anxa 90-B 26178 I i. f ; 4 p I I 4 T ’ ' 1 * i y »v^ « » f I I J \ i ' \ \ A ■i4 ■ ■■ V' ■ . ■* ; / ft » . . ■ ) f ) i 'I -. t. % t V ' ; 9 i '■ y?-'..- ' ,f I > . } >) s 1 : WORKS BY THE EEV. J. M. CAPES, M.A. AUTHOR OF 'TO ROME AND BACK' ETC. Lately jnihlisJied, price 4^. WHAT CAN BE REALLY KNOW OF GOD AND JESUS OF NAZARETH. In this volume I have made what I hope is a real advance towards the solution of the great question, whether the human intellect can attain any practical knowledge of the existence and nature of the eternal and unseen source of all life ? I have shewn, I believe, by the most strictly scientific reasoning, that we can really know God ; that the reasonings of the so-called atheistic or agnostic are based upon assumptions which are purely fictitious ; and that the science of actual facts gives us more than a mere trembling hope of a life hereafter. yoio ready, price Qd. NINE SHOET POEMS ON THE ClffilSTIAN LIFE AS IT DRAWS TO ITS CLOSE. 1. NIGHT THOUGHTS. 2. THE UNIYEESAL SOIHIOW. 3. REST IN THE ETERNAL. 4. JESUS ON THE CROSS, -U EY'ENING, G. PAST RELIGIONS. 7. ALL IS WELL. 8. APPROACHING BLINHNESS. 0, ‘ 0 PLUS, EGO AMO TE.’ London : J. P.UMPUS, 1-38 Oxford Street. Oxford : SHRIMPTON & SON. ALSO BY THE SAME AUTHOR. At the reduced price of 5s. THE DEUTD. A TRAGIC OPERA; ILLUSTRATING THE CONTRAST BETWEEN THE DRUIDICAL, THE PAGAN, AND THE CHRISTIAN LIFE IN BRITAIN IN THE SECOND CENTURY. THE WORDS WRITTEN AND THE MUSIC COMPOSED BY J. M. CAPES. T his Editif)!! inchides ah llie Songs, Liu'ts, Concerted Pieces, and Choruses of tlie Opei'a, as pei’formed at St. George’s flah, Avitli a com])lete Pianoforte Accompaniment. It is suitable for drawing-room and concert ])crronnance, as well as for the stage. TTe Choruses are sold separately, with their acconi])aninients, foi- Eighleenj)ence. London: J. LUMITIS, 1-38 Oxford Street ■* A, ■ $ ■ 9 A' f • • • # 4 *• 4 « 4 I r f .* • -• 4 ', • ’ • 4 ^ » *^r 9 . 9 4 4 4 ♦ 4 h- * • • * 0 % 4 > * < I * I I I I 9 r 4 9 4 f 4 4 # . *4 ■ 4 4 4l $ < # » ■-X' 4 4 4 < 4 > 0 > • *4 f . t 4 I Fro n, fusp i.c c e. ST MARY OVERY. SOUTHWARK THE OLD AND NEW of ilontton BEING A SERIES OF ILLUSTEATIONS OF THE EXISTINO KEMAINS OF CHUKCH ARCHITECTURE IN LONDON FROM THE NORMAN PERIOD TO THAT OF THE GREAT FIRE WITH NUMEROUS EXi\MPLES OF THE CHURCHES BUILT FROM THE YEAR 1844 TO THE PRESENT TIME COLLECTED AND ARRANGED BY ALFEED CAPES ARCHITECT Mitl] :in InlroMiUnrn d'SS!ur on tl'c |riiuip(cs of givtlnfcctnval ficautn EY THE 14EV. J. M. CAPES, M.A. LONDON J. BUM PUS, 158 OXFOBD STEEET OXFORD : SHRIMPTON & SON 1880 All rights reserved Digitized by the Internet Archive in 2016 https://archive.org/details/oldnewchurchesofOOcape LIST OF ILLUSTRATIONS. St. Mary Overt. {Exterior) {Frontispiece) PLATK 1 Temple Church . • . 2 Church of the Austin Friars. {Exterior) • o O Church of the Austin Friars. {Interior) , . 4 St. Etheldreda . 5 St. Etheldreda. . {Crypt) 6 St. Mary Overt. {Lady Chapel) 7 Chapel in the White Tower . 8 Bow Church, Cheapside. {Crypt) . 9 Lambeth Palace. {Crypt) 10 St. Stephen, Westminster . . 11 Lambeth Palace Chapel • • 12 St. Mary Aldermary. {Tower) . . 13 St. Mary Aldermary. . {Interior) . 14 St. Stephen, Walbrook . . 15 Stratford-le-Bow . 16 St. Dunstan, Stepney 17 a VI LIST OF ILLUSTRATIONS. NEW CHUECHES. St. Giles, Camberwell . PLATE . 18 All Saints, Margaret Street . 19 St. CoLUMBA, KiNGSLAND EoAD. [Exterior) . . 20 St. CoLUMBA, KiNGSLAND EoAI). [Interior) 21 St. Stephen, Paddington 22 St. Mary Abbot, Kensington. [Exterior) 23 St. Mary Abbot, Kensington. [Ulterior') . . 24 St. Mary, Pimlico. . [Exterior) 25 St. Mary, Pimlico. [Interior) . . 26 St. Jude, South Kensington. [Exterior) 27 St. Jude, South Kensington. [Interior) . 28 St. Jude, Kensal Green . 29 St. Chad, IIaggerstone . 30 St. Augustine, Kilburn . 31 St. Mary, Stoke Neayington . 32 St. James-tiie-less, Westminster o o OO St. Saviour, Oxford Street . 34 St. Gabriel, Pimlico 35 St. John 13aptist, Kensington . 36 THE OLD AND NEW CHURCHES OF LONDON. THE PRINCIPLES OF ARCHITECTURAL BEAUTY. 1. ‘ Are there really any principles of architectural beauty ? ’ will be the first question asked by many people when they read the above heading. ‘ There are beautiful buildings,’ they will say, ‘ and there are ugly buildings ; just as there are beautifid faces and ugly faces. But does there exist any element in the nature of men and women on which can be based anything which can be called principle V any such universal agreement as to that which constitutes beauty, that we may study it scientifically, and on our scientific know- ledge devise such an art, with its own special regulations, as will without doubt give pleasure to every sensitive and cultivated understanding ? ’ 2. If such a principle exists, its application cannot be con- fined to architecture alone. Wherever the idea of beauty, as such, can exist, even in its humblest forms, this same principle must more or less be its life-giving element, down to what may be thought the trivialities of dress, or to such small matters B 2 OLD AND NEW CHURCHES OF LONDON. as can scarcely admit of any higher idea than that of mere prettiness and pleasantness of aspect. 3. The theory that this same feeling of beauty is the mere result of association, or of some artificial union between certain forms and certain ideas, will not stand a moment’s serious examination. It is, nevertheless, a notion often to be met with. In the vehemence of religious controversies such notions some- times assume an almost ludicrous aspect. Some years ago, it used to be seriously maintained that there was an essential fitness in the Gothic styles of the thirteenth and fourteenth centuries, to symbolise the action of the soul in divine prayer and praise. In the spire and the pointed arch, she found herself as it were at home, and in their upward tendencies she was aided in her struggles to escape from the pressure of earthly labours and earthly desires. The general adoption of Italian Architecture l)y Continental nations in their churches was counted as a sign of tlie corrupt character of the Modern Roman Theology. On the other hand, the passion for the Gothic styles which is so nearly universal among Englishmen of all schools and denominations, is to this day regarded by many foreigners as one of those pecu- liarities of the EnMisli nature which make the Enolislnnan so O o strange and unaccountable a creature. The Englishman, more- over, of tlic very nai-rowest type would find a consolation in reflecting that Rickman, who with all his devotion to Gothic art was a Quaker, could never design a good Anglican church ; and that the Roman Catholic Yiollet-le-Uuc, unrivalled in his knowledge of mediaival art and as a draughtsman, failed in his own aj'chitcctural woj’k. I. Then, again, architectural beauty is often said to be a OLD AND NEW CHURCHES OF LONDON. o result of the harmonious relations of its various parts, and