telligible to the English reader than Chaucer or Gower were in the middle of the fourteenth century. Two of the Scotch poets of that period, Barbour and King James I., wrote in English, and, therefore, in a language far in advance of Gawin Douglas, Dunbar, and Sir David Lyndsay in the sixteenth century. One great reason of this probably was the constant strife and enmity betwixt the nations, which made the Scotch cling in confirmed nationality to their own language and customs, for the works and merits of the English poets were known and acknowledged. James I. called Chaucer and Gower "his maisters dear." Henryson, a succeeding poet, even wrote a continuation of Chaucer's "Troilus and Cresseide," under the names of the "Testament," and the "Complaint of Cresseide;" and Gawin, or Gavin, Douglas, the famous Bishop of Dunkeld, of whom we have to speak, pronouncing his vernacular tongue barbarous, declared that rather than remain silent through the scarcity of Scottish terms, he would use bastard Latin, French, or English. A still greater and later poet, Dunbar, expresses repeatedly his admiration of "Chawcer of Makars flowir," of "the Monck of Berry," "Lydgate," and "Gowyr." Yet if we use the very language which he did to utter his admiration in, we find no advance towards the polish of these poets:

"O reverend Chawcer, rose of rethouris all,
As in our toung the flowir imperiall,
That ever raise in Brittane, quha reids richt,
Those biers of makars the triumphs ryall,
The fresche enamallit termes celestiall;
This matter thou couth haif ilumint bricht,
Was thou not of our Inglis all the licht;
Surmounting every toung terrestiall,

As far as May is fair morning does midnight.

"O morale Gower and Lidgate laureat, Zour suggurat toungs and lipps aureat Bene till our eirs cause of grit delyte."

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trophies of his genius. "The Palace of Honour" and "King Hart" are allegoric poems, abounding with beautiful descriptions and noble sentiments. "The

"the

The principal poems of William Dunbar are Golden Terge," or target; "The Thistle and the Rose," a poem in honour of the marriage of Margaret of England with James IV. of Scotland; "The Fained Friar; "Lament of the Death of the Makars," that is, poets, and a number of other poems, chiefly lyrical, which display a most versatile genius, comic, satirical, grave, descriptive, and religious, and place him in the very first rank of Scotland's poets, notwithstanding the obsolete character of his language; and not the least of his distinctions is the absence of that grossness which disfigured the writings of the poets of those times. A few lines may denote the music of his versification: "Be merry, man, and tak nocht far in mynd The waivering of this wrechit world of sorrow, To God be humill, and to thy freynd be kynd, And with thy nychtbouris glaidly len and borrow; His chance to-nycht, it may be thyne to-morrow." The last poet of this period that we must notice is Sir David Lyndsay of the Mount, Lyon King-at-Arms, whom Sir Walter Scott, in "Marmion," has made so familiar to modern readers, predating, however, Sir David's office of Lyon King seventeen years. Sir David was born about 1490, and is supposed to have died about 1567; so that he lived in the reigns of Henry VII. of England and of Elizabeth, through the whole period of Henry VIII., Edward VI., and Mary. His life was cast in times most eventful, and Sir David, as Lyon-Herald of Scotland, occupied a prominent position in the shaping of those events. At the time of the battle of Flodden, 1513, both Pitscottie and Buchanan assure us that he was with James IV. when the ghost appeared to him in the church at Linlithgow, warning him against the battle. Lyndsay was then only three-and-twenty. He was appointed his service during the king's life. In his "Complaynt," page to the young king, and continued about him and in addressing the king, he says:

"How as ane chapman beres his pack,
I bore thy grace upon my back,
And sometymes stridlingis on my neck,
Dansand with mony bend and beck;
The first syllabis that thou did mute,
Pa-da-lyn upon the lute;

