great richness of the nave, and the very great chastity of design 
 and harmony of composition of the choir and great tower, render the building 
 more completely one whole than any of our mixed cathedrals ; while the ex- 
 quisite beauty of the early character of the chapter-house, and its approach, 
 forms a valuable link to unite the Early English transepts and the Decorated 
 nave. This chapter-house is far the finest polygonal room without a central 
 pier in the kingdom, and the delicacy and variety of its details are nearly 
 unequaiied. Too much praise cannot be given to the Dean and Chapter, for the 
 careful restoration of every decayed portion ; nor should the worthy Shute, the 
 mason under whose guidance every restoration has been conducted, be for- 
 gotten ; by a diligent examination and careful measurement of every perfect 
 portion of a decayed member, he has succeeded in preserving the finest speci- 
 men of the Decorated style in the country, and has formed in his school, men 
 capable of performing the same toilsome but valuable task to other buildings. 
 By this restoration, the whole of the west front may be considered in as good a 
 state as when first erected, and a considerable portion of the south side is going 
 on with. There is a fine Decorated monument in the north transept, which, 
 from its situation, is generally too much overlooked j it is of very excellent 
 character. 
 
 BEVERLEY MINSTER. The west front of this church is to the Perpen- 
 dicular style what that of York is to the Decorated style, and it is now under- 
 going the same careful restoration which York minster is, by a mason named 
 Cubing, who was brought up in the cathedral works at York. In the last 
 century a gorgeous wooden composition was put up as an altar screen ; behind 
 this is the remains of the ancient altar screen, or roodloft, a composition which, 
 from what remains of it, appears to have been unrivalled in its description of 
 work ; it is of late Decorated character, and so full of ornament, and that 
 ornament so minute, that few modern chimney-pieces would require equal 
 delicacy of execution ; it has been a series of niches, with canopies and sepa- 
 rating buttresses, every part filled with tracery, and the plain spaces with rich 
 flower-work in lozenges. The back part of this screen is approachable from 
 the Lady Chapel, and exhibits a most excellent piece of rich groining, with 
 very fine bosses, and there has been some remarkably fine and intricate tracery 
 in the arches, but it has been cut away to put in some poor modem monumental 
 tablets, 50 years ago or upwards. The whole of this screen is so excellent and 
 so near the eye, that it forms perhaps the best school in England for Decorated 
 details ; and there is also in the nave and transepts of the church, the details of 
 foliage, figures, and animals, almost level with the eye, in the niches under the 
 windows, from the Early English to the Perpendicular style, both included. — 
 In this respect this church is superior as a study to York Minster, because there, 
 though the details are as good in many parts, they are most of them so far 
 from the eye, as to be drawn with great difficulty. In the nave is a monument 
 equalling, in chastity of composition, but not in richness of detail, the Percy 
 Monument ; it is earlier, and less superbly ornamented, but still very rich. 
 
 ST. MARY'S CHURCH, BEVERLEY. It is very much to be regretted 
 that this very valuable church has not the benefit of the same careful restoration 
 
172 
 
 as the Minster; there are portions which might now be made out, though much 
 decayed, but which a very short time will entirely destroy. Every pari of this 
 church is curious ; the original buildings were evidently Norman and Early 
 English ; some portions are very earlv Decorated, and of various gradations to 
 advanced Perpendicular, and the additions have been made not only round, 
 but under the former work, so as to cause some curious anomalies. The Per- 
 pendicular portions of this church are very good, being rich, but not over- 
 loaded with panneiling. The octagonal turrets flanking the nave are peculiarly 
 fine. 
 
 Many of the HOLDER NESS churches are deserving of attention ; BIL' r ON, 
 HEAD ON, PAUL and S'KiRLAW CHAPEL, have been already noticed. 
 
 PATRTNGTON is a large cross church, with a fine spire. Many portions 
 of this church are fine Decorated work, and others good Perpendicular. 
 
 DRYPOOL CHURCH is principally Perpendicular, with a good north door. 
 
 The churches of GOXHILL, LIS SET, ROWTH, THORN E GUM BOLD, and 
 PULSION, have all Norman portions, and other parts deserving of attention. 
 
 SWINE CHURCH has a considerable portion of Early English work, and 
 some Perpendicular. 
 
 SPROATLEY, SKIPSEA, SUTTON, BURSTWICK, HALS HAM, and 
 EASINGTON, have all portions of Decorated work. 
 
 OTTRINGHAM has a spire, and is principally of Decorated composition. 
 
 WAGHAM CHURCH is partly of Decorated character, and has three 
 stalls in the chancel j the tower is Perpendicular. 
 
 WELWICK is of Decorated character ; it has a low tower, and there is a 
 fine monument within. 
 
 BARMSTON and BEEFORD are Perpendicular, and have each of them 
 towers with pierced battlements. 
 
 The churches of ROOS, HORNSEA, BRAND BURTON, SKEFFLING, 
 TURN STALL, HAMBLETON, and BURTON PIDSEA, are all of Perpen- 
 dicular character. 
 
 KEYINGHAM is one of the very few spires in this district ; it is Perpen- 
 dicular work. 
 
 BISHOP'S BURTON has several portions of Norman and Early English. 
 
 MARKET WEIGHTON, SKIPTON, and BARNBY, have all some Early 
 English features. 
 
 The CHAPEL of the palace at BISHOP'S TPIORPE presents some very 
 good Early English work, both within and without. 
 
173 
 
 The CHURCH of SKELTON, near York, is a small but beautiful specimen 
 of Early English. 
 
 THORPE SALVIN CHUKCH has a remarkably fine Norman arch. 
 
