member of the latter has been swept away, as well as the cloisters, chapter-house, and other appendages. The Church, however, remains for our admiration and inquiry; and at present consists of the following members: a nave, with two ailes, a transept to the north and another to the south of a central tower, each having ailes at the sides and extreme ends; —a choir, and a presbytery with side ailes ; a space, east of the altar, consisting of three ailes, all of nearly equal width and height; - a ladychapel, east of the latter;-two chantry chapels to the north and south of the lady chapel; - three distinct crypts beneath the east end of the Church, and five other chantries.

• The exterior of Winchester Cathedral presents few beauties, or attractive features. Its length of nave, plainness of masonry, shortness and solidity of tower, width of east end, and boldness of transepts, presents so many peculiar and specific characteristics. Although the architectural antiquary seeks in vain for that picturesque arrangement of parts, and successive variety, which belong to the Cathedrals of Salisbury, Lincoln, Wells, &c. yet he soon discovers a peculiar grandeur from its extent and quantity; and also many specific features of design, which tend to rouse and gratify inquiry. As a distant object, the Church presents á large and long mass of building. Its nave, particularly as seen from the south, is distinguished by its length of roof and extent of unbroken lines; and the low, stunted tower, as Gilpin remarks, "gives the whole building an air of heaviness." The whole Church is seated in a valley, and on three of the approaches to the city is seen from high ground. On the east and west the hills are much higher than the top of the tower, and consequently the building is viewed to great disadvantage. The eastern end, however, with its pinnacles, turrets, flying buttresses, and tower, form a fine and pleasing group. From the Portsmouth and Alton roads, i. e. approaching it from the S. E. and N. E., the Church is seen to rise above the contiguous houses and trees in massive, bold, and picturesque features.

The interior, however, will amply compensate for any defects or deficiencies of the outside. This presents several architectural and sculptural excellences: this displays a variety of truly interesting and important subjects, for professional and critical examination. Whilst the fine and sublime architecture of Wykeham, in the nave and ailes, produces the most impressive effect, and claims the general admiration; the substantial, plain, and large works of Walkelyn, in the tower and transepts, are imposing and simply grand. In the north transept, lately cleaned and restored, we see the effect and character of this style, in nearly its pristine state. Every member is in unison with the rest: each is large, bold, and unadorned. The bases, capitals, clustered columns, or piers, and the single shafts, are devoid of all ornament, and appear to be entirely designed for their proper places and necessary uses. The arches, likewise plain, are composed of squared stones, and formed wholly for strength and utility, without any pretension to beauty. On the contrary, in the carving of the

Stalls,

Stalls, and the wood-work of the Lady-Chapel and Langton's Chapel, we see a redundancy of ornament prevail. The designers seem to have wantoned in a licentiousness of fancy, and thought they could not surcharge their works with too much variety, or introduce an excess of decoration. Still these parts of the edifice afford us much delight, even from this very caprice. The eye wanders from one form and object to another, in search of novelty, and the mind is kept in constant and pleasing exertion by analizing and appropriating the whole.'

According to the prescribed plan, the volume relative to York Cathedral also is introduced by a chapter relative to the origin and early history of York, or Eboracum; with an account of the first establishment of Christianity, and of a church in that city; the influence and progress of Paulinus, the first northern prelate; the origin and establishment of the archbishopric, and an account of it under the Saxon prelates. It then proceeds with the usual divisions and subjects. The engravings are thirty-six in number, and represent ground plans, sections, elevations, architectural details, antient tombs, and picturesque views of the Cathedral, several of which are very beautiful.

