ARCHITECTURAL DESIGNERS OF THE SIXTEENTH CENTURY.
In the foregoing pages examples have been given of the architectural
work of the sixteenth century--examples taken from all parts of
England, and illustrating all kinds of features. From these it will
have been gathered that the same general character pervaded the
whole country at any one time, but that there was a great variety
of treatment. This variety arose not merely from a difference in
arrangement of universally accepted features, or from different methods
of handling the same kind of ornament, but from actual differences
between the features themselves and between the kinds of ornament, and
it points to the employment of men who varied to a considerable degree
in the amount of their training as well as in its direction.
It will therefore not be without interest to glance briefly at what
is known of the more prominent men who were employed in producing the
architecture that has been under consideration, and at the methods
which prevailed of supplying designs.
Unfortunately, little detailed information has yet been obtained, or
is obtainable, concerning these men, and what we do know about them
is neither so full nor so clear as to have emerged entirely from the
perplexing mists of controversy and to have attained the serene heights
of incontrovertible fact. We know, for instance, that Henry VIII.
employed many skilled foreign workmen, especially Italians. But very
little work exists at this day which can be pointed out as theirs. We
also know that early in the second half of the sixteenth century many
Dutch artizans found refuge in England from the rigorous measures of
Alva, that licences were given to various towns to receive them, and
that a number of other towns petitioned to have strangers allotted to
them: most of these towns were situated in the counties bordering on
the sea in the East and South. But masons, joiners, and artificers in
the other trades connected with building, do not seem to have been a
large proportion of those immigrating.
The most interesting piece of foreign work, inasmuch as it was the
first done by Italians in England, can, luckily, be identified
in all important particulars, because the contract for it still
exists. It was Henry VII.'s tomb, designed, and largely executed, by
Torrigiano.[33] But beyond this tomb, and probably that of Margaret,
the mother of Henry VII., and possibly that of Dr. Young in the Rolls
Chapel, no English work of Torrigiano's is known. After him came
Benedetto da Rovezzano, who partly executed an even more splendid tomb
for Cardinal Wolsey, which was to have been placed in the specially
erected chapel in St. George's Chapel, Windsor, but which Henry VIII.
took to himself on the Cardinal's fall. Wolsey petitioned the King
for his own figure--which was to have lain upon the tomb, and could
hardly be expected to answer the same purpose for its new owner--and
for such other parts as it might please the King to give him. But
Henry retained the materials and proceeded to adapt them for his
own monument, whereon he and his queen, Jane Seymour, were to have
reposed. His queen, however, was soon replaced, and the tomb was still
unfinished at his death, and was never carried to completion. Its
metal parts were finally melted down by the Parliament Commissioners a
hundred years later, but the marble sarcophagus lingered on, and was
eventually removed to St. Paul's Cathedral in London, and utilized
in the monument of Lord Nelson. Another Italian who was employed by
Wolsey, and subsequently by Henry VIII., was Giovanni da Majano, whose
name appears in accounts of the time as being paid for certain work;
but the work itself has disappeared, except the terra-cotta roundels,
containing busts of Roman emperors, built into the walls of Hampton
Court. Toto del Nunziata was another skilful Italian whose name appears
in accounts, and he is said by Vasari to have built Henry VIII.'s
principal palace. This is generally considered to have been Nonesuch,
in Surrey, of which there is nothing left, but which, as already
stated, must have presented examples of most admirable work in the way
of sculpture and painting.[34] Nicholas of Modena, described as a
carver, also worked for Henry, and remained in England for some years
after his death, but the work attributed to him is only conjectural.
Indeed, the share taken by the Italians of Henry VIII.'s time in the
design of English work, is still a matter of controversy to be waged
by the learned, and has not yet descended to the more certain level
of the text-book. What we do know is, that Torrigiano executed Henry
VII.'s tomb under a contract, and that a few other Italians of eminence
resided for longer or shorter periods in England, together with a
considerable number of their compatriots of less distinction. These
men must have exercised considerable influence upon their English
companions, and although their own style of ornament did not become
universal, they must have prepared the way for the general adoption of
the other versions of Italian detail which marked the second half of
the sixteenth century.
[33] See page 12.
[34] See page 33.
The same remarks apply to Holbein, although the designs which he
executed for work in England are much more numerous than those of any
of his contemporaries, and have been identified beyond doubt as his.
That is to say, in addition to his pictures, a large number of his
drawings remain, principally for articles of goldsmith's work; but the
objects themselves have mostly disappeared. One of the largest of his
drawings, however, is that of a wood chimney-piece, which, from the
initials upon it, was intended for Henry VIII. Some architectural work
has been attributed to Holbein, but only on conjecture. Amongst it may
be mentioned two gateways at Whitehall, now removed; part of a front
at Wilton, in Wiltshire, as well as a little garden-house there; and
the splendid screen at King's College Chapel, Cambridge. But there is
no actual evidence to connect him with these works, and we should be
mistaken in regarding him in any way as an architect in the sense in
which we understand the term.
The architect, indeed, as a distinct individual, does not seem to
have arisen in those early days: the architect, that is, who not only
designed the plan and elevations of the building, but also the details
of its various parts and of its ornament. Inigo Jones may be taken as
the first Englishman who combined the functions of planner and designer
of details; previous to his time the work entailed in the designing of
a house was much subdivided, the plan and elevations being provided
by the surveyor, and each trade producing its own special details as
the work went on. Shakespeare only uses the word "architect" once, and
then not in connection with building operations. He gives us, however,
a sketch of how to set about building, in the Second Part of King Henry
IV. "When we mean to build," says Lord Bardolph, "we first survey the
plot, then draw the model; and when we see the figure of the house,
then must we rate the cost of the erection.... Much more in this great
work ... should we survey the plot of situation, and the model; consent
upon a sure foundation; question surveyors." It was the surveyors, such
as John Thorpe, who drew the model, which comprised the plans and an
elevation, or a perspective view indicating the treatment of more than
one front. These drawings were then carried out by the workmen on the
spot, who provided their own details. In some of the simpler buildings
no surveyor was employed, but rough plans were prepared by the builder
himself, not so much to work from, as to indicate, for the purpose
of a contract, the general extent and appearance of the building.
In others, again, no plans were used, but the work was set out on
the spot, and built to the requisite height under the supervision
of the master mason. It is almost certain that in some cases only
a plan was provided, without elevation; in the Thorpe collection a
large proportion of the plans have no elevation to correspond; and
Henry VII., in his will, orders his tomb to be placed in the midst of
his new chapel at Westminster according to "the plat [_i.e._, plan]
made for the same chapel and signed with our hand." At St. John's
College, Cambridge, the contractors who built the second court were
bound to erect it according to certain "platts and uprights" [_i.e._,
elevations], thus showing that the "plat" did not include elevations as
well as plan.
Such contracts as have been preserved relating to work of the sixteenth
century, go to show either that the various tradesmen provided their
own designs, or that they were to take some already executed work as
a pattern. There were separate contracts for the separate trades, but
most of them were with masons, joiners, and glaziers. The masons who
built the second court at St. John's were to make the windows after the
fashion of those in the court already built. The joiner who fitted up
the chapel was to make his work like that in Jesus College and Pembroke
Hall, "or better in every point." The joiner who executed the stalls
and the fretwork of the ceiling in the chapel at Trinity College, was
to make the stalls like those at King's College, while the frets,
battens, and pendants of the ceiling were to be made "according to the
pattern showed to the master and other of the said College for the said
frets, battens, and pendants." The glazier who provided the windows
of the hall and chapel at St. John's, was to make them of "good and
able Normandy glass of colours and pictures as be in the glass windows
within the College called Christ's College."
These contracts are useful because they state expressly the sources
whence the design was to be taken; but where the work was not done
by contract, such accounts as have been preserved point in the
same direction. After the masons had finished the second court at
St. John's, including the plastering of the walls and ceilings,
there appears an entry in the accounts for the payment of one Cobb
for "frettishing" the gallery and the great chamber--that is, for
working the ornamental plaster ceiling; and another for the payment
of the joiner for the wainscotting of the gallery and for the two
chimney-pieces there. No mention is made of any particular design,
and the presumption is that the workmen supplied their own. This
presumption is stronger in the case of the panelling of the hall at
Queen's College, where every item of cost appears, as well as the names
of the various workmen employed.
It is interesting to see how the names of the workmen gradually
changed. The first entry is on the last day of September, 1531,
when Matthew Blunt and Robert Cave were paid for "working on the
panelling of the College hall." In November they are joined by one
Dyrik Harrison, who does the same kind of work; in December, one
Lambert comes, and Matthew Blunt disappears; a few days afterwards
a certain Arnold joins them, and subsequently a Peter. In January,
Giles Fambeler, carver, is paid for nine capitals, and in February for
thirteen more, and he then disappears. But his place seems to have been
taken by Dyrik Harrison, who thenceforward is paid, not for ordinary
joiner's work, but for carving capitals, shields, arms, and lines of
"antique crest" and "antique border," up to the middle of July, when
he receives his final payment "by order of the President." In the
meantime Robert Cave's name has ceased to be entered, but Arnold,
Lambert, and Peter still continue. After Harrison's departure Lambert
seems to have done the special work, since in August he gets paid for
certain columns and for the "extreme parts of the cresting." His is the
last name of the joiners which appears, and in September the work was
finished. It would almost seem as though Giles Fambeler, whose name
looks anything but English, had been employed for some two months, just
to show how the new carving should be done, and that from him Dyrik
Harrison, whose Christian name suggests a Dutch connection, picked up a
knowledge of the fashionable ornament sufficient to enable him to take
Giles's place; and that Lambert in his turn succeeded Harrison. Even if
this supposition is larger than the facts warrant, it must have been in
some such manner as this that the new forms were disseminated through
the country. It is worthy of note that the joiner employed at Hengrave,
in 1538, six years after this work at Queen's, was named Dyrik, and
it is pleasant to imagine (Hengrave being some five-and-twenty miles
from Cambridge) that it might have been the same Dyrik Harrison who had
picked up his first knowledge from Giles Fambeler.
