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particulars of a style against which he will do well | times are so perfectly common-place, as to shew to be on his guard.

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Of the pseudo-pointed system, (if, indeed, the term system" may be allowed,) a frequent mark is an external air of unrelieved squareness. A building of this class, for the most part, looks low and flat, displays much of horizontal line, and, if a church, is finished above by a sort of high square box rather than a tower. Its buttresses are so meagre, that they want little to reduce them to pilasters; and the pinnacles, if any, with which they are terminated, are not unfrequently purfled with crockets of Grecian foliage in the extreme of diminutiveness, or of long overgrown bulk. The windows, though perhaps of large dimension, may not be divided by mullions at all, but filled in with common sashes, and finished with an ordinary sill at the bottom; or, if mullions be introduced, the manner in which they are ramified in the windowhead, exhibits often the most pitiable poverty of idea, and unconnectedness of line. The tracery, when any is attempted, sometimes has no cusps or featherings, being composed of stinted curves rarely exceeding the sweep of a semi-circle; at other times, when the curve is greater, the point or cusp is still shaven down to an edge. As for doors, they may be made precisely in the same way as those in an ordinary room, except with this special observance, that the architrave at the top be distorted into a pointed arch, which at once makes the thing "Gothic;" or if a label be deemed an advisable decoration, it may, for a little variety, spring from a pair of Ionic volutes. Thus, as far as an exterior is concerned, we have fronts composed throughout, both in mass and in detail, upon the hostile principles of classic architecture; and if, in particular instances, we escape without obelisks, balls, and balusters, we may felicitate ourselves upon not seeing the worst. Then proceeding to the interior,-that of a church, for instance, we perhaps meet with a huge and clumsy attempt at a plaster-groined ceiling, intersected with ribs, and studded with knots, that only serve to shew how effectually details of classic origin may be misapplied and spoiled by dint of effort. To support such a ceiling, perhaps, up spring certain things called clustered columns, formed of four heavy semi-cylindrical shafts, without any mouldings to separate them, and finished with a stiff capital and base, worthy of such a feature. As for matters of detail in general, these are frequently expressed with a feebleness, betraying a doubt in the mind of the composer as to their correctness; or at other

that no thought was ever entertained by him about them. Occasionally, indeed, he so entirely forgets his subject, as to introduce members in which there is not the most distant recognition of the principles of the Pointed style, such as a common squareheaded door, or a round "bull's eye" aperture. These, and a thousand further inconsistencies, are to be found in many modern works, called Gothic; and even in other examples, where the more gross of these errors do not discover themselves, there are often numberless faults discernible to the correct eye, which, though not easily admitting of verbal description, are fatal to the pretension of genuine character. The notice of such anomalies, however, we willingly leave, in the hope that ere long they will cease to be multiplied, if not to exist.

It has thus been our object, in the present as well as in the former observations on the modern imitation of old English architecture, to point out the style most worthy of adoption, the characteristic varieties of the principal features of that style illustrated in the finest ancient remains, the principles of composition to which the system in question is indebted for its most powerful effects, the manner in which propriety of character is affected by matters secondary and collateral, and the necessity of feeling and discrimination, which may neither follow precedent to an injudicious extreme, nor, by the neglect of it, run into the opposite and far worse error of making up a style wholly unknown to our forefathers. If, in noticing these points, it should appear that our attention has been chiefly directed to ecclesiastical architecture, we think that sufficient reason can be adduced for the preference, in the considerations that our old English art is richest in ecclesiastical remains,-that it is modern ecclesiastical structures that the Pointed style is most frequently attempted,

and especially, that it is in sacred edifices alone, that architecture can attain its highest achievements; since, while such works admit of great external display, they afford, at the same time, an opportunity for the production of internal effect to an extent unattainable in other compositions, though of palatial splendour,-an effect in which the mind is often overwhelmed by the solemn grandeur and harmonious beauty of art.

