the labours of his most humble and most grateful servant.

The descriptions already given of this House from Plates in the Vitruvius Britannicus, done under the corrections of Sir John Vanbrugh himself, we find, upon inspection of them with the buildings upon the spot, quite satisfactory. The survey for that purpose took place this month, on the first, second, and third thereof. Hence the mode to be pursued, to give completion to the important task, will be to notice such other particular parts of the general elevations as have not hitherto been laid before the world by engravings or descriptive details; and also those few particulars which from circumstances have been removed, altered, or newly decorated; concluding with the internal architectural recitals; which it is presumed, from the new attempt in this way, will engage general attention. Thus one mine will be opened to direct a Nation's gratitude to seat another laureled Hero in splendour and lasting fame!

It is necessary to premise, that the mansion stands direct North and West; in consequence all the attending erections have corresponding lines; a circumstance in some measure confounding description in its purposed course; therefore, to avoid a kind of literary confusion, we hesitate not to suppose the general mass of objects take the four established points of the compass.

4

66

few years,

The first piers have ogee rustics, a masonic idea, truly of the Knight's own coining; the second ditto, a plain square body set angle-wise (most uncommon) sided with Tuscan rock rusticated columns; entablature; con. tinuation of body with perforated compartments sided by inverted rockheaded scrolls; second entablature, neck pedestal, and rich urn with fruits, &c.

Approach to Triumphal-gate. Plain walls, with many intervening piers, in two tiers; impost mouldings, and entablature.-Triumphal-gate of entrance (stands North and South). Corinthian cast, perhaps more closely adhered to than is usually witnessed in the works of our Knight. Three parts; centre archway and two postern ditto; centre arch sided by double-detached columns, not fluted, raised on pedestals with compartments; arch. and impost, and ornamented scroll key-stone: entablature plain, except the blockings, bearing an extended pedestal with inscriptions. Grounds to arches of posterns rusticated; the design finishing on either extremity with semicircular piers; each front of this gate similar. In fact, is this Sir John's design?

Column of Victory. Stands at a considerable distance from, and of a central position with the West front of the mansion, the river and grand bridge lying between them. The column, which is of the Doric order, is raised on a pedestal, filled with recitals of the victories of the first Duke of Marlborough; shaft-fluted; ovolo of capital enriched. On the capital, small pedestal sided by eagles, on which the statue of the Duke in Roman costume; the left band has the baton, military distinction of his day; in the right, a small Roman statue of Victory. The unaccountable propensity of modern Sculptors to belie the historic part of their performances is not alone ridiculous, but highly reprehensible; for what can possibly justify the putting on an English character of the eighteenth century habiliments in use before the Christian æra, or reconcile the recent baton with the antique victory? But this proneness to misrepresentation has been for this century past, and is still persevered in; certainlya great deficiency in the skill of these sculptural artists. Among the numerous ex

amples

amples around us of statues, take James II. in Southwark, in his real costume; while at Whitehall we find him in that of the Roman. Mr. Pitt, Westminster-abbey, proper costume; Earl of Chatham, his father, Guildhall, in that of the Roman. Mr. Fox, Bloomsbury, Roman habit. Doubts arise if this column owns Sir John as master.

Grand Bridge. Of the Knight's genuine stamp. Three arches, great centre ditto 100 feet. In Bowles's print it is found that the original design was to have had an open arcade on the top of the great arch, with vases on the piers; in other respects the work remains unaltered, and may be thus particularised. Great arch; plain fascia architrave, with large treble detached rustics; projecting piers enclosing grotts of three stories with arched head windows, key-stones, scroll enriched entablatures, fascias, &c. Side arches rusticated. Para pets, with compartments, rock rusticated; terminating piers rusticated. (Adjoining the bridge, remains of Rosamond's Well, given in Carter's Antient Architecture.)