We shall, as before, extract the general description of the Cathedral:

'Among the ecclesiastical edifices of England, the Minster, or Cathedral of York, which is pre-eminent in size, has also generally been considered unequalled in architectural beauty. It has obtained the unqualified and indiscriminating praise of some writers, who have laboured to enhance its grandeur and elegance by depreciating the beauty of other cathedrals. But the historian and critic who hopes to maintain the character of impartiality, and to secure the approbation of the judicious antiquary, must adopt a different course of procedure. It will be his duty to notice and particularize the peculiar and individual features and characteristics of the structure; and if in doing this he feels it expedient to allude to corresponding parts in other buildings, his criticism will not be partial, nor will his opinions be the result of prejudice. Well knowing that a great variety of style and design is exhibited in our cathedrals, convinced that each has its distinguishing character, its peculiar beauties and imperfections, he will avoid the common error of those local critics who exalt the edifice to which circumstances have attached their investigations, by an unfair and invidious comparison with others. Such comparative estimates have too frequently been instituted between the cathedrals of York and Lincoln, by writers who have displayed and exaggerated the excellences, and concealed the defects, of the favoured building; while they have pointed out all the blemishes, and passed over all the beauties of its rival. • That

That York Cathedral is a noble, a magnificent, and even a sublime structure, will be readily allowed by the impartial and discriminating antiquary :- that it is peculiarly imposing and im-pressive as a whole must also be admitted, and that it presents many beautiful features and details few persons will have the temerity to deny. The Cathedral of Lincoln has, however, many local and individual beauties, which command admiration; and which, on comparative examination, may appear to excel the corresponding parts of York. It would be bordering on impertinence and folly to pronounce in general terms on the pre-eminence of either. Each has its own and its exclusive beauty; each is entitled to the careful study of the architect and antiquary; and each has its peculiar monuments, architectural details, and history. Let us, therefore, avoid illiberal, partial, and petty comparisons: let us examine with a view to admire and understand, and not to depreciate: let us prove ourselves citizens of the world, and not citizens of a small insulated spot. By allowing the mind to wander over extended space, and dwell on numerous objects, its sphere of enjoyment is much increased; whereas, when confined to a small space, it necessarily becomes contracted in its powers of appreciation.

By the accompanying engraved illustrations, and the following descriptive particulars, it is hoped that even a stranger to York Cathedral will be enabled to judge of its form, extent, and styles of architecture, and likewise of its beauties and blemishes. As a distant object this edifice assumes a lofty and imposing aspect. Its three towers are seen pre-eminent above the city houses, and the parochial churches; whilst the numerous crocketed pinnacles, at the west end and gables, display at once intricacy, variety, and picturesque beauty. Though this church has not the advantage of a lofty, or scarcely an elevated site, yet it appears very high by comparison with its neighbouring buildings; and is seen like a noble forest-tree amidst a shrubbery from every approach to the city. It is difficult to point out any single spot that commands it to the greatest advantage, yet from the rampart between Micklegate and the water tower it may be regarded as peculiarly magnificent and fine. Hence the three towers, with their pinnacles, open parapets, and bold sculpture, are seen to rise sublimely above the houses. Indeed it may be compared to a mountain starting out of a plain, and thus attracting all the attention and admiration of a spectator. The petty, humble dwellings of men appear to crouch at its feet: whilst its own vastness and beauty impress the observer with awe and sublimity. It aspires heaven-wards, and thus denotes its pristine appropriation.'

At p. 45. of the volume respecting the Cathedral of Norwich, the word Reformation should unquestionably be Restoration. In the 77th page we meet with the strange word metropolical: in the preface to the next volume, and in the title-page and dedication of the third of our series, we find it written metropolitical: proceeding to the 19th page, we meet

with it spelled metropolitan; and it occurred twice in the same way of spelling in the 23d, though in the 22d it is metropolitical.

In recapitulating the merits of this work, we deem it our duty to say that its appearance claims for it a high rank among publications of taste and elegance on architectural subjects. The reader should not, however, understand that it is intended to supply all the information which the profound antiquary may desire, or all the details that a professed architect would wish to procure: yet it contains sufficient to supply the general scholar, who has a taste for the fine arts, with the information which he is usually desirous to obtain on the subject. To the notice of such persons, therefore, it is more particularly recommended; and they will find it not only an elegant but an useful and entertaining production.