We have as yet offered no direct observations upon the subject of castellated architecture. It is not, however, our present intention to enter upon the consideration of this department; nor indeed would it afford to our investigation much that is

new, as treated with reference to modern imitation. To follow the inconvenient arrangement, and gloomy closeness of our early fortified remains, would be to preclude every idea of domestic comfort; and when, on the other hand, we turn to the more suitable castellated compositions of the fourteenth and fifteenth centuries, we see in them the usual features of Pointed architecture so universally prevailing, as to leave few points for notice beyond those which we have heretofore enumerated. The difference between castellated and other edifices, is less that of detail than of bold irregularity of outline, massiveness of construction, largeness of parts, and the distinctive character derived from the finishing of the stern battlements and machicolations. The best possible illustration, however, of this species of architecture, would be easily and fully derived from a visit to the fine remains at Warwick, and at Thornbury, Gloucestershire, the ruins at Kenilworth, and especially, the splendours (latterly so much and so ably enhanced,) of the truly royal residence at Windsor.

In conclusion, we cannot do otherwise than observe with heartfelt satisfaction the felicity with which the beauties of Pointed architecture have been revived of late years, by some able minds, after nearly three centuries of contemptuous and tasteless neglect. To their further cultivation, and general comprehension, we look forward with anxious desire; at the same time with a hope that the science may never be allowed to destroy itself by over-refinement, as it is to be feared it would have done in the reign of Henry the Eighth, but for the interference of the Italian style, to which, after all, we may confess ourselves indebted for a paradoxical preservation in the very act of overthrow.

GLEANINGS.

E. T.

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I HAVE just been with Mr. Busby, who informs me that he will pack up his parcel which is to contain this & the Portrait of me, by Mr. Murphy, this Evening.-I fear the portrait of me, which he has in hand, will not be finished to send along with the other-but I don't know whether or not, he has, however, promised me to send you his remarks upon Mr. Murphy's-which he examined & compared with the Original,-and considering the length of time it has been done, (12 or 13 years,) he thinks it very like. I hope you will do it to please yourself, & that you will reap sufficient profit by it in the sale as a frontispiece to my Books.-Mr. Kidd's was so very unlike, that it was almost universally condemned by my London Friends, & of course fell into neglect. An eminent Bookbinder here, who bought Kidd's Plate, has however sold a great number of them. I shall ask him for one, and inclose it, if I have time on hand to get it. I have told my very old friend, Mr. Pollard, the Engraver, Holloway, that you were going to Engrave the Portrait, & have requested him to give you a call. I hope you will take care of the Painting, & return it to me in some of Messrs. Longman's Parcels, which they have frequently to send to Mr. Charnley, the Bookseller here. The Portrait was presented to

THE following are from Le Strange's translation of my Wife by Mr. Murphy,* & she does not know that I am sending it to you-she sets a great value upon it.

Quevedo's Visions, 7th edit. 1689.

Speaking of Barbers, he says, " Every one of them had a Cittern about his neck, and his knees a upon Chess-board; and still as he reacht to have a touch at the Cittern, the instrument vanisht; and so did the Chess-board, when he thought to have a Game at Draughts:-a Cittern is as natural to a Barber as milk to a Calf." Guitars are also noticed as part of a "Barber's furniture." Guineas ("seises the Guineys,") are also mentioned; as well as Bartlemy Puppet," the " Bear at Bridge-foot," and -"common as Ratcliff Highway."

66 a

I am, Dear Sir,

with best wishes, yours,

Thomas Bewick

* This gentleman is father to that delightful authoress, Mrs. Jamieson.

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consort,) subject to a fee-farm rent of forty shillings; and the grant states it to have been an encroachment from the forest. In the possession of this highspirited and warlike family, (the ancestors of the Lords Norreys of Rycote, in Oxfordshire,) who had likewise two other manors in Bray parish, Ockholt remained until the early part of the fifteenth century; and in 1507, Sir William Norreys, who had commanded the king's army at the battle of Stoke, died seised of this estate. In Henry the Eighth's reign, it was the property of the Fettiplaces; but the mansion is traditionally said to have been inhabited by Charles Brandon, Duke of Suffolk, the great favourite and brother-in-law of the above monarch. About 1679, the Finch family of Hertfordshire became owners, and continued its possessors until 1786, when Ockholt was sold to the late Penyston Portlock Powney, esq. M. P. for Windsor, in whose representative, Major Powney (now resident in India,) it is at present vested. But the estate for many years has been tenanted as a farm, and called Ockwell's.

