Schools, and the paintings of Wilkie, Edwin Landseer, and J. P. Knight. The works of Ostade and D. Teniers derive their chief value and striking resemblance to nature from the total omission of positive colour. Wilkie has looked to Teniers for management, but he proudly owns his style as original,-his subjects more elevated in treatment and choice. His Blind Fiddler' contains not one touch of decided colour: this produces its breadth; while the coolness of the general effect is contrasted by the dingy red of the old watering-pot. Edwin Landseer displays his thorough knowledge of the highest principles of art in every successive work, but in none more prominently than the one at the last Exhibition, 'The Interior of a Highland Cottage'. Knight in his colouring and breadth approaches Ostade, from whom he differs only in choice of subjects.

Without breadth, no painting can be like nature; and the man who aims at distinction in his art, should never leave a beautiful painting,— one that strikes him as being as near nature as possible,—until he shall have discovered the sources of its beauty. A single stone in the road, with its light and shade, possesses as much of the principles of the art as the Govartius' of Vandyke. Let no object be overlooked; even an inferior work can teach a lesson, by pointing out to the eye where the beauties are deficient.

ANCIENT ENGLISH ARCHITECTS.

[Continued from p. 383.]

EUSTACE MASCALL, or MARSHALL, who died in 1567, was clerk of the works to Cardinal Wolsey, at the building of Christ Church Oxford, and chief clerk of accounts for all the buildings of King Henry VIII. within twenty miles of London; yet Mr. Dallaway questions whether this is sufficient proof that Mascall was an architect.

JOHN WULRICH is mentioned by Walpole as master mason of the works of the King's College Roial of Our Lady and Seynt Nicholas of Cambridge. His indenture for carrying on these works is dated August 1476.

JOHN ASHFIELD, master of the new works of Bristol Cathedral from 1472 to 1491. Most of the architectural works of that time are from his designs: he is also the presumed architect of the tower and south transept of Bristol Cathedral.

WILLIAM FARLEIGH, or FERLY, Abbot of Gloucester from 1472 to 1498, built the Lady Chapel of Gloucester Cathedral about 1490.

JOHN MORTON, Archbishop of Canterbury, built part of Lambeth Palace, erected a palace at Canterbury, and "made a great building at Charing in Kent: almost the whole house of Forde he builded at Allington Park."-Leland's History, vol. vii. p. 129. Morton died in 1500. FOREMAN, Bishop of Elgin, began, according to Grose, to rebuild the great steeple in the centre of the Cathedral of Elgin in 1505; but the work was not finished before the year 1538, when the height of the tower, including the spire, was 198 feet. Shaw says it was a Gothic building, inferior to few in Europe.

JOHN COLE, in 1502, was the architect of that singularly beautiful spire of Louth Church in Lincolnshire, which is 134 feet high, exclusive of the tower: its total height is 282 feet; it cost the sum of 3051. 7s. 5d.

Sir REGINALD BRAY, (whose name is omitted in Britton's valuable Dictionary of Architects, and other works,) called by Dr. Milner, in his Treatise on Ecclesiastical Architecture, Sir Richard de Bray, was born in St. John's Bedwardine near Worcester, and was the second son of Sir Richard Bray, one of the privy council of King Henry VI. His general abilities at Court were highly appreciated, and engaged him in transactions of the greatest importance. His attachment to King Henry VII. was sincere and unremitted, who showered upon him in return the highest patronage. Bray appears to have taken great delight in the study of architecture, and to have possessed no small share of skill in this art. It is denied by Mr. Brayley, in his excellent History of Westminster Abbey, who contends (we quote from memory) that Bray could have nothing to do with the building of King Henry VIIth's Chapel, he dying before the first stone of the buliding was laid: but Holinshed, whose Chronicles were published only seventy-one years after Henry VIIth's Chapel was begun, and who determines with a curious degree of precision the date when the building of this beautiful structure commenced, though he takes no notice of its progress or termination, which is the more extraordinary, as he lived through the whole period of its construction and far beyond it. "In this eighteenth yeare of the reign of Henry VII. (1503), on the twentie-fourth daie of Januarie, a quarter of an houre afore 3 of the clock at afternoone of the same daie, the first stone of our Ladie Chapell, within the monasterie of Westminster, was laide by the handes of JOHN ISLIP, Abbot of the same monasterie; SIR REGINALD BRAIE, Knight of the Garter; DOCTOR

BARNES, minister of the Rolles; DOCTOR WALL, Chapleine to the King's Majestie; Maister Hugh Oldham, Chapleine to the Countess of Darbie and Richmond, the King's mother; SIR EDMUND STANHOPE, Knt., and divers others. Upon the same stone was this scripture ingraven: -Illustrissimus Henricus Septimus Rex Angliæ et Franciæ et Dominus Hiberniæ posuit hanc petram in honore Beatæ Virginis Mariæ, 24 die Januarii, anno Domini 1502 et anno dicti Regis Henrici Septimi decimo octavo. The charges hereof amounted (as some report, upon credible information as they saie) to fourteene thousand pounds." Mr. Dallaway expressly says, that Henry VIIth's Chapel was designed by N. West, Bishop of Ely, and SIR REGINald Bray. See also Bolton: vide Obs. on Eng. Architecture, p. 55, in which he says also, that Bray had the credit of being the original draftsman of that building. So that it appears that Bray lived a year after the first stone of Henry VIIth's Chapel was laid; consequently might have been the original draftsman of that building. His will is dated August 4, 1503, and his death

occurred the next day.

