stance of deviation from the usual mode of construction, and adopted as a model for future erections." This model is then shewn to be of the shape of a cross, which Mr. H. says was no novelty in this kingdom; and instances the Abbey of Ramsey, erected 974. He might have instanced likewise, Southwell, 630; Minster, 670; St. Alban's, 793; &c. Mr. H. then apparently strives to pervert a passage in William of Malmsbury, relative to the style of Architecture of Edward's reign, and thus shews his ingenuity in favour of foreign art. "The probability, therefore, certainly is, that it was not invented here, but imported from France," &ć. But how could Mr. H. pass over the Church of Malmsbury, of a date more than 300 years prior to his Westminster authority, and numerous other religious piles of a still more distant epoch? "No intelligence has been given,” Mr. H. says, iu what form the arches of this Church of Edward the Confessor were constructed; yet, if a coin which has been produced as of that time merits to be considered as genuine, which it has been, it would Tead to an opinion that the arches were Pointed." Reverting to the remains of Edward's Church yet standing, as I have above stated, I here subjoin (without having recourse to a coin to elucidate the style of a building) the detail thereof. The great South arch of the centre tower is plain, as are the piers which support it: the South transept gives a double aile, divided by massive columns, simple ornaments to some of the capitals, to others elaborate foliage; from column to column semicircular arches, with a plain band or architrave; ditto form ed groins succeed, but without ribs. The altar, a plain pedestal form, raised on two steps, and capped with a cant and plat-band mouldings: the piscina is composed of a short column, with a base and capital of many mouldings. The windows are plain, with a circular head: not the least vestige of a Pointed arch to be seen.

"That Pointed arches," Mr. H. says, "were known and used in this Country so early at least as the time of Edward the Confessor, if not before, seems unquestionable;" and for this purpose he refers to the Powder-Plot Cellar under the House of Lords, as having been some of the offices to the

Confessor's Palace. Now to those who have in reality studied by drawings the Architecture of the Country, the greater part of the remains of the Palace (particularly the Painted Chamber, House of Lords, &c.) will appear to be the work of the reigns of Henry II. and III. if we except the mere South end of the Court of Requests (now used as the new House of Lords), where are two Saxon windows with diagonal mouldings. I. made a particular survey of this Powder-Plot Cellar (as Mr. H. calls it) in 1799, and again in November last, wherein I found a number of Pointed arches, recessed in the walls, windows, &c. making the place appear a sort of arcade, or crypt, for ready communication with the various offices of a great mansion or palace; but there is not the smallest warrant for concluding that any part could have been originally applied to the purposes of a kitchen (as Mr. H. terms it) or cellar. In fact, the arches themselves, if we set aside two doorways of Saxon work, are of a late date, perhaps as low down as the 16th century. I must not, however, neglect to mention, that in the Eastern extremity of the crypt (vulgarly cellar) under the Painted Chamber are two divisions of groins with semicircular arches: they were done, it is believed, by Inigo Jones, as some small por tions of his architecture appear stuck in the wall externally at this point. The rest of the headway to this crypt, as well as that under the House of Lords, is common flooring; each arrangement, no doubt, was at first groined, but destroyed in later times, with the exception of the said two divisions. It is really a pity that Mr. H. could not refer us to a more important specimen for the antiquity of the Pointed arch among us, than a "Cellar," the upper story of which (in that particular part called the Painted Chamber) " no one," he observes, "has ever questioned the fact of being as old as the time of Edward the Confessor." Its Pointed windows, with columnized mullions and primitive tracery, fix it, in my mind, to be of Henry II.'s time, as before hinted: it is said, in short, to have been erected by Archbishop Becket himself.

