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raised; but when the establishment of the Pointed Style gave a fresh impulse to the enthusiasm of the skilful architects in the thirteenth century, they demolished the plain choir of the original structure, and extended it to its present form,-an alteration which, if it did not cause the removal of the antient tower, suggested, tho' at a later period, the erection of that stately and beautiful pile at the end of the North transept, which now remains almost uninjured, and which, therefore, is peculiar to this Abbey.

The Nave, with its two lateral ailes, are unaltered specimens of the mixed Norman and Pointed Styles. When entire, each side was subdivided into eleven arches of the Pointed form, resting on plain and massy cylindrical columns, with bases and capitals, carved in a plain manner, which also give support to the arches and vaulted roof of the side-ailes. Over the great arches is an uniform row of single Norman windows, covered with a label-moulding which springs from a straight cornice: there is no gallery story belonging to this Church. Å row of equally plain but more spacious windows admits the light to the Bide-ailes.

In the wall of the South aile are three plain Norman arches; the most Eastern of these communicated with the Dormitory; the middle arch led to the vestibule of the great cloister, which has unfortunately been destroyed*, and the most Western door-way opened to the churchyard.

Excepting the Western door-way, no part of the exterior of the nave is ornamented: the windows in the upper and lower stories are covered with a block cornice, and all the arches are without mouldings; but the principal doorway of the Church displays some of those carvings which usually adorn the more antient structures in the Norman style; viz. the grotesquely-sculptured capitals; but the encroachments of ivy, and the mischievous industry of the ignorant, have together nearly defaced these ornaments. The West window is

In the loss of this porch, Fountains Abbey has been deprived of one of those numerous features of its antient design, which have always formed its chief boast, and which are unequalled by any other ecclesiastical remains in Great Britain.

lofty and spacious, and has been wholly disencumbered of the tracery and mullions with which it was originally filled-between the point of the arch, and the pediment which surmounts the West front is a niche. These alterations were made opon the solid Norman masonry; the walls are unsupported by buttresses, but at each angle is a sort of pilaster,an appendage more commonly designed for ornament than for use.

As the transepts are without sideailes, their arches differ from those in the nave. Before, the entrance to every chapel is a large plain arch resting on double pilaster-buttresses; the chapels are separated by a wall of solid masonry, and are each roofed with stone, but without ribs. The chapels belonging to the North transept are considerably mutilated, the Eastern walls being partly demolished; but those attached to the South tran sept appear in a more perfect state, though obstructed with brambles and rubbish. The most Northern of the two in the South transept, was altered and enlarged at a late period of the Pointed Style. The Eastern wall being wholly removed, a strong Pointed arch was built to support the roof: to this a small chancel was added, covered on the outside with battleinents, and sufficiently large to contain the Altar, over which is a window filled with tracery. The other chapels contain two Norman windows, beneath a circular opening at the East end. The transepts are lighted by means of plain Norman windows, which are covered with a straight cornice like the nave. the period of the addition of the great tower to the North transept, the Norman architecture of the more antient Church that was left unaitered when the choir was rebuilt, remained free from innovation; but when that noble appendage was given to the fabrick, so far had the Pointed Style suffered alteration, that even the choir, with all its appendant ailes, though a splendid contrast to the unadorned walls of the nave, was yet deficient, according to the taste of the fifteenth century, when a window of large dimensions was placed in the room of several lancet openings. Many Norman windows shared a similar fate; a chapel in the South transept was altered, as before described;

Till

two

ed to the walls. Both the external and the internal arches of these windows are supported upon delicately proportioned columns, with plain capitals, bases, and bands, which latter are almost peculiar to this admirable style of architecture. The interior of these ailes is enriched with a uniform row of elegant trefoil shaped arches, resting on slender-insulated columns, but the greater number of

two windows were inserted in the ailes of the nave, the West window, the great East window, and the windows under the pediments in the North and South upper cross ailes. But as the tower was designed for the enlarge. ment of the body of the Church, the wall of the transept was wholly removed, and a lofty and most beautiful arch raised on its foundations, which exposed a noble window, occupying nearly the width and height_them are now destroyed. At the enof the basement of the tower, in the opposite wall.

The external angles of the tower are supported by handsome buttresses, having niches. Above the great window are two divisions or stories formed by cornices, on which are carved Inscriptions and Shields of Arms, all in good preservation. On each side of the upper tier is a handsome window, beneath which, on the South side (once appearing over the roof of the transept), is a niche containing a figure, and on the East side of the tower, nearer the basement, is another niche. The surmounting story of the tower is battlemented, and contains square-headed windows, having flying buttresses at the angles (which rise out of the larger buttresses), and once terminated with pinnacles. Whether this portion of the tower is as old as the lower part, or was subsequently added, must be left to conjecture. I will not venture my opinion. This tower is now roofless, but its walls remain unimpaired.