In such matters as tombs it is beyond question that the workmen
supplied the designs. In the year 1525 there is an entry in the
accounts of St. John's of a small sum "given to the master mason of Ely
for drawing a draught for my lord's tomb," meaning Bishop Fisher's. In
1533 "Mr. Lee the free mason" was paid for making and setting up the
tomb. Upon the Bishop's execution, the monument was taken to pieces
and thrown aside, but towards the end of last century the remains were
discovered during the process of clearing away the rubbish in an "old
disused chapel." A rough drawing was made of them, from which it is
evident that the design was quite in the Italian style. It shows an
altar tomb with a pilaster at each corner, ornamented with arabesques
similar to those on Henry VII.'s tomb. The side is occupied by a
large panel supported by two amorini, and surrounded with foliage and
scrollwork; the end has a shield within a garland. The whole work is
described by an eye-witness as being elegant, neat, and ornamented in
great taste, from which we may gather that both in design and execution
it was a worthy specimen of the style prevalent in Henry VIII.'s time.
We have already seen that it was designed by the master mason at Ely,
and executed by Mr. Lee, the free mason. If these two were not one and
the same man, at any rate there is no reason to suppose that they were
other than Englishmen.[35]
[35] For particulars of these contracts, &c., at Cambridge, see Willis
and Clark's _Architectural History of the University of Cambridge_,
Vol. II.
Some fifty years after Bishop Fisher's tomb was erected, there was
drawn up a contract (in 1581) between the executor of Thomas Fermor,
of Somerton, in Oxfordshire, and Richard and Gabriel Roiley, of
Burton-upon-Trent, "tumbe makers." The latter agree "artificially,
cunningly, decently, and substantially to devise, work, set up,
and perfectly and fully finish" a very fair tomb of very good and
durable alabaster stone and of certain specified dimensions. It is
to have on it "a very fair decent and well-proportioned picture or
portraiture of a gentleman representing the said Thomas Fermor," with
certain specified accessories; and also "a decent and perfect picture
or portraiture of a fair gentlewoman with a French hood, edge and
habiliments, with all other apparel, furniture, jewels, ornaments and
things in all respects usual, decent and seemly for a gentlewoman."
There are also to be the "decent and usual pictures" of a son and two
daughters with escutcheons in their hands--somewhat after the fashion,
no doubt, of those on the Bradbourne tomb in Fig. 9. The son is to
be in armour and as living; one of the daughters is to be "pictured
in decent order and as living," the other "as dying in the cradle
or swathes." There are to be four shields, one containing "the very
true arms" of Thomas Fermor; two others his arms and those of his two
wives, severally; and the fourth the arms of his second wife. They are
all to be placed as most may serve for the "shew and setting forth of
the said tomb." Once again, towards the end, it is stated that all
the "devising, colouring, gilding, garnishing, workmanship, carriage,
conveying, setting up, and full finishing of the said tomb," is to be
done by the Roileys; but the executor will provide "wains, carts and
cattle" to draw the parts of the tomb to Somerton. The price for the
tomb is to be £40.
It is here expressly stated that the workmen are to do the "devising"
as well as the making of the tomb. The features which it is to comprise
are stated, but the designing and arranging of them are left to the
workmen. It is interesting to notice that the male figure is to be
the portraiture of a gentleman representing Thomas Fermor, but it does
not seem to be implied that the likeness was to be very accurate.
In the case of the lady, evidently no resemblance was expected, and
we are left to conjecture whether it was the first or the second
wife who was the more nearly represented. All those who are familiar
with Elizabethan tombs will recognize the son and daughter holding
escutcheons, and the child in "swathes," as well as the four shields
bearing the arms of Thomas Fermor and his two wives. If additional
proof were wanted that the design was left in the hands of the workman,
it is to be found in the stipulation that everything is to be placed so
as best to "set forth" the tomb. This important part of the business is
not to be arranged by the executor or any one acting on his behalf, but
by the contracting tomb-makers.
Tombs are comparatively small structures, and might possibly have
been subjects of special custom; but the same custom prevailed in the
building of large houses like Burghley House and Cobham Hall. When
the latter building was in a suitable condition, the plasterer was
sent for in order that he might submit patterns and models of the
ceilings for Lord Cobham to select from. During a considerable part
of the time occupied in building the earlier portions of Burghley, a
number of letters passed between the foreman and Lord Burghley, in
which the foreman sought instructions from his lordship about many
minute particulars, which would certainly have been settled by the
architect had there been one. Among Lord Burghley's papers is one
showing the plan and elevation of a window, endorsed in Burghley's own
hand "Henryck's platt of my bay window"; suggesting that, as occasion
arose, his lordship applied to some skilful craftsman for drawings. It
is certain that he made a point of studying books on architecture, for
in August, 1568, he wrote to Sir Henry Norris, ambassador in France,
asking him to provide for him "a book concerning architecture, entitled
according to a paper here included, which I saw at Sir Thomas Smith's;
or if you think there is any better of a late making of that argument."
The enclosure containing the title of the book is not in existence, so
we do not know what it was; but from this reference we gather that Sir
Thomas Smith (who was a Secretary of State, and had been ambassador to
France) was interested in architecture as well as Lord Burghley, and
that Sir Henry Norris was sufficiently acquainted with the subject to
be able to recommend the latest work dealing with it. Some years later
Lord Burghley was again asking for a French book on architecture, but
this time he gave the title, in phraseology indicating that he was
something of a student of the subject. "The book I most desire," he
says, "is made by the same author, and is entitled 'Novels institutions
per bien bâster et à petits frais, par Philibert de Lorme,' Paris,
1576." From these instances it would appear not improbable that had
Lord Burghley lived in the days of Pope, he might have shared with
Lord Burlington the reputation of being one of the foremost architects
of the age; but as a matter of fact he did not pretend to that
distinction: all that he did, apparently, was to direct the energies of
others who had received special training in architectural matters.
The Henryk who provided the platt of Lord Burghley's bay window was a
Dutch mason in the employ of Sir Thomas Gresham--who built the first
Royal Exchange, or Bourse, as it was called--and he passed backwards
and forwards between London and Antwerp as occasion demanded. Many
of the materials for Gresham's Bourse came from the Low Countries,
and were shipped thence under the superintendence of Gresham's agent,
Richard Clough. Clough's letters from Antwerp, where he was stationed,
give in quaint phraseology a good deal of information as to the
progress of the work which was being prepared over there both for Sir
Thomas Gresham and the more exalted "Sir William Cecil, the Queen's
Majesty's principal Secretary," afterwards Lord Burghley. In July,
1566, Clough congratulates himself on Gresham's liking Henryk so well,
and on the work being so well forward, that when Henryk returns to
Antwerp he can get on with the rest. By the beginning of August Henryk
had arrived, and "your carpenters also, whom I do mean shortly to
return." In the next few letters he is greatly troubled about "Master
Secretary's" paving stones. On the 29th September, he says that he
calls daily upon Henryk, who is looking daily for them, and he has sent
a man to the place where they are in making in order to hasten their
departure. Notwithstanding this, on the 20th October Master Secretary's
paving stones were not come, "but Henryk saith he knoweth well they
will be here within a day or two," and then he will not fail to send
them away out of hand, even if he has to "hire a small hoy of purpose."
But delays in the delivery of goods vexed the souls of overlookers in
as great a degree then as now, and still on the 10th November "Master's
stones are not come, which maketh Master Henryk almost out of his
wit, for I never fail a day but I am once a day with him, so that
they cannot be long, unless they be drowned by the way." The hopeful
expectation was fulfilled, for a fortnight later Clough writes, "and as
touching Master Secretary's stones, I do not doubt but that you have
received them long since; and that they have been so long--Henryk saith
he could do no more and if his life had been upon the matter." So the
paving stones were sent off at last, and at the same time Henryk sent a
pattern how they should be laid; it was unnecessary to send a man, for
he thought "that him that paved Master Secretary's house can so well
lay those stones as any that he should send from hence."
The trying episode of "those stones" being closed, Clough returns to
the subject of the Bourse, and promises to send off further materials;
on the 5th December he says he has shipped a certain amount "in
Cornelius Janson's sprett," and trusts that before Easter everything
will be despatched. Soon after this, it seems, he went away to get
married, and his letters cease; but in the following April (the 27th)
an apprentice of Gresham's informs him of such matters as had passed in
Antwerp since Clough's departure, among which was the discharge from
the "Prince's men" of two of Gresham's retainers, whom he intended to
send to London "in one of the ships laden with stone for the Bourse,"
of which there were three ready to depart "as to-morrow." As Easter Day
fell on the 30th March in the year 1567, Clough's hope that everything
would be despatched by then was not absolutely fulfilled.
