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WEST Front of
PETERBOROUGH Cathedral;
Restored according to GURTON.

BENEDICTUS Abbot of Peterbo rough, 1177. "It seems nave or body of the Church did not please him; therefore he built it after a better manner from the lantern* to the porch, as now it is."-Gunton's History of Peterborough.

Thus what becomes of the prior dates of Clugny 1131, and Arezzo 1216, (the first, according to Mr. H.'s view, having not the least particle to warrant that Peterborough, in the course of 46 years, could possibly become a copy from it) so necessary with our author and his continental friends to "establish with them the origin of Gothic (Pointed) Architecture?" Could such an extensive, regular, complete, and magnificent design, as the West front of Peterborough, as singular in form, as it exhibits a pre-eminence in splendour surpassing all others, either here or abroad, have been brought bit by bit from foreign insignificant piles, gleanings of our arts, which might have been created at any period? Correct your anti-national habits, I pray you, good Mr. H.; and learn, henceforward, to pay more attention and due reverence to your Country's works; and hide your unaccountable predilections, and your forced “ History," in dark oblivion, "forgetting and forgot!"

Remarks on the annexed Plate. The building (song school) raised within the center arch (which arch is less in the opening than those on each side) is a later construction; probably of the 14th century, done, it is imagined, to act (how beautiful in form!) as a sustainment to some visible in jury the arch itself might have under. gone. The three grand arches, the receding walls, with their enrich ments of door-ways, windows, groins, columns, pediments, compartiments, niches, statues, ornaments, attending towers, pinnacles, and spires, const tute a gigantic and orgeous West porch the tower on the right restored according to Gunton. In the distance, centrically, is the transept tower, on which, to give an assimilating effect to the whole contour, I have introduced a spire. Whether

* Transept tower. GENT. MAG. October, 1814.

the tower originally was so adorned, is not certain; but it is not beyond a reasonable supposition to conclude, that it once had such a glorious termination. At present, the tower, it is understood, shews some late inappropriate fanciful modern decorations, set up upon the destruction of the old embellishments thereon. Be this as it may, the great porch, our instructive lesson, stands yet unaltered.

Observations on Mr.HAWKINS's“ History of GOTHIC ARCHITECTURE." (Resumed from Part I. p. 332.)

Chapter VIII. Relates to the "accidental discovery" of a print and the book it belonged to; and how Cæsar Cæsarinus's Translation of Vitruvius is extremely rare: information relative thereto. As the contents of this chapter have but little interest with me, and less with the purport of my "Observations;" I wholly avoid all remark upon it.

Chapter IX.

Account of Cæsar Cæsarinus (born 1481), a commenta tor on Vitruvius. Mr. Hawkins, notwithstanding he has introduced this character to the Reader, appears highly dissatisfied with the man in almost every action of his life (as he has given it to us); so much so, that some will be inclined to inquire, why is he noticed at all?

Chapter X. Mr. Hawkins gravely tells us, that foreign artists worked by rule; and that Cæsarinus had con trived, in his Commentary, to explain the principles of Gothic architecture; various geometric principles are laid down by Cæsarinus: the Cathedral of Milan cited; its dimensions given by cubits; names of various architects employed on it. "Few persons," Mr. H.supposes," will be inclined to take the trouble of examining by actual measurements any building, on what proportions and principles it is founded," therefore refers us to Browne Willis, and Bentham's Ely; and notices on this head, particularly from the latter work, a long string of proofs about the relative lengths and widths, heights,&c.of our Conventual churches and cathedrals; nearly all of which proofs are incorrect and futile, as I have taken the pains to follow, and ascertain said proofs, from Bentham's plates themselves. Churches of Salis

bury

bury and Westminster, also, he says, "are certainly founded on a similar system:" and, as Mr. H. would have us believe," Cæsarinus settled the rule" for all this; I have examined Price's plates in his History of Salisbury, and my own drawings of the Abbey, Westminster, and find, as in the instance of Ely, Mr. H.'s experiments faulty and unfounded.

Mr. H. then gives us to understand, that "Gothic arches consist of a key. stone, and a succession of wedges; doubts much, whether the slopes of the joints all tend to the same centre in the base line, from which the arch springs."

