See founded 680. The chapter house is circular (sometimes called a decagon) 55 ft. diam., 45 ft. high, with a plain central pillar. The cloisters (Perpendicular) about 120 ft. square, were erected in the time of Bishop Lynn. They were restored 1866. The refectory, now the King's School, 120 ft. by 38 ft., is still perfect. The external length is 405 ft.; the internal length 388 ft. and the breadth 128 ft. Restorations since 1857 by R. E. Perkins.

YORK-CATHEDRAL CHURCH, SECULAR CANONS (S. Peter the Apostle).

See founded 622 or 626. The octagonal chapter house, 57 ft. diam. and 67 ft. 10 in. high, was, perhaps, erected at the same time as the nave; it has no central pillar. The choir and crypts were rebuilt on a larger scale, 1154-81, by Archb. Roger; some parts are earlier. The aisles surrounding the church in every part are of similar dimensions and were built at same time. The open central tower is 188 ft. high from the floor. The Rose window in the S. transept is the finest in England, it is 22 ft. 6 in. diam. The five lancet lights, dating 1250, in the N. transept are each 5 ft. 7in. wide and 54 ft. high. The church was consecrated July 3, 1472. The "Fabric Rolls" of this cathedral are valuable records of building operations. The external length is 518 ft. The internal length is 486 ft. and the breadth 223 ft. The choir reof was burnt 1829, and restored by Sir R. Smirke; the nave roof burnt 1840, and restored by S. Sinirke. The S. transept was restored 1875, by G. E. Street.

WESTMINSTER-ABBEY CHURCH, BENEDICTINE (S. Peter).

1713-35 Additions to west front and towers, by Sir C. Wren and others. -1021 1490 King Henry VII.'s Chapel, 100 ft. long, 35 ft. wide, and 66 ft.

with aisles, and 54 ft. high (figs. 1325-6).

See founded 1540, annulled in 1550. The flying buttresses of Henry VII.'s chapel are among the most beautifully decorated in England. The triforia of the church are lighted from a range of windows externally, each consisting of three circles, inscribed within a triangle. The chapter house, an octagon of 58 ft in diameter, is of the same date as the choir; the two sides of the cloister, which is 135 ft. by 141 ft., date as the western part of the nave. Portions of the "Fabric Rolls" have been printed in Scott, Gleanings, 8vo., 1863, 2nd edition. The total length interna'ly is given as 489 ft. and 511 ft. 6 in. These dimensions are from Neale's History, those "corrected" in Ackermann's History are smaller. The outside of the chapel was restored 1809-22 by Thomas Gayfere, mason, under James Wyatt, R.A.; the building generally by Edward Blore, and by Sir G. G. Scott, R.A., 1848-62. Later by J. L. Pearson, R.A.

BATH ABBEY CHURCH, BENEDICTINE (SS. Peter and Paul).

See founded 970, and with Wells 1050. Considered to be the last building in the Perpendicular period, of great magnitude. Edward Leycestre, master of the works, succeeded 1537 by John Multon, freemason. It has 52 large sized windows. Its internal length is 218 ft. and breadth 74 ft. Interior remodelled 1835 by G. P. Manners, and restored 1868-71 by Sir G. G. Scott, R.A.

Founded 793. See founded 1877. Abbot John de Whethamstede, 1420-40 and 1451-64, altered the ground story windows north side of nave and choir, added the large windows in nave and transepts, and the watching loft. The internal length is 520 ft. 8 in. Outside length, 550 ft. from plinth of buttress of east wall of Lady chapel to plinth of west porch. Restoration was commenced 1870 to the tower, &c. by Sir G. G. Scott (died 1878). The west front and part of south transept were pulled down and rebuilt 1884-7 by direction of Sir E. Becket Denison, now Lord Grimthorpe.

See founded 1884. South of south choir aisle is a second aisle 7 ft. wide, and south of this is the old aisle of the parish church (Early English and Decorated periods). This is 76 ft. long, 17 ft. wide, and 29 ft. high. A western tower has been added to this aisle, and forms a feature in connection with the south transept. The external length is 284 ft., 73 ft. across the nave and aisles, and 117 ft. across transepts. The internal length is 276 ft. by 110 ft. The architect is John L. Pearson, R.A. At present, Nov. 1887, are erected only the choir, the great transepts and aisles, the east transept, the baptistery, two nave bays up to the triforium, the clock tower at south transept, and the central tower, including the first stage of the lantern with temporary roof.

SOUTHWELL-COLLEGIATE CHURCH, SECULAR CANONS (S. Mary the Virgin).