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The choir was certainly built in the beginning of the thirteenth century, in the early and pure architecture of the Pointed Style. On each side were, originally, five Pointed arches dividing the ailes, all of which, and the clustered columns by which they were supported, have disappeared,leaving a spacious area of smooth grass, whose surface is alone disturbed by the curious pavement of black tiles belonging to the High Altar, and a stone coffin, embedded in the ground, towards the North side. The windows in the side ailes consist of well-proportioned single arches, being separated on the outside by buttresses rising higher than the parapet, and on the inside by clusters of slender columns which sustained the pressure of the groins of the roof, the stone springers yet remaining attach

trance to the South aile of the choir from the transept appear the Arms of Fountains Abbey, carved on a shield; viz. three horse-shoes, 2 and 1.

The exposed grave in the floor of the choir was formerly covered with an effigy of a cross-legged Knight, clad in armour, and girt with his shield and sword, the latter being suspended from an ornamented belt. This noble figure has been sadly mutilated, but those portions which have escaped injury exhibit specimens of very fine sculpture. We are told that it was removed from its proper position to the North aile of the nave (where it now lies), for preservation; but as the situation is almost unsheltered, I am more inclined to believe that the same bad taste that directed the removal of the bases of the great columns (and perhaps of arches too) also directed the transposition of this fine memorial of one of the great Mowbrays,

The Choir and Lady Chapel were anciently separated by a stone screen, corresponding in design and proportions with the arches under the windows in the side-ailes, but only the fragments of the lower part attached to the side piers remain. Upon this basement the superstructure of the screen (built either of wood or stone) was raised, to an elevation sufficiently lofty for the purpose of distinguishing these two portions of the Church, yet not so high as to obstruct the view of the magnificent window which filled the entire space of the East end, from the choir, to which it doubtless proved a splendid feature, having had numerous mullions, and beautiful tracery. The two arches on either side the Lady Chapel, of inconceivably grand proportions, resting on slender octagonal shafts, which have been robbed of all their ornamental pillars, whose capitals still give support to the clustered mould

ings of the arches, occupy its length, and open to the transverse ailes, where altars have been fixed, and which have had their doorways to avoid disturbing the service in the Lady Chapel by passing across its aile at particular times. The arches of these doorways are of the Norman, or round shape, while the double tier of lancet win dows, divided by buttresses, composed the rest of the design of this elegant portion of the Church.-Every arch is free from carved ornaments, but their mouldings are numerous and delicate, and remain in fine preservation. Both externally and internally, the East end of the Church is designed with incomparable grandeur and beauty. Of the exterior, no part has been obscured with ivy and trees, and of the interior, no part (till the late judicious improvements by the noble owner) remained free from these incumbrances.-The forest of trees that filled the area, and the impervious masses of ivy that clung to the entire surface of the walls, having (with some tasteful exceptions to the latter) been taken away, the curious visitor enjoys an assemblage of Archi. tectural objects before unseen. entrance to the Abbey is at this point (I regret to say); and where a solitary admirer of landscape lately praised the luxuriant verdure, the multitude now stop to gaze with wonder and admiration upon the beautiful architecture of these roofless ailes, and confess that the recent improvements have added another object to the ve nerable remains of Fountains Abbey. (To be continued.)

Mr. URBAN,

THE

The

Aug. 5. HE following instances of his late Majesty's feelings, and the warmth of his friendship, are extracted from the Notes to the Sermon of the Rev. David Skurray, reviewed in your last Number, p. 146.

"When his late Majesty visited Longleat in the autumn of 1789, an immense concourse of people assembled from all quarters in the Park, in the hope of catching a sight of the King. The noble Host, somewhat alarmed, enquired of his steward what was best to be done on the occasion, who replied that in order to gratify the whole assemblage, he would advise that his Majesty would condescend to exhibit himself from the flat roof of the

mansion, with which the King instantly complied. An attendant took the liberty of enquiring of his Majesty who was used to large assemblies, of how many souls he might imagine the mob below consisted. On which his Majesty courteously remon strated, Mob, Sir, implies a crowd that is disorderly, the people below are peaceable; multitude, if you please, but not mob.'”