 The numerous churches in the city of York are of very various character, 
 and many contain small portions which are very curious, but none of them, on 
 the whole, are very remarkable. ST. MICHAEL LE BFX-FKY, and ST. 
 j\1 \UTIN\S CHURCH, in Coney-street, are the most complete, and are good 
 but late Perpendicular. In many of the churches are ^various considerable por- 
 tions of ancient stained glass, which in their present state, mixed often with 
 a greater port on of plain glass, and being many parts in a very decayed and 
 dirty state, are not only useless but liable to continued waste, whereas if the 
 portion in each church were cleaned and put into one window, its value would 
 lead to its being kept in order, and it would be an ornament to the church. 
 
 HUNMANBY CHURCH has a plain but curious Norman door. 
 
 NEWBOED CHL T RCH is a cross church, with some very good Norman 
 features, particularly a statue and niche over one of the doors. 
 
 GOODMANHAM CHURCH is also principally of Norman character. 
 
 The west front of M ALTON CHURCH, though partly ruinated, is fine ; its 
 general character is Early English, and there is a very fine Norman central 
 door, and over it inserted a large Perpendicular window. 
 
 SELBY CHURCH is a large and flue building, principally of Norman and 
 Early English, with some later portions. 
 
 SWINTON CHAPEL, near Rotherham, has a very good Norman door. 
 
 Amidst the various barbarisms with which it has been cased and surrounded, 
 the OLD CHURCH at WAKEFIELD still preserves some ancient features ; 
 the south porch is good Perpendicular, and some of the piers and arches in the 
 nave and chancel are good ; the tower seems Early English, but has been much 
 repaired, and a new door and window inserted. 
 
 SANDAL CHURCH is a cross church, with the tower in the centre; it 
 seems to be of early and singular Decorated character, but the execution is 
 very poor; there are various Perpendicular additions. 
 
 WO RSB ROUGH has a neat low tower and spire, the church mostly Perpen- 
 dicular, with a Decorated east window. 
 
 ECCLESFIELD. This is a large cross church, with the tower in the centre. 
 The general character of the whole is Perpendicular, with much likeness, 
 though in a roughish way, to Rotherham ; which church and this form a veiy 
 good contrast between country and superior work. r i he work at Ecclesfield 
 is very little of it really bad, but it is worked with large coarse proportions, 
 
174 
 
 and many minute particularities which appear copied from Rotherham ; there 
 is good wood-work in the roofs, stalls, and screens ; to some work in the cjiancel, 
 figures of priests are carved as finials. 
 
 The OLD CHURCH at SHEFFIELD is a large cross church, with a central 
 tower and spire ; the whole (except parts of the tower and spire) has been 
 cased and modernized by very barbarous hands, but with some curious attempts 
 at imitation, though in a very bad style ; and in the interior very little old is 
 left, but that is sufficient to cause much regret that more has not been 
 preserved. 
 
 ROTHERHAM. This is one of the finest Perpendicular churches in the 
 north, its execution is very excellent, and the design in every part very rich ; 
 it is also in very good preservation ; it is a large cross church, with a central 
 tower and spire, these are fully enriched with pannels, canopies, an i crockets. 
 The whole of the buttresses are pannelled, and with crocketed canopy set-offs; 
 almost every door and window is richly canopied, and there is an appropriately 
 enriched south porch. The windows are all good Perpendicular, with the ex- 
 ception of two or three poor (perhaps renewed) ones in the chancel. The 
 interior is very lofty and spacious, the piers and arches with very good mould- 
 ings, and the original roof of the nave, a fiat wood one, remaining ; it is one of 
 the best compositions of the kind, plain but rich from its good proportion and 
 excellent ornaments. There are some tolerable Perpendicular monuments, and 
 some peculiarly good screen-work. On the whole this church deserves the 
 most attentive examination, both as to its composition and most of its details. 
 
 The ruins of BOLTON ABBEY deserve notice, and those of ST. MARY'S 
 ABBEY, at YORK, most attentive examination ,* they are of that beautiful 
 transition character where the Early English and Decorated features are so 
 blended, as to render it difficult to which style to attach the building. As they 
 are entirely exposed, the very excellent details now visible are continually though 
 gradually passing away. 
 
 ST. DAVID'S CATHEDRAL. This is principally of Norman character, 
 with various insertions, and some very bad modern imitations. The ruins of 
 the bishop's palace deserve attention. 
 
 LLANDAFF has some fine Norman and Early English features, and a very 
 bold Perpendicular tower at the west end. Some portions are of Decorated 
 character, and the chapter-house is a fine plain specimen early in the style. 
 
 BANGOR. The general features of this church are Perpendicular, but the 
 south aisle has Decorated windows ; there are a few good windows, but the 
 cathedral is not altogether a magnificent building. 
 
 ST. ASAPH. Much of this church has been of good, though plain Decorated 
 character, and some of this still remains ; but the choir and some other parts 
 have been most vilely modernized. The interior of the choir is one of the 
 
175 
 
 most paltry and frippery attempts at imitation of ancient work extant, and at 
 an expense winch, if properly laid out, might have made very good work. 
 
 The miss of the CHAPTER-HOUSE, at MARGAM, are very fine, and the 
 Early English details remaining deserve attention. 
 
 CARDIFF CHURCH has a fine Perpendicular tower. 
 
 CRICKHOWELL and ABERGAVENNY CHURCHES deserve attention. 
 
 The ruins of CHEPSTOW CASTLE deserve careful examination, as they 
 contain many valuable details ; indeed it must be again repeated, that Wales 
 is much richer in castellated than in ecclesiastical architecture. 
 
 The western entrance to HOLYROOD CHAPEL is a beautiful specimen of 
 enriched Early English, and the whole front is interesting, as well as the 
 ruined interior. 
 
