haps arrive, when they would be as much extolled as the Temple of Theseus, or the Parthenon; but as they happen to have been raised by our countrymen, in times for which we have no par ticular veneration, and we have variations without number in the same style, from the abundance of our riches we take occasion to despise each single branch which contributes to them. There has been a mist thrown between the early times of Greece and our own, which has given an ideal grandeur to all that belongs to it; not destitute of some foundation indeed, but greatly needing the aid of imagination. Some of this has been removed, as far as respects history, by Mr. Mitford, and as far as respects art by Mr. Wilkins, whom no one will accuse of being insensible to the merits of Greece. The "streets of palaces and walks of state" with which Pope so charmed the imaginations of the last generation, made but a very indifferent figure in the pages of Mr. Wilkins, and perhaps some will not thank him for having awoke them so soon" to find it was but a dream." Perhaps some fifty years hence it may be allowed to speak more plainly as to the real claims of the arts of Greece; it may be allowed that though the most extraordinary instances on record of the rapid progress of the human mind, they are only perfect as to those objects in which perfection was sought, and that though we may derive the greatest benefit from the study of them, it will not be by throwing ourselves back twenty-five centuries in science and experience.

That the "Ecclesiastical Architecture" now before us was founded in experience, and not destitute of scientific principle, no person conversant with it will now deny. It is also deemed worthy of imitation, and therefore. has some claims to being studied. But if it is to be studied, we apprehend it is not in the "Rules for drawing a Gothic Pillar and Arch" of Batty Langley, nor in the more elegant treatises of our modern amateurs. Unfortunately we have not a single original record; but this is a difficulty not peculiar to this branch of architecture, and may prove an advantage, if it put us upon such a study of the works themselves as that which has been the real foundation of all that is truly excellent in modern architecture.

To this end it would be most desirable that the last works of the thirteenth and two following centuries should be delineated with the care they merit, and on a scale sufficiently large to convey clear ideas, and not mere indications of every part. The plans and sections of Mr. Britton, delicately as they are engraved, are for such a purpose wholly inefficient. The section of Salis bury Cathedral with its spire four hundred feet high, is here reduced within half a dozen inches, and the immense pile of

York may be covered with the hand. There is another disad vantage in the plans, &c. in the "Cathedral Antiquities"—that they are drawn to different scales, so that the eye cannot compare any two together, without danger of the mind's forming some false judgment as to the relative magnitude of the buildings, a defect which, as all the Cathedrals are drawn to so small a scale, and the more important are not much at variance as to their dimensions and general forms, might have been guarded against.

In the publications of the Antiquarian Society on this subject the cathedrals are indeed represented on a scale sufficiently large, but the illustrations are not sufficient for the full understanding of the subjects. The expense attending publications of this nature must ever greatly retard the progress of art: but might not Lithography be employed in some portions to good effect? it has now attained a high degree of perfection, and we conceive is capable of a much higher range. In its application to architectural subjects, it has been singularly successful, and when we look at the extraordinary productions of Mr. R. Lane, we are not disposed to set bounds to the advantages which may be derived from it. With regard to views also, might not a style of etching be adopted which would admit of rapid execution, combined with considerable effect, and capable of being afforded at a moderate price? All who have examined the Abbeys of Fountains and Kirkstall of Mr. Cubitt, and are acquainted with those noble ruins, will bear witness to the fidelity as well as talent with which he has delineated them. They will bear comparison with Piranesi as to effect, and we believe would gain the palm from the Italian in respect of accuracy. It is not so much, a few very highly finished engravings, that are desirable in works of this nature, as a great number of correct outlines presenting a structure in all its parts, and seen from every variety of situation that can well be imagined: the former are indeed a luxury in which the amateur may indulge, but the latter are the very food requisite for sustaining the life of scientific knowlege in the architect.

But we are perfectly aware that after all, it is not easy by any delineations on paper to convey correct ideas of the structure of some of our cathedrals; for in most the plan will materially vary according to the level at which it is taken, nor can any ingenuity in dotting, or marking with faint lines, at all times convey the true nature of the projections above and below that level. For this purpose sections in all directions as well horizontal and even oblique, as longitudinal and transverse, are necessary; nor will these, however carefully executed, express the