I have heard a great cathedral described as music transformed into stone. Here the ingenious speaker simply meant that the cathedral affected him as a superb piece of music affected him. He did not see that he was supplying no answer to the question why the cathedral any more than the symphony moved him so profoundly, perhaps even to tears. So, further, we are told that the secret of architectural beauty lies in proportion. But what is proportion ? Whatever be the essence of the idea itself, it is perhaps more difficult to define it in itself than to illustrate it by examples of its opposites. As an example of disproportion in a flagrant degree, I may specify the size of many of the sculptured figures in St. Peter’s at Rome. These are for the most part far above the ordinary height of man, and are therefore absolutely out of proportion to the building in which they are placed, which is designed for human use. They reach their climax of artistic absurdity in the huge haldacchino, or canopy, under the dome, where four giants in fluttering garments hold up by their fingers a vast, shapeless roofing, strikingly resembling the top of a four-post bedstead, over what is called the ‘ Tomb of the Apostles.’ Nor need I be deterred by the great name of Michael Angelo from describing his wonderfid Prophets and Sybils in the roof of the Sistine Chapel as out of proportion to the chapel itself, or fi’om saying the same of his still more marvellous figures of the two Medici and of Night and Morning at Florence. 5. Every colossal figure which is placed in a building occupied by human beings is in truth out of proportion to the building itself The same fault is to be found with colossal 4 OLD AND NEW CHURCHES OF LONDON. figures out of doors when they are combined with figures of a lesser size, unless there is some special meaning expressed by their gigantic magnitude, as was the case with many of the sculptures of ancient Greece, where colossal size was designed to symbolise divinity. This is why the enormous bigness of the principal figure in the Albert Memorial is universally felt to be a mistake. The accompanying Allegorical and Portrait groups at the four corners prove that the art of sculpture is a living art amongst us. But the Prince, whose glory they are supposed to set forth, was not a demi-god among mortals. Once more, if any man wishes to learn how the idea of pro- portion may be cast to the winds in such simple matters as doors, windows, pillars, and pilasters, let him look up Regent Street, and survey that masterpiece of architectural ugliness. Here he shall see what could be done when the ‘ genius ’ of Nash was inspired by the wishes of George IV. ; and house fi’onts which seemed to have been sketched by the daring pencil of an upholsterer were executed with an unlimited profusion of cement and plaster. 6. Besides, whatever may be the meaning with which we use the term proportion, it is certainly not the same thing as beauty. It is not that secret ]iower which awakens in the cultivated and sensitive mind a mysterious sense of enchantment, as if it were in the presence of some hidden power, whicli lived a life of its own ])eyond the reacli of all the rules and regulations of art and tlie deductions of science. Beauty in ai-chitecture, then, is the result 7iot only of tlie adojfiion of certain curves and straiglit lines. acconi])anie(l with a suggestion of structural strcngtli and of ))ractica] adaptation to the ])urposes for whicli the building is OLD AND NEW CHURCHES OF LONDON. 5 raised, but upon the more or less frequent repetition of some unit of length, which seizes upon the eye of the spectator, and fills his mind with a sense of harmony of which he is none the less con- scious because he cannot explain precisely what it is that he feels. Upon this skeleton or linear structure the designer proceeds to place a multitude of details, in themselves suggestive of fitness and utility, and in their combination pleasant and varied. Taken singly, the effect of these essentials will not amount to positive beauty, though there can be no beauty without them. For I use the word beauty in its strictest sense, as expressing the highest perfection which man’s art can attain. 7. It is in the same way that the idea of beauty attaches to other results of men’s genius, and the face and figure of man him- self. There are multitudes of women with charming faces, but there are few of whom it can be said that they are beautiful. Gibson, one of the most accomplished of sculptors and acutest and fairest of critics, once said that in all his experience he had only seen one person whose face and figure were without defect, and that was a Roman boy, who at the time he said this was in prison for stabbing his brother. So it is in music and poetry. There are innumerable com- positions and poems delightful to hear or read ; but there arc not many that rise to the height of the absolutely beautiful. As an instance of musical beauty on a grand scale, I may specify tlie concluding chorus in Bach’s ‘ Mattlijeus Passion,’ and on a smaller scale Mozart’s ‘ Ave Verum Corpus.’ Among Beethoven’s master- pieces the Adagio in his posthumous Quartett in B flat is a movement which to the imderstandino; ear is entrancino- in its beauty. Among well-known poems, Shelley’s ‘Ode to a Skylark ’ 6 OLD AND NEW CHURCHES OF LONDON. is beautiful to perfection, and Tennyson has written a few songs and short poems which are as beautiful as a Greek statue. 8. Returning to our main subject, there can be no doubt that it is in the adoption of some prominent unit, and in its repetition more or less strict, including divisions of the same, that the highest beauty in architecture can alone be reached. And this natural law, for it is a law, which is dependent upon some universal element in our nature, prevails alike in the Gothic and the Italian (in which I include the Roman) forms. In the best Italian works it appears in the division of the exterior (implying a corresponding division of the interior) into stages, or floors of exactly equal heights, the projecting lines of the different cornices thus catching the eye of the spectator and compelling him to regard the building as a whole, and not as a mere pile of rooms, in which the sentiment of pettiness and shabbiness interferes with the effect of the cleverness, or even excellence, of some of the details. Of this fundamental conception in architectural design, the Banqueting Hall, at Whitehall, now a chapel royal, is the most familiar to Londoners among Italian works. And this adoption of stories of equal height runs throughout the whole of Inigo Jones’s design for the vast palace which was to be raised tor the Stuarts, and which would have given to the English Monarciiy tlie very l)iggest palace, save the Spanish Escurial, in which Euro])e lodged the Absolutism of the past. Intelligent criticism observes at a glance that it is this marked division of the design into two poi'tions of equal height which gives its dignity to that which is a mere fragment, and which tells the passe j‘ by that he is standing beneath the work of one of the great masters of the architectural art. OLD AND NEW CHURCHES OF LONDON. 