 The PALACE of LINLITHGOW is surpassed in point of beauty and in- 
 terest by few buildings of the same class ; the canopies and sculpture are of the 
 finest description, and the general arrangement of the interior court is simple 
 and imposing. The entrance gateway combines as much beauty and simplicity 
 of design and ornament as can well be conceived. 
 
 LINLITHGOW CHURCH has various portions deserving of attention. 
 
 The CHURCH of DALMENY is a curious Norman building. 
 
 The remains of the cathedral and collegiate buildings at ST. ANDREW'S> 
 deserve attention. 
 
 In the CASTLE of STIRLING, the exterior of the portion built by James 
 V. has a rich effect, though not in the best taste, as to its detail ; and the ruins 
 of Mar's work and the old church in the town deserve attention. 
 
 The tower of the ABBEY at CAMBUSKENNETH has a fine effect, though 
 of great simplicity of composition. 
 
 HADDINGTON CATHEDRAL is a simple and elegant building, prin- 
 cipally Perpendicular. 
 
 SETON CHURCH, near Haddington, is of the same style. 
 
 The remains of the ABBEY and PALACE at DUMFERMLINE, deserve 
 attention. 
 
176 
 
 JED BURG, DRYBURG, and KELSO ABBEYS, all contain Norman 
 portions. 
 
 MELROSE ABBEY contains as much valuable detail as any building i n 
 Scotland. 
 
 The ABBEY CHURCH at PAISLEY, the ruins of the COLLEGE at 
 LLNCLUDEN, and many ruined abbeys in various parts of Scotland, deserve 
 careful examination. 
 
INDEX 
 
 OF 
 
 Building-s noticed in the Treatise on English Architecture; 
 
 A page 
 
 Abbott's Bromley Church 138 
 
 Abbott's Langley do 127 
 
 Aberdeen Cathedral 145 
 
 Abergavenny Church 175 
 
 Abingdon Abbey Gate 122 
 
 _ St. Helen's Church 122 
 
 — St. Nicholas's do 122 
 
 Adderbury Church 13b' 
 