He

He, as a man initiated into the mystery of masonry, should have said, tend to the points from which the arch is struck. As for key stones, our amateur may rest assured, from my round of observation, that in no one antient instance is there a pointed arch with a key-stone (if we except some few deviations in the sixteenth century, upon the decline of the Pointed style, and introduction of the italian manner) they, uniformly, presenting a joint in the centre. mentions Sir C. Wren, and what he meant by key-stones, such as the ornamental bosses in vaultings. Sir Christopher was certainly correct, as he never could have signified that any pointed arch, singly, was centered with a key-stone, for the reason above stated. And, although Mr. H. has honoured my work on our Antient Architecture, by quoting a variety of specimens therefrom, to prove that arches were determined by various proportions, &c.; of this supposition I have no other idea, but that those arches, as to form and height, seem to have been guided by the mode of the masonry of the day. Arches in Henry III's reign, very acute; Edward III. equilateral triangle proportion; Richard II. rather flatter; Henry VI. still flatter; Henry VII. struck from four centers, flatter of course, making a compound sweep; Henry VIII. almost flat, and at last completely so.

Chapter XI. Albert Durer's rules for drawing; "his examples may be used if any one chuses. Plans for the shafts of column, and also the elevations of the mouldings for the bases, Plate XI. of this work; and they are evidently such as frequently occur in Gothic architecture." No

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person from a mere plan (except Mr. H.) would venture to pronounce, positively, what the elevation of the mouldings were: as to an elevation given in the plate, of a congestion of breaks and strings, they have not the smallest reference to any of the sur rounding plans. Albert says, "he cannot help recollecting the Germans, who, when they intend to erect any new edifice, are desirous of employing a new style, which has not been seen before. For this reasou, he says, he shall each how to produce something uncommon, and from which every one may take what he pleases :" gives some general proportions, talking of "spiral lines drawn over the whole column," or in part. This method of ornamenting a column, alludes to the twisted shafts of columns so universally adopted in the sixteenth century, a fantastic caprice of the period, never in practice before or since. Other directions of the like fabrication follow; which, he observes, “you may use separately, or altogether." More "modes, methods, and variátions," submitted. And he adds, "that he has not given these directions because they must not be departed from, but only that something may be taken from them, and to show every one what that is new remains yet to be discovered; for it is not sufficient, in making such divisions, to follow any one mode of dimension; but different ones must be used, if a person knows any such."

Albert next describes the capital; that is, as to the proportionate parts and mouldings, which are confused and prolix to a degree; and when thus prepared for the ornaments, “something excellent may be carved upon them, as branches, leaves, animals, birds, or other things, according to the pleasure of those who carve them. But when the capitals are finished, (mark the sagacious instructor) they are to be placed on the shafts," &c. We have also much the same kind of argument for the base of the column, pedestal, &c. and, " in order, he says, to understand what are the ornaments which can be executed with the carpenter's axe and carving tools," many mouldings named, may be made convex or concave, plain or projecting, broad or narrow, acute or obtuse, large or small, wide or confined, or in any other way that one

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pleases."

1814.] Mr. Hawkins's "History, &c. of Gothic Architecture.” 315′

pleases." Most convenient and agree able" rules!" Albert was surely an accommodating master of the art, first to lay down his maxims, and then leave his scholars to follow the bent of their own inclinatious. Taking this business in the gross, the precepts are wholly trifling, and devoid of any useful information: they neither tend to illustrate the pure Roman, Grecian, or the Pointed Orders; and they would be totally unintelligible, did we not frequently behold the architectural scenery in the historical paintings of his day, wherein such kind of Babel constructions are introduced, a heterogeneous mixture of all styles crowded one on the other, without judgment or skill, a kind of professional insanity, which did not become convalescent until Inigo Jones taught Europe what true design in Architecture should be: he not only taught, but executed his plans and elevations in mansions, villas, and palaces*. Thus much for Albert Durer's "Rules."-I have selected one of his prints (curious and scarce) Christ preaching to the Doctors in the Temple; which may be here described as a specimen of his architectural knowledge in design and decoration. Scene; an open saloon, wherein is our Lord, seated at a desk, surrounded by the Doctors: his divine Mother and Joseph attending. The walls shew a Roman idea, of the plainest cast, in square and circular headed doorways, and ditto windows without mouldings; a semi-arch, or waggon head cieling, from which is slung a pent-house half floor, with two festoons of fruit and flowers; adjunct to this is a fixture of a half-conceived Gothic (Mr. Hawkius's term) canopy (under it Our Lord), the entablature elaborately enriched with tracery in filagree work; but of that disorganized cast to our elegant stall enthronizations, that it may be truly said, Foreigners came here to catch a little something, returned, and did a little something at home by way of copy. What a falling off does Albert present us, from chaste and perfect example, to poor and pitiful imitation!