Henryk was now apparently sufficiently at liberty to be allowed to turn
his attention from Gresham's work to Cecil's, and on the 21st August,
1567, the former writes to the latter, "As for Henryk, you shall find
him so reasonable as you shall have good cause to be content, and by
this post I have given order for the making of your gallery, which I
trust shall both like you well in price and workmanship." Four months
later, on the 26th December, it was a door for Cecil which was in
question, and as "Henryk my workman" intended to go over sea after
the Christmas holidays, and to stay till April, Gresham desired to
know whether Cecil would have his "port (door) set up before his
departure, or else at his return." In the following February, Gresham
again writes to Cecil reminding him that "Henryk hath lost the pattern
of the pillars for your gallery in the country, so he can proceed no
further in the working thereof until he have another." He urges Cecil
not to fail to send the pattern at once, as Henryk would be back in
London by the last day of March at the farthest. This inability of
Henryk's to proceed without the "pattern" shows that in this case, at
any rate, he did not supply the design. But already four years earlier
(in January, 1563) there had been some correspondence between Clough
and Cecil about a gallery and a pattern which the latter had sent; and
if the two galleries were one and the same, it was probably the old
pattern which Henryk had to work to, and there was no need for him
to devise a new one. In the case in which Clough was concerned there
was some discrepancy in the pattern or instructions sent by Cecil
for the pillars and arches, which required correction; he therefore
sent back the pattern, so that Cecil might confer with his mason at
home. As to a mason going over from Flanders to England, there was
no need for it, since the work would be so wrought that it could not
be set amiss, besides which a pattern in paper should be sent. The
Dutch mason's advice was that the pillars should be made all of one
stone, and the arches accordingly, "for they must be made, to be well
made, either antique or modern, and this, with the whole pillar, is
antique; wherefore according as I shall hear from your honour, so I
shall proceed therein." The difference intended to be conveyed between
"antique" and "modern" is not very clear, inasmuch as "antique" was
the term generally applied in describing work executed in the style
which we call Renaissance. But this is a detail which does not affect
the general conclusions to be drawn from the whole correspondence,
which are, first, that there is no one concerned in these various
transactions who acts in the capacity of the architect, but that
when instructions are required by the workmen they are sought from
the proprietor himself: second, that Dutch workmanship and design
were procured by men of eminence in England: and third, that English
workmen were thought to be quite as capable of dealing with the worked
materials as any that could be sent from abroad.
The books on Architecture which were published during the sixteenth
century point somewhat in the same direction, namely, that there was
no all-controlling architect, but that buildings were carried out by
co-operation in design as well as execution. At the same time, they
make it evident that the idea of the architect as the person who should
have chief control had arisen: an idea which took more and more hold
until it received its first striking embodiment, so far as England
is concerned, in Inigo Jones. Hans Bluom's book on the Five Orders,
published at Zürich in 1550, is declared on the title-page to be useful
to painters, sculptors, workers in brass and wood, masons, statuaries,
and all who require sure measure; no mention being made of architects.
The same omission occurs in the English translation published in 1608,
which mentions on the title-page free-masons, carpenters, goldsmiths,
painters, carvers, inlayers and Anticke-cutters, who must not be taken
for anything but cutters of "antique" patterns. The address to the
reader professes that the book is offered for the benefit of "Masters,
Builders, Carvers, Masons, Lymners, and all sorts of men that love
beauty and ornament." The publisher of Vries's book of monuments of
1563 exhorts, on his title-page, all painters, statuaries, architects
and masons to inspect, buy and use it; and the same author's book on
Perspective of 1604 is addressed to painters, sculptors, statuaries,
smiths, architects, designers, masons, clerks, woodworkers, and all
lovers of the arts. We have, therefore, the appellation of "architect"
introduced, but it is ranked with the statuaries, masons, and smiths;
and indeed the term was probably used in its original signification of
"master-workman."
There was a book published in 1600, of which the title is interesting,
although the contents do not enlighten us in regard to the subject
under enquiry. It was called "The hospitall of incurable fooles:
erected in English, as near the first Italian modell and platforme,
as the unskillful hand of an ignorant architect could devise"; but
beyond the use of the word "architect," and the deductions to be drawn
from its connection with the "Italian modell," there is no help to be
obtained in this quarter.
Some further light is thrown on the term by John Shute, who published
his book _The Chief Groundes of Architecture_ in 1563. Shute calls
himself a "Paynter and Archytecte," and in the heading of one of his
chapters he speaks of an "Architecte or Mayster of Buyldings." This
is the signification of the term which became gradually accepted, but
there is no evidence that in Shute's time (that is, in 1563) a master
of the buildings was generally employed, or that being employed he was
designated an architect. John Thorpe was called a "surveyor." Robert
Smithson, who died in 1614, fifty years after Shute, is designated in
his epitaph as "architector and surveyor unto the most worthy House of
Wollaton."
All the evidence points therefore to co-operation in design as well as
execution, and while men like Thorpe provided plans and "uprights,"
each trade provided its own details. This view will account for much
of what is otherwise very puzzling--the diversity in character between
buildings supposed to have been the work of the same "architect." The
difficulty largely disappears if we suppose the small scale drawings to
have been supplied by the "surveyor," and then elaborated on the works
by the foreman and the various craftsmen. But that there was a desire
among wealthy patrons to establish an educated class of "architects" is
proved by the Introduction of Shute's book, for he tells us there that
he was sent to Italy by the Duke of Northumberland in the year 1550 for
the express purpose of studying architecture, and that having there
studied it and amassed a number of drawings and designs of sculpture,
painting, and architecture, he thought good on his return to set
forth some part of them for the profit of others, especially touching
architecture. How far Shute himself was able to put his knowledge to
the test of practical experience is not known, for no buildings are
identified as his, and he died in 1563, the same year in which he
published his book. He speaks of his patron having shown the results of
his studies to Edward VI. after his return: Edward died in 1553, and
there were ten years, therefore, during which Shute might have put in
practice what he learned in Italy.
The history of architectural design during the sixteenth century
cannot, therefore, be written round the names of great men in England
as it can in Italy, and in a less degree in France. Those who do most
towards giving character to a building are those who determine its plan
and general outlines; and the men who did this to our English houses
were the surveyors. Of these John Thorpe is the only one about whom
anything much is known; but enough is known to place him in a high
rank as a designer. There must have been many others, but their names
have disappeared and their fame has evaporated. A list of all those
who could be considered architects has been drawn up by Mr. Wyatt
Papworth,[36] but the names of those prior to Inigo Jones include
patrons, masons, and carpenters as well as surveyors, and the task
still remains to assign to each his proper share in the production of
the architecture of his day. This architecture was not the work of a
single class of men, but resulted from the joint efforts of many minds
directing many different tools. High and low, rich and poor, gentle and
simple, cultured and uncultured, all combined to the same end, and the
authors of the architectural books of the period knew their business
when they appealed on their title-pages to so many different artificers.
[36] _The Renaissance and Italian Styles of Architecture in Great
Britain_, 1883.
A LIST OF SELECTED WORKS ON
EARLY RENAISSANCE ARCHITECTURE IN ENGLAND.
I. WORKS ON THE ARCHITECTURE OF THE TUDOR PERIOD, &c.
DOLLMAN (F. T.).--An Analysis of Ancient Domestic
Architecture in Great Britain. 2 vols. 4to. 1864.
HUNT (T. F.).--Exemplars of Tudor Architecture. 8vo. 1836.
LAMB (E. B.).--Studies of Ancient Domestic Architecture. 4to.
1846.
PUGIN (A.).--Specimens of Gothic Architecture in England. 2
vols. 4to. 1821.
PUGIN (A. and A. W.).--Examples of Gothic Architecture in
England. 3 vols. 4to. 1831.
TURNER (T. H.) and PARKER (J. H.).--Some Account of
Domestic Architecture in England during the Middle Ages. 3 vols. 8vo.
1859-1877.
II. GENERAL WORKS ON THE ARCHITECTURE OF THE ELIZABETHAN AND JACOBEAN
PERIOD; ALSO BOOKS OF REFERENCE, &c.
ARCHITECTURAL ASSOCIATION SKETCH BOOK, THE.
Old Series. 12 vols. Folio. 1868-1880.
New Series. 12 vols. Folio. 1881-1892.
Third Series. Folio. 1893--and in progress.
BLOMFIELD (R. T.).--A History of Renaissance Architecture in
England. 2 vols. Imp. 8vo. 1897.
CLAYTON (J.).--Ancient Timber Edifices of England. Folio. 1846.
GOTCH (J. A.).--Architecture of the Renaissance in England. 2
vols. Folio. 1891-1894.
HABERSHON (M.).--Ancient Half-Timbered Edifices of England.
4to. 1836.
HAKEWILL (F.).--An Attempt to Determine the Exact Character of
Elizabethan Architecture. 8vo. 1835.
HALL (S. C.).--Baronial Halls and Ancient Edifices of England.
2 vols. 4to. 1850.
NASH (J.).--Mansions of England in the Olden Time. 4 vols.
Folio. 1839-1849.
NASH (J.).--Mansions of England in the Olden Time. 4 vols.
4to. 1869.
PAPWORTH (W.).--The Renaissance and Italian Styles of
Architecture in Great Britain: A Chronological List of Examples,
1450-1700. 8vo. 1883.
RICHARDSON (C. J.).--Architectural Remains of the Reigns of
Elizabeth and James I. Folio. 1840.
RICHARDSON (C. J.).--Specimens of the Architecture of the
Reigns of Queen Elizabeth and King James I. 4to. 1837.
RICHARDSON (C. J.).--Studies from Old English Mansions. 4
vols. Folio. 1841-1848.
SHAW (H.).--Details of Elizabethan Architecture. 4to. 1834.
III. WORKS ON THE ARCHITECTURE OF PARTICULAR DISTRICTS, MONOGRAPHS, &c.
COLE (REV. R. E. G.).--History of the Manor and Township of
Doddington. 8vo. 1897.
COPE (SIR W. H.).--Bramshill; its History and Architecture. 4to.