See founded 1886. Repairs carried on steadily since about 1856 by John Gregory and his labourers. From 1875 the roofing, restoration of the west spires and of the chapter house, were completed under Mr. Ewan Christian, who (1886) has commenced the stalls and restoration of the screens; and the flooring of stone and marble. The perfect condition of this structure, erected of magnesian limestone similar to that of Bolsover Moor, attracted the attention of the Commissioners in their Report on Stone for the Houses of Parliament, fol., 1839. Its internal length is 306 ft. It was reopened February 2, 1888.

NEWCASTLE-ON-TYNE

LIVERPOOL

SECT. VI.

ELIZABETHAN ARCHITECTURE OR LATE TUDOR STYLE.

436. The revival of the arts in Italy has furnished the subject of Chap. II. Sect. XVI. It commenced, as we have there s.en, with its author Brunelleschi, who died in 1444; and it was not till nearly a century afterwards that its influence began to be felt in this country. The accession of Queen Elizabeth took place in 1558.

437. Whilst the art here, though always, as respected its advancing state, much behind that of the Continent, was patronised by the clergy, it flourished vigorously; but when that body was scattered by the dissolution of the religious houses, no one remained to foster it; and though Henry VIII. delighted in spectacle, and a gorgeous display of his wealth, he was far too great a sensualist to be capable of being trained to refinement in the arts. There is in England no general pervading love of the arts, as among all classes on the Continent. The Elizabethan, or as some have, perhaps more properly, called it, the last Tudor style, is an imperfectly understood adaptation of Italian forms to the habits of its day in this country. It is full of redundant and unmeaning ornament, creating a restless feeling in the mind of the spectator, which, in the cinque-cento work, the renaissance of Italy, was in some degree atoned for by excellence of design, by exquisite execution of the subject, and by a refinement in the forms which some of the first artists the world ever saw gave to its productions. In Italy, the orders almost instantaneously rose in their

proper proportions, soor. leaving nothing to be desired; but in England they were for a long time engrafted on Gothic plans and forms.

438. The work of Andrew Borde has been before mentioned; but the earliest publication in England relative to practical architecture was, The first and chiefe Grounds of Architecture used in all the ancient and famous Monyments with a farther and more ample Discourse uppon the same than has hitherto been set forthe by any other. By John Shute, paynter and archi ecte.' "Printed by John Marshe, fol., 1563." This John Shute rad been sent by Dudley, Duke of Northumberland, to Italy, probably with the intention of afterwards employing him upon the works which he was projecting. His work, though republished in 1579 and 1584, is now so rare that only two copies are known to exist, one of which is in the library of the Royal Institute of British Architects, and the other in the Bodleian Library at Oxford. From this and many other circumstances, it is easy to discover that domestic architecture under Elizabeth had assumed a more scientific character. Indeed, there is ample evidence that no building was now undertaken without the previous arrangement of a digested and regulated plan; for early in the reign of this sovereign the treatises of Lomazzo and many others were trauslated into English; and in the construction of the palatial houses of the aristocracy, the architects had begun to act upon a system. The principal deviation from the plans of the earlier Tudor houses was in the bay windows, parapets, and porticoes, whereof the two latter were intensely carved with all the forms that the most fantastic and grotesque imagination could supply. The exteriors of these porticoes were covered with carved entablatures, figures, and armorial bearings and devices. The galleries were lofty, wide, and generally more than a hundred feet in length; and the staircases were spacious and magnificent, often occupying a considerable portion of the mansion. Elizabeth herself does not appear to have set, during the passion of the period for architecture, any example to her subjects. She might have thought her father had done sufficient in building palaces; but, however, be that as it may, she encouraged the nobles of her court in great expenditure on their residences. With the exception of the royal gallery at Windsor, she herself did actually nothing; whilst on Kenilworth alone, Lord Leicester is supposed to have expended no less a sum than 60,000l., an almost royal sum of money.

439. Before proceeding further, it becomes our duty here to notice a peculiar construction which prevailed in the large manor houses of the provinces, and more especially in the counties of Salop, Chester, and Stafford, the memory of many whereof, though several are still to be seen, is chiefly preserved in engravings ; — we allude to those of timber framework in places where the supply of stone or brick, or both, was scanty. The carved pendants, and the barge-boards of the roofs and gables, which had, however, made their appearance at a rather earlier period, were executed in oak or chesnut with much beauty of design, and often with a singularly pleasing effect. The timbered style reached its zenith in the reign of Elizabeth, and is thus illustrated in Harrison's description of England: "Of the curiousnesse of these piles I speake not, sith our workmen are grown generallie to such an excellence of devise in the frames now made, that they farre passe the finest of the olde." And, again: "It is a worlde to see how divers men being bent to buildinge, and having a delectable view in spending of their goodes by that trade, doo dailie imagine new devises of their owne to guide their workmen withall, and those more curious and excellent than the former." (p. 336.) The fashion was no less prevalent in cities and towns than in the country; for in them we find that timber-framed houses abounded, and that they also were highly ornamented with carvings, and exhibited in their street fronts an exuberance of extremely grotesque figures performing the office of corbels. The fashion was imported from the Continent, which supplies numberless examples, especially in the cities of Rouen, Bruges, Ulm, Louvain, Antwerp, Brussels, Nurem burg, and Strasburg, very far surpassing any that this country can boast. We have, however, sufficient r. nains of them in England to prove that the wealthy burgess affected an ornamental display in the exterior of his dwelling, rivalling that of the aristocracy, and wanting neither elegance nor elaborate finishing, whilst it was productive of a highly picturesque effect in the street architecture of the day. "This manner," says