Chapter VII. The Church of the Monastery of Clugny in France, 1093,

finished

finished 1131, is by Mr. H. considered as an example of "great moment in the present enquiry;" because, in two copies of French engravings of this Church introduced into his book, the arches to the ailes are Pointed, resting on Corinthian columns and pilas ters: yet he half doubts the accuracy of the French artist, saying, "it is scarcely credible that any artist could, in making the drawing, have been guilty of so gross a blunder as to mistake the form of the arches (that is, to give Pointed forms instead of Semicircular)." I could, notwithstanding, instance many examples of the use of the Pointed arch with us prior to those of Clugny (if we allow the view to be correct, respecting which doubt may be reasonably entertained, from a kind of false drawing conspicuous in them); yet I shall continue to hold up to Mr. Hawkins's view the Malmsbury document. Mr. H. will not allow that any part of his Church of Clugny has been rebuilt; he observes," it is absolutely impossible that the columns and arches which support the vaultings should have been re-erected.Had they been originally semicircular, they could not, on account of the floor of the vaultings above, have been altered to the Pointed arch of their present proportion." Mr. H. cannot be admitted to be familiar with the art and mystery of Masonry; for it would not be considered supernatural to convert a Semicircular arch into a Pointed one. The two Clugny Views are described, one as being the vestibule, the other the nave: what is meant by the vestibule, it is difficult to understand. In this stage of my observations, I shall attempt their description from his engravings; and afterwards, by way of contrast, that of my Malmsbury example *.

CLUGNY, 1131. Plate I. Vestibule. To me the view appears as the Nave of a great Church with side ailes, in a succession of divisions of Pointed arches, supported by Corinthian pilasters, as they are called, and breaks : gallery story; small semicircular arches within larger ditto; windows to third story with semicircular heads. Clusters of small columns rise from the

breaks to springing of the groins, which groins are pointed. In the distance, large doorway of entrance, but whither, or from whence, is uncertain, with columns and semicircular architrave; within ditto a smaller entrance, or wicket, with headway of a turn not applicable to any style. Above ditto entrance a gallery. Detail of parts, unintelligible.

Plate 11. Nave. Nearly of the same arrangement as the Vestibule, except that, in the distance, is what appears to me a Choir; but this is conjecture. In the divisions, columns of the same alleged order as in the Nave, Corinthian: supporting another shew of Pointed arches; but their relative height, with that of the columns, is miserably out of all kind of proportion, as are the arches to the two stories above them. The cieling is what we commonly call the " wag gon head," with an addition of plain bands to each division. Detail of parts, unintelligible.

These two Views (according to Mr. H.'s system) are to prove the priority of design with regard to the Pointed style of architecture, to “establish” his History, and be the means of “refuting" all preceding Authors on the subject!

MALMSBURY, 675*. The drawing was taken in 1801, under the patronage of Sir R.C.Hoare, Bart.; wherein, from the strong marks evident of the very early mode of Saxon architecture in the first and second stories (third ditto Edward III.'s reign) little doubt can be held that it is a work of the date assigned; and those who are conversant in our Antiquities by actual research with readily own, that in buildings of the most remote periods the Pointed archt was in use indiscriminately with the Semicircular one; each, however, possessing one common detail of mouldings and ornaments peculiar to Saxon design. The æra when the Pointed arch predominated, and became, with its own characteristic embellishments, an Order of itself, is made conspicuous in Salisbury Cathedral, 1259.

First story. The division has mássive columns, with circular base

(plinth

(plinth square), and enriched capitals; enriched architrave to arch; clustered columns rise from the capitals to the height of second or gallery story. Second story. Clustered and single columns, capitals enriched: architrave to small arches plain, the larger ditto enriched. In the side aile, columns with semicircular arches recessed: window; columns and semicircular head. Third story: This being an alteration in the reign of Edward III. any illustration on this occasion would be altogether unnecessary. A. Plan. B. Side aile. Detail: c. Base. D. Capital. E. Architrave. F. and F*. its continuation; in the torus, oblong diamond compartments, and to the sweeping cornice dragons' heads. c. A dragon's head in the centre of the sweeping cornice (devices ever found in the primeval Saxon erections). H. String, having a fret. 1. J. and K. Base, capital, and architrave to single column. L. Base. M. Capital; and N. architrave to clustered columns. o. Capitals; and P. string to second story. `Q. String. R. Base. 8. Capital. T. Architrave to recesses. u. String. v. Base. w. Capital; and x. Architrave to window in side aile. The diagonal (vulgarly zigzag) enrichment in the mouldings very general.