Gawin Douglas was the third son of the celebrated fifth Earl of Angus, called Bell-the-Cat; he lived a troubled life in those stormy times, and died a refugee in London, of the plague, in 1522. He was warmly patronised by Queen Margaret, sister of Henry VIII., and richly deserved it, for his learning, his genuine virtues, and his genius. He was most celebrated in his own time for his translation of Virgil's "Eneid," the first metrical version of any ancient classic in either English or Scotch. He also translated Ovid's "De Remedio Amoris." But his original poems, "The Palace of Honour," " 'King Hart," and his "Comœdiæ Sacræ," or dramatic poems from the Scriptures, are now justly esteemed the real

For play, thou leit me never rest,
But gyngertoun, thou luffit ay best.
And ay quhen thou come from the scule,
Then I luffit to play the fule."

and after the king's early death, under the regency, he was again sent to the Low Countries on a mission to the Emperor Charles V. In 1548 he went as Lion-King to Denmark, to King Christian, to seek aid against the English, and afterwards lived to see the great struggle betwixt the old Church and the Reformation, the murder of Cardinal Beaton, the return of Knox, and must have died about the time of the murder of Darnley.

Sir David, though bred a courtier, was a thorough Reformer; and his poems abound with the most unre-' strained exposures of the corruptions of Courts and of the Church. On the flagitious lives of monks, nuns, and clergy, he pours forth the most trenchant satire and denunciation; and in this respect he may be styled the

TO 1603.]

Tallis was indebted to Marbeck for the notes just mentioned in his compositions for the Church. His entire service, including prayers, responses, Litany, and nearly all of a musical kind, are preserved in Boyce's collections. They became the most celebrated of any of that remarkable age. In conjunction, also, with his pupil, William Bird, he published, in 1575, "Cantiones Sacra"-perfect chefs-d'œuvre of their kind; one of them, "O sacrum convivium," since adapted by Dean Aldrich to the words "I call and cry," still continues to be frequently performed in our cathedrals. The "Cantiones are remarkable from having been the first things of the kind protected by a patent for twenty-one years, granted by Elizabeth.

Bird was the author of the splendid canon, "Non nobis, Domine," which has been claimed by composers of Italy, France, and the Netherlands, but, as sufficiently proved, without any ground. The names of Tallis and Bird are of themselves an ample guarantee to the claim of musical genius by this country. Richard Farrant and Dr. Bullthe first a chorister in Edward VI.'s chapel, and the latter organist to Queen Elizabeth-added greatly to the sacred music of the period. Farrant's compositions especially are remarkable for their deep pathos and devotion. His anthem, still preserved by Boyce, "Lord, for thy tender mercy's sake," is unrivalled. Dr. Bull is now said to have been the original composer of our national air, "God save the Queen," which has long been claimed as foreign.

In social music the poetical Surrey stands conspicuous, having set his own sonnets to music. Madrigals and other part singing-since better known as glee singingwere carried to a brilliant height in this country. The madrigal was originally invented by the Flemings, but glee singing seems to be English, though no doubt derived from the madrigal. Morley's first book of madrigals was published in 1594, Weelkes's in 1597, Wilbye's in 1598, Bennet's in 1599, and soon after Ward's and Orlando Gibbons'. Dowland's and Ford's are more properly glees than madrigals; the former appeared in 1597, and the latter in 1607. Morley, one of the gentlemen of Queen Elizabeth's chapel, would seem, like Dowland, to have studied the works of the great composers abroad; and the harmony and science which he evinces are eminent. His canzonets for two voices are especially lively and pleasing. Dowland not only travelled in France, Italy, and Germany, but, at the request of King Christian IV., who saw him in England, he went to reside in Denmark. Fuller declares that he was the rarest musician of the age. In 1598 Wilbye published thirty madrigals, and a second book, applicable to instrumental as well as vocal music, in 1609, amongst which are, "Lady, when I behold the roses sprouting," "As fair as morn,' ," "Down in a valley," &c.; and in 1599 John Bennet published a set of madrigals, including the admirable ones of "O sleep, fond Fancy!" "Flow,

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O my tears!" and lastly, John Milton, the father of the poet, who also composed several psalm tunes, was a contributor to "The Triumphs of Oriana," a set of madrigals in praise of Queen Elizabeth. Altogether this century was brilliant in both Church and convivial music; and if we are to judge from some specimens to be found in "The Dancing Master," and "Queen Elizabeth's Virginal Book," the popular airs were in many instances of a superior character, amongst which we may mention Bird's "Carman's Whistle," and the "Newe Northern Ditty of Ladye Green Sleeves."