 Adel do 54, 144 
 
 Aldenham do 127 
 
 Alfriston do 139 
 
 Allington do. 155 
 
 All walton do 154 
 
 Almondbury do . 126 
 
 Alnwick Castle 163 
 
 Alvechurch Church 170 
 
 Arlingham do 126 
 
 Arminghall Old Hall , 161 
 
 Arundel Church 139 
 
 Ashbourn do 124 
 
 Ashby-de-la-Zouch Castle 156 
 
 Ashill Church < 166 
 
 Astley do 170 
 
 Aston do 141 
 
 Atherington Church 150 
 
 Attleburgh do 133 
 
 Audlem do 124 
 
 Avening do 126 
 
 Avington do 121 
 
 Axminster do 150 
 
 Ayot St. Lawrence Church 154 
 
 B 
 
 Babraham Church 123 
 
 Bakewell do 124 
 
 Balderton do 135, 165 
 
 Bamborough Castle... 163 
 
 Bangor Cathedral 145, 174 
 
 Bardsey Church 144 
 
 Barfreston do 48, 54, 128 
 
 Barmston do 172 
 
 Barnack do 134, 162 
 
 Barnby do 172 
 
 Bartlow do 148 
 
 Barton, St. Mary's Church... 45, 130, 159 
 
 St. Peter's do. ... 45, 130, 159 
 
 Barton David do 167 
 
 Barton-under-Needwood Church 138 
 
 Basingwerk Abbey 145 
 
 page 
 
 Bath Abbey Church...60, 91, 93, 96, 103, 
 104, 105, 106, 136 
 
 Batheaston Church 137, 167 
 
 Bathford do 167 
 
 Bathwick do 167 
 
 Battle Abbey 169 
 
 Church 169 
 
 Beaksbourne Church 128, 155 
 
 Bebbington do 123, 149 
 
 Beckingham do 158 
 
 Beckington do 167 
 
 Beddington do 139 
 
 Bedfont do 132 
 
 Beeford do 172 
 
 Beeston Priory 161 
 
 Belton Church 159 
 
 Berkhampstead Church t 127 
 
 Beverley Minster... 58, 59, 61, 67, 71, 74, 
 105, 106, 112, 143, 171 
 
 St. Mary's Church, 74, 143, 171 
 
 Bibury Church 126 
 
 Bilton Chapel 144, 172 
 
 Bingham Church 164 
 
 Binham Priory ^ 133 
 
 Birkenhead do 123, 149 
 
 Bishop's Aukland Church 151 
 
 Bishop's Burton do 172 
 
 Bishop's Cannings do 142 
 
 Bishop's Teignton do 125 
 
 Bishopsthorpe Palace Chapel 172 
 
 Bishop's Wearmouth Church 151 
 
 Blackford do 167 
 
 Blithburg do 138 
 
 Bloxham do 136 
 
 Bocking do 126, 151 
 
 Bolton Abbey 174 
 
 Bonsai Church 124 
 
 Boothby do 157 
 
 Boston do 100, 130 
 
 Bottesdale do , 168 
 
 Bottesford do 156 
 
 Bourne do 159 
 
 Boxgrave do 139 
 
 Bracebridge do I5(j 
 
 Bradford do 144 
 
 Braisworthdo 138, 168 
 
 Brancepeth Castle 151 
 
 Church 151 
 
 Brand Burton do 1 72 
 
178 
 
 page 
 
 Brant Broughton Church 130, 158 
 
 Braxted do 151 
 
 Bridgewater do 167 
 
 Brinkburne Priory 163 
 
 Bristol Cathedral 55, 137 
 
 College Gate 47 
 
 St. Mary Redcliffe Church ... 137 
 
 Temple Church 137 
 
 B rough do 141 
 
 Broxbourne do 127, 154 
 
 Buckden do 127 
 
 Buildwas Abbey 49, 136 
 
 Burford Church 136 
 
 Burnham Thorpe Church 160 
 
 Burpham do 169 
 
 Burst wick do 172 
 
 Burton Pidsea do 172 
 
 Bury do 155 
 
 Bury St. Edmund's Abbey Gate... 87, 138 
 
 ■ Church do 138 
 
 St. James's Church 168 
 
 St. Mary's do. 168 
 
 Bushey Church 127 
 
 Buttley Abbey 168 
 
 Bycknacre Priory 152 
 
 By land Abbey 67, 144 
 
 Caernarvon Castle 89 
 
 Cambridge, Jesus College Chapel 122 
 
 ■ King's College Chapel, 89, 93, 
 
 94, 98, 101, 103, 106, 107, 122 
 
 St. Botolph's Church .... 123 
 
 St. Mary's do 123 
 
 St. Michael's do 123 
 
 St. Peter's do 123 
 
 St. Sepulchre's do 123 
 
 Cambuskenneth Abbey 175 
 
 Camp's Church 123 
 
 Canewdon do 151 
 
 Canons Ashby Church 162 
 
 Canterbury Cathedral 48, 55, 60, 100, 
 
 106, 128, 155 
 
 Ethelbert's Tower 55 
 
 — St. Augustine's Abbey ... 87, 
 
 128, 155 
 
 1 St. Dunstan's Church .... 155 
 
 St. Martin's do 155 
 
 St. Mildred's do 128 
 
 Cardiff Church 175 
 
 Carisbrook Castle 153 
 
 Carlisle Cathedral 74, 85, 86, 87, 124 
 
 Cartmel Church 129 
 
 Castle Acre Priory 53, 55, 133 
 
 Castle Hedingham Church 151 
 
 Castle Rising do 161 
 
 Castor do 162 
 
 Catfield do 161 
 
 Cawston do 161 
 
 Caythorpe do 158 
 
 Chaddesley Corbett do 170 
 
 Charfield do 126 
 
 Cheltenham do 126 
 
 page 
 
 Chepstow Castle 175 
 
 Cherrington Church 126 
 
 Chester Cathedral 61, 67, 70, 76, 85, 
 
 105, 106, 123, 148 
 
 Grammar School 71 
 
 St. John's Church ... 96, 123, 149 
 
 Chesterfield Church 124, 149 
 
 Chetwode do 122 
 
 Chichester Cathedral.. .57, 59, 63, 65, 66, 
 
 75, 139 
 
 Chichester Cross 139 
 
 Chingford Church 126 
 
 Chippenham do 142 
 
 ChristchurchTwiname Church, 57, 127, 153 
 
 Christon Church 167 
 
 Church Drayton Church 167 
 
 Cirencester Church 126 
 
 Clapham do 46, 121 
 
 Clay do. 161 
 
 Claybrooke do 156 
 
 Clee do 130 
 
 Cleve do 52, 126 
 
 Clynog do 145 
 
 Cockersand Abbey 129 
 
 Coddington Church 159 
 
 Colchester, St. John's Gate 126 
 
 Cold Ashton Church 126 
 
 Cold Overton do 156 
 
 Coleby do 130, 157 
 
 Coleshill do 141 
 
 Connington do 154 
 
 Connisbuigh Castle 55 
 
 Copford Church 151 
 
 Corston do 170 
 
 Cottingham do 143 
 
 Covehithe do 168 
 
 Coventry Almshouses 140 
 
 Grey Friars Church 140 
 
 St. John's do 141 
 
 St. Mary's Hall 103, 140 
 
 St. Michael's Church, 97, 100, 140 
 
 — Trinity do 141 
 
 White Friars do 140 
 
 Crickhowel Church 17* 
 
 Cricklade do 142 
 
 Crofton do 144 
 
 Cromer do 161 
 
 Cromhall do 126 
 
 Croxden Abbey 167 
 
 Croyland Abbey 130 
 
 Cury Church 124 
 
 D. 
 