7 9. Not far from this fragment of the home of absolutism stands that other palaee, which the popular sovereignty of modern days has raised to be the home of Legislative Freedom. The Houses of Parliament are the most magnificent single buildings that modern Europe has seen, and it is designed on identically the same theory as the Whitehall Banqueting Room. Its front is divided into two stories of equal height, and the same theory prevails throughout the building. The whole design of the river front, notwithstanding the multiplicity of its details, is singularly broad and simple, and the result is a remarkable aspect of unity and repose. The immeasurable superiority of the Gothic forms over the Italian, as suitable for the towers and spires necessary to prevent the dulness inseparable from immense masses in any variety in Italianism, and which are so striking a feature in the Houses of Parliament, only serve to bring into clearer prominence the principle of repetition which is common to both styles. 10. Sir Charles Barry was in truth an architect of nothing less than genius, and his memory will not suffer if I ask attention to an example in which he violated the principle on which I am insisting, and in which he liimsclf admitted that he had done wrong. His dvsign for the Reform Club House, in Pall Mall, is manifestedly suggested by the Borghcse Palace in Rome, as com- pleted by Michael Angelo. But it is seriously injured by the lessening of the height of the third story, in comparison with those below. To the eye familiar with the great works, both of Italian and Gothic Architecture, the result is nothing less than painful. 11. How constantly this law of equal division and repetition prevails in the artistic works of such men as Michael Angelo, Raf- s OLD AND NEW CHURCHES OF LONDON. faelle, and Bramante, I need not remind the cultivated architect. But its importance was felt from the earliest times, when the old Homan style, having grown out of the old Greek, was preparing itself for a future development into that Italian modification which was required by the habits of modern life, and which we associate with the period of the Renaissance. In the floors of the Roman Coliseum the principle is rigidly observed, and notwithstanding the huge size of the building all sense of mon- strosity and heaviness is thus obviated, and that sense of unity, lightness, and structural safety is secured, which we miss in more modern attempts at grandeur and dignity. 12. It is the same in the finest Gothic works of the thirteenth and fourteenth centuries, in which by universal consent the feel- ing of beauty is most successfully attained, in union with mag- nificence and greatness. Of this union there is no more striking instance than the Cathedral of Amiens. There we have a fixed unit of length, first adopted as a division in the pavement of the flooi- of the nave, then recurring exactly in itself or in one of its multiples in the height of the piers up to the springing of the areli, tlience, again, to the strongly marked projecting line of moulding below the triforium ; then, again, with more or less i-igid exactness in the height of the clerestory, and again, with its aritliinetical divisions tlirougliout the building, both horizontally and ])eipendicularly. In Ijondon a specially suggestive illustra- tion of the influence of tliis piinciple is to be seen in the beau- tiful church of St. Mary Oveiy, which was not very long ago chiefly knoAvn as St. Saviour’s, Southwark, and the sight of whose rare beauty is now so grievously interfered with by a hideous railway. AVho, indeed, can wonder at the Continental conviction. OLD AND NEW CHURCHES OF LONDON. 9 that the English people love money, and nothing bnt money, when he sees one of the most precious legacies of mediaeval art, which time, or rather the hand of imscrnpnlous men, has spared, now in this age of Art Education thus practically sacrificed to add a few pounds to the value of sundry railway shareholders in their lust for gain under the contagion of the madness of the hour? In St. Mary Overy the recognition of the principle is a little less rigid than at Amiens, but it has fiirnished tlie funda- mental idea on which its architect drew the general outlines of his design, and it is especially manifest in the central tower (Frontispiece). It is, too, in this unconscious sense of repetition, I may note before proceeding further, that we are satisfied, so to say, with the equilateral, above all other varieties of the pointed arch. Here we have the space between the bases of the two sides of the arch equal to a right line drawn fi*om the springing to the point of the arch. So, further, in the round arch. Unless it is an exact semicircle in which the space between the points of the springing of the sides of the arch is exactly equal to twice the radius of the circle itself, we are unpleasantly impressed that as an arch the construction is faulty. 13. How deeply the desire for this systematic repetition is implanted in our nature is to be estimated from its prevalence in the human face and body itself. The recognition by nature of this principle of the repetition of the linear unit in the con- struction of the human fi*ame is a fact which is noted by every authority who has studied the intimate connection which exists betAveen beaut}^ and structural laws. Those who doubt tliis con- nection are those who have not made it a matter of serious study. c lo OLD AND NEW CHURCHES OF LONDON. In the human figure the unit is the height of the head, from the base of the ehin to the top of the skull ; and the height of the perfect figure is just eight times the height of the head. The head itself is again divided into two equal portions at the centre of the eyeballs ; and similar divisions prevail throughout, from the chief division into two equal portions at the umbilical point down to the division of the hands and fingers. The circum- ferences of various parts of the body are, moreover, multiples of the circumference of one part ; and generally, without being aware of it, it is by this means that when in the presence of the masterpieces of Greek sculpture we are enthralled by an inde- scribable sense of their beauty and their structiu’al power. This union of beauty and expressiveness with the physical force resulting from the disposition and size of the hidden bones and tendons within, is to be especially noted in the two great statues so well known to English people — the ‘Apollo Belve- dere ’ and the ‘ Dying Gladiator.’ The expression of haughty delight with which the Apollo watches the flight of his death- bearing arrow is combined with an erectness of limb and a dis- position of the arms so beautiful as to suggest a divinity within, and we almost forget that the entire figure is a masterpiece of constructive strength. The ‘ Dying Gladiator ’ is, if possible, a still more instructive cxam])lc of that sense of the beautiful which is created by the mcT’C disitosition and proportion of the various portions of tlie jdiysical fi'anie. Lord Byron’s s])cculations as to the wanderings of tlie slauglitcrcd Dacian’s tlioughts to his ‘ Young barbarians all at play,’ by the waters of the distant Danube, are ])urely fictitious. No such thoughts are passing through the mind OLD AND NEW CHURCHES OF LONDON ii of the dying man. The real statue represents simply the final conflict between physical life and death. The heart is about to cease to beat, and it is through the sustaining physiological power resulting from a perfectly knit anatomical structure that the dying man still ‘ leans upon his hand,’ and is not already prostrate upon the earth. There is no thought or emotion left upon the all but lifeless countenance. It is a masterpiece of pathos and power, but it is thus sad and powerful because it tells of the all-conquering death, and which makes us feel all the more keenly the exquisite beauty of the limbs, thus on the point of yielding to their last destroyer. 14. Between the application of this fundamental element of beauty in architecture and its application by the hand of nature, there is, indeed, one important distinction. In every work of man, from the most magnificent cathedral down to the humblest piece of furniture, we are compelled to follow the strict rule of symmetry, almost universally, either in our complete structure or in its details. In nature such strict symmetry is absolutely un- known. The two sides of a trunk of a tree, its lateral branches and twigs, the sides of the leaves and buds of the trees and flowers — all these vary slightly in the corresponding portions. So, again, in the human face, body, and limbs — here strict sym- metry is unknown. No man’s two hands are exactly alike ; and so with his arms, legs, and feet. An absolutely symmetrical face is never seen, exce})t in the statues and paintings of modern artists. In no face do the two sides literally correspond. The eye alone is geometrically true, for unless both the eyeball and the iris, with the })upil, wei’e perfectly circular, the functions of the organ could not be fulfilled. 12 OLD AND NEW CHURCHES OF LONDON. 15. It is, as I have said, from their ignoranee of this unvary- ing absence of rigid symmetry that the ideal sculpture and painting of the modern artist are so destitute of life and meaning. Not so with the Greeks. In the Elgin Marbles themselves may be seen an illustration of their knowledge of the true facts of life ; and hence, among other causes, the wonderful sense of vitality with which those marbles impress us. But I know no antique bust in which this absence of rigid symmetry is so bold and impressive as it is in the superb colossal head known as the Giustiniani Apollo, at the British Museum. Here the two sides of the mouth are so unlike that the expression of the face when looked at on one side is actually contradictory to that of the other. Yet the whole head is splendidly beautiful. 16. That the laws of Gothic Architecture allow greater free- dom in this respect than is permitted by those of Italian, and still more than is possible in the pure Greek, architecture, is not to be denied. And there was a period in our modern English ‘ Gothic revival ’ when a sort of disorderliness of design was accounted a characteristic of the true Gothic. This misconcep- tion is fast dying out, though it is not everywhere dead. Our best arcliitects have long learnt that where Gothic architecture is inx'gular it is for some definite reason of structure or practical utility. Windows and doorways s})rawling about the outside of a Iniilding, with tiuTcts, pinnacles, and gables ad Uhltum., added fb]- tlie sak('. of the ‘ p'k^bii’csqne,’ no more produce the spirit of medi;eval art tlian does tlic self-satislied haughtiness of the ju'izc- winner in a country ajvheiy fete suggest the godlike scorn and joy of the Apollo Ilelvedere. 17. There exists, indeed, in all sensitive minds an undeniable OLD AND NEW CHURCHES OF LONDON. 13 desire for the introduetion of this free life of Nature into the formal rigidity of architectural structure. Freedom from hard symmetry is the sign of the presence of that mysterious life in the firmament and on earth from which they derive their beauty. From the love of what is called ‘ real lace,’ in whose network there is no precise symmetry upwards, we enjoy the sight of that freedom of the hand whieh implies the work of a living artist and workman. What is ealled ^ formality ’ is an objec- tion everywhere. 18. And here I may note that in its period of highest brilliancy Gothic architecture attained a power of introducing this freedom which is everywhere else unattainable. In her works of the fourteenth century, known as the Flowing Decorated, the tracery of her windows is often drawn, not by measurements with a pair of compasses, but by the untrammelled hand of the architect. Hence the corresponding curves in a window do not always correspond with one another with strict precision ; and we feel as if the lovely grouping of graceful forms grew into being, rather than were carved by the hand of some careful stone-eutting meehanic. 19. Here, too, I will venture to offer to the reader a view as to the essenee of tlie life of pointed architeeture which is not in accordance witli the popular theory. Surely it is the window far more than in the pointed arch that the works of the latter end of the thirteenth century, and all those of the fourteenth, are what they are. Without the aid of the pointed arch, it is true, the wundow tracery, which is the glory of Gothic art, could not have been invented. The single one-light windows could not have been tied together, and the intervening spaces of their upper 14 OLD AND NEW CHURCHES OF LONDON, parts been filled with tracery, under a round arch. And this it has proved in reality. In Italian architecture, the window, as such, is a mere opening in the wall. As an element in the structural beauty of the church or the palace it has no existence. Give it what beauty we may with pediments, lateral columns, and mouldings, in itself it is a large opening and nothing more, like the dull fishy eyes of a man or woman who can neither think nor feel. 20. Various guesses have been made as to the origin of the pointed arch and the date of its introduction into Emope. But, let me ask, where would Gothic Architecture have been but for the introduction of window glass at a comparative cheap cost and in practically sufiicient quantities in the thirteenth century ? It was the sudden placing at the architect’s disposal