ARCHITECTURE.

The change which marked religion and literature in this country extended itself as strikingly into architecture. We have no longer to record the rise of new orders of ecclesiastical building, nor to direct the attention of the reader to splendid churches as examples of them. The unity of the Church, which had enabled it to erect such a host of admirable cathedrals and abbeys, was broken up; the wealth which had supplied the material and engaged the skill was dispersed into other hands, and destined not only to produce new orders of society, but new forms of architecture. Churches must give way to palaces and country halls, as full of innovations as the very faith of the country. From this period to our own time the taste for ecclesiastical architecture continued to decline, till the very principles of what are called Gothic were forgotten. Our architects, as Wren and Jones, went back to classic models, so little adapted to the spirit of Christian worship that, spite of the genius expended upon them, they have remained few in number, and from the revival of the knowledge of Anglo-Gothic amongst us, are not likely to increase.

But it is even a question whether the Gothic style had not reached its full development at the period of the Reformation; for we find in most European countries that the noblest buildings of this kind are for the most part anterior to this period. It is at the same time true that the same causes which brought our ecclesiastical architecture to a sudden stand in the sixteenth century strongly affected all Europe, even where Roman Catholicism managed to maintain its ground. Everywhere the conflict was raging-everywhere the rending influence was felt; and the ancient power and wealth of the Church were broken and diminished. In England a few churches might be pointed to of this period, but they exhibit the influence of the age in marks of decline, and to none can we turn as examples to be named with our Westminsters, Yorks, and Winchesters. Bath Abbey was in progress of erection when the Reformation burst forth and arrested its progress. It was not completed till 1616-more than ten years after the death of Elizabeth-and cannot be named as one of our finest erections.

The wealth which was diverted from the Church into the hands of the Crown and the aristocracy, reappeared in palaces and country halls; and a totally new genius displayed itself in these. The old Tudor, so called, which marked the baronial residences even before the Tudors reached the throne, the mixture of castle and manorhouse, with its small windows, battlemented roofs, and flanking turrets, began to enlarge and exaggerate most of these features, and to mix with them new elements

clearly brought into the country by foreign architects, and in a great measure from Italy. The windows rapidly augmented themselves, till they soon occupied a predominant portion of the towers and fronts; the turrets became surmounted by domes, and by those bulbous domes which were often piled one above another. There were soon seen one tier of pillared or pilastered storey above another, in the Palladian or Paduan fashion. Turrets often gave way to scroll-work parapets; and instead of the house standing as heretofore on a level plain, it was elevated on a terrace, with broad and balustraded flights of steps, and all the adjuncts of fountains, statues, and balustraded esplanades, essential to the Italian garden.

The houses were still built round a court or quadrangle, and adorned with outer and inner gateways, while groined roofs and rich oriels still demonstrated the connecting link of descent from the Gothic. In fact, the architecture of the Tudor period is a singular yet often superb mix