DAVIE (W. GALSWORTHY) and E. GUY DAWBER.--Old Cottages and Farm
Houses in Kent and Sussex. 4to. 1900.
ELYARD (S. J.).--Some Old Wiltshire Homes. Folio. 1894.
GAGE (J.).--History and Antiquities of Hengrave. 4to. 1822.
GOTCH (J. A.).--The Buildings Erected in Northamptonshire by
Sir Thomas Tresham. Folio. 1883.
HARRISON (F.).--Annals of an Old Manor House. 4to. 1893.
NEVILL (R.).--Old Cottage of Domestic Architecture in South-West
Surrey. 4to. 1890.
NIVEN (W.).--Monograph of Aston Hall, Warwickshire. 4to. 1881.
Illustrations of Old Staffordshire Houses. 4to. 1882.
Illustrations of Old Warwickshire Houses. 4to. 1878.
Illustrations of Old Worcestershire Houses. 4to. (?)
PALMER (C. J.).--Illustrations of An Old House at Great Yarmouth.
4to. 1838.
ROUNDELL (MRS. CHARLES) COWDRAY.--The History of a Great
English House. 4to. 1884.
TAYLOR (H.).--Old Halls in Lancashire and Cheshire. 4to. 1882.
WILLINS (E. P.).--Some Old Halls and Manor Houses in Norfolk.
4to. 1890.
IV. HISTORICAL AND BIOGRAPHICAL WORKS CONSULTED IN THE PREPARATION OF
THIS WORK.
ARCHÆLOGIA: or Miscellaneous Tracts relating to Antiquity,
published by the Society of Antiquaries.
ARCHÆOLOGICAL JOURNAL, Vol. VIII. for Contract for Thos.
Fermor's Tomb in Somerton Church; Vols. V. and XXXIX. for Nonesuch
Palace.
ARCHÆOLOGICAL JOURNAL, Vol. LI. 1894. "On the Work of
Florentine Sculptors in England in the Early Part of the Sixteenth
Century," &c., by Alfred Higgins, F.S.A.
THE GENTLEMAN'S MAGAZINE, August, 1837, for Nonesuch Palace.
JOURNAL OF THE SOCIETY OF ARTS, April 24, 1891. "Decorative
Plaster Work," by G. T. Robinson, F.S.A.
TRANSACTIONS OF THE ESSEX ARCHÆOLOGICAL SOCIETY.
TRANSACTIONS OF THE R. I. B. A., May 18, June 8, 1868. "On
the Foreign Artists employed in England during the Sixteenth Century,
and their Influence on British Art," by M. Digby Wyatt.
WILTSHIRE ARCHÆOLOGICAL AND NATURAL HISTORY MAGAZINE.
* * * * *
ANDROUT DU CERCEAU (JACQUES).--Les plus excellents
bastiments de France. Folio. 1576-1579.
ANDROUT DU CERCEAU (JACQUES).--De architectura opus.
Folio. 1559.
AUBREY (J.).--Wiltshire Topographical Collections, 1659-1670.
4to. 1862.
BLOOME (H.).--The Book of Five Columnes of Architecture, &c.
Translated by I. T. Folio. 1608.
BLUOM (JOANNES, _same as Hans Bloome_).--Quinque
Columnarum Exacta Descriptio. Folio. 1550.
BOORDE (A.).--Compendyous Regyment, or a Dyetary of Helth.
12mo. 1542.
BRAUN (GEORGE).--Urbium præcipuarum mundi theatrum
quintum. 1582. (For Nonesuch Palace.)
BRITTON (J.).--Architectural Antiquities of Great Britain. 5
vols. 4to. 1807-1826.
BURGON (J. W.).--Life and Times of Sir Thomas Gresham. 1839.
CABALA.--Sive scrinia sacra. Folio. 1691.
DALLAWAY (REV. JAMES).--A Series of Discourses upon
Architecture in England. 8vo. 1833.
DIETTERLEIN (WENDEL).--Architectura und Austheilung
der V. Seulen. Folio. 1593.
DOLLMAN (F. T.).--The Priory of St. Mary Overie, Southwark.
4to. 1881.
EVELYN (J.).--Memoirs and Correspondence, 1641-1706.
GEDDE (W.).--A Booke of Sundry Draughtes. 8vo. 1612; reissued
1898.
HARRIS (SIR N.).--Memoirs of the Life and Times of
Sir Christopher Hatton. 8vo. 1847.
HARTSHORNE (MISS).--Memorials of Holdenby. 1868.
HENTZNER (P.).--Journey into England in 1598. Edited by
Horace Walpole. 1797.
KIP (W.) and HARRISON (S.).--The Archs of Triumph,
erected in honour of James I. Folio. 1604.
LAW (E.).--History of Hampton Court Palace. 3 vols. 8vo.
1888-1891.
LETHABY (W. R.).--Leadwork, Old and Ornamental. 8vo. 1893.
NICHOLS (J.).--Progresses, Festivities, and Pageants of Queen
Elizabeth. 3 vols. 4to. 1823.
NICHOLS (J.).--Progresses, Processions, Festivities, and
Pageants of King James I. 4 vols. 1828.
L'ORME (PHILIBERT DE).--Nouvelles Inventions pour
bien bâstir. Folio. 1561.
PEPYS (S.).--Diary, 1659-1669; Memoirs and Private
Correspondence.
RYE (W. B.).--England as seen by Foreigners in the Days of
Elizabeth and James I. 4to. 1865.
SCOTT (SIR GEORGE GILBERT).--Gleanings from
Westminster Abbey. 8vo. 1863.
SHUTE (JOHN).--The Chief Groundes of Architecture.
Folio. 1563.
STATE PAPERS.--Domestic Series. Elizabeth and James.
TWYCROSS (EDWARD).--The Mansions of England and
Wales. Folio. 1847-1850.
VRIES (JAN VREDEMAN DE).--Book of Monuments. 4to.
1563.
VRIES (JAN VREDEMAN DE).--Architectura, ou bastiment
prins de Vitruve, &c. Folio. 1577.
VRIES (JAN VREDEMAN DE).--Perspective. Oblong 4to.
1604.
WESTLAKE.--A History of Design in Painted Glass. 4 vols. 4to.
1881-1894.
WILLIS (J.) and CLARK (J. W.).--The Architectural
History of the University of Cambridge. 4 vols. 8vo. 1886.
INDEX.
NOTE.--=The ordinary figures denote references to pages of
text, those in black type denote references to illustrations in the
text, and the Roman numerals are for plates.=
ABBOTT'S Hospital, Guildford, 166
" " doorway, =149=
" " key-plate, =154=
" " latch, =150=
ADDITIONS to existing houses, 73
ALMSHOUSES, 210
ALTHORPE, Hawking-tower, 212, =199=, =200=
ALVA, 253
AMPTHILL, long gallery, 195
ANDREW, Sir Thomas, tomb of, 16, =8=
ANSSI-LE-FRANC, plan and elevation copied by John Thorpe, 227, 213,
=214=
APARTMENTS on John Thorpe's plans, list of, 251
APETHORPE Hall, 105
" " ceiling, 181
" " confectionery, 234
" " curved gables, 122, =109=
" " parapet, 123
ARCADE, the open, 63
ARCHITECT, his position in 16th century, 255-266
ARNOLD, a joiner, 257
ARTHUR, Prince, chantry in Worcester Cathedral, 11, =1=
ARUNDEL, Earl of, 34
ASHBOURNE Church, tombs, 13, 16, =2=, =9=
ASKEWE, Lady Anne, 143
ASTBURY Church, font cover, 221
ASTLEY Hall, 111, XXXIII.
ASTON Hall, 70-72, 98, 99
" " ceilings, 179, LXX., LXXI.
" " long gallery, 195, 196, LXXVI.
" " north wing, =54=
" " plan, =53=
" " south front, =81=
AUBREY, John, 35
AUDLEY End, 73, 144
" " ceilings, 179, 182
" " frieze, 182, =168=
" " long gallery, 195
" " parapet, 123, =112=
" " staircase, 193, LXXIV.
AXBRIDGE Church, ceiling, 223
AYLESFORD Hall, doorway, 93, =75=
AZAY-LE-RIDEAU, Château de, 230
BACON, Lord, 76, 88
" Sir Nicholas, 88, 89, 90
BAKEWELL Church, tomb in, =7=
BALLIOL College, Oxford, glazing, 199
BALUSTER, pierced, =176=
BANBURY, "Reindeer" Inn, 162, 177, 181
" " ceiling, LXIX.
" " side of room, LXIX.
BANQUETING Hall at Whitehall, 9
" house, 136
" " at Gorhambury, 90
" " at Chipping Campden, =132=
BARDWELL Manor House, chimney, 128, =116=
BARLBOROUGH Hall, 67-68, 235
" " chimney-piece, 168, LVIII.
" " entrance front, =50=
" " plan, =49=
BARRINGTON Court, 110, XXXII.
BARSHAM, East. _See_ East Barsham.
BASING Church, Paulet tombs, 26, VII.
BASINGSTOKE, Chapel of Holy Ghost, 17
" glazing, 199
BAY windows, 111
BEAN Lodge, Petworth, chimney, 130, =123=
BECKINGTON Abbey, ceiling, 177, 178, =162=, =163=
" " door, 155, =140=
BENEDETTO da Rovezzano, 254
BENTHALL Hall, 156
" " ceiling, 180, =165=
" " chimney-piece, 171, =156=
" " panelling, 156, 157, 158, XLIII.
" " staircase, 193, =179=
BINGHAM Melcombe, 17
BLACK and white houses, 106
BLICKLING, 73
" ceiling, 181
" chimney, 130
" curved gables, 122
" part of entrance front, XXXVII.