The further portion of Chapter XI. full of our author's most profound and laborious arguments, though abstruse and fallacious, is a useless waste

*See Rise and Progress of Architecture in England, vol. LXXXII, Part II, p.133.

of matter, running counter to his “Origin and Establishment of Gothic Architecture," and a tax upon the Reader's time and patience. With regard to his affixing certain proportions, by diameters, to our antient architecture (many specimens of which he has dragged out by name, no. thanks from me, from my work of Antient Architecture), they are noneffective, and devoid of any solid use. My experience tells me, that in the architecture of each distinct period, Saxon, Norman, reigns of Henry III. Edward III. Henry VII. and VIII, there are no positive proportions, by diameters, manifested in any particu lar decorative part of the buildings; but every supposed discrimination of the sort seems to have been guided by all-commanding chance, the caprice of architects, or that compelling power, necessity, to work within the space or dimensions given. How easy indeed it is, to divide columns, or cylinders, into diameters, by equal parts; for instance: Having a number of cylinders of various dimensions, take one, which proves to be in height 61⁄2 diameters (1 foot each); another of a less dimension, 10% diameters (9 inches each); another of still less dimension, 13 diameters (6 inches each), set them at an accidental distance: -first distance; four diameters of first cylinder, a good proportion:— second distance; five diameters and half of second cylinder, a good proportion, and so on to a countless variety of the like experiments, each still affording a new and satisfactory form to the beholders. In short, I hold it impossible to fix a criterion in this respect; the judgment of man, regulated by the eye, appears to have guided the distribution of parts which have rendered our antient works the, theme of admiration and envy, as no two piles on this account will bear out a direct and precise conformity in the decorative proportions. I speak from actual surveys, and actual dee lineatory demonstration.

[These "Observations" will be concluded in our next; accompanied with a Plate of Examples from our Antiquities, explanatory of the propor tions of doorways, windows, arched ailes, &c. &c.]

The high-flown compliments lavished on the repairers and restorers of Henry VIIth's Chapel by Mr. Hawkins,

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is evidently a side blow aimed at me, for the open and disinterested manner in which I have given a summary of the Architectural Proceedings on the Chapel, from their commencement to the completion of the Eastern aspects, vol. LXXXIII. Part II. p. 442. whereby I have made plain their inappropriate additions, inaccurate imitations, and clumsy masonry. He says, "though cavils and captious objections have been raised against it by one who might reasonably have exulted in his skill, had it been his own production," &c. Why did not the man speak out?

STAVI

"One" J. CARTER.

Mr. URBAN, Sussex, Aug. 28. TAVELEY, in his "History of Churches," and other Writers on Ecclesiastical Antiquities, independently of Cathedral and Conventual churches, divide Parish churches into Ecclesia capitalis, Ecclesia mediocris, and Ecclesia campestris. It would be a matter of great curiosity if some of your learned Correspondents (and many you have who are very competent to this) would point out the nature and peculiarities of each of these churches, their differences, and the rights, privileges, and duties, of their various Incumbents. Probably this threefold division had originally some relation to the population of the districts in which the churches were situated. The Ecclesia capitalis may have belonged to the larger or country towns; the Ecclesia mediocris to boroughs or vills; and the Ecclesia campestris to places remote, secluded, and whose inhabitants were few and scattered.

The manner in which the Duty of Churches appurtenant to Religious Houses was performed, is well known. Primarily, they were served by a Monk in Orders, weekly, or according to the occasion, dispatched, by the Monastery of which he was a member, for the special purpose; and afterwards by Vicars, nominated by the Abbeys which had appropriated to themselves respectively the great tithes. But there is much obscurity with respect to the mode in which the services were antiently performed by the proper Parish Priests or Incumbents. In the inferior Churches a single Priest was adequate to all purposes he could celebrate the Mass, and he could distribute the other

sacraments; but, in the Churches of a higher order, more than one or two Ecclesiasticks were requisite for the duties to be therein discharged, and for the performance of the ceremo nies, many of which were attended with circumstances of pomp and magnificence. The Patron nominated the Incumbent; but how were these assistants, who were probably ordained not with the Priestly but with some of the lesser orders, of which, in the Romish Church there were and still are six inferior, appointed and supported? It is likely that in large parishes the Rector might name his Deacon, or Sub-deacon, and other coadjutors, who might reside with him at the Parsonage, and be entitled to a proper and suitable maintenance at his hands, out of the tithes and offerings.