of all the l)rilliant light which sparkles through the coloured medium of the fourteenth-century glass which stimulated the mind to invent those marvels of beauty and brightness in which after-ages delight, but which they do not rival. The window, in truth, as such, from the veiy first, even before the introduction of tracery, seems to have exercised a special infiuence in pointed architec- ture. The simple lancet was instantly found to be capable of im})arting a peculiar sense of repose and harmony, until its charm was su])crseded by the more brilliant attractiveness of the suc- ceeding (late. In England tiierc remain some of the most faultless ex- am])les of tliis jiurest and sweetest of all architectural forms. And in no city of Europe are to Ije found two such delightful illustrations of tlicprinciplcs on wliich 1 have been insisting as are siip])lied by >St, Mary Overy and the Temple Church (Plate 2). In V If w 4 % « 4 5 # « r- ig] ■ - I i f. I '» •j « 4 4 « 4 I t % ♦ # CHURCH OF THE AUSTIN FRIARS CHURCH OF THE AUSTIN FRIARS OLD AND NEW CHURCHES OF LONDON. 15 To judge of the means, or artifice, so to say, by which these two churches attain their beauty, they must be studied in their ‘ elevations ’ on paper and not merely in perspective views. Here we have a perfect refinement and delicacy of outline, and that knitting together of curves and straight lines which create that indescribable sense of repose and dignity which appears in its noblest development in the famous tran- sept at York and in Beverley Minster. This, too, is the most difficult of all pointed styles to the modern architect, just as it is so difficult to the sculptor to approach the calm dignity of the antique Aristides at Naples, or the modern Houdin’s St, Bernard at Rome, of which it was said by the wdttiest of all Popes, Benedict XIV., that ‘ he would speak, if the rule of his order did not forbid him.’ St. Bernard was of the Cistercian order, which keeps a perpetual silence. 21. Of the capabilities of the Gothic window, both in the creation of tracery in itself and of its character when it seems to have grown into existence by a life of its own, the two most striking examples remaining in London have passed away fi*om the possession of the Church of England. The Church of the Austin Friars (Plate 3) is now used for the services of the Dutch, whose religious offices are of the very simplest kind ; while the Church of St. Etheldreda, in Ely Place, belongs to the Roman Catholics. There are, perhaps, no more beautifid windows of the latter part of the fourteenth century than those in the Austin Friars (Plate 4), and in the hands of its present owners all j)ossible care will be taken of the structure.^ The story of its transter ' It was not long ago carefully restored by Mr. lanson. i6 OLD AND NEW CHURCHES OF LONDON, to the Dutch is curious enough. It is to be found in the ‘ History of the French Wallons, Dutch, and other foreign rehigees, by J. S. Burn.’ From this rare book it appears that the Flemings, forming part of the body of strangers, were incorporated by Edward VI., and were settled as a congrega- tion in Austin Friars by letters patent, dated July 24, 1550, where one John A’Lasco was appointed first superintendent. From the following notice in the Acta Kegia, it would appear that they had been allowed to use the church of the Austin Friars nearly two hundred years, having taken sanctuary there in the rebellion of Wat Tyler in 1381, when many Flemings, as well as Englishmen, were executed. The story runs that thirteen Flemings were brought out of the Austin Friars church, seventeen out of another church, and thirty-two from the Vintry, all of whom were beheaded, unless they could dis- tinctly pronounce the words Bread and Cheese, which the Flemings were apt to pronounce as Brot and Cause. Edward VI. also, in his diary for June 29, writes that it was appointed that the Germans should have the Austin Friars for their church, ‘ for avoiding all sects of Anabaptists and such like.’ In 1566, the King of Spain, having complained that his subjects of the Low Countries had been harboured in England, ordered Bisliop Grindall to take their names, which was done l)y tlie minister. Tlie superintendence of A’Lasco extended not only to tlie German congregation, but to all foreign churches in London, and their schools. He was a great fHend of Erasmus, and was with him at his death, and became pos- sessed of liis library. 4T ♦ 4 # I I / % \ « f } % ST ET H EL D R ED A , E LY PLACE 6 . CRYPT OF S'T ETHELDREDA I //a ST MARY OVERY LADY CHAPEL. 1 > » in»t a * *w J " * w'ly ; MMM %Tsif4 W^m 41 4 . . h I V* I 1 'l \ TK >5. ClIAl'EL IN THE WHITE TOWEI OLD AND NEW CHURCHES OF LONDON. 17 The Church of St, Etheldrecla once formed part of the famous palace in Holborn, The large east and west windows are among the most characteristic and perfect examples of the early part of the fourteenth century to be found anywhere in England, and must have awakened new conceptions as to the possibilities of artistic beauty in the men who first saw them rise into life. Our engraving (Plate 5) represents tlie west window.^ The crypt (Plate 6) itself is very singular, being built entirely of wood, probably with the intention of replacing the wood with the usual stone vaulting. Of pointed vaulting when it had attained its highest perfection, though not its extreme enrichment, no examples can be named more beautiful than those at the Temple Church and St. Mary Overy (Plate 7). 22. Taking our other illustrations in chronological order, few of the dungeons of mediaeval Europe are more pregnant with terrible associations than the Chapel of the White Tower, in the Tower of London (Plate 8). The architecture itself is a somewhat rude example of the early Norman, and tlie roof is of the simplest barrel form. The chapel is full of memories of the prisoners who lingered within those gloomy walls year after year, and here heard the hurried Masses which were said for them when the clergy were the chief defenders of tlie jioor and suffering, against the rampant cruelties of feudalism. 