Flank, or North elevation of the North court of offices. The dimensions of the line considerable, nine divisions; centrically, grand entrancegate; double arched architrave having a fillet, sided by Tuscan pilasters diminished pyramid-wise, supported by a plain pedestal (base of one fillet) resting on, cannon balls; plain fascia as an entablature: rich iron work for the gate. The other divisions show plain piers between them, and at the extremity of the line, piers with ogee rustics; continued parapet with ball necks, balls gone: circular-head windows and imposts inserted within oblong recesses:

a

series of small circular windows. The whole of this upright is regular and simply grand, especially the gateway, which has a most singular and characteristic effect; but we regret, as an admirer of Vanburgh's art, that some subsequent alterations are manifest; such as, recesses, (statues placed in them taken from the main part of the mansion,) and swaggs of leaves done on the pilasters, a keystone to arch, large tablet, patera's and swaggs of leaves stuck in space between arch and entablature, with lions heads on ditto, and neck uros

taken from colonnade in the main front also, set on the summit of ditto entablature. Inner front of this gate of similar work, unaltered, except that lions beads have likewise been stuck on the entablature.

West elevation of the North court of offices. An extended line of nine divisions, by piers similar to those in the preceding front. In the third division a large door of entrance with arched head and imposts, sided by double Doric pilasters, rusticated entablature, with architrave, frieze, and cornice. In the sixth division a smaller door of entrance; double imposts and arched head, each rusticated; large pedestal key-stone, with a curious admixture of ogee frieze, sweeping and horizontal divided cornice. Divisions, seven, eight, nine, com> prise a regular upright of two stories; rusticated pilasters between them. First story, circular-head windows, plain architrave, dado in scroll indented tablets; second story, square-headed kneed windows, entablature of frieze and cornice only. Centre division run into a pediment; parapet with golochi perforations. The whole line, singular and beautiful, exists unaltered.

The Court of Offices South, never was completed, having had no more of its design erected than the above seventh, eighth, and ninth divisions; with the North elevation in range of the great centre court.

South elevation of the North Court of Offices in range of the great centre court. Seven divisions; first, second, and third divisions, returns in a certain degree of seventh, eighth, and ninth divisions of føregoing elevation; fourth division, magnificent gate of entrance from North court of offices, into great centre court; still the features of ditto elevations carried on in detached pilasters, and columns rusticated: arch-way, a sub ditto above, rusticated. As a peculiarity in Vanburgh's works, no perpendicular joints occur in his rustics, only such as being connected with the arches are vertically disposed. On plinth over pilasters and columns, the British lion grasping the Gallic cock. A grand attic, or turret succeeds in two tiers of arches, scrolls, enriched entablature, vases, and terminating ball; the other divisions in repetition of first, second,

and

and third.

North elevation of South court of offices, on opposite range of great court, similar.

Inner elevations of North Court of Offices. South elevation; North front of gate of entrance repeated; on each side three square-headed windows with circular-head recesses, a curious key-stone to windows, in having a semicircular small recess united to it.-West and East sides of Court; arcades presenting grand Doric doorways pedimented, leading to inferior courts and offices. Over arches of arcades, curious detached parapets. North elevation; nearly a repetition of grand gateway, side windows, &c. of foregoing elevation. If ever any particular work marked the mind of man, we have Sir John fixed in this Court; it is at once unique, imposing, and magnificent.

Referring to Part I. p. 37. where our descriptions commence, it is found that the great gate West, with the double colonade upon the great terrace was never erected; the other portions of the terrace, with trophies, vases, &c. introductory to the mansion had existence, but now levelled, and a disposure of steps ascending to portico with pedestal boundaries bearing a part of the trophies with recent sculptured sphinxes set thereon. There is, however, a partial arrangement of pedestals about the court and at the Western extremity, for lamp irons, and for fixing thereto a boundary line of iron spear railing at that point. Trophies on colonnades remain, but the several vases, statues, &c. removed: statue of Minerva, on first pediment, and statues of two prisoners on second ditto of centre portico remain; in tympanum of first pediment the grand armorial decorations.

In the East or garden front, on the grand pedestal over entablature, fine busto of Louis XIV. in his costumic wig and Roman habit, in lieu of the equestrian statue of our victorious Duke, and the lion and eagle, as at first intended. A slight alteration in the steps of portico. North or flank front. There do not remain any trophies, or ball finishings, statues, or terms to second story, and the vases to central finish, however, appear. South flank front, similar in most respects, allowing for the basement windows, being designed in open, arches for gallery in this

level. The varied grand turrets, &c. of the entire buildings are formed as masked decorations to the whole series of chimnies.