" staircase, 192
BLUNT, Matthew, a joiner, 257
BLUOM, Hans, his book on the Five Orders, 264
BLYTHBOROUGH Church, pulpit, 220, =207=
BOCCACCIO, 2
BOLEYN, Anne, 28
BOLSOVER Castle, 103, =87=
" " chimney-pieces, 171, 157, LXIV.
" " plan, 104, =88=
BOOKS on Architecture published during the 16th century, 264
BOORDE, Dr. Andrew, 56, 62
" his _Dyetary of Helth_ quoted, 57
BOUGHTON House, chimney-piece, 168, LVI.
BOURNE Pond, Colchester, mill, 212, =204=
BOURTON-ON-THE-WATER, cottage, 112, =96=
BRADBOURNE, tomb of, 16, =9=
BRADFIELD, 163, 238
BRAMALL Hall, 107
BRAMSHILL, 105
" parapet, 123, =111=
" rain-water head, 131, =129=
BRANDON, Charles, Duke of Suffolk, 53
BREDON Church, Reed tomb, 218, =204=
BRIGSTOCK, village cross, 211, LXXX.
BRISTOL, door in a house at, 164, LIII.
" " in St. Peter's hospital, 166, LV.
" old houses at, 201
BRISTOL, Red Lodge, 157, 163
BROADWAY, doorway at, 92, =74=
" Tudor House, 118, XXXV.
BROMLEY-BY-BOW, chimney-piece, 172, LXV.
BROUGHTON Castle, inner porch, 163, 238, LI.
BRUNELLESCHI, 6
BUCKHURST House, 73
" " the long gallery, 195
BURFORD Priory, window tracery, 223
BURGHLEY House, 9, 98, 128, 260
" " general view, XXVIII.
" " long gallery, 195
" " staircase, 187, LXXII.
BURGHLEY, Lord, 75, 76, 144, 146
" letters to (and from), 260, 261, 262
BURLINGTON, Lord, 261
BURTON Agnes, 70, 91
" " bay windows, 112, =95=
" " ceiling, 183
" " plan, =52=
BURTON Latimer, school, 211, =197=
BURY St. Edmund's, glazing at Church of St. James, 199
BUSTS on houses, 120
CABOT, 2
CAMBRIDGE,
" King's College, fan-vaulting in chapel, 3
" " " glazing, =199=
" " " screen in chapel, 28, 111, 255, VIII.
" Peterhouse, woodwork in chapel, 223, =212=
" Queen's College, panelling, 257
" St. John's College, contracts, 256
" Trinity College, contract for woodwork, 256
" " " the hall, 159, XLV.
CANTERBURY, corbels, 206, =188=, =189=
" house in High Street, 202, 185
CARBROOK Hall, Sheffield, 155
" " ceiling, 181
" " frieze, 184, =170=
" " panelling, 155, XLII.
CASEMENT fasteners, 166
CASSELL, 145
CASTLE Ashby, chimney-piece,172, LXVI.
" " parapet, 124
CASTLEMAINE, Countess of, 34
CASTLE Rising, door at, 152, =139=
CAVE, Robert, a joiner, 257
" Thomas, tomb of, 15, =5=, =6=
CECIL, Sir William. _See_ Lord Burghley.
CEILINGS in houses, 173-184
" in churches, 223
CELLINI, Benvenuto, 7
CHALFIELD, Great, 42
" " hall, 45
" " plan, 43, =33=
CHAMBORD, Château de, 230
CHANGE of detail from Italian to Dutch, 39
CHANNEL Row, house for Lady Derby, 205
CHAPEL Royal, St. James's, ceiling, 176
CHAPMAN, a mason, 36
CHARLES I., 5
CHARLES II., 34
CHARLES VIII. (of France) tomb at St. Denis, 12
CHARLTON, Wiltshire, 98, =80=
" ceiling, 178
" frieze, 182, =168=
CHARTERHOUSE, The, staircase at, 192, =181=
CHARWELTON Church, tomb in, 16, =8=
CHASTLETON, ceiling, 183
" plan, 90, 91, 92, =72=
CHELVEY Court, pew, 157, =143=
" " porch, 83, 84, =64=
CHENEY Court, 101, =84=
" " doorway, 87, =68=
CHENONCEAU, Château de, 230
CHEST at St. Mary Overie, Southwark, 39, X.
CHESTER, the Rows at, 207
CHESTERFIELD Church, Foljambe tombs, 218, =203=
" " pulpit, 221, =208=
CHEVINGTON, 239
CHICHESTER tomb, North Pilton, 218, =202=, LXXXI.
CHIMNEY-PIECES, 167-173
CHIMNEYS, 125-130
" typical chimney of the Midlands, =119=
CHIPCHASE Castle, porch, 85, XXIV.
CHIPPING Campden almshouses, 208, =193=
" " banqueting house, 137, =132=
" " chimney, 128, =120=
" " market-house, 211, =196=
CHRISTCHURCH, Hampshire, choir stalls, 23, 17, =18=
" Draper's chantry, 22, =16=
" Salisbury chantry, 17, 20-22, =14=, =15=, V., VI.
CHURCHES, work in, 215
CLAVERTON, terrace, 133, XXXVIII.
CLEGG Hall, 106, =90=
CLIFFORD, Lady Anne, 144
CLIFTON Maubank, 64
CLIFTON, Sir Jarvis (or Gervase), John Thorpe's plan of house, 231,
LXXXIV.
CLOUGH, Richard, 260, 261, 262
COBB, a plasterer, 257
COBHAM Hall, Kent, 130, 260
COBHAM, Lord, 260
COKAYNE, tomb of, 11, 2
COLD Ashton, 102
" " doorway, 86, 87, =67=
" " general view, =85=
" " gateway, 79, 81, =58=
" " plan, 102, =86=
COLUMBUS, 2
COMPTON Winyates, 33, 47-49, 94, 128
" " details from church, 223, =211=
" " entrance porch, XII.
" " general view, XI.
" " plan, =37=
CONDOVER Hall, 104, 105, =89=
CONFECTIONERY, remarkable, 234
CONISHEAD Priory, 165
CONSTANTINOPLE, fall of, 2
CONTRACT for glazing at St. John's College, Cambridge, 257
" " panelling at Hengrave Hall, 148
" " second court at St. John's College, Cambridge, 256
" " tomb for Thomas Fermor, 259
" " woodwork at Trinity College, Cambridge, 257
COPERNICUS, 91
COPT Hall, the long gallery, 195
CORBELS to overhanging storeys, 206
CORSHAM Court, 99, 100, =82=
" almshouses, 208
" " reading-desk, =192=
COVENTRY, Ford's Hospital, 207
COWDRAY House, 105
" " vaulting of porch, 19, =13=, IV.
" " windows, 109, 110, =93=
CRAFTSMEN provide their own designs, 256
CRANBORNE, porch, 91, XXVI.
CROSCOMBE Church, woodwork, 219
CROSSES, market and village, 211
CROSS, St., Winchester, screen, 17, 24, VII.
DAÏS, the, 43
DALE, Richard, 58
DANTE, 2
DANVERS, Sir John; plans and elevation of his house by
John Thorpe, 246, =227=, =228=
DARTMOUTH, butter-market, 201
DECORATION of rooms, 145
DEENE Hall, 148
" " ceiling, 177, =134=, LXVIII.
DEFENSIVE precautions abandoned, 73
DERBY, Lady, house for, 205
DESIGNS, the providers of, 256
DININCKHOFF, Bernard, 198
DISSOLUTION of the Monasteries, 5
DODDINGTON Hall, 69
" " entrance front with gatehouse, XXI.
" " lay-out, 77, 78, =56=
" " parapet, 123
" " plan, =51=
" " porch, 82, 83, =63=
DOOR furniture, 165, 166, =150=-=155=
DOORS, 164
DOORWAYS (entrance) and porches, 83-93
DRAMATIC entertainments, 138
DRAPER'S chantry, Christchurch, 22, =16=
DRAWSWERD, Sheriff of York, 11
DRAYTON House, chimney, 128, =121=
DROITWICH, chimney at, 126, =114=
DRURY, Elizabeth, tomb of, 16, =10=
DU CERCEAU, 95
" copied by John Thorpe, 227
DURDANS, The, 35
DUTCH character of detail, 39
DUTCH, imitation of the, 8
" influence on English architecture, 9, 120
" influence on John Thorpe, 230
" refugees, 253
DYRIK, a joiner, 258
EAST Ardsley Old Hall, 106
EASTAWE, John, 56
EAST Barsham, 17, 47
" " plan, =36=
EAST Quantockshead, 169
" " staircase, 192, =174=
EDINGTON Church, pulpit, 221, LXXXIII.
ELEVATIONS by John Thorpe, LXXXVII., =214=, =215=, =219=, =222=,
=223=, =224=, =228=, =229=, =230=
ELIZABETHAN mansion, new style to be found in, 5
ELIZABETH, Queen, 138, 140
ELTHAM Palace, roof, 28, =25=
ELVETHAM, 234
ENFIELD, chimney-piece at, 172
ENGLISH workmen, character of their work, 95
" " Italianizing of, 16
EVELYN, John, his notes on Nonesuch Palace, 34
EWEN, Nicholas, 11
EXETER, Guildhall, 210
" house formerly in North Street, 201, =184=
EXTERNAL appearance of an Elizabethan house, 95
EXTON Church, tomb, =4=
" Hall, 99, 123, XXIX.
" " parapet, =110=
EYAM Hall, garden, 135, =133=
" " terrace steps, XXXIX.