23. Of the Norman roof in its groined form, and employed so as to carry the weight of a heavy structure, a pure and characteristic example is to be seen in the crypt under the east ' For the originals of this engraving, as well as that of the crypt of the same church, we are indebted to the liberality of tlie jii-oprietors of the Graphic. L) tS old and new churches OE LONDON. end of Bow Church, Cheapside (Plate 9), The engraving here is a copy from that which was taken from the excellent drawing made for the Society of Antiquaries by Mr. George Gwilt, and published by them in the ‘ Vetustas Monumenta,’ in 1835. Mr. Gwilt accompanied the engraving with some observations so interesting and important that I quote them as they stood. ‘ The walls of this erypt remain nearly entire. It is divided into three portions ; the centre or nave is 48 feet 7 inches long from east to west, by 26 feet 7 inches wide. On either side extends an aisle or corridor the same length as the nave, by 14 feet 5 inches wide. The whole extent of this crypt covers a space 78 feet by 60 feet. Communications between each of the aisles and the nave are obtained by four lofty door- M'ciys on each side, each 4 feet wide. The walls, which are over 5 feet thick, are carried up to the springing line of the arches, in neat and regular courses of block and block masonry ; above that line they are of rubble intermixed with Homan luick. The groined arches are mostly of an elliptic form, but those in the nave, which turn from north to south, are semi- circles, somewhat elevated above the springing levels. It is observable that the foci of the ellipses in the nave, extending east and west, are fixed at a distance from the centre line or conjugate diamete]- of exactly one fourth of the opening or transverse diamete]' ; i.e. tlie opening being divided into four pai'ts, the Ibci ai’e fixed upon the first and third divisions. Tin’s arrangement ]>roduces a well-proportioned and easy curve. Tli(] arclies and i'il)S ai-e turned with rubble masonry and Homan l)i'ick, and appeared to haA^e been originally stuccoed or plastered over. Koiu' windows may be distinctly braced in the CRYPT IN BOW CHURCH FROM THE NORTH SIDE NEAR THE EAST END OF THE NAVE OLD AND NEW CHURCHES OF LONDON. 19 most northern wall towards Cheapside, althong'li they are now masoned up ; and one at the end of the nave. Three of the columns, as shown in the plate, remain ; the other three, with their superincumbent arches, have been removed. The columns which remain are destitute of decoration to their capitals, but they approach nearer to the lofty portions of the Lombardic style of the eleventh and twelfth centuries than generally occurs in similar buildings of that period in this country. As the greater part of the original church fell down in 1272, and was subsequently altogether destroyed, with the exception of the crypt, it may be some satisfaction to trace, if possible, the peculiar features of the construction of the crypt itself from the analogy of existing buildings. With this view I have compared it with that of St. Peter’s at Oxford, commonly called Grym- ball’s crypt, which seems to have been constructed on prin- ciples exceedingly similar to those at Bow Church. Of the former, the upper part of the building remains nearly entire, and the comparison may be made. There can be indeed but little or no doubt that the upper part of Bow Church was a close approximation in style and character to the chancel at St. Peter’s at Oxford, but it would be too much to assume that the pointed arch was also intro- duced in the way we find it made use of in the latter building ; nor would it be so indispensably necessary at Bow Church, where the side aisles might be made available for the intro- duction of sufficient counteracting abutments, while on tlie other hand it will be obvious tliat the pointed arch was adoiit it, there is an absence of affectation and showiness which tells at once that its architect thought in Gothic, so to say, and tliat the days of competitions, exhibitions, academies, and revivalism were yet unknown. Two such churches are Stratford-le-Bow (Plate IG) and St. Dunstan, Stepney S T R ATFO R D - L E - B 0 W CHURCH PlaJe ^ 7 . ST DUNSTAN, STEPNEY OLD AND NEW CHURCHES OF LONDON. 23 (Plate 17). The former is the least important building ot the two, but it has its special interest as the church whose bells sang ‘ Turn again, Whittington ’ in the ears of the future Lord Mayor of the legend, and the biggest of which peal is the ‘ Great Bell of Bow,’ familiar to the children of England in the jingle about the ‘ Bells of London Town.’ In this church we have a tower with a nave and chancel, in which, as is not usual with buildings of this date (about a.d. 1490), the roof has not been lowered in pitch. The east window is a really line example of Perpendicular work ; but throughout the whole there is not one single feature of which it could be said that the architect placed it where it is, for the sake of show, or in order to cause the beholder to remark that he was a very clever fellow. St. Dimstan (Plate 17), Stepney, was built in the reign of Henry YI. or Edward IV. It has happily fallen into good hands, and in the present condition represents architecturally the continuity of the Anglican from the Koman Church, so far at least as its possessions are concerned. 28. Leaving Stratford and Stepney, however, I ought to add that our modern English fondness for making our buildings, domestic and religious, diminish in height and beauty in their higher stages, is one fruitful source of that failure to command admiration which is so frequent all over the land. From the numerous gentlemen’s ‘ seats ’ which abound wherever the country landowners possess a few thousand acres, down to the London houses of all sizes and pretensions, the same air of paltriness and shabbiness pervades the liigher stories. It is common enough to meet with large houses, or ‘ mansions,’ as the cant of the day loves to term them, in which the highest 24 OLD AND NEW CHURCHES OF LONDON. row of windows are even wider than they are high. Hence the utter want of dignity in the general street architecture of London. The feeling for simple loftiness, as such, seems strange to the genuine Briton. All that he has learnt of the spirit of true Italian architecture is its squareness. At the same time the improvement in what I may call the tone of London house architecture, whenever a capable architect is engaged by a man of sense and good taste, is striking. The designs for work of all kinds which appear weekly in the three architectural journals bear evidence to this advance.^ Only let me here venture to remind the lovers of the ‘ Queen Anne’s Style,’ which is now becoming popular, that strictly speaking it is no style at all, but an accidental Anglicised continuation of the brick-architecture imported into England by William III., who brought it from a country where there is little stone and timber, and where clay abounds. Furthermore, it is just as easy to build a very bad imitation of the ‘ Queen Anne Style ’ as a very bad imitation of the Gothic of the fourteenth century. The actual Queen Anne architects were free from the influence of the spirit of i-evdvalism, and they built for use and not for oddity. ' The plan of the pref?ent work excludes everything of the nature of criticism of the modern cliurches illustrated, which are simply described in their several characteristics. But [ cannot refrain from referring to a drawing of a countiy church in the JhiilJimj News, Mai ch 15, 1 S78, .as showing how great is the merit to which our modern architects are c:i|)able of .attaining. It is the west elevation of a church at Horsham, rebuilt for the