 Dalden Church 125 
 
 Dalmeny do 175 
 
 Darlington do 150 
 
 Davington Nunnery 155 
 
 Dedham Church 152 
 
 Deeping, St. James's Church 159 
 
 Denny Abbey 148 
 
 Derby, All Saints' Tower ... 100, 106, 124 
 
 Devizes, St. James's Church 142 
 
 —St. John's do 142 
 
179 
 
 page 
 
 Dinton Church 122 
 
 Doncaster Church 100, 144 
 
 Dorchester do. 75, 136 
 
 Doulting do 167 
 
 Dover, St. Mary's Church 128 
 
 Down Amney do 126 
 
 Droitwich do 170 
 
 Dronfield do 149 
 
 Dry burg Abbey 176 
 
 Drypool Church 172 
 
 Dublin, St. Patrick's Cathedral 146 
 
 Dudley Castle 170 
 
 Dumblaine Cathedral 145 
 
 Dumfermline Abbey 175 
 
 Palace 175 
 
 Dunchurch Church 170 
 
 Dunmow do 152 
 
 Dunstable do 121 
 
 Durham Cathedral ... 40, 47, 48, 54, 59, 
 
 125, 150 
 
 E 
 
 Earl's Barton Church 162 
 
 " Easington do 125 
 
 Easington do 172 
 
 Eastby Abbey 144 
 
 East Bergholt Church 168 
 
 East Dereham do. 160 
 
 East Ham do 126 
 
 Eastham do 170 
 
 East Horndon do 151 
 
 East Teignmouth do 125 
 
 Eaton Bray do I47 
 
 Ecclesfield do 173 
 
 Egloshayle do 124 
 
 Elgin Cathedral 145 
 
 Ellesmere Church 166 
 
 Elstow do 121 
 
 Eltham Palace 85, 128 
 
 Ely Cathedral...40, 47, 69, 70, 76, 77, 88, 
 
 122, 148 
 
 St. Mary's Church 148 
 
 Trinity do 148 
 
 Empingham do 165 
 
 English Combe do 167 
 
 Ensham do 136 
 
 Essendme do 136, 165 
 
 Essington do 152 
 
 Eton College Chapel 122 
 
 Evesham Abbey 142 
 
 Ewelm Church 136 
 
 Exeter Cathedral... 72, 74, 75, 77, 85, 88, 
 
 124, 150 
 
 F 
 
 Fairford Church 126 
 
 Faringdon do 122 
 
 Farnham Palace 169 
 
 Farndon Church 164 
 
 Felmersham do 121 
 
 Fifield do 151 
 
 Finch ale Abbey 151 
 
 Flint Church 145 
 
 Folkin^ham Church 130 
 
 Fothenngay do 162 
 
 page 
 
 Fountains Abbey 144 
 
 Framlingham Earl's Church 160 
 
 Freston Church 130 
 
 Frisby do 156 
 
 Frodsham do 124 
 
 Fulbeck do 158 
 
 Furness Abbey 129 
 
 G 
 
 Gaddesby Church 155 
 
 Geddington Cross 71, 133 
 
 Gillingham 155 
 
 Gillingham 160 
 
 Glasgow Cathedral 145 
 
 Gloucester do. 54, 92, 94, 99, 103, 105, 
 106, 107, 126, 152 
 
 Godmanchester Church 127 
 
 Goodmanham do 144, 173 
 
 Goodrich Castle 1 53 
 
 Gosbarton Church 159 
 
 Goxhill do 172 
 
 Grantham do 82, 130, 159 
 
 Great Addington Church 162 
 
 Great Bentley do 151 
 
 Great Brington do 162 
 
 Great Budworth do 124 
 
 Great Casterton do 165 
 
 Great Gidding do 154 
 
 Great Grimsby do 130 
 
 Great Leigh do 151 
 
 Great Malvern do 142 
 
 Great Marlow do 122 
 
 Great Ponton do 159 
 
 Greenford do 132 
 
 Greenhill do 138 
 
 Greenstead do 126 
 
 Gresford do. ... 96, 100, 145 
 
 Grimley do 170 
 
 Guildford Castle 55 
 
 Guiseley Church 144 
 
 H 
 
 Haddenham Church 148 
 
 Haddington Cathedral 175 
 
 Haddon HaU 149 
 
 Hadiscoe Church 161 
 
 Hadleigh do 151 
 
 Hadley do 132 
 
 HalesOwendo 170 
 
 Halifax do 144 
 
 Hallaton do 156 
 
 Halloughtondo 164 
 
 Halsall do 129 
 
 Halsham do 172 
 
 Hambleton do 172 
 
 Hampton do 152 
 
 Handsworth do 167 
 
 Han worth do 132 
 
 Harbledowne Hospital Chapel 155 
 
 Hardwick Hall 149 
 
 Harlington Church 132 
 
 Harlow Bury Chapel 152 
 
 Harmston Church 156 
 
180 
 
 page 
 
 Harrow on the Hill Church 132 
 
 Harscomb Church 126 
 
 Hartlepool do 125 
 
 Hatfield Peverel Church 151 
 
 Haughton do 164 
 
 Hauxton Newton do 148 
 
 Haversham do 122 
 
 Hawkridge do 167 
 
 Hawksbury do 152 
 
 Haysgarth do 144 
 
 Headon do. ...68, 144, 172 
 
 Heath Chapel 147 
 
 Hedingham Castle 55, 126 
 
 Hemel Hempstead Church 154 
 
 Hemingborough do 144 
 
 Henley do 136 
 
 Hereford Cathedral 55, 68, 127, 153 
 
 Hertsmonceaux Castle 169 
 
 Hexham Church 134 
 
 Higham Ferrers Church 134 
 
 Hillesdon do 122 
 
 Hillingdon do 132 
 
 Hillingdon do 160 
 
 Hilston do 172 
 
 Hilton Castle 151 
 
 Hitchenden Church 148 
 
 Hitchen do 154 
 
 Hodnet do 136 
 
 Hognaston do 149 
 
 Holcombe Langridge Church I67 
 
 Holland Chapel 129 
 
 Holt Church 170 
 
 Holton do 168 
 
 Holyrood Palace Chapel 146, 175 
 
 Holywell do 145 
 
 Hornsea Church 172 
 
 Houghton do 156 
 
 Houghton-le-Dale Church 133 
 
 Houghton-le-Spring do 125 
 
 Houghton Regis do 147 
 
 Hoveringham do 163 
 
 Howden do. 78, 85, 86, 144 
 
 Hull, Trinity Church 87, 88, 106, 144 
 
 — — Low Church 144 
 
 Hunmanby do 173 
 
 Huntingdon, AllSaints' Church.. .127, 154 
 
 St. Mary's do 154 
 
 Huyton Church 97 
 
 I 
 
 Ickenham Church 132 
 
 Iffley Church 47, 48, 136 
 
 Ham do 124 
 
 Ilminsterdo 137 
 
 Iron Acton do 152 
 
 Irtlingborough Church 134 
 
 Iselham do 148 
 
 J 
 
 Jarrow Priory 151 
 
 Jcdburg Abbey 146, 176 
 
 K 
 
 Kegworth Church 155 
 
 Kelso Abbey 176 
 
 Kendal Church 141 
 
 page 
 
 Kenil worth Castle 141 
 
 Kenil worth Church 141 
 
 Keninghall do 161 
 
 Kettering do 162 
 
 Ketton do 56, 130, 165 
 
 Keyingham do 172 
 
 Kidderminster do 1 42 
 
 Kilkhampton do 124 
 
 Kilpeck do 153 
 
 Kimbolton • do. 127 
 
 King's Langley do 127 
 
 King's Norton do 170 
 
 King's Sutton do 134 
 
 Kingston do 163 
 
 Kirkby Lonsdale Church 141 
 
 Kirkham Abbey 144 
 
 Kirkstal do 49, 144 
 
 Kirkwall Cathedral 145 
 
 Kirtling Church 148 
 
 Kirton do 130 
 
 Kirton Lindsay Church 159 
 
 Knowle do 169 
 
 L. 
 