FAËRIE Queen, the, 5
FAMBELER, Giles, wood-carver, =257=
FAN-VAULTING, 3, 10, 19, pl. I., IV.
FERMOR, Thomas, =258=
" " contract for his tomb, 259
FINIALS, 117, =101=
FINSTOCK Manor House, 118, =102=
FISHER, Bishop, his tomb, 258
FLORENCE Cathedral, 6
FOLJAMBE tombs, Chesterfield, 218, =203=
FONT covers, 221
FORD House, Newton Abbot, chimney-piece, 170, LXII.
FOUNTAINS Hall, 92
FOX, Bishop of Winchester, 24, 25
FRANCE, Renaissance in, 3
FRANCIS I. of France, 7, 8
FRENCH influence on English Architecture, 8, 152
" " on John Thorpe, 230
GABLES, 116
" of timber houses, 119
" curved, 120
GALLERY, at Gorhambury, 90
" minstrels', 43
" the long, 63, 195-197, LXXV., LXXVI.
GARDEN at Holdenby, 76
GARDENS, 133
Gardiner's chantry, Winchester Cathedral, 25
GASCOIGNE, George, 141, 142, 214
GATEHOUSES and lodges, 78-83
GAYHURST, pillars in garden, 133, =130=
" porch of house, 85, =66=
GAYTON Manor House, door, 166, LV.
GEDDE, Walter, glazier, 199
" " patterns from his "Booke of Sundry Draughtes", LXXVIII.
GENERAL aspect of an Elizabethan house, 94
GERMANY, Renaissance in, 3
GESTS, 143
GILES Fambeler, wood-carver, 257
GILLING Castle, glass at, 198, =183=
GIOVANNI da Majano, 254
GLAZING, 197-199
GLINTON Manor House, 100, XXIX.
GORHAMBURY, 88-91
" porch, =70=
GOTHIC and Classic detail mixed, 17-33
" Architecture contrasted with Classic, 2, 4
GREAT chamber, the, 194
GREAT Snoring, 17, 47
GREEK literature, 2
GRESHAM, Sir Thomas, 260, 261
GUILDFORD, Abbott's Hospital. _See_ Abbott's Hospital.
HADDON Hall, 47, 94, 105
" " ceilings, 177, 181, =161=, =166=
" " door furniture, 167, =151=, =153=
" " frieze, 184
" " long gallery, 195, LXXV.
" " panelling, 153, 154, =135=, XL., XLI.
" " rain-water heads, 131, =124=, =125=, =126=
" " screen, 149, =135=
" " terrace, 133, XXXVIII.
HALF-TIMBER houses, 56
HALL, the chief apartment, 41
" its treatment, 159
" its decay, 72
HAMBLETON Old Hall, =71=
" " " parapet, 123
" " " porch, 89, 91
" " " staircase, 192, =173=
HAMPTON Court, 29
" " ceilings, 33, 149, 174-176, =158=, =159=, =160=,
LXVII.
" " chapel roof, 33
" " door to great hall, =28=
" " early work at, 29
" " glazing, 197
" " long gallery, 197
" " roof of great hall, 28, 30, 161, =26=, =27=
" " roundels, 254
" " size of courts, 35, 76
" " tapestry, 147
HAMSTALL Ridware, lodge, 79
HARDWICK Hall, chimney-piece, 169, LXI.,
" " plaster frieze, 164, 184, LII.
HARRINGTON, John, Lord, 100
HARRINGTON, John, tomb of, 15, =4=
HARRISON, Dyrik, a joiner, 257, 258
HARRISON, Stephen, joiner and architect, 140
HASELRIGGE, 235
HASERIDGE, Sir Wm., plan and elevation for his house by John
Thorpe, 235, LXXXVI., LXXXVII.
HATFIELD House chimney-piece, 169, LIX.
" " doorway, 86, XXV.
" " staircase, 192
" " window-head, =99A=
HATTON, Sir Christopher, 63, 76, 77, 81, 96, 143, 144
HAWKING-TOWER at Althorpe, 212, =199=, =200=
HAWSTEAD Church, tomb in, 16, =10=
HENEAGE, Sir Thomas, 144
HENGRAVE HALL, 33, 54-56, 128, 258
" " contract for panelling, 148
" " corbelling of bay, =44=
" " entrance gateway, XIV.
" " glazing, 198
" " plan, =42=
" " west front, =43=
HENRICK, or Henryck, 260
HENRY VII.'S Chapel, Westminster, 3, 10, pl. I.
" " " stalls, 26, =21=, =22=
" " tomb, 7, 10-15, 253, pl. II., =3=
" " will, 256
HENRY VIII., his influence on architecture, 7
" " he annexes Wolsey's tomb, 254
HENTZNER, Paul, 33
HEREFORD, house in High Town, 203, =186=
HERTFORD, Earl of, 234
HESSE, Landgrave of, 145
HIGHLOW Hall, gateway, 134, XXXIX.
HOGHTON Tower, 105
" " bay window of hall, 111, =94=
HOLBEIN, 7
" his work in England, 255
HOLDENBY House, 144
" " court, 78
" " gateways, 80, 81, =61=
" " lay-out, 75, =55=
" " long gallery, 195
HOLMSHURST, 118, XXXV.
HOLY Ghost Chapel, Basingstoke, 17
" " " glazing, 199
HOSPITALL of Incurable Fooles, the, 264
HOUSES enlarged to receive royalty, 144
" in streets, 200
" " proclamation as to materials, 203
HUDDINGTON Court House, chimney, 127, =115=
IGHTHAM Church, glazing from, 197, =182=
IMBER, Lawrence, 11
INGELBY Manor, 106, =91=
INNER porch to rooms, 163, LI.
INTERIOR features of houses, 138
INVASION of the foreign style, 10
IPSWICH, old houses at, 201
ISLIP, Abbot of Westminster, 8
ITALIAN detail in tombs, 10-26
" workmen, 18-24, 253
ITALY, its influence on architecture, 1-9
JAMES I., King, 140
JANSON, Cornelius, 261
JENINS, Robert, 11
JOHN of Padua, 8
JOHNSON the druggist, Mr., plan of his house by John Thorpe, 245,
=225=
JONES, Inigo, 6, 9, 42, 63, 64, 72, 263
JOYNER, Michael, 28
KELMARSH Church, window tracery, 222, =210=
KENILWORTH Castle, princely pleasures, 141
KENTWELL Hall, 99, =83=
KENYON Peel, gateway, 82, =62=
KING'S College, Cambridge. _See_ Cambridge.
KING'S Lynn, Chapel of the Red Mount, 19, IV.
KIP, William, 140
KIRBY Hall, 60-64, 73, 81, 95, 96, 105
" " bay windows, 112, XXXIII.
" " chimney, 128, =118=
" " courtyard, south side of, XVII., =76=
" " finials, 118
" " gables, 121
" " hall, roof of, 161, =147=
" " parapet, 123
" " plan, =46=
" " plan by John Thorpe, XVIII.
" " porch, detail of, XIX.
" " west front, =77=, =107=
KITCHEN, the, 41
KNEELERS, 117, =101=
KNOCKERS, 167, =155=
KNOLE House, 73, 130, 131
" " hall, 159, =145=
" " lead rain-water head, =128=
KYTSON, Sir Thomas, 148, 149, 239
LACOCK Abbey, 17, 36-38, 110
" " chimney, 128, XXXVI.
" " chimney-piece, 168, LVII.
" " stables, =32=
" " stone tables, =30=, =31=
" " tile paving, IX.
" " tower at S.E. corner, =29=
LAMBERT, a joiner, 257
LANDGRAVE of Hesse, 145
LANGTON Chapel, Winchester Cathedral, 27
LAVENHAM Church, the Spring pew, 27, =23=, =24=
LAYER Marney, tombs at, 17, =11=, III.
LAYER Marney Tower, 17, 33, 52-54, 110, 128
" " details, XIII.
" " entrance tower, =41=
LAY-OUT of houses, 74
LEBONS, John, 11
LECHLADE, "Swan" Inn, 207, =191=
LEDBURY Market-house, 107
LEE, Mr., free mason, 258
LEEDS, St. John's Church, 222
" " " " screen, 219
LEICESTER, Earl of, 142
LEICESTER, Old Town Hall, 162, XLVIII.
LEOMINSTER, The Grange, 107
LEVENS Hall, door, 164, LIV.
LILFORD Hall, bay window, 112, XXXIV.
" " curved gables, 123, XXXIV.
LILLY the Grammarian, 91
LINCOLN, Earl of, 145
LINGFIELD, gateway, 134, =131=
LITTLE Charlton, ceiling, 184, =171=
LOCK-PLATES, =152=
LODGE, the, 74
LODGES and gateways, 78-83
LOGGIA, the Italian, 41, 63
LONGLEAT, 97, =78=
LORME, Philibert de, 261
LOSELEY, 35, 143
LOUVRE, the, 145
LUMLEY, Lord, 34
LYDDINGTON, doorway at, 92, =73=
LYVEDEN Old Building, staircase, 192, =172=, =175=
" New Building, 247
MADRIT, Château de, 228, 230
MAJANO, Giovanni da, 254
MANNERS, Sir John, 131, 181
MARGARET, mother of Henry VII., her tomb, 11, 253
MARKET-HOUSES, 207, 210
MARLIVALE, Mr., letter of, 239
MARNEY, Sir Henry, 53
MARNEY, Henry, Lord, his tomb, =11=, pl. III.
MARY, Queen, 34
MARY, St., Overie, chest at, 39, X.