ART. XIII. Chronological and Historical Illustrations of the Ancient Architecture of Great Britain; containing a Series of Engravings of Views, Plans, Elevations, Sections, and Details, of all the various Classes of Buildings, and Styles of Architecture, that have successively prevailed at different Periods, in Great Britain. Accompanied by Historical and Descriptive Accounts of entire Edifices, and of their component Parts. By John Britton, F.S.A. Vol. I. Part I. Containing four Pages and forty-one Plates. 4to. Large paper, 51. 5s. Small paper, 31. 38. Longman and Co. 1820.

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VERY casual observer who glances his eye over our antient buildings, especially those which were erected for ecclesiastical purposes, must notice that their plan, the form of their windows, their architectural decorations, &c. are very dissimilar; that some are oblong, and others cruciform; that some have windows with raised heads, some sharply pointed, and others obtusely pointed; that some are profusely ornamented, and that others have scarcely any decoration. If he makes no farther inquiry into the subject, the dissimilarity makes no impression on his mind; he thinks that the variety arose only from the capricious taste of the times in which the buildings were erected; and year after year passes without his having any more precise ideas respecting them. When, however, he is informed that the several styles were progressive, and that the æras of the edifices may be ascertained from closely observing them; that the oblong plan gave way to the cruciform; that the round-headed windows and arches were changed to the sharp, and afterward to the obtusely pointed; and that the decorations varied also in the same

manner;

manner; his attention is awakened, he surveys the buildings with minuter care, and beholds them with greater interest: furnished with new ideas concerning them, he notices that different styles prevail as the structures are more or less antient, and he becomes satisfied of the truth of the accounts which had been communicated. Still, not being acquainted, probably, with the exact periods at which the several alterations took place, or those structures were erected in which the varieties are observed, his curiosity is awakened rather than his understanding enlightened; and he is desirous of receiving express information on the subject, in order that, when he beholds any particular style of building, he may be enabled thence to ascertain the date of its erection.

To supply such knowlege is the design of the publication which we now introduce to our readers; and the following is the Address' with which the indefatigable author offers it to general notice :

The present work has long been announced to the public: but has been delayed in consequence of the author's more imperious engagements, in his "CATHEDRAL ANTIQUITIES," which (undertaking) has been progressively and uninterruptedly prosecuted ever since 1813, and has illustrated and described the Cathedrals of Salisbury, Norwich, Winchester, and York. The investigation and examination of those noble and truly interesting edifices, and the varied styles of architecture they contain, have unfolded much original information, and produced much demonstration as to the styles, dates, and peculiarities of our national architecture.

The LITERARY PART of this work will be Historical, Descriptive, and Critical: it will embrace a review of the origin and progress of the ecclesiastical architecture in England: display its rude and solid character at the beginning; its advancement in magnitude and grandeur: its superlative decoration and splendour in the zenith of glory: and its " decline and fall" with papal and monastic domination. To those who are not already well acquainted with the writer's opinions on the controverted subject of

Saxon and Norman architecture;"" the origin of the pointed arch;" and some other topics involved in antiquarian disquisitions, it cannot be irrelevant to state, that it has been, and will continue to be, his practice, to investigate and analyze each subject carefully, and even fastidiously: that he will seek eagerly for truth and fact; and anxious to secure his own mind against the fallacies and follies of prejudice and theory, he will not be likely to impose on or deceive the reader. The history of art, science, and indeed of mankind, can only be satisfactorily elucidated by authentic evidence and this is chiefly involved in antient records and monuments of former ages: whence it has been metaphorically said, that" antiquity is the eye to history." In tracing the annals of architecture we shall display many material facts in the history of mankind: exhibit their fluctuating customs, manners, habits, so