THIS mansion is situated about one mile, westward, | Richard de Norreys, cook to Queen Eleanor, (Heury's from the village of Bray, in Berkshire,-a parish which has been immortalized by the temporizing policy of a former vicar. It was commenced by John Norreys, or Norris, esq., in the time of Henry the Sixth, and finished early in the reign of his successor, Edward the Fourth, but not during the lifetime of the founder, who had been " esquire of the body" to both the above sovereigns, and also "master of the great wardrobe" to the first-mentioned king. Mr. Norreys, by his will, which was made in the year 1465, though not proved until 1467, directed that xlli. should be paid, " to the full building and making uppe of the chapell, with the chamber adjoyning, within my mannor of Okholt, in the parish of Bray, not yet finished."* He also directed the sum of 20 marks to be expended on his tomb in Bray Church; and bequeathed 1007. " for the newbuilding of the north-aisle of St. Nicholas' Chapel" in that edifice, together with 1007. for the endowment of a chantry-priest, and 501. for a new bell: to the Lord Wenlock, whom he appointed supervisor of his will, he devised" for his labour in that behalf, to be had, a gilt cup, covered, called the Housewife."+

The manor of Ocholt, or Ockholt, was originally granted by Henry the Third, in the year 1267, to

* Dugdale's "Baronage," vol. ii, p. 403.

The above cut represents the east front of Ockholt Manor-house, with its picturesque wooden gables, and that venerable simplicity of aspect, which marks its character. The bay-window, with five lights in

* Vide Pat. Roll. 52. Henry III.

+ A view of this exterior was given in Lysons's "Magns

+ Ibid. The testator had been sheriff of the counties of Britannia," Berkshire, 1806; but some alterations have been Oxon and Berks, in the 36th of Henry VI.

since made in the gables and other parts.

two divisions, is that of the Great Hall, which is a | ancient roof, which is sustained by a framework of noble apartment, forty feet in length, thirty feet fine arches, springing from sculptured corbels, &c., wide, and twenty-eight feet in height to the in nearly a similar style to that at Crosby Hall. In present ceiling: this ceiling, however, has been in- the subjoined cut, this apartment, as it now appears, troduced at a later date, and conceals the more is accurately represented.

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The interior is surrounded with oak-paneling, and in the windows are various coats of arms, coeval with the edifice, in distinct and vivid colouring. Among the arms, which are depicted, (one in each window,) on a ground of diagonal stripes, containing flowers, and mottoes in the old text hand, "are those of King Henry the Sixth, with the Antelopes his supporters; his Queen, Margaret of Anjou, with her supporters, the Antelope and the Eagle; the Norreys, with Beavers for supporters; the Abbey of Westminster; Beaufort, Duke of Somerset ; Edmund, last Earl of March; Henry, Duke of Warwick; De la Pole, Duke of Suffolk; Sir William Beauchamp, Lord St. Amand; Sir William Lacon, of Bray, Chief Justice of the King's Bench; the Lord Wenlock; Sir Richard Naufan; Captain of Calais; Sir John Pury, knt., of Chamberhouse Castle, in the parish of Thatcham, Berks; and of Bulstrode, quartering Shobingdon :"* the latter was, probably,

Lysons' "Berkshire," viz. further additions, p. *705. In the same work are two coloured plates shewing the arms, &c. of Henry VI, and his queen; and those of the Norreys, and of the Duke of Somerset. The Norreys' arms, as here delineated, are, arg. a chevron between three birds' heads, erased, sable; impaling, quarterly, 1st and 4th, or, two fesses,

intended for Richard Bulstrode, esq., one of the builder's executors. The royal arms are surmounted by highly-bowed crowns; the others by crests and lamberquins. The mottoes, Dieu et mon droit; Humble et lorall; and that of Norreys, Ffeythfully serve, are several times repeated. On one side is a handsome marble chimney-piece, fronting a capacious chimney; on the left of which is a concealed opening, large enough to admit a person, and leading, between the walls, to the upper story. There is, also, a Gothic gallery, with two doors, one of which led to the chapel; but the latter was nearly destroyed by fire, between fifty and sixty years ago, and its ruins have been converted into a pigeon-house. A pair of large iron boots, some swords of a peculiar shape, and the remains of a chain jacket, are preserved here. The flooring is of red tile, shewing, in some parts, traces of figures.*

gules, over all a bar, azure; 2nd and 3rd, within a border, gules, barry of ten, or and azure.

For the use of the original drawings from which the wood-cuts for this article were executed, the Editor is indebted to Mr. W. A. Delamotte, Jun. of the Royal Military College, Sandhurst.