MAYFIELD, house at, 108, =92=
MICHAEL Joyner, 28
MIDDLE Temple Hall, 159, 161
" " " glazing, 198
MILDMAY, Sir Anthony, 234
MILL at Bourne Pond, 212, =198=
MINSTRELS' Gallery, 43
MODENA, Nicholas of, 255
MONASTERIES, dissolution of, 5
MONTACUTE House, 64-67, 73, 105, 123, 128, 133, 184
" " part of entrance front, XX.
" " plan, =47=
" " plaster frieze, =168=, =169=
" " west front, =48=
MONTAGU, Sir Edward, 168
MORE, Sir Thomas, 247
MORE, Sir William, of Loseley, 143
MORETON Old Hall, 56-59, 107
" " " entrance porch, XV.
" " " gable, XVI.
" " " glazing, 197, LXXVII.
" " " plan, =45=
MOUNT Grace Priory, 106, XXX.
MOYNS Park, 130
NAILSEA Court, door, 155, =141=
" " porch, 85, =65=
NEKER, Thomas, 148
NELSON, Lord, 254
NICHOLAS of Modena, 255
NINE Worthies, the, 66, 88, 142
NONESUCH Palace, 33-36, 76
" " banqueting house, 136
" " garden, 134
NORRIS, Sir Henry, 260, 261
NORTHAMPTONSHIRE cottage, a, =100=
NORTH Pilton, Chichester tomb, 218, =202=, LXXXI.
NORTHUMBERLAND, Duke of, 265
NOSELEY, 235
NOTTINGHAM, houses on the Long Row, 207
NUNZIATA, Toto del, 34 _note_, 254
OAKWELL Hall, 106
OCKWELLS Manor House, staircase, 192, =177=, =178=
OFFLEY, Hugh, 39
ORATIONS, Latin, 141
ORTON Waterville, corbel, 206, =190=
OUNDLE, gateway of almshouses, 81, =60=
OXBURGH Hall, described, 45
" " entrance tower, =35=
" " plan, 44, =34=
OXFORD, Baliol College, glazing, 199
" house in the High Street, 202, LXXIX.
" Queen's College, glazing, 199
" Wadham College, screen in hall, 159, 161, XLIV.
" Wadham College, window tracery, 222
PAGANINO, 12
PAGEANTS, 139
PAGENY, Master (Paganino), 12
PALLADIO, 95
PANELLING of the time of Henry VIII., =136=, =138=
PAPWORTH, Mr. Wyatt, 265
PARAPETS, 123, =110=, =111=, =112=
PARLOUR, the, 41
PAULET tombs in Basing Church, 26, VII.
PAVIA, Certosa of, 6
PEGME, or triumphal arch, 140
PENDANTS of ceilings, =167=
PEPYS, notes on Nonesuch Palace, 35
PETER, a joiner, 257
PETERHOUSE, Cambridge, woodwork in chapel, 223, =212=
PETRARCH, 2
PHELIPS, Sir Edward, 65
PILTON Church, font cover, 221, =209=
PITCHFORD Hall, 107
PITTI Palace, 6
PLAN: development of house plan, 41-72
" Elizabethan house plan, 59
" =E= type of plan, 67
" =H= type of plan, 64
" old type still preserved at Oxford and Cambridge, 42
PLAN of Althorpe Hawking-tower, =200=
" " Anssi-le-Franc, =213=
" " Aston Hall, =53=
" " Barlborough Hall, =49=
" " Bolsover Castle, =88=
" " Burton Agnes, =52=
" " Chalfield, Great, =33=
" " Chastleton, =72=
" " Clifton, Sir Jarvis, his house, =86=
" " Cold Ashton, =86=
" " Compton Winyates, =37=
" " Danvers, Sir John, his house, =227=, =228=
" " Doddington Hall, =51=
" " East Barsham, =36=
" " Eyam Hall, garden, =133=
" " Hengrave Hall, =42=
" " Holdenby, lay-out, =55=
" " Johnson the druggist, his house, =225=
" " Kirby Hall, =46=
" " " " by John Thorpe, XVIII.
" " Montacute House, =47=
" " Moreton Old Hall, =45=
" " Oxburgh Hall, =34=
" " Powell, Mr. Wm., his house, =224=
" " Sutton Place, =38=
" " Wollaton Hall, =79=
PLANS from John Thorpe's book, 226-252, LXXXIV., LXXXV., LXXXVI.,
=213=, =216=, =217=, =218=, =220=, =221=, =223=,
=224=, =225=, =226=, =227=, =228=, =231=
PLATTS, or plans, 256
PORCHES, 83-93
PORTER, the, 73, 79
POWELL, Mr. Wm., plan and elevation for his house, by John Thorpe,
244, =224=
PRINTING, invention of, 3, 6
PROGRESSES of the Sovereign, 138
PULPIT in Winchester Cathedral, 27
PULPITS, 220
QUANSTOCKSHEAD, East, 169
" staircase, 192, =174=
QUEEN'S College, Oxford, glazing, 199
RAINHAM Hall, 72
RAIN-WATER heads, 130
RED LODGE, Bristol, panelling, 157
" inner porch, 163
RED Mount, Chapel of, King's Lynn, 19
REED tomb, Bredon Church, 218, =204=
REFORMATION, the, 3
"REINDEER" Inn, Banbury, 162
" ceiling, 177, 181, LXIX.
" panelled room, 162, LXIX.
RENAISSANCE in letters, 2
" style, 2, 3
RICHMOND, Countess of, tomb, 11, 253
RICHMOND Court, 126
RODES, Francis, 168
ROILEY, Richard and Gabriel, tomb makers, 258, 259
ROTHWELL, cottage at, 119, =103=
" market-house, 185, 210
ROVEZZANO, Benedetto da, 254
ROYAL Exchange, Gresham's, 261, 262
RULES of architecture, 6
RUSHTON Hall, 105
" " chimney of Triangular Lodge, =122=
" " curved gables, 122, =108=, =113=
" " finials, 118
" " parapet, 123
" " rain-water head, 131
RYDGE, Richard, 28, 29
RYE, St. John's Hospital, 208
SAINT Germain, plan copied by John Thorpe, 228
SALISBURY Chantry, the, at Christchurch. _See_ Christchurch.
SANDWICH, corbels on "King's Arms", 206, =187=
" Queen Elizabeth's visit to, 141
SAVILE, John, describes visit of James I. to Theobalds, 77
SCHOOLS, 211
SCOLE, sign of the "White Hart", 213, =201=
SCREEN at Tilney All Saints, 219, LXXXII.
" at St. Cross, 25, VII.
" at Winchester Cathedral, 24, =20=
" of churches, 219
" of hall in houses and colleges, 159
SCREENS, "the screens" in a house, 42, 160
SEYMOUR, Jane, arms, 33
" " tomb, 254
SHARINGTON, William, 36-38, 128, 168
" Grace (his wife), 38
SHERBORNE, rain-water head, 131, =127=
SHREWSBURY, market-house, 210, =194=
" school, 211
SHUTE, John, his _Chief Groundes of Architecture_, 263
SILKSTEDE, Prior, his pulpit, 27
SIZERGH Hall, ceiling, 179, 181, =164=
" " door, 164
" " frieze, 184, L.
" " inner porch, 163, 283
" " panelling 163, 164, L., =148=
SLAUGHAM Place, the long gallery, 195
SMALLER rooms, the treatment of, 162
SMITH, Sir Thomas, 260
SMITHSON, Robert, 265
SNORING, Great, 17, 47
SOUTH Wraxall, ceiling, 177, 178
" " chimney-piece, 169, LX.
" " great chamber, 162, XLVII.
SPAIN, Renaissance in, 3
SPARKE, John, 56
SPEKE Hall, 107, XXXI.
SPENCER, Robert, Lord, 212
" Sir William, tomb at Yarnton, 218, =205=
SPRING Pew, Lavenham Church, 27, =23=, =24=
STAFFORD, Sir Humphrey, 63
STAIRCASE, the grand, 47
" at Benthall Hall, 193, =179=
" at Kirby, 63
STAIRCASES, 185-194
" examples from John Thorpe's drawings, 189, 190, LXXIII.
" in France, 185
STANFORD Church, panelling, 151, =137=
" " tomb in, 15, =5=, =6=
STANNINGE, or Hawking-tower, 212
STANWAY, gatehouse, 79, XXII.
" curved gables, 123
ST. CROSS, Winchester, screen, 25, VII.
" James, Chapel Royal, ceiling, 176
" Margaret's Westminster, glazing, 199
" Mary Overie, Southwark, chest, 39, X.
" Neot's Church, Cornwall, glazing, 199
STEVENTON, cottage at, 112, 119, =97=, =105=
STOKESAY Castle, gatehouse, 79, =57=
STONEGRAVE Church, screen, 220
STOWE-NINE-CHURCHES, reredos and screen, 157, =142=, =144=
STRATFORD-ON-AVON, house at, 202, LXXIX.
SUTTON Court, near Guildford, 33
SUTTON Place (or Court) near Guildford, 17, 49-52
" " details, =39=
" " part elevation of courtyard, =40=
" " plan, =38=
SWINSTY Old Hall, 106
SYMMETRY in plan, 41, 49, 60
TAILOR, Thomas, 70
TAPESTRY, 146, =134=
TEMPLE Newsam, 125
TERRA-COTTA detail, 18
TEXTS on walls of churches, 224
THEOBALDS, 73, 77, 144, 146
THORPE, John, 8, 78, 195, 256, 264
" " his book of drawings, 226
" " his plan of Kirby Hall, 62, XVIII.
" " his plans for London houses, 203
" " his study of foreign books, 227
TILNEY All Saints, screen, 219, LXXXII.