"His Majesty had been desirous of a Wiltshire Shepherd, and application was made by Mr. Kent, to the late Mr. Davis of Horningsham for that purpose, who procured a man from Brixton Deverill, of the name of William Daphney. The King and General Goldsworthy had frequent conversations with the Shepherd, with whose simple manners, acuteness, and dialect, they were frequently entertained. It happened, however, in the course of time, that some sheep were missing from the royal flocks, and the spoliations were traced to poor Daphney. His Majesty having been consulted about prosecuting him, replied that he had been himself the innocent occasion of poor Daphney's crime. That if he had suffered him to remain on the Wiltshire hills, he had continued harmless as his sheep. That he had been seduced to his ruin by a gang of unprincipled villains that then infested the neighbourhood, who would corrupt an angel. That he should be discharged, but not prosecuted. The poor fellow, overpowered by royal consideration and cleniency, exclaimed, I will never cease to serve such a master. I can no longer do it with my crook, but I can with a musket' Upon which he entered into the army, and his destitute wife was transferred by their Majesties into a calling of

decent subsistence."

"When his Majesty was at Weymouth, the late Mr. Davis (who had been for many years the truly respectable and intelligent Steward in the family at Longleat) called upon some of the King's attendants at Gloucester Lodge, he was informed that it would be expected that the King should be made acquainted with the circumstance of his visit. His Majesty in consequence appointed a place of interview. After some casual observations, his Majesty alluded to the recent death of the late Marquis of Bath, who is supposed to have been more than any other subject in the royal confidence. On observing that God Almighty bad never made a more honourable man,' he was overpowered by his feelings, and retired to compose himself, On returning, he enquired about the improvements which were in progress during his visit at Longleat, and then took leave with his accustomed politeness."

ACCOUNT

LX. PUP

ACCOUNT OF THE ANTIENT SCULPTURES IN THE ROYAL MUSEUM AT PARIS WITH REMARKS BY MR. FOSBROOKE. No. VII. (Resumed from p. 135.) UPIENUS. A Bust. It perfectly resembles his effigies upon the Imperial Coins. (Visconti, p. 26.) This Bust, if it be correctly appropriated, must be rare; for Mongez does not give any in his Recueil, Têtes Antiques on Iconographie. Winckleman, (art. vi. 8.) mentions a Statue at the Villa Albani, which exhibits the state of Sculpture at his period. "The capital forms are to be seen; but the fine touches are wanting; aud this deficiency gives a dryness and heaviness to the figure."

LXI. A PORPHYRY URN. The body of this Urn is rounded, and the covering cut into a kind of truncated pyramid. The feet are formed en consoles, and ornamented with chimeras. This Monument, which had belonged to Count Cay. lus, was employed in the decoration of his tomb in the Church of Saint Germain l'Auxerrois. (Visconti, p. 61.) Speaking of " things as they ought to be," perhaps a man's tombstone ought to be as much regarded as his will; but M. d'Arnaud, in his "Ame sensible," has an interesting tale concerning the most painful, as be stiles it, of all truths, the certainty of being disregarded and forgotten after death. That regard for the dead should obtaiu in a nation, which held the living in contempt, is not probable; and sacrilege formed, as is supposed, no part of the code "Napoleon.' There was no doubt an intention in the mind of Count Caylus, of combining his Monument with the recollection of his high services to Literature; and massing this monument among many others is like removal of a man's plate from his private table, where it was used as a token of respecta bility, to a Silversmith's shop, where the intention and object are sunk. Here was no plea of conquest. Its place in the Museum denotes a downright receivership of stolen goods.

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LXII. PANATHENEA. Bas relief. Fragment of the frieze which crowned the exterior walls of the cell of the Parthenon at Athens. Many Athenian Virgins, who appeared in the

Pompa, or annual procession of the Panathenæa, are upon the point of entering into the temples, and re turning to the directors of the cere mony, the instruments or utensils of sacrifice, which they bad carried in their religious march. This precious work, composed by Phidias, and executed under his direction, made part of the frieze, which surmounted the pronaos, and the principal entry of the Temple on the Eastern side, to the right of the spectator, and towards the Northern corner. —' -This morceau, detached long ago from the edifice, was brought to France by the Count de Choiseul-Gouffier. Fragments of antique frizes, and another frize of the fifteenth century, ornament the recess where this bas relief is placed. (Visconti, p. 27.) Every thing concerning Athens is familiar; but the set-off of the marble antique frizes, and one of the middle age, is extraordinary. Saints and Satyrs-Wood-cuts of the Golden Legend, and Montfaucon's Auti quities, interleaved, by way of illustrating each other, savours more of Harlequinade than Judgment.

LXIII. ELAGABALUS. A Bust. This Bust is appropriated upon the evidence of the coins. (Visconti, p. 27.) Statues identified by profiles cannot be certain. There is a marble Bust at the capitol: and the PioClementine Museum had one with a modern nose, restored as an Alexander Severus, but M. Visconti has ren> dered it back to Elagabalus.