--

Description of the Plate annexed to the present Essay. Lindisfarne, 635. Clustered columns in centre aile of the Cathedral; style, the most remote Saxon; arches, semicircular.Malinsbury, 675. Clustered columns in side aile of the church; style, ditto; arches pointed. Winchester, 963. Clustered columns in North transept of the Cathedral; style ditto.-Rumsey, 967. Clustered columns in the Eastern aile of choir, or ambulatory, with one of the chapels to side aile; style ditto. Peterborough, 970.

deposited.) c. Continuation of ditto ailes (now a hall to a prebenda! residence). D.Avenue. E.Ditto.-Henry's church. F. East cloister. G. South ditto. H. North ditto. 1. Portions of other arragements. J. Avenue to Little Dean's-yard. K. Little Dean's yard. L. Avenue to Little Cloisters. M. Little Cloister. N. Grand avenue to Chapter-house (now partitioned into cellars, &c.). o. Ascent to ditto. P. Chapter-honse. q. South aile of church. R. South transept. s. East aile of ditto. T. St. Blaize's chapel. -u. View of plain arch and piers of tower at A.-v. View of double ailes at B. looking East; wherein is seen the altar and piscina. w. Capital in ditto view; singular variety in the lines. x. Base and capital in portion of ailes c, capital highly enriched.Painted Chamber, Westminster; period, Henry II.'s reign; style, Pointed architecture, plain, and of the most pure masonry, accompanied with its peculiar detail. This elevation gives one of the windows recessed, within an arch with corbels; column, &c. lately cut out (similar window remains unhavocked on North front). Y. One of the two semicircular headed Saxon doorways in crypt under the House of Lords. z. One of Edward Confessor's Saxon windows, at South front of remnant of his Palace (another also accompanies it); now converted into the new House of Lords. Pointed doorway, 16th century, in the above crypt.-Glastonbury, 954. Pointed archway in North transept of the Abbey church; mouldings, enriched with diagonals, proving the occasional use of the Pointed arch previous to the Confessor's reign. B2. Theoretic example to prove how easy it is to convert a Semicircular arch into a Pointed one, as at c2; not that I wish to insinuate that Mr. Hawkins's Cluguy arches have been so tampered with, or any other antient objects of the same nature, either in France or England, but merely to shew its prac ticability. J. CARTER. (To be continued.)

Clustered columns in centre aile of the Cathedral; style ditto. - Waltham, Essex, 1062. Clustered columns in galleries to nave of the Abbey church; style ditto; mouldings enriched. Westminster, 1066 (Edward Confessor) and 1245 (Henry III.) Plan of part of the Abbey church, cloister, &c. walls tinted dark, remains, 1066, ditto, tinted fainter, work, 1245:Work 145th Edward's Church.

arch of centre tower. B. Part of South transept in a double Eastern aile.+ Altar. ■ Piscina. (In this portion of the ailes the Pix is now

A2.

Lancaster

Bromfield, Salop.

Deerhurst, Gloucester

Dunstable

Cartmel, Lancashire

Dorchester, Oxon...

Hexham, Northumberland

Bolton, Yorkshire..

Perfect.

....

Lanercost, Cumberland.... St. German's, Cornwall Royston, Hertfordshire.. Chirbury, Salop

Bodmin, Cornwall

....

Dore, Herefordshire..

Rumsey, Hampshire.... Usk, Monmouthshire.. St. Helen's, London

Nave used.

Austin, now Dutch Church, London.

Scarborough

......

...

......

learned Correspondent E. M. S. has rendered himself a valuable contributor to your excellent Miscellany, by his curious selection of extracts from the Patent Rolls; and it is much to be regretted that he has not leisure to go through Rymer's Fœdera. It was an idea that occurred to me some time since, at which 1 was about to make an attempt; but, being aware that a new Edition of that noble work, with many valuable acquisitions, is brought to a state of great forwardness by that indefatigable and justly admired scholar Dr. Adam

Clarke, under the direction of His Majesty's Commissioners on the Public Records (to whom unbounded credit is due for their exertions in arranging and publishing the records of the realm), I thought it would be advisable, in order to make the thing complete, to wait for its publication; but, as E. M. S. has requested extracts from Rymer, I have made a feeble attempt to commence that task, though not after his plan. Should this portion be deemed worthy insertion, I propose continuing a regular series from the most remarkable documents in that work, and where I meet with

any