(Internal Survey in our next.)
AN ARCHITECT.

Mr. URBAN,

PAS

July 20.. ASSING through Canterbury lately, the Cathedral became (as it always does) the object of my attention and admiration. But I found the hand of modern restoration at work in erecting some new pinnacles on the buttresses of the South front. When these noble buildings are doomed to the hands of modern innovators, I view the act with pity and regret : but these terms, Mr. Urban, do but very faintly indeed express my feelings, when I was informed (and very easily perceived) these restored pinnacles are wood! You will naturally exclaim, Can this be possible? It is too true. It did not appear to me that the hand of Time (more merciful than the modern fell-destroyers) had made such inroads, as to destroy the beauty or firmness of the work of the original Architect. Surely if the guardians of this very beautiful and venerable fabrick retained the least respect for this noble structure, the expence of a stone restoration (were any necessary) would have been easily defrayed from its revenue; or if not, let me recommend the noble example of Exeter, where a Prebendary's stall is kept vacant to discharge the expence of necessary repairs. Want of ability, taste, or attention, in the present time, to emulate the works of former ages, unfortunately often produces a desire to destroy, rather than preserve: but I trust this barbarous substitution at Canterbury is unequalled. Yours, &c.

Mr. URBAN,

UPW

VERAX.

Aug. 13. PWARDS of 300 original Manuscript Letters of John, the first Duke of Marlborough, chiefly addressed to the then Secretary of State, Sir Charles Hedges, and many of them containing matter of very considerable interest, were, on Tuesday, Aug. 6, sold by public auction. These letters, together with three notes of her Majesty Queen Anne to her fa

vourite

vourite Secretary, were sold for 570 guineas.

Most of the Letters of the Duke of Marlborough were written during his brilliant career on the Continent, in the beginning of the last century; and contain, besides military details, some curious diplomatic particulars. Some few of the letters were written, it would appear, in part by his Grace's confidential Secretary, at times, probably, when the nature of his high official duties afforded him not much personal leisure; but even in those instances they are all concluded by a line or two in his own hand, and finally signed by himself. The Duke, in one of his letters, states, that he was in the hands of the Enemy five hours, but that he was providentially taken for General Churchill, and that he escaped, without the Enemy being aware of the prize they had within their power!

The superscription or address of Queen Anne's notes is in a form which prevails to a considerable extent at the

present day; the word For is used in the following manner :

For

Sir CHARLES HEDGES,

&c. &c.

The notes themselves do honour to the head and heart of the Queen. Two of them are upon the melancholy subject of the execution of a capital convict of the name of Jeffries. They are dated Tuesday and Wednesday. The first incloses to the Minister a petition which her Majesty had received in favour of the culprit; upon which she says to her Minister, "it appears he has a wife and six children;" and concludes, "if it he a case of compassion" (that is, a case where mercy can properly be shown), "take care that his life may be saved." The other note, of the following day, states, that she bas "been so pressed by the woman" (the wife of Jeffries, no doubt); and positively commands a respite of the execution, to afford time for a full inquiry into the circumstances of the case.

-The third communication from her Majesty is of an open letter, which she had written to Lord Peterborrow, and thus submits to the perusal of her Secretary. There is nothing in the envelope by which the nature of this letter can be inferred. Her Majesty uniformly subscribes herself, "Your very affectionett Freind, ANNE R.

The letters were, a short time ago, in the possession of the Montagu family, at Luckham House, Wilts. The grand-daughter of Sir C. Hedges married, it appears, into the family of Montagu in 1742. HISTORICUS.