LXIV. HYGEIA. A Statue. She

is represented standing, presenting food in a cup to the mysterious serpent, which is twined around her left arm, and is the emblem of health and life. (Visconti, p. 27.) This is exactly the attitude of the Hygeia of Mr. Hope, a statue of singular beauty. She is there a matron of thirty, in the bloom of mature beauty, and a celestial cast of features. The expression is divine benevolence; and, if Providence, according to Voltaire, had been the Author of Evil, the Medical art would, of course, have been utterly unknown. Statues of Hygein are very numerous, because rich people, who recovered, after invoking her, erected statues of her in commemoration of the event. (Here ends the Statues in the “Salle des Saisons.")

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LXV. CAN

LXV. CANDELABRUM, The elegance of the form, and the workmanship of the leaves, which form the entourage, recommend this marble, of which the triangular base is ornamented with the heads and feet of oxen. (Visconti, p. 28.) The antient Caudelabra were distinguished from the modern Candlestick, by having a flat can at top to hold a lamp, for out of more than a hundred found at Herculaneum, not one has a spike or socket. The triangular bases have been often confounded with altars, but the latter may be known by having cavities in the upper surface, for perfumes, combustible matters, &c. Candelabra are very common; but the finest are those in the Church of St. Agnes, and the Barberini Palace at Rome. Those in the Radcliffe Library are also very beautiful. These all vary from that similarity of pattern, which occurs in most Caudelabra; not being stems of flowers, but parts of animals. Upon the Barberini Candelabra is sculptured in relief a fine draped Venus. Mr. Dallaway (Art. 326.) gives the following_explanation of Candelabra. When Candelabra served to hold the real fires in temples, a metal grate, or dish, containing combustibles, was occasionally fixed on the top of the flower, which was flattened for that purpose. Sometimes lamps were placed on the top, instead of fire. Solomon (2 King, chap. vii. v. 49,) describes this kind of Candelabra with lamps placed upon them. This platform is called by Pollux (Onomast. I. x. 115, and I. vi. 109.) Пx and Ivάxiσxio, and by the Latins, superficies.

LXVI. JurITER. A Statue. This seated figure is easily known to be a Jupiter by the air of the head, and the cast of the drapery. (Visconti, p. 28.) There can be little doubt but that this is a correct appropriation, nothing being more known than the attitude, hair, and aspect of Jupiter [Pacificus]: but the rule is not infallible: for Count Caylus (Rec. ii. pl. 45. n. 3.) had two Priapuses, of which the heads had all the characteristics of a Jupiter.

LXVII. HERCULES. A Hermes. He is abandoned to the joys and intoxication of the Bacchanalia: his head is crowned with Joy. (Visconti, p. 29.)

LXVIII. INDIAN BACCHUS. A Her

mes.

The God of Joy has a long beard, and hair, "artistement arrangée." He was thus represented in the monuments of primitive art, which they delighted to imitate in the Hermeses, which served to ornament the Gardens. (Visconti, p. 29.)

LXIX. POSIDONIUS. A Statue. The

Philosopher seated, having no other drapery than a pallium, is in the attitude of speaking. (Visconti, p. 29.) Whitby, in his remarks concerning Christ's delivery of doctrines in a sitting position, exhibits its conformity to a usual practice of antient doctors. In 1750, there was at the Farnese palace, a bust with the antique inscription IOƐIAONIO】 insculped upon the drapery, which has been published by Fulvius Ursinus. There were two celebrated Stoic Philosophers of this name, one an Alexandrian, the other surnamed the Rhodian, because he taught a long time at Rhodes. Mongez. (Rec. d'Antiq. p. 11.) que ries, to which of them the bust appertained. As to the Pallium it was the distinctive mark both in Greece

and Italy of the Pythagorean, Stoic, and Cynick Philosophers, and occasionally adopted by other sects. See Aul. Gell. ix. 2.

LXX. CANDELABRUM. The busts of the Sun and the Moon personified, and the Bull, emblematic of that pla net, are sculptured upon the three faces of a small triangular altar, which serves for the base of this Candelabrum. (Visconti, p. 29.)

LXXI. CANDELABRUM. Uninteresting.

LXXII. DEMOSTHENES. A Statue. He is seated and covered with a simple cloak, holding upon his knees a volume, which he appears to be studying attentively. This figure is published in the Pio-Clementine Museum, Tom. iii. pl. 14. (Visconti, p. 29.) There were only conjectures concerning the busts of this great orator till the year 1753, when one was found at Herculaneum with the name upon the breast, and is undoubtedly genuine. (Bronzi, i. p. 53.) Concerning this statue, we may observe," says Visconti, in a different work, "that the lower lip sensibly recedes within the mouth. This natural defect was probably the cause of the difficulty, which this celebrated orator had in pronun

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