Italian character, with two tiers of engaged columns, its ornamented parapets just verging into scroll-work, its turret windows of medium size, and its turret domes simple, and still plainer chimneys; or Holland House, built in 1607, without domes, but with ogee-gables; or Campden House, as it was built in 1612, with roof of plainest character, and pilastered entrance, we mark a far less ornate style than in the days of the Henrys. The whole of this period was one of a mixed style, in which different architects indulged themselves in employing more or less of one or other of the prevailing elements, according to their tastes; what is more strictly called Elizabethan being such houses as Wollaton or Hardwicke, in which the ample square windows, the square towers superseding the octagon ones of Nonsuch, the absence of the eastern-looking domes, and the presence of superb scroll-work give a fine and distinctive style. The Palace of Richmond, as built by Henry VII., with

ture of the Gothic and the Italian, with profusion of ornaments and ingraftment of parts which tell strongly of a more eastern origin. Nor does it appear that these foreign elements were introduced at the latter portion of this period only-they stand forth conspicuously in the very commencement of it. In the later years of the reign of Elizabeth we can point to noble houses which are more allied to the ancient Tudor, with its small windows and simple towers and roofs, than those of the Henrys VII. and VIII., who in their earlier days had a gorgeous and even fantastic taste for palatial architecture. For example, Hampton Court is far more simple and chaste than Richmond Palace, built by Henry VII., or Nonsuch, built by Henry VIII. Again, in family mansions, Wimbledon House, built in 1588, with its open court, its two descents of terraces, clearly Italian in character, is yet so chaste and simple, with its flat roof, its square slated towers, and mixture of small and large windows, that, compared to Nonsuch, as it has been, you at once see the violent contrast of the fanciful and the grave. Again, in Charlton House, in Kent, with its central entrance of

its projecting towers occupied almost entirely with windows, and its roof presenting an immense number of double domes, a smaller one surmounting a lantern placed on the larger domes, had an air more Saracenie than English; but the Palace of Nonsuch, built by Henry VIII., outdid that in the singularity of its style, and was the wonder of its age. It was built round s quadrangle, and the front flanked by octagonal towers, which, at the height of the ordinary roof, rose, by s demi-arch expanding over the lower one, into three more storeys, and upon these, lesser towers of two storeys, surmounted by domes and fanes. All the lower storeys were divided into compartments by pilasters and bands, these compartments embellished by figures and groups in bas-relief. The lower part of this palace was of stone, the upper of wood. Hentzner, the German traveller, became quite enthusiastic in describing it as a palace in which everything that architecture could perform seemed to have been accomplished; and says that it was "50 encompassed with parks full of deer, delicious gardens, groves ornamented with trellis-work, cabinets of verdure,

and walks so embowered by trees, that it seemed to be a place pitched upon by Pleasure herself to dwell in along with Health."

But there were two men in the reign of Henry VIII. who drew him off from this more florid and fanciful style to others of a very different, but equally imposing character, and full of rich detail. These were Wolsey and John of Padua. Wolsey appeared to have an especial penchant for brick - work, and Hampton and the gatehouse of his mansion at Esher remain as proofs of the admirable masonry which he used. In Hampton Court we actually go back from the barbaric pomp of Nonsuch to the castellated style; to small windows, pointed archways, castellated turrets and battlements, mingled with rich oriel windows over the entrances, rich groined roofs in the archways, but a very sparing use of the ordinary aid of the bulbous dome. In this and the other buildings of this class, as Hengrave in Suffolk, the richly cross-banded chimneys are a conspicuous ornament.

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wicke, and the Duke's House, Bradford, we would recommend the architects of our own day to turn their attention, instead of burdening the finest parks and scenes of England with the square, unmeaning masses of brick and stone, which offend our eyes in so many directions, and cause foreigners to ridicule the want of architectural genius in England. In the smaller houses

John of Padua, who became chief architect to Henry VIII., and afterwards built Somerset House for the Protector, seems to have been unknown in his own

of town and country there continued to be little change. They were chiefly of timber, and displayed much more picturesqueness than they afforded comfort. In towns the different storeys, one overhanging another till the inhabitants could almost shake hands out of the attic windows across the narrow streets, and their want of internal cleanliness and ventilation, occasioned the plague periodically to visit them. The Spaniards who

accompanied Philip, in Mary's reign, were equally amazed at the good living of the English people and the dirt about their houses. One great improvement