Sir Reginald Bray, according to Dallaway, was also concerned in bringing to perfection St. George's Chapel, Windsor, "began," says he, "by Edward IV. and finished by Henrys VIIth and VIIIth, under the superintendence of Sir Reginald Bray and Cardinal Wolsey; and to the former, the nave of St. George's Chapel owes its original design, although he died before its completion, which occurred in 1508*: to the overseeing of which, succeeding Bishop Beauchamp, he was a liberal contributor in his life-time, and for the completion of which he made further provision in his will. He directs his body to be buried in the Chapel on the south side of the Church of Our Lady and St. George in the Castle of Windsor, which he had newly made for that intent: and also, in honour of Almighty God, &c. he wills that his executors after his decease should with his goods and the issue and profits of his lands and tenements, make and perform the new work of the body of the said Church, and thoroughly finish them according to the form and intent of the foundation, in stone-work, timber, lead, iron, and glass, and all other things necessary; and that they should cause a tomb for him to be made in the Chapel.-Symeth, Bishop of Lincoln, and others, are his executors.

* The Editor of "The Beauties of Berkshire," in his over-anxiety to correct a mistake, presumes that Sir Reginald Bray could not design and partly superintenda building which was not finished until five years after his (Bray's) death.

Per

It is

His arms, crest and device, R B (a hemp break), are exhibited on the ceiling of the Chapel at Windsor in many places, and in the middle of the S. aisle is a spacious chapel erected by him, and still called by his name; in which also he was, as we have said, according to his desire, interred, though his executors neglected to raise a tomb for him. haps they thought that his great merit would never be forgotten. supposed that he lies buried* under the stone which covers Dr. Waterland; for on opening the vault for that gentleman, who died in 1740, a leaden coffin of ancient form and make was found, which by other appearances also was judged to be that of Sir Reginald Bray, and was, by order of the Dean, immediately arched over with great decency. Of his abilities as an architect Mr. Dallaway says:-"The roof of St. George's Chapel is too much expanded for the height and its proportions to the imposts, which are small and light; but the aisles are exquisite; they have all the magic perspective of the cloisters at Gloucester, even improved by loftiness. A fine effect is given to the elevation of the transept with its circular termination, equally dividing it in the centre;" and concludes by terming Windsor as the "beauty of holiness." Dr. Milner accuses Bishop Cloos and Reginald de Bray of consulting more their own reputation in adopting the florid style in their work, than the effect of their works as harmonizing with parts built by others: p. 113. JOHN HYLMER and WILLIAM VERTUE freemasons, undertook the vault of the roof of the choir in 1506, for 7007., and to complete it before Christmas 1508. (Ashmole, Hist. of the Garter, p. 136.) Sir Reginald Bray was also the builder or re-edifyer of Malvern Church. (See Biog. Illustrations of Worcester, Biographia Britan., Testamenta Vetusta, and Lysons's Bedfordshire.

WILLIAM BOLTON, Prior of St. Bartholomew's London in the reign of Henry VIII.; supposed also to have designed Henry VIIth's Chapel, when he was master of the works. (See Brayley, vol. i. p. 10.) He was afterwards Prior of Westminster, and master of the works in 1532. He is called by Stowe a great builder, for he repaired the priory church of Westminster, with the parish church adjoining, and offices and lodgings to the said priory. He builded anew the manor house of Canonbury at Islington, and bestowed some small repairs on the parsonage house at Harrow-on-the-Hill. His rebus, a ball and tun, is still seen in Bartholomew's Church.

OLIVER KING, Bishop of Bath and Wells, 1502, may be considered

In the south aisle of Eton Bray Church is a fragment of stone richly carved and ornamented with the royal arms and the arms and device of Sir Reginald Bray.

as the founder, and as having furnished the plan of the Abbey Church of Bath, executed in the florid Gothic. The Bishop died in 1503, and the church was not finished till 29 years afterwards.

STANLEY, Bishop of Ely, 1506, built a noble chapel on the north side of the Choir of the collegiate Church of Manchester; but whether by "building" we are to understand that he was the architect, or only the encourager of the work, we have no document to prove.

WEST, Bishop of Ely, 1515, is in a similar predicament. It is said that he built a very elegant Chapel at Putney, where he was born.

THOMAS GOLDSTONE, Prior of Canterbury, died 1468, built Dean's Chapel, Canterbury Cathedral. He also (vide Story's History of Cathedrals) built the south-west tower and porch, and the Virgin Chapel now called the Dean's Chapel, which, though small, is one of the most beautiful examples of the unparalleled elegance of what pointed style of architecture is susceptible of any in the kingdom. It was built before 1449 and 1468. Goldstone was buried here in his own Chapel, though the immediate spot of his interment is not known. The vaulting of the roof is highly decorated by tracery and fan-work, most excellently wrought, and in very fine taste. The east window is also peculiarly elegant, and has, among the mouldings, a line of oak and vine leaves terminating in canopied niches of rich pattern. All the other parts of the interior are very beautiful, though parts are destroyed and obscured by tombs. THOMAS GOLDSTONE, the 2nd of that name, also Prior of Canterbury Cathedral, who died in 1517, in conjunction with Prior SELLING, between 1472 and 1517, and aided, by Bishop Merton, raised the centre or Bell Harry Tower (formerly the Angel Steeple) about 1515. Agreeable to the taste of that age, rebusses or hieroglyphics of Goldstone and Merton still appear in this work; the former, three gilded stones; and the latter, mer and a tun. He also built the south-west Gate, denominated Christ's Church Gate, which Sumner calls " a goodly, strong, and beautiful structure, and of excellent artifice." It was built in 1517, as an inscription on it formerly showed. This inscription was on a string course or cornice on the south front, and extended the whole width of the building; it was "Hoc opus constructum est An. Dom. millesimo quingentessimo decimo septimo." The whole southern exterior of this building is covered with tracery, panels, niches, canopies, shields of arms; among which are the arms of the see, and those of Archbishop Juxon, with various sculptures. See also Britton's Canterbury Cathedral.