Rev. (J.anon Bridges by Mr. Brock. This elevation is really beautiful, and it is a ple.asure to study it as a whole and in its details. The tower and spire are a marked proof of that )>rinciple of rejtetition to which T have c.alled attention .as the first element in architectural beauty, d'he four lower .stages of tbc buttresses of the tower .are exactly equal in height ; the highest division in the tower itself is equal in height to the lowest stage in the spire ; then follow two cijual divisions in the spire. The eye is thus and the mind is impressed with a sense of united strength, simidicity, and grace. f 9 k « * • ^ t y t I ST. GILESES, CAMBERWELL. St. Giles’s Church was one of the first build- ings which brought the late Sir Gilbert Scott into general public notice. He was at that time in partnership with Mr. Moffatt ; but the design of the church was due to Mr. Scott himself, who about the same time designed the very clever Martyrs’ Memorial at Oxford, a building which excited the most opposite feelings in the different parties in the Church, but about whose merits, as a Memorial Cross, there was but one opinion. Old Camberwell Church was a tolerable specimen of the patched-up suburban buildings, of which few now remain, but it had a picturesque tower, and satisfied the desires of the people of the old school. The present building is in the style of the early part of the fourteenth century, and holds about 1,200 persons. The organ is by Bishop. Our illustration gives a very fair idea of the general character of the building, and shows how early Sir Gilbert Scott was entitled to claim that place among English church architects which was univer- sally conceded to him. The present vicar is the Bev. F. F. Kelly. E An s' \ ¥ i £. I k I I i S. I 0 ALL SAINTS’, MAEGABET STEEET All Saints’ Church, of which the Kev. Bercl- inore Compton is the vicar, is the successor to a small chapel which went by the name of Margaret Chapel, which was well known to the generation of church-goers now rapidly passing away. The present building was de- signed by Mr. Butterfield, with those disadvan- tages of cramped space which have hampered the skill of so many modern London architects. The church holds 700 people. The organ is by Hill and Sons. ALL SAINTS, MAROARET STREET. I FLate.‘^:i tudiiFai pH 'i: > ^ - , , ' ’ ■\u^ i ' '1 r / ■ 1 1 ; ;; 'iii,r \v '■‘^'h Jiif : iinyti ’ '■ i'liiiiii,;? isi im •fmm IS ST. C0LUMBA8, IIAGGERSTON. St. Columba’s Chubch, of which the Hev. J. Vodin- Walters is the vicar, is an example of the architecture of a somewhat later period in the church-building movement. Its architect is Mr. J. Brooks ; and the style, that commonly known as Early English. It is a large church, holding 1,000 people. The organ is by Allen, of Bristol. We are enabled to give an illustra- tion both of its interior and exterior. J Ife'v t J 4 M. i |. L / ST. STEPHEN'S, PADDINGTON. I\ St. Stephen’s Church, of which the Eev. T. J. Kowsell is the vicar, Messrs. F. and H. Francis, the architects, have had every advan- tage of space ; and our engraving shows how well they have known how to take advantage of their situation. By the aid of galleries, which were no part of their original design, the church holds 1,600 persons. The windows are nearly all tilled with stained glass. The organ is by Ftill and Sons. PlatG. ^2. ST STEPHEN’S CH U RC H , W ESTBOU R N E PA R K ^ PADD! NGTON . ! t. r I 9 - t f I ST. MARY ABBOTT’S, KENSINGTON. St. Mary Abbott’s, the parish church of Ken- sington, was one of the last churches built by the late Sir Gilbert Scott; and it may he taken, in comparison with St. Giles’s, Camber- well, as an illustration of the modification in his characteristic style, which was the result of the general church-building movement of the last forty years. It holds as many as 1,500 persons. The organ is by Hill and Sons. The vicar is the Hon. E. Carr-Glyn. \ ; I ■# # ST. MABY’S, PIMLICO. St. Mary’s is another church built within the last few years, and is a good example of the time at which it was built. Its architect was Mr. Withers ; the style, that of the thirteenth century. It holds 400 persons. The organ is by Walker. The curate-in-charge is the Eev. R. Eyton. Flxite 25. Flufx’ 26 . in -ilhardri_-u(L.T)l~Ffl ary it}ie3Srnig-iiviT^.z • V i"' ■■ I"'. ’• i ]’l A I I. J7. S'J’, JUJ^E, SOUTH KENSINOTON. f -r ,v . ’ V . / rr • 1 '^ t MniMT r I . \ 1 1 - ^ . ST. JI DK, SOI TII KKNSINCTON. ST. JUDE'S, SOUTH KENSINGTON. In St. Jude’s Church, of which the vicar is the Kev. E,. W. Forrest, we are recalled by the architects — Messrs. George and Henry Godwin^ — to the style of a somewhat earlier period in London church building. They have here successfully met the three special demands of the day— moderation in cost, the use of iron in conjunction with wood and stone, with the utmost practical absence of obstruction to the seeing of the officiating clergyman by the whole congregation. It has been lately finished and richly decorated, and seats as many as 1,700 persons. The organ is by Wedlake. * To Mr. Greorge Godwin, who has for so many years been known to the architectural world as the editor of the Builder, we are indebted for material assistance in obtaining several of the engravings in the present work. Many years ago he himself published a work on the ‘ Churches of London,’ contain- ing a large amount of valuable information and numerous illustrations. Ih- If- jitf- • rir <)■ I T•^ / rj:* r*'- t' - ^SbFt'- iit- ST. JUDE’S, KENSAL GREEN. St. Jude’s Church, of which the vicar is the Kev. S. Bott, was raised as a memorial church to the late Mr. Shaw, at a cost of £6,500. We give views of the interior and exterior. Its architect was Mr. J. T. Lee. It seats 800 persons. a y 1 CHURCH AMD SCHOOL-HOUSE OF ST JUDE, KENSAL GREEN. Plate 31 ST AUGUSTINE, KILBURN. ■ iinri 8T. CHAD^S, HAGGEB8T0N. St. Chad’s, of which the vicar is the Eev. W. E. Sharpe, is a characteristic example of the church architecture of the date of its erec- tion — 1869 — when the zeal for church building was perhaps at its highest. Its architect was Mr. J. Brooks. It seats 800 persons. Our engraving shows that part of the building known as the ‘ Morning Chapel.’ The organ is by Walker. ST. AUGU8TINEE, KILBUBN} The Eev. E. C. Kirkpatrick is the vicar of St. Augustine’s. It is a costly church, designed by Mr. Pearson, and, in some respects, on a plan unlike that of any other existing church ; vaulted with stone throughout, and with a species of gallery or triforium, designed for processions. In matters of architectural de- coration it is simple, and seats 1,600 persons. The organ is by Willis. ' Our engraving is photo-lithographed from a photograph of Mr. Samuel Walker, of Kegent Street. G ,t r ^ 7 ^ •; , r - 0 I' I i . « ST. 3IABY’S, STOKE NEWINGTON. St. Mary’s Church, of which the Rev. T. Jackson is the rector, takes us back to an early period of Sir Gilbert Scott’s church-building history. It is a large building, holding 1,300 persons ; and it is interesting to compare it with his design for St. Giles’s, Camberwell, built some years before. St. Mary’s was built in 1858. The organ is by Gray and Davison. ST. JA3IES-TUE-LESS, WEST3L1NSTEE. The Rev. G. D. W. Dickson is the vicar of St. James-the-Less. It is a memorial church, built by the daughters of Bishop Monk, of Gloucester, in 18G1. Its architect was Mr. Street. It liolds 000 persons. The organ is by Nichoh son, of Worcester. Pl,ATE 32. ST. MARY, STOKE-NEWlNCiTON. « Plate 33, ST. JAMES-THE-LES3, WESTMINSTER. i s - fj ^ .. i * . 