 Lambeth Palace 103, 138 
 
 Lancaster Castle 89 
 
 Church 80, 129 
 
 Landisfarne Abbey 53, 134 
 
 Lanercost Abbey 124 
 
 Church 124 
 
 Langley Abbey 161 
 
 Launceston Church 124 
 
 Lavenham do 168 
 
 Lay cock Abbey 170 
 
 Layer Marney Church 151 
 
 Leadenham do 157 
 
 Leicester, All Saints' Church 129 
 
 St. Mary's do 129, 155 
 
 Leighton Bromswold do 154 
 
 Leigh ton Buzzard do ~.. 121 
 
 Leominster do 127 
 
 Leverton do 159 
 
 Lincluden College 176 
 
 Lincoln Minster, 47, 53, 57, 58, 59, 60, 
 
 61, 62, 65, 66, 68, 69, 70, 74, 
 
 75, 85, 88, 129, 156 
 
 _ St. Benedict's Church 156 
 
 St. Mary's do 156 
 
 St. Peter's at Goat do 156 
 
 Linlithgow Church 175 
 
 Palace 175 
 
 Lisset Church 172 
 
 Litchfield Cathedral... 58, 66, 67, 69, 70, 
 
 76, 86, 137, 167 
 
 Little Casterton Church..... 165 
 
 Little Malvern do 142 
 
 Little Maplestead do 126 
 
 Little Marlow do 122 
 
 Little Peover do 124 
 
 Little Snoring do 161 
 
 Llandaff Cathedral 145, 174 
 
 Llanthony Abbey 132, 145 
 
 London, Chapel in Tower 131 
 
 Crosby Hall 102, 131 
 
181 
 
 page 
 
 London, Dutch Church 131 
 
 Ely Chapel 131 
 
 Guildhall do 131 
 
 St. Bartholomew's Church 131 
 
 _ St. Catharine's do. 131 
 
 St. John's Gate 131 
 
 Temple Church 56, 131 
 
 Long Melford Church 168 
 
 Longthorpe do 162 
 
 Loughborough do 101, 129 
 
 Louth do 106, 130 
 
 Lowick do 162 
 
 Low Sundon do 147 
 
 Ludlow Castle 136 
 
 Lullington Church 137 
 
 Lumley Castle 151 
 
 Luton Church 88, 121 
 
 Lynn, Grey Friars 133 
 
 . Red Mount Chapel 133 
 
 St. Margaret's Church 160 
 
 St. Mary's do 133 
 
 St. Nicholas's Chapel 133, 160 
 
 M 
 
 Macclesfield Church 123 
 
 Madeley do 127 
 
 Maids Morton do 122 
 
 Maiden do 152 
 
 Mailing Abbey 128 
 
 Malmsbury Abbey 142 
 
 Malpas Church 123 
 
 Malton do 144, 173 
 
 Manchester Old Church 93, 95, 129 
 
 Mansfield do 163 
 
 Margam Abbey 145, 175 
 
 Margaret Roding Church 151 
 
 Marholme do 162 
 
 Market Harborough do 156 
 
 Market Overton do 136 
 
 Market Raisin do 130 
 
 Market Weighton do 172 
 
 Marston Mortaigne do 147 
 
 Matlock do 124 
 
 Maxey do 162 
 
 Melbourne do 149 
 
 Melrose Abbey 75, 84, 88, 146, 176 
 
 Melton Mowbray Church 129, 156 
 
 Mendham Priory 168 
 
 Merton Church 139 
 
 Mickleham do 168 
 
 Middle Chinnock Church 167 
 
 Middleton do 151 
 
 Middlewich do 124 
 
 Midsummer Norton do 167 
 
 Milton Clevedon do 167 
 
 Minster do 128 
 
 Mold do 96, 145 
 
 Monk Wearmouth do 151 
 
 Monmouth, St. Thomas's Church ... 132 
 Morton Corbett do. ... 136 
 
 Morvinstone do. ... 124 
 
 N page 
 
 Nantwich Church 123, 149 
 
 Navenby do. 157 
 
 Netley Abbey 127 
 
 Newark Church 74, 82, 135, 164 
 
 Newbold do 144, 173 
 
 Newcastle-upon-Tyne, St. Nicholas's 
 
 Church 100, 134 
 
 Newport Church 152 
 
 NewRomneydo 128 
 
 New Shoreham do 139 
 
 Newstead Abbey 134, 165 
 
 Norham Church 163 
 
 Northampton, Queen's Cross, 71, 133, 162 
 
 St. Giles's Church 134 
 
 St. Peter's do. 52, 133 
 
 St. Sepulchre's do 134 
 
 North Creak Abbey 161 
 
 Northfield Church 170 
 
 Northleach do 126 
 
 Northope do 145 
 
 North weld do 151 
 
 Nottingham, St. Mary's Church, 135, 163 
 
 St. Peter's do 163 
 
 Norwich Cathedral, 52, 54, 72, 73, 132 
 
 Gates 160 
 
 St, Julian's Church 160 
 
 St. Mary's do 160 
 
 St. Peter Mancroft do. 133, 160 
 
 O 
 
 Oadby Church 129 
 
 Okeham Castle 165 
 
 Church 136, 165 
 
 Old Shoreham do 139 
 
 Orford do 138, 168 
 
 Ospringe do 155 
 
 Ottery, St. Mary's Church « 125 
 
 Ottringham do 172 
 
 Oundle do 134 
 