Mr. URBAN,

IT

Aug. 24. T will give satisfaction to your Classical Readers to learn that a Model of the Amphitheatre called the Colosseum, erected by the Emperor Flavius Vespasian, is about to be introduced to the notice of the publick in the Metropolis. The model represents this grand edifice in its perfect state, as it came from the Architect's hand; in order to which, extensive excavations were made, and the whole remains of the Colosseum, even the most minute parts, were measured, to fix with architectural certainty the parts that are missing. The proportion which the model bears to the original is a sixtieth part. This magnificent work occupied almost the whole of the last two and twenty years of the life of CHARLES LUCANGELI, a celebrated Roman Architect; and has been completed by his son-in-law PAUL DALBONO. Canova, and other foreign Artists of eminence, though their names are not so familiar to us, have certified their entire satisfaction with this perform

ance.

Mr. URBAN,

B.

Aug. 14. CONSTANT Reader of the A Gent. Mag. returns thanks to Antigallicus for his very excellent letter, p. 3 of the present volume, and for preserving from oblivion the paper which he so justly commends. But, Sir, what can be expected from parents who permit, and are present at, their daughters appearing in public places in a state of nakedness in which, I remember the time when a been allowed to exhibit her person? common prostitute would not have What can be expected from fathers or mothers who will be present when their daughters join in those most licentious dances, called Waltz's, introduced, I believe, from Germany? The nakedness was introduced after the French Revolution by a woman named, I think, Recamier, probably sent for the very purpose of debauching the minds of our females, a material step, if effected, towards assimilaing this Nation to that of France.

The same thanks are due to Mentor, p. 4, with an earnest wish that he will again take up his pen and enlarge on the incalculable mischief which must arise from sending children to be educated in France.

A. X.

THER

HE introductory part of our account of Mr. Clutterbuck's Hertfordshire, may be applied, mutato nomine, with the strictest propriety to the Durham of Mr. Surtees. Exact counterparts in the typography, the paper, and the embellishments of the Draftsman and Engraver, these Volunes form a proud epoch in the annals of British Topography.

The task of the Author, in the Work now before us, has also been performed with a degree of zeal and ability which deserves, and cannot but obtain, the warmest commendation; and his laudable exertions have fortunately been seconded by the Nobility and Gentry of the County in a manner hitherto unexampled, and adequate to his warmest wishes.

Fortunately for the labours of Mr. Surtees, very ample Collections had been making for a "History of Durham" for more than two centuries; and the various Precursors in the arduous work have been ably called by him into actual service, from Christopher Watson, who compiled "Four Bookes of Durham History" in 1575-4; and William Claxton, who was nearly contemporary; to Dodsworth, Mickleton, Davies, two Spearmans, and two Rudds; George Smith, Dr. Christopher Hunter, Randal, and Gyll. All these having been properly noticed in the Introduction, Mr. Surtees adds,

"The list of Provincial Antiquaries cannot be better closed than with the name of George Allan *, of Grange, esq. who, from a very early age, devoted himself with extreme ardour to the collection of materials for a History of his native County. It would far exceed the limits prescribed to these pages, to mention all the topographical contents of the library at Grange, which, besides Mr. Allan's own collections, contains the greater part of Randal's MSS, and a large portion of those of Gyll, Hunter, Mann, Hodgson, and Swainston +. In 1774, Mr. Allan circulated printed queries, calculated to elicit information on every subject connected with a History of the County on the widest and most liberal plan; but he finally, with the not uncommon feeling of Collectors, declined the task of himself arranging for the press the materials which had cost him so much time and labour; and his printed works are confined to a re-publication of Hegge's Legend of St. Cuthbert; Hall's MS Catalogue of Bishops, from the Dean and Chapter's Library; the Life of Bishop Trevor, 1776; the Returns of Members of Parliament for the County of Durham; the Foundation Charter of the Cathedral; and the well-known Collections for Gateshead, Sherburn, and Greatham Hospitals‡.In 1785, Hutchinson published the first two volumes of his History of Durham, founded almost entirely on the copious materials preserved at Grange; and the third volume appeared in 1794. Of a work so generally known, it would be impertinent to give any character in this place. The Editor feels his obligations decessor, as a constant and useful index in every page to the labours of his preto a vast mass of materials, which must have been otherwise arranged with double the expence of time and labour, from an almost chaotic state. however, be permitted to observe, that Hutchinson's work was undertaken and carried on amidst the avocations of professional duty, and completed, under

fle may,

GENT. MAG. August, 1816.

many