4 Milk.' Ml .:4 f 'I I 1 ST. SAVion:, oxford street. ST. SAVIOUB'S, OXFOBD STBEET. St. Saviour’s is a church with a special interest of its own, being designed for the use of the deaf and dumb ; and also as showing the in- genuity with which its architect, Mr. Arthur Blomfield, has adapted the arrangement of its ground plan to the peculiar character of the services for which it is designed : notwithstand- ing its confined situation, the building includes convenient accommodation for the chaplain, the Bev. S. Smith, and for its numerous inmates ; while underneath the church itself is a spacious lecture hall. It holds 250 persons. I ■» ST. GABBTEL’S, PIMLICO. St. Gabriel’s, of which the B.ev. B. Belcher is the vicar, takes us hack to an early date in the church-building movement. It is a large church, built by Mr. T. Cundy, in the style of the fourteenth century, holding about 1,100 persons. In a chamber at the end of the North Aisle is a fine organ, built by Bevington and Sons, of Soho, London, in 1854, from a specifi- cation of the late J. B. Brownsmith, Yicar Choral of Westminster Abbey, who was organ- ist and director of the choir in this church for some years. The instrument contains three manuals and pedal organ, forty stops, six cou- plers, and 1,800 pipes. ST. JOHN BAPTISTE, KENSINGTON. St. John Baptist’s Church, of which the vicar . is the Bev. G. Booker, is an example of what can really be done by the architects of to-day — in this case Mr. J. Brooks — where the archi- tect is not hampered by narrowness of site or deficiency in funds. It seats 878. The organ is by Gem. ■P La.t'6 35 Plate i / i 1 M^lfl ¥ '"r ;|^ffi 1 (; Ji IS rt -6 J I Advertiseme7its connected with the Decoration and Co7npletion of Old and New CJmrchelayer using the treadle only in soft passages. A compact, strong, and smoothly-finished jiiece of cabinet work encloses the whole. It will be seen that, though the conception of the reed organ is a simple one, many things are necessary to its success as a work of art. The work of cabinet-makers, brass-finishers, bellows-makcr,-, and varnishers is, of course, wholly mechanical In every conceivable way the power of machinery is used to lighten labour and to expedite results. Manv parts of the organ are made far more swiftly and unerringly by machinery than they could be by the best workmen. But there is something beyond all this ; and that which is most vital to a musical instrument comes from the refined taste, the sharpened faculties, the long exjicrience, and the un- wearied attention of the men who devote their lives to the art. Readers are invited to call at the Organ Saloon of the Sunday School Union, 56 Old Bailey, London, E,C., and inspect these Magnificent Instruments. ILLUSTRATED CA1AL0GUES AND PRICES FOR CASH OR ON THE THREE YEARS' SYSTEM UPON APPLICATION TO THE TRADE MANAGER, 56 OLD BMLEY, LONDON, E.C. First Class Medals. Paris, 1855. London, 1862 Paris, 1867. 4 ^, IP ORGAN BTJILDERS, ROSE STREET, SOHO, LOHDOH, W. DESIGNERS AND BUILDERS OF ALL Kim)S OF CHURCH, SALOON, AND CHAMBER 0R6ANS. Frice Lists, and every information respecting Itepairs, Additions, and Timings, given on application. The following is a List of some of the important Organs, public and private, huilt by BETII&TOU & SOIS: CHAPEL of the FOUNDLING HOSPITAL, London. St. MARTIN’S-IN-THE-FIELDS, London. St. GABRIEL’S, Pimlico, St. PAUL’S, Covent Garden, ,, CHRIST CHURCH, Mayfair, St. MARY’S, Bryanstone Square, ,, St. SAVIOUR’S, Haverstock Hill, St. ANN’S, South Lambeth, ,, MASONIC HALL, Golden Square ,, ALL SAINTS’, Finchley Road, PARK CHAPEL, Chelsea, St. JOHN’S CHURCH, Kilburn, St. GEORGE’S GARRISON CHURCH, Woolwich. ALL SAINTS’ CHURCH, Southampton. QUEEN STREET CHAPEL, Wolver- hampton. St. SAVIOUR’S CHURCH, Hampstead. AIGBURTH CHURCH, near Liverpool. WRANGTHORNE CHURCH, Leeds. ROYAL MILITARY COLLEGE, Sandhurst. St. JAMES’S CHURCH, Rochdale. St. ANN’S CHURCH, Lancaster. WELLINGTON CHURCH, Salop. HOLY TRINITY CHURCH, Tulse HiU. St. PAUL’S CHURCH, Birmingham. St. NICHOLAS’ CHURCH, Newbury. St. MARY’S CHURCH, Brighton. SLAIDBURN CHURCH Clitheroe. St. PATRICK’S CATHEDRAL, DubUn. R. C. CATHEDRAL, Carlow. R. C. CATHEDRAL, Tuam. R. C. CATHEDRAL, Longford. R. C. CHURCH, Cashel. St. CANICE CATHEDRAL, Kilkenny. R. C. CATHEDRAL, Sydney, N.S.W. QUEBEC CATHEDRAL. St. GEORGE’S CATHEDRAL, Cape. St. GEORGE’S CATHEDRAL, Grahamstown. R. C. CATHEDRAL, Costa Rica. St. MATTHEW’S CHURCH, Dunedin, N.Z. PRO -CATHEDRAL, Rangoon, British Burmah. First PRESBYTERIAN CHURCH, Oakland, California. HOLY TRINITY CHURCH, Cannes. CHURCH OP THE RESURRECTION, Brussels. R. C. CATHEDRAL, Honolulu, Sandwich Islands. CHAMBER OnAPiT.IvS VF.NAIil.nS, Esq., Taj>low ; 3 Mainuils and PoJal ; blown by waK r. ■!. A. ROLLS, Esq., The Ilsndro, Monmouth ; 2 Manuals and Pedal ; blown by water. T. CORDES, Esq., M.P., Ilryn Olas, Newport, Mon. ; 1 Manual ; ORGANS. Sir WILLIAM MUIH, Kensington ; 2 Manuals; blown by water. Rov. (1. IL'VRRIS, Tooting; 2 Manuals. G. M. SMITH, Esq., Elmlu.rst, Claphara ; 2 Manuals and Pedals blown by water. JOHN L'WSAGH’l’, E.sq., Sb ke 1 ishnp ; 3 Manuals and Pedal ; blown by gas engine. THE MMnEll BRICE AND TOE COHTANT, STOKE-UPON-TRENT. ENCAUSTIC, MAJOLICA, AND GEOMETRICAL TILES AND MOSAICS, For Churches, Public Buildings, Halls, Conserva- tories, Hearths, Fireplaces, Baths, Walls, &c. LONDON WAREHOUSE AND SHOW ROOM : 206 GREAT PORTLAJSTD STREET, W. DESIGNS AND ESTIMATES FREE ON APPLICATION. HARLAND & FISHER, 33 SOUTHAMPTON STREET, STRAND, W.C. CHURCH m DOMESTIC DECORATION, PAINTED MAJDLICA TILES, EMBRDIDERY PAPER HANGINGS, AND ART FURNITURE. CHURCH DECORATION OF EVERY DESCRIPTION, STAINED AND PAINTED WINDOWS FOR CHURCHES AND DWELLINGS. MURAL PAINTINGS IN OIL, ENCAUSTIC, AND TEMPERA. Glass axd Marble Mosaic, Majolica Painting on Tiles for Figure and Ornamental Work, as permanent as Mosaic, AT less than one-third THE PRICE. ’ DESIGNEES AND MANUFACTURERS OF DOMESTIC ART FURNITURE AND NEEDLEWORK FOR CURTAINS, HANGINGS, &c., ALSO ALTAR CLOTHS AND CHURCH EMBROIDERY MEDI/EVAL, QUEEN ANNE, AND OTHER PAPER HANGINGS. 3DESZG-IT:EI^S X]ITC3-T^..A.■WX]T^S OX 3yi:01TTJiyi:X]XrT.A.Xj &c. Designs and Estimates furnished for the Complete Decoration of Public and Private Buildings in any part of the Country. ESTABLISHED 1755. WM. HILL & SON, OIR.a-JLI