Dallaway, "was certainly much better suited to the painter's eye than to comfortable habitation; for the houses were lofty enough to admit of many stories and subdivisions, and being generally piaced in narrow streets were full of low and gloomy apartments, overhanging each other, notwithstanding that they had fronts, which with the projecting windows and the interstices were filled for nearly the whole space with glass." Fig. 201 is a representation of Moreton Old Hall, Cheshire, built circa 1550-59, partly rebuilt 1602.

440. A better ide of the architecture of this age cannot be obtained than by a notice of the principal architects who have furnished materials for the foregoing observations; for this purpose we shall refer to Walpole's Anecdotes A folio book of drawings, belonging to the Earl of Warwick in the time of Walpole, enabled him to bring to the knowledge of the world, and perpetuate the memory of, an artist of no mean powers, whose name, till that author's time, was almost buried in oblivion, and of

whom little is still known, though his work contains memoranda relating to many of the principal edifices erected during the reigns of Elizabeth, and James, her successor.

His name was John Thorpe; and at the sale of the library of the Hon. Charles Greville in 1810, the MS. in question came into the possession of the late Sir John Soane, Professor of Architecture to the Royal Academy. It is a folio, consisting of 280 pages, wherein the plans, often without a scale, are nevertheless accurately executed. Several of the subjects were merely designs for proposed mansions. The elevations are neatly drawn and shadowed. The general form of the plans is that of three sides of a quadrangle, the portico in the centre being an open arcade finished by a turreted cupola. When the quadrangles are perfect, they are. for convenience, surrounded by an open coridor. The windows, especially in the principal front, are large and lofty, and mostly alternated with bows or projecting divisions, and always so at the flanks. Great efforts were made by Thorpe to group the chimneys, which were embellished with Roman Doric columns, and other conceits. Portions of the volume have been engraved by Mr. C. J. Richardson in the first part of liis Architectural Remains of the Reigns of Elizabeth and James I., fol. 1838-40. Amongst the contents of Thorpe's volume (which has been collated for this edition, 1866), are:-Outlines of a "jambe mould," "muniell," "rayle mo. for stayre," "corbell table," parapets, &c.; and the five Orders, with rules for drawing them. Page 19, 20. Plan and elevation, "Buckhurst howse, Sussex." Built, 1565, by Thomas Sackville, Earl of Dorset, Lord High Treasurer to Queen Elizabeth. The front ex

tends 230 ft. The courtyard is 100 ft. by 80 ft, and the hall 80 ft. by 50 ft. 24. "a front or a garden syde for a noble man," dated 1600

37, 38, 50. "The way how to drawe any ground plot into the order of perspective," with descriptions, the front being parallel with the spectator.

39, 40. Plan, with a courtyard in front. Sr Geo. Moores howse."

44. Plan. Cannons, my La: Lakes howse."

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48. Plan. Copthall, 16 fo. 8 ynch. This cort should be 83 (or 83) fo. square." Built for Sir Thomas Heneage. The gallery was 168 ft. long, 22 ft. high, and 22 ft. wide. 49. Elevation. "Woollerton, Sir Fraune. Willoughby," Nottinghamshire, which has the inscription, "Inchoate, 1.580-1588." Mr. Dallaway notices that the tomb of Robert Smithson, in Wollaton church, calls him "architector and surveyor unto the most worthy house of Wollaton, with divers others of great account. Ob. 1614,' which would appear to invalidate Thorpe's claim; Smithson was probably Thorpe's pupil and successor. The property now belongs to Lord Middleton. (See fig. 203.) 54. l'lan, rough. "Sr Jo. Bagnall." A gallery 60 ft. long.

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57, 58. Two plans. Burghley juxta Stamford." Built, 1578-80, for William Cecil, Lord Treasurer.

(See 105.)

Thornton Colledg, Sr Vincent Skynners." A gallery 113 ft. wide.