varied surfaces which we meet with in the vaulting. On this account, models so constructed as to admit of being partially taken into pieces, would be far preferable, and we know of no collection of works in art that would at present be more really useful (and we are inclined to think attractive also) than a collection of good models of the cathedrals, particularly if made to the same scale, and so arranged as to illustrate each other. In the metropolis this would be peculiarly desirable, for the little that is left of true excellence in the pointed style is so little known, being smothered by houses on the outside, or choaked by monuments within, as to have scarcely any effect upon the public taste. Westminster Abbey, indeed, forms as complete an architectural school as any student could desire, and in consideration of the quantity of rubbish which has been permitted to accumulate within its walls, has been a little relieved on the outside; but so long as we are threatened by the awful towers of Sir Christopher at the West end, altogether excluded at the North, and made to pay tribute at the South door, but little inducement is offered to attempt an entrance,—and at the East end but little chance remains for the artist whose compass in his eye is directed towards Henry the Seventh's chapel, or for the luckless antiquary whose thoughts, employed upon past ages, assist not the direction of his steps among the crowd that respect neither the church nor its admirers.

There is only one circumstance at Westminster, the appropriateness of which no one can doubt, viz. the happy thought of cherishing the memory of the most rapacious monarch England has ever known, by making his tomb a plea for exactions. We do most deeply regret that this custom should still continue to be connected with the Church. If it be absolutely necessary that money should be raised, (and surely nothing else would induce the Dean and Chapter to continue the custom) let it be raised by some other means than this; and if Parliament will not supply the deficiency which would be occasioned by relinquishing it, let it be seen if some of the property of the Church cannot at some future period, be so disposed as to permit the dropping of this most hateful tax without injury. We should not speak thus strongly upon the subject, but from conviction that there is no one custom more pernicious than that of exacting money in our Churches. It has a far more prejudicial effect upon the Establishment than is generally imagined, and is most contrary to the spirit of our Church. It is true that the Sum may not be great, but it is sufficiently so to be vexatious, and presses upon those who can least afford it. It is not the fashion for persons in high life to "walk the studious

cloister pale;" but it has become a custom among a large class, (who, perhaps, preserve as much old English Principles, and old English Religion as any in the community) to take their families to these places, pleased in seeing the same feelings awakened in their children, which once affected themselves 'most strongly, and which all the bustle of the world has not been able entirely to efface. It is miserable policy, for the sake of the gain which can thus be made, to convert the House of God into a place of wrangling and discontent, during the week, and filling it with gazers instead of worshippers on the Sunday; to lose the best wishes of the people, and to give the enemies of the Church a constant excuse for railing at it. No care can overcome the evils of this system,-the right of receiving some fees will always be made a plea for the exaction of more; and surely it is hard that not even the common indulgences of any other exhibition may be allowed, but that the visitor must have his ears stunned with nonsense, and be hurried through as speedily as possible, that his conductor may be ready for another victim.

We have been in the habit of examining some of the very finest of these edifices, "from morn to noon, from noon to dewy eve," and have seen them from almost every part in which the foot could rest, and under every effect of light, not excepting lamp-light, candle-light, and moon-light, and we know that it would not be worth the while of any artist, capable of undertaking the subject, and paid as artists now are, to 'spend that time over them which would enable him to convey to another the ideas suggested by such daily inspection of the edifices themselves.

It is not, therefore, by drawings alone that the Cathedrals can become properly known and duly appreciated; nor is it reasonable to expect, that unless the edifices themselves be open to the public, or some Collection of Models formed, that the principles of design will ever become a popular subject of study with professional men; and consequently that they will ever be so known as to enable them to rival the works of the Masters of olden time.

The common objection to the revival of the art is the expense, and certainly it is possible to expend as large sums of money in this mode of building as in any other; but it is not the fact that it necessarily requires those large sums which are generally supposed. There are now erecting, in various parts of the country, very elegant specimens of this style, under the direction of the Commissioners, which have been contracted for at moderate, and even low sums.

When a considerable quantity of ornamental work is introduced, the expense must be proportionate; but it is no more necessary that a profusion of ornament should be introduced in the Pointed Style, than in the Grecian. Many of our finest old Churches are plain to the greatest degree, as to their de tails, but produce the most striking effect, by the admirable composition of a few simple forms. It is observable, that at one period in the history of the style in question, the quantity of the ornament was diminished; and it has ever been regarded as one of the most decided steps, then taken, towards the perfection of the art.

Another method of discouraging the revival of this style is, to represent all attempts as vain, and to assert that the art is altogether lost;-if lost, it has been by neglect, a continuance of which will never recover it. Even in its best days, it did not rise into the magnificence of York at once, nor is it reasonable to expect that a few years should restore the power so long laid aside. But the best answer to this is, to point out the fact, that a very considerable number, a large proportion of the New Churches in the country are in this style; and from personal examination, we can state that several are highly cre ditable to the Architects employed. Here we have, indeed, only St. Luke's Chelsea, and though we cannot commend some