TOLLER Fratrum, chimney, 127, =117=
TOMB, contract for, 259
TOMBS, development of style in, 10-26, 216
" Andrew, Sir Thomas, 16, =8=
" Bradbourne, 16, =9=
" Cave, Thomas, 15, =5=, =6=
" Chichester, 218, =202=, LXXXI.
" Cokayne, 11, =2=
" Drury, Elizabeth, 16, =10=
" Foljambe, 218, =203=
" Harrington, John, 15, =4=
" Henry VII., 7, 10-15, 253, =3=, II.
" Marney, Henry, Lord, 11, III.
" Paulet, 26, VII.
" Reed, 218, =204=
" Spencer, Sir Wm., 218, =205=
" Vernon, Sir George, 16, =8=
TORRIGIANO, 7, 13
" employed on Henry VII.'s tomb, 12, 254
TORRISANY, Peter (same as Torrigiano), 12
TOTO del Nunziata, 34 _note_, 254
TOWN-HALLS, 209
TREETON, cottage at, 119, =104=
TRESHAM, Sir Thomas, 210
TRIANGULAR Lodge, Rushton, chimney, 128, =122=
TRINITY College, Cambridge, the hall, 159, 161, XLV.
UPPER Slaughter, porch, 85, XXIV.
UPRIGHTS, or elevations, 226, 256
VENICE, palaces at, 7
VERNON, Dorothy, 131, 181
" her legend, 196
VERNON, Sir George, 131, 181, 196
" tomb of, 16, =8=
VERRIO'S ceilings, 181
VERSES, Latin, 141
VIRTUE, Robert, 11
VITRUVIUS, 6
VRIES, or Vriese, 95
" his books on architecture, 264
" copied by John Thorpe, 228, =215=
VYNE, the, Hampshire, 17
" glazing, 199
" panelling, 23, 152, =19=
WADHAM College, Oxford. _See_ Oxford.
WALKER, Humphrey, 11
WARDOUR Castle, archway to stairs, 87, XXV.
WARWICK, house at, staircase, 192, =180=
WESTMINSTER, Henry VII.'s chapel, 3, 10, pl. I.
" " " tomb, 7, 10-15, 253, =3=, pl. II.
" " " stalls, 26, =21=, =22=
WESTON, Sir Richard, 52, 53
WESTWOOD, curved gables, 123
" gatehouse, 79, XXIII.
WHISTON, chimney-piece, 171, LXIII.
WHITEHALL, gateways at, 255
WILTON House, work at, 255
WINCHESTER Cathedral, 17
" " Gardiner's chantry, 25
" " Langton's chapel, 27
" " Prior Silkstede's pulpit, 27
" " screen in choir, 23, 25, =20=
" " St. Cross, screen, 25, VII.
WINDOWS, 100-115
" sections of jambs, etc., =98=
WINDOW tracery, 222, =210=
WINWICK, gateway, 79, =59=
WOLLATON Hall, 73
" " chimneys, 128
" " corner tower, =106=
" " curved gables, 120, 122
" " general view, XXVII.
" " long gallery, 195
" " parapet, 123
" " plan, 97, =79=
" " roof of hall, 161, 146
" " window-sill, 114, =99=
WOLSEY, Cardinal, 7, 147, 154
" " his tomb, 254
" " his work at Hampton Court, 29
WOOD panelling, development of, 148
WOOLLAS Hall, porch, 87, =69=
" " screen, 160, XLVI.
WORTH Church, Sussex, pulpit, 220, =206=
WREN, Sir Christopher, 6, 35
WREST, 144
WRIGHT, Robert, glazier, 198
WYMONDHAM Church, sedilia, 17, =12=, =32A=
" market-house, 210, =195=
YARNTON, Spencer tomb, 218, =205=
YORK, old houses at, 201
YOUNG, Dr., his tomb, 254
THE END.
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reproduction of this rare work, containing 300 charming Designs on 128
Plates. Small folio, speckled cloth, old style. Price £2 10s. net.
(1794.) _Original copies fetch from £17 to £18 when met with._
FRENCH WOOD CARVINGS FROM THE NATIONAL MUSEUMS. A Series of Examples
from Photographs specially taken for the work. Edited by ELEANOR ROWE.
The Three Series Complete, each containing 18 large folio Plates, with
Historical and Descriptive Letterpress. Folio, in portfolios. Price
12s. each net; or bound in 1 Volume, £2 5s. net.
_Just Published._
DECORATIVE FLOWER-STUDIES FOR THE USE OF ARTISTS, DESIGNERS, STUDENTS
AND OTHERS. A Series of 40 Coloured Plates, printed in Facsimile of
the Original Drawings. With upwards of 350 Diagrams illustrating
Plant Detail and Structure, and Descriptive Notes. By J. FOORD.
Imperial 4to, handsomely bound from a special design by the Author.
Price 25s. net.
_Extract from an Article by Mr. Lewis F. Day in the_ "ART
JOURNAL."--"'Decorative Flower Studies' go very far indeed towards
satisfying at once the Decorator, Designer, or Student who wants
trustworthy data upon which to found his work, and the lover of
nature who delights to see deft and delicate rendering of the
thing he knows. The author is duly regardful of the designer's
wants, and supplements the coloured pages by outline drawings of
details likely to be of use to him.... The author's drawing is
always delicate, her treatment of the flower is tasteful, and she
preserves the refinement of natural form. In colour she is content
with a few flat tints, but the drawing, firm and sure if at times
a trifle too thin in line, is instinct with life."
OLD CLOCKS AND WATCHES AND THEIR MAKERS. By F. J. BRITTEN. Being an
account of the History of Clocks and Watches, their Ornamentation
and Mechanism, with a List of 8,000 Old Makers. Containing over 400
Illustrations, many reproduced from Photographs. 512 pages. Demi 8vo,
cloth gilt. Price 10s. net.
MR. LEWIS F. DAY'S TEXT-BOOKS OF ORNAMENTAL DESIGN.
SOME PRINCIPLES OF EVERY-DAY ART.--INTRODUCTORY CHAPTERS ON THE ARTS
NOT FINE.--Second Edition, revised, containing 70 Illustrations. Crown
8vo, art linen. Price 3s. 6d. Net 3s.
THE ANATOMY OF PATTERN.--Fourth Edition, revised, with 41 full-page
Illustrations. Crown 8vo, art linen. Price 3s. 6d. Net 3s.
THE PLANNING OF ORNAMENT.--Third Edition, further revised, with 41
full-page Illustrations. Crown 8vo, art linen. Price 3s. 6d. Net 3s.
THE APPLICATION OF ORNAMENT.--Third Edition, further revised, with 48
full-page Illustrations and 7 Woodcuts in the text. Crown 8vo, art
linen. Price 3s. 6d. Net 3s. */
_An invaluable Review of the Art and Practice of Embroidery._
ART IN NEEDLEWORK: A BOOK ABOUT EMBROIDERY. By LEWIS F. DAY and =Mary
Buckle=. Containing 80 Plates from Photographs (taken for the work),
and 45 Illustrations, of Historical Examples, and Reproductions of
specially worked Samplers, showing executed work in various stitch
groups. Second Edition, revised. Crown 8vo, cloth. Price 5s. net.
"'Art in Needlework' is literally enriched with photographic
reproductions of ancient and modern work, and a series of
cleverly-worked samplers elucidating every class of stitching....
No worker's table can be considered complete without a
copy."--_Home Art Work._
_The most handy, useful, and comprehensive work on the subject._
ALPHABETS, OLD AND NEW. Containing 150 complete Alphabets, 30 Series
of Numerals, Numerous Facsimiles of Ancient Dates, and Modern Examples
by WALTER CRANE, A. BERESFORD PITE, the AUTHOR, and others. Selected
and arranged by LEWIS F. DAY. With an Account of the Development of the
Alphabet. Crown 8vo, art linen. Price 3s. 6d. net.
"Mr. Day's explanation of the growth of form in letters is
particularly valuable.... Many excellent alphabets are given in
illustration of his remarks."--_The Studio._
NATURE IN ORNAMENT. By LEWIS F. DAY. With 123 full-page Plates and 192
Illustrations in the text. Third Edition (Fifth Thousand). Thick crown
8vo, in handsome cloth binding, richly gilt. Price 12s. 6d. Net 10s.
ORNAMENTAL DESIGN. By LEWIS F. DAY. Comprising the Three Books,
"ANATOMY OF PATTERN," "PLANNING OF ORNAMENT," and "APPLICATION OF
ORNAMENT," handsomely bound in 1 Volume, cloth gilt. Price 10s. 6d. Net
8s. 6d.
B. T. BATSFORD,
_ARCHITECTURAL AND ART PUBLISHER_,
94, HIGH HOLBORN, LONDON, W.C.
Transcriber's Notes:
1. There is inconsistency in the book re the abbreviations for William.
These have been kept as in the original.
2. Punctuation and spelling were made consistent when a predominant
form was found in this book; otherwise they were not changed.
3. Hyphenated and non-hyphenated versions of the same words have been
made consistent, eg. gatehouse, handbook.
4. The different spelling for Henryk, Henryck and Henrick has been
retained as per the original.
5. Printers errors have been corrected.
6. The name Evelyn has been corrected from Eelvyn.
7. The spelling of "hospitall" has been retained as it is in Old
English.
8. The [sideways] E can also be described as a symmetrical M.
9. In the original there is a printing error in the index. For Plan
of Althorpe "Clifton, Sir Jarvis, his house," it reads <b>86</b> this
should be LXXXIV.
10. Italicized words are surrounded by underline characters, _like
this_. Words in bold characters are surrounded by equal signs, =like
this=.