 Oxford, All Souls' College 136 
 
 Cathedral 55, 70, 135 
 
 Christ Church 102, 136 
 
 Divinity School 103, 135 
 
 Magdalen College 100, 136 
 
 Merton do 135 
 
 New do 136 
 
 St. Mary's Church 135 
 
 St. Mary Magdalen do.... 84, 135 
 
 — St. Peter's in the East do. ... 135 
 
 P 
 
 Padworth Church 122 
 
 Paignton do 125 
 
 Paisley Abbey 176 
 
 Pampisford Church 148 
 
 Patricksbourne do 155 
 
 Patrington do 172 
 
 Paul do 144, 172 
 
 Paunton do 100 
 
 Pedmore do 170 
 
 PenAller do 167 
 
182 
 
 page 
 
 Penkridge Church 138 
 
 Penrith do 124 
 
 Pershore do 142 
 
 Peterborough Cathedral 53, 54, 55, 68, 69, 
 95, 101, 103, 133, 162 
 
 Pickworth Church 165 
 
 Pittington do 125 
 
 Plympton, St. Mary's Church 125 
 
 Pontefract Church 144 
 
 Probus do 124 
 
 R 
 
 Raby Castle 151 
 
 Rainham Church 151 
 
 Ramsey do 154 
 
 Raunds do 134 
 
 Reading Abbey 147 
 
 ■ St. Lawrence's Church 122 
 
 St. Mary's do 122 
 
 Redmile Church 156 
 
 Repton do 150 
 
 Retford do 135 
 
 Richmond Abbey 144 
 
 Church 144 
 
 Rippon Minster 143 
 
 Rislip Church 132 
 
 Rivaux Abbey 144 
 
 Rochester Cathedral... 47, 52, 53, 54, 55, 
 
 128 
 
 Rochester, St. Andrew's Priory 128 
 
 ■ St. Margaret's at Cliffe Churchl55 
 
 Rock Church 170 
 
 Romsey do 127, 153 
 
 Roos do 172 
 
 Ross do 127 
 
 Roslyn Chapel 108, 145 
 
 Rotherham Church 174 
 
 Rothwell do 162 
 
 Rouslench do 170 
 
 Rowth do 172 
 
 Runcorn do 61, 123 
 
 Ryhall do 165 
 
 Ryton do 169 
 
 S 
 
 Saffron Walden Church 126 
 
 St. Alban's Abbey 52, 127, 153 
 
 St. Peter's Church 153 
 
 St. Andrew's Cathedral 175 
 
 St. Asaph do 145, 174 
 
 St. Cross Hospital ....58, 127, 153 
 
 St. David's Cathedral 145, 174 
 
 St. Germain's Church 124 
 
 St. Ives do 127 
 
 St. Mary Overy do 138 
 
 St. Michael's Mount 149 
 
 St. Neot's Church 127, 154 
 
 Sale do 161 
 
 Salisbury Cathedral ...57, 58, 59, 60, 61, 
 63, 66, 67, 68, 69, 70, 82, 88, 142 
 
 Sandal Church 173 
 
 Sandwich, St. Clement's Church 128 
 
 page 
 
 Sawston Church 123 
 
 Sawtry, All Saints' Church 154 
 
 Selby do 173 
 
 Sempringham do 159 
 
 Seton Church 175 
 
 Shalfleet do 127 
 
 Shawbirchdo 136 
 
 Sheffield do 174 
 
 Sheldon do 169 
 
 Sherborne do 125 
 
 Sherbourne do 144 
 
 Shiffhal do 136 
 
 Shillingford do 122 
 
 Shottesbrook do 121 
 
 Shottisham do 133 
 
 Shrewsbury, Abbey Church 166 
 
 St. Alkmonddo 166 
 
 St. Chad do 166 
 
 St. Julian's do 166 
 
 St. Mary's do. ...136, 166 
 
 Silk Willoughby Church 130 
 
 Siddington do 126 
 
 Skeffling do 172 
 
 Skelton do 173 
 
 Skipsea d© 172 
 
 Skipton do 172 
 
 Skirlaw Chapel 144, 172 
 
 Sleaford Church 130 
 
 Snettisham do 161 
 
 Solihul do 169 
 
 Somerby do 156 
 
 South Cerney do 126 
 
 South Mims do 132 
 
 South Ockenden Church 47, 125 
 
 South Weld do 151 
 
 Southwell Collegiate Church 55, 134 
 
 Southwold Church 168 
 
 Spalding do 159 
 
 Sparsholt do 122 
 
 Sproatley do ~ 172 
 
 Stafford do 138 
 
 Staindrop do 125, 151 
 
 Stamford, St. Leonard's Hospital, 56, 130 
 
 St. Martin's Church 130 
 
 St. Mary's do 159 
 
 White Friars' Gate 130 
 
 Stanley St. Leonard Church 152 
 
 Stanton Bury do 148 
 
 Stanwell do 132 
 
 Stanwick do 134, 162 
 
 Stratford-on-Avon do 141 
 
 Steetley do 149 
 
 Stewkley do 54, 122 
 
 Steyning do 169 
 
 Stirling Castle 175 
 
 Stockton Church 170 
 
 Stoke Priors do 170 
 
 Stoke Rochford Church 130 
 
 Stone do 170 
 
 Stone Easton do 167 
 
 Stow do 130 
 
 Stow do 138 
 
183 
 
 page 
 
 Stuntney Church 148 
 
 Sturbridge do 148 
 
