*

mental fhrines, fo well calculated on account of the fmallness of their plan to admit a multiplicity of delicate ornaments highly finished, afford exquifite specimens of this ftile. The most remarkable one I can recollect, is that of bifhop Fox, at Winchefter; which, before it was ftripped of its images and the painted glafs which filled part of its prefent openwork, muft have been a moft beautiful fpectacle. How quickly tomb-architecture improved in this way, may be seen by two fumptuous fhrines in the fame church, which stand oppofite each other; those of bishop Waynflete, and cardinal Beaufort. The bifhop's is evidently constructed in imitation of the cardinal's: but being forty years later, is infinitely richer in the variegation of its fretted roof, and the profufion of its ornamented spire-work +. The fcreen behind the altar, in the fame cathedral, built 1525, far fuperior to that at St. Alban's, is also a striking pattern of this workmanship. We have fome episcopal thrones

*It was broke and destroyed by the Presbyterians, 1643, as appears by a paffage in Mercurius Rufticus, pag. 214. It is not commonly known or obferved that this fhrine was thus curiously glazed.

+ Waynflete died 1486. How greatly tomb-architecture within 150 years, continued to alter, appears from an expreffion in Berthelette's preface to his edition of Gower's Confeffio Amantis, 1554. "Gower prepared for his bones a restynge place in the monasterie of St. Marie Overee, where somewhat after the OLD-FASHION he lieth right sumptuously buried." Gower died 1402.

highly executed in this tafte. Such is that at Wells, built by bishop Beckington, 1450: and that at Exeter by bishop Boothe, who fucceeded to the fee, 1466. The first is of wood, painted and gilded; the latter is likewife of wood, but painted in imitation, and has the effect, of ftone. They are both very lofty and light. Moft of the churches in Somersetshire, which are remarkably elegant, are in the ftile of the FLORID Gothic. The reafon is this: Somerfetfhire, in the civil wars between York and Lancaster, was ftrongly and entirely attached to the Lancastrian party. In reward for this service, Henry VII. when he came to the crown, rebuilt their churches. The tower of Glocefter cathedral, and the towers of the churches of Taunton and Glaftonbury, and of a parochial church at Wells, are confpicuous examples of this fashion. Most of the churches of this reign are known, befides other diftinctions, by latticed battlements, and broad open windows. In this ftile Henry VIII. built the palace of * Nonfuch; and cardinal Wolfey, Hamptoncourt, Whitehall, Chrift-church in Oxford, and the tomb-house, at Windfor.

* See a cutt of its front, perhaps the only representation of it extant, in Speed's Theatre of the Empire of Great Britaine, 1614. fol. pag. 11. Map of Surrey. In the fame is a cutt of Richmond Palace, built by Henry VII. VOL. II.

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I cannot

I cannot more clearly recapitulate or illuftrate what has been faid, than by obferving, that the feals of our english monarchs, from the reign of Henry III. difplay the taste of architecture which respectively prevailed under several subsequent reigns; and confequently convey, as at one comprehensive view, the series of its fucceffive revolutions: infomuch, that if no real models remained, they would be fufficient to fhew the modes and alterations of building in England*. In these each king is represented fitting enshrined amid a sumptuous pile of architecture. Henry III. 1259, appears feated amidst an affemblage of arches of the round Saxon formt. So are his fucceffors Edward I. and II. Edward III. 1330, is the first whofe feal exhibits pointed Saracen arches; but those, of his first feal at least ‡, are extremely fimple. In the feals of Richard II. 1378, and his fucceffor Henry IV. we find Gothic arches of a more complicated conftruction. At length the feal of Henry V. 1412, is adorned with a still more artificial fabric. And lastly, in the feals of Edward V. Richard III. and Henry VII. we difcern a more open, and less pointed Gothic.

I fubjoin some general obfervations. The towers in Saxon cathedrals were not always intended for bells.

See Speed's hiftory, &c. fol. London, 1627. + See his fecond feal, Speed, pag. 547. ‡ See his second seal, Speed, pag. 584.

They

They were calculated to produce the effect of the louver, or open lantern, in the infide; and, on this account, were originally continued open almoft to the covering. It is generally supposed, that the tower of Winchester cathedral, which is remarkably thick and short, was left as the foundation for a projected spire: but this idea never entered into the plan of the architect. Nearly the whole infide of this tower was for merly feen from below; and for that reason, its fidearches, or windows, of the first story at least, are artificially wrought and ornamented. With this fole effect in view, the builder faw no neceffity to carry it higher. An inftance of this vifibly fubfifts at prefent, in the infide of the tower of the neighbouring Saxon church of St. Crofs, built about the fame time. The fame effect was at firft defigned at Salisbury; where, for the fame purpose folely, was a short tower, the end of which is eafily difcerned by critical obfervers; being but little higher than the roof of the church, and of lefs refined workmanship than that additional part on which the present fpire is conftructed. Many other examples might be pointed out. This gave the idea for the beautiful lanterns at Peterborough and Ely.

Spires were never used till the Saracen mode took place. I think we find none before 1200. The spire

of

&

of old St. Paul's was finished 1221*.

cence.

That of Salifbury, as appears from a late furvey t, and other proofs, was not included in the plan of the builder, and was raised many years after the church was completed. The fpire of Norwich Cathedral, about 1278 1. Sir Chriftopher Wren informs us, that the architects of this period, "thought height the greatest magnifi Few ftones, adds he, were used, but what a man might carry up a ladder on his back, from scaffold to scaffold, though they had pullies, and spoked wheels upon occafion; but having rejected cornices, they had no need of great engines. Stone upon ftone was eafily piled up to great heights; therefore the pride of their work was in pinnacles and steeples. The Gothic way carried all their mouldings perpendicular; fo that they had nothing else to do, but to fpire up all they could." He adds, "they affected steeples, though the Saracens themselves ufed cupolas §." But with fubmiffion to fuch an authority, I cannot help being of opinion, that, though the Saracens themfelves ufed cupolas, the very notion of a spire was brought from the eaft, where pyramidical ftructures were common, and spiral ornaments were the fashionable decorations of their mofques, as may be feen to this day.

Dugdale's St. Paul's. pag. 12. Willis's Mitr. Abh, v. 1. p. 279.

† Survey, &c. by Price. § Wren's Parentalia, p. 305,

What

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