Many Churches, which were not Cathedral or Conventual, were actually, or in a degree, Collegiate. In the Chancels of the older Churches frequently may be observed three or more niches of various sizes and altitudes, commensurate, we may suppose, with the various ranks and dignities of those Ecclesiasticks by whom they were intended to be occupied.Your valuable Magazine, Mr. Urban, has been particularly appropriated to the investigation of our Ecclesiastical Antiquities; and, therefore, to no one so well as to yourself, can inquiries on these subjects be addressed. Many important researches have been, and still are likely to be made, into the History of our Cathedrals and Convents; but, as it has appeared to me that our knowledge of the antient state of our Parish Churches is very incomplete, I very much wish to draw the attention of some of your Correspondents to them; and as my inquiries have lately been directed thither, if a discussion should arise, I should be glad to afford my humble assistance in the investigation of these subjects.

I wish for information, likewise, as to the origin of Stipendiary Curacies.

In the Roman Catholic Church, Curates are not known; occasionally, where the Incumbents are absent or infirm, coadjutors are appointed, who succeed in course to the vacancy whenever it happens. The French word Curé means Rector or Incumbent, who frequently is assisted by a

Vicaire:

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I HAVE been accustomed for several years to make one or two short excursions during the course of the Summer, to some of the most antient Towns in the neighbourhood of Loudon, for the purpose of observing the remains of Antient Architecture; and beg leave to send you a few remarks made during a late visit to Barking in Essex. This antient Town is about seven miles East of the Metropolis, and was once a considerable place, having a monastic foundation, the site of which is near the entrance from London. Of the religious and habitable walls nothing now remains but some of the foundations. Two Gates, formerly the entrances, alone subsist. The small one, which we first observe, is in a long range of stone wall, extend ing from the corner where the road turns entering from London, to the entrance of the Church-yard. It is merely an arch, of a flat proportion, and probably was never carried to a greater height, being a minor approach to the Abbey. The weather cornice is supported on the left side by a King, and on the right by an Angel holding a shield. Some distance beyond is the principal Gateway, a small building, elegantly proportioned, built about the time of Henry VIth or VIIth, consisting of two stories; the first having the arch of entrance, of a flat character, supports ed by piers, and over it an elegant double niche; the second contains a handsome window of three compartments, terminated by a parapet and battlements. At the North-west angle is a lofty embattled octagonal staircase turret. The room over the Gateway, now in ruins, and totally neglect ed, has a curious basso-relievo on the North side of the window in the East wall. It represents Our Saviour crucified, with the Virgin on the right, and St. John on the left. The intermediate spaces are filled with curiously varied intersected lozenge work, much mutilated; the figures are greatly de

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faced, but what remains is of good workmanship, and some of the original blue colouring is still on the drapery. This, formerly, was the Chapel of the Holy Rood: and, though a very small room, had a screen in the centre, a fragment of which is now seen in the wall. This Gateway forms the entrance to the Church-yard. Church, dedicated to St. Margaret, is a large structure, having four ailes, one on the South, and two on the North side of the principal aile, and is divided into nave and chancel, with a handsome proportioned Tower at the West end, of three stories, with a staircase turret at the North-west angle. cepting the Tower, the whole edifice has undergone entire renovation; the arches, which are numerous, are illshaped, being neither round, nor pointed, have not a single moulding, and rest on square piers. The Font, though not handsome, is nevertheless curious, being a perfect example of the rude style of Architecture that prevailed in the reigns of Elizabeth and James Ist: it stands at the West end of the South aile. The Church has formerly had numerous brasses— only a few of which now remain: One in the chancel to the memory of John Tedcastell, gent. and Elizabeth his wife; they had nine sons and seven daughters: she diedOct.27, A.D.1596, in her..th year. The said John deceased the- day of Anno- in the year of his age. Another in the nave to Thomas Broke, his wife, and three children, bearing date 1493. One in the Western part of the nave to the memory of Christopher Merell, Citizen and Goldsmith of London, who died Jan. 6th, 1593; it likewise perpetuates the memory of his sister, who died Sept. 13, 1579. Among the monuments may be noticed, a very fine one on the South wall, to the memory of Sir Charles Montagu, brother of the first Earl of Manchester; he died in the year 1625, aged 61, and is represented sitting in a tent, reclining upon a desk, on which is placed his helmet and gauntlets: the entrance to the tent is guarded by a centinel on each side; and near it stands a page with his horse. The attitudes of all the figures are extremely graceful, and the sculpture very good. alabaster altar-tomb at the East end of the North aile, to the memory of William Whyche, who died March 8,

An

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