 Sutter ton do 159 
 
 Sutton Church 172 
 
 Sutton Bingham Church 167 
 
 Swafrham do 133 
 
 Swarkeston do 149 
 
 Swavesey do 123 
 
 Swine do 172 
 
 Swinton do 173 
 
 T 
 
 Tamworth Church 141 
 
 Tattershall Castle 108 
 
 Taunton, St. Mary's Church ... 100, 137 
 
 Tewksbury Church 52, 53, 128, 152 
 
 Thanet, St. Peter's Church 128 
 
 Thatcham do 122 
 
 Thaxted do 126 
 
 Thetford Abbey 161 
 
 Thorney do 123 
 
 Thorne Gumbold Church 172 
 
 Thornhill do 144 
 
 Thornton Abbey 87, 130 
 
 Thorpe Church 164 
 
 Thorpe Salvin Church 173 
 
 Thrapston do 134 
 
 Thundersley do 126 
 
 Thwaite do 161 
 
 Tickencote do 54, 136 
 
 Tidmarsh do 122 
 
 Tin tern Abbey 145 
 
 Tiltey Church 151 
 
 Toddingtondo 121 
 
 Totness do 125 
 
 Tottenham Cross 152 
 
 Trotton Church 139 
 
 Trumpington do 123 
 
 Truro do 124 
 
 Turnstall do 172 
 
 Tutbury do 138, 167 
 
 Twywell do 134 
 
 Tynemouth Priory 67, 134 
 
 U 
 
 Uppingham Church 136 
 
 Upton do 122 
 
 Upton do 154 
 
 Upton Warren do 170 
 
 Uttoxeter do 138 
 
 V 
 
 Valle Cruris Abbey 67, 145 
 
 W 
 
 Waddington Church 156 
 
 Wagham do 172 
 
 Wakefield Bridge Chapel 144 
 
 Church 66, 144, 173 
 
 Walnole do 133 
 
 Walsall do 167 
 
 Walsingham do 108, 133 
 
 Priory 78, 133 
 
 page 
 
 Waltham Church 156 
 
 Waltham Abbey 55, 125 
 
 Cross 71, 101, 152 
 
 Warkworth Castle 163 
 
 Warmington Church 162 
 
 Warrington do 129 
 
 Warwick Castle 139 
 
 Church 106, 139 
 
 Beauchamp Chapel, 91, 95, 101, 
 
 104, 106, 112, 139 
 
 Water Stratford Church 122 
 
 Waverley Abbey 169 
 
 Wednesbury Church 167 
 
 Welbourne do 157 
 
 Welford do 122 
 
 Wellingore do 157 
 
 Wells Cathedral 137, 166 
 
 St. Cuthbert's Church 137 
 
 Welwick Church 172 
 
 Wenlock Abbey 136 
 
 West Acre do 161 
 
 West Bromwich Church 167 
 
 Weston Church 167 
 
 Westminster Abbey... 40, 58, 59, 60, 61, 
 65, 68, 70, 74, 92, 112, 131 
 
 Hall 89, 95, 102, 132 
 
 Henry 7th's Chapel 60, 91, 
 
 92, 93, 94, 95, 96, 98, 99, 103, 
 
 104, 107, 132 
 
 Westwell Church 128 
 
 Whitby Abbey 67, 144 
 
 Whittlesea Church 123 
 
 Willingham do 85, 123 
 
 Willington do 147 
 
 Wimborne Minster 125 
 
 Wimington Church 121 
 
 Winchelsea Church 112, 139 
 
 Winchester Cathedral, 52, 53, 54, 61, 98, 
 105, 106, 112, 126, 153 
 
 Windsor Castle 108 
 
 Church 122 
 
 St. George's Chapel, 89, 91, 92, 
 
 93, 94, 95, 96, 98, 99, 103, 104, 
 
 105, 106, 107, 121 
 Tomb-house 101 
 
 Wingfield Manor House 149 
 
 Winwick Church 129 
 
 Wissett do 168 
 
 Witney do 136 
 
 Witton do 123 
 
 Wolverhampton Church 138 
 
 Woodford do 134 
 
 Woolpit do 168 
 
 Wooten do 154 
 
 Worcester Cathedral 47, 112, 142 
 
 Worksop Church 134 
 
 Gate 134 
 
 Worlingworth Church 168 
 
 Worsborough do 173 
 
 Wotten Basset do 142 
 
 Wrexham do 99, 145 
 
 Wrotham do 155 
 
 Wymondham do 160 
 
184 
 
 Y page 
 
 Yardley Church 170 
 
 Yarmouth do 160 
 
 Yealmpton do 150 
 
 York Minster, 57, 58, 59, 60, 61, 62, 65, 
 67, 69, 72, 74, 76, 77, 78, 82, 
 83, 84, 85, 86, 88, 91, 100, 105, 
 106, 107, 112, 142, 171 
 
 page 
 
 York, Guildhall 145 
 
 St. Margaret's Church 47 
 
 St. Martin's do 173 
 
 St. Mary's Abbey 145, 1/4 
 
 St. Michael-le-Belfry Church... 173 
 
 Page 126. 
 
 line 7, 
 
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 130, 
 
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 Brunt Hrovghton 
 
 130, 
 
 45, 
 
 Colby 
 
 Coletnj. 
 
 132, 
 
 21, 
 
 West 
 
 Notify. 
 
 144, 
 
 40, 
 
 Godm uiham 
 
 Giodmanham. 
 
 144, 
 
 
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