TOPOGRAPHICAL EXCURSION IN THE

YEAR 1634.

Continued from p. 335.

PROCEEDING towards Gloucester,-"In that Afternoone wee trauell'd through part of the famousest, and best wooded fforest in all England, [Deane fforest,] wch lately hath beene much cropt, lying betweene those two sweet Streames, [Severne and Wye;] and in that dayes journey we had not the will to goe out of of way, to be bit by the Nose at Tewksberry, but left it on or left.

"Wth in halfe a mile of the Citty, is the Bishops Seat, [Winard Castle] vpon Severne, wch flowes ouer, and makes fertile his LPs. rich Pastures; and as that sweet streame enricheth them, so doth his Lpes Charitie streame & flow, in most bountifull manner to the Poore vallies about him, for he maintaines a Head of 30. or 40. Kine, mostlie for the sustenance of the Poore; wc is a religious, pious, and worthy Goodman's example.

"At last wee entred the City of Gloucester, ouer a very faire archt Bridge, crossing that famous, broad-channell'd, swift-stream'd River Severne, wch glides close to the Towne, by that little Hland, [Alney,] where the first Danish King got the best, and vnhors'd o' selues at the new Inne, a fayre House, and much frequented by Gallants, the Hostesse there being as hansome, & gallant as any other. She was the sole commaundresse at that time, both of her Selfe & House, for her Husband was trauelling, at the charge of other Travellers, and there we payd soundly for his absence.

"This Citty wee found gouern'd by a Mayor, wth his Sword and Cap of Maintenance, 4 Maces, 12 Aldermen, and a worthy and learned Recorder, [Sir John Bridgman,] & 4 Stewards. It is wall'd about, except onely that part of the Towne that is securely & defensively guarded by the Riuer; in the wall there is 6 gates, for the Ingresse and Egresse of Strangers and Inhabitants. It is a County of it self, and of a great command, haveing 30 Townes vnder her Jurisdiction about her. In the midst of the City is a fayre Crosse, whereto from the 4 Cardinal Windes, the 4 great & principall streets thereof doe come. In her is 12 Churches, whereof the Cathedrall called the College Church is one.

"In the Cathedrall, to wch we march'd wee tooke an exact view of the ancient and Royall MonumTM wee found therein.

Ffirst, in the Ladies Chappell, aboue the whispering place, is the Moument of Bishop Godfrey Goldsborne.

The Monument of Mr. Thomas Fitz-Williams. Another for Abbot Handlacy, who built the Chappell 600 yeares since.

On the South Side of the Quire, the Monument of Butler, Earle of Ormond.

One for Abbot Seabright, who built that fayre high Steeple, and rays'd the Roofe of the Quire.

The Monument of Humfrey Bohun, E. of Hereford, and his Countesse.

Ouer against the Abbots Tombe, on the North Side of the High Altar, lyes a Saxon King, in plaine ffree stone, bearing the old Church vpon his breast.

Also Abbot Parker lyes in his Robes, in Ala

blaster, who was the last at the suppression. By him a Bishop, stiled Dux Templi, who excommunicated King John.

Abbot Eldred, one of the first founders of the Church.

But more especially & remarkably there lyes in this Fabricke the Bodyes of 2 famous Princes of the Land: The one, of that vnfortunate Prince Robert D. of Normandy, eldest sonne of Wm ye Conquer", whose eyes were pluckt out in Cardiff Castle, after he had endur'd a long & tedious imprisom there his Portraiture lyeth loose vpon the Marble Monum', and is of Irish wood painted, wch neither rotts nor worme-eats. Hee lyeth crosse legg'd, wth his Sword, and Buckler, & soe as any man may wth ease lift vp this his wooden Statue; this is in ye midst

of ye Chancell.

The other not far from him is that of as vn

fortunate a King, Edward ye 24; his body in Alablaster in his Kingly Roabs, the ffoundation Marble, & the Workemanship ouer head curiously cut in ffree stone. He was murder'd at Berkley Castle, by a burning hot spit thrust into his fundament vp into his bowels, wth consent, and by practise of his cruell Queene.

"But a thing most admirable is that strange & vnparralell'd whispering place of 24 yards circular passage, aboue the high Altar, next to the Lady Chappell, the relation whereof I leaue to such as haue beene (like us) both Spectato" and Audito of that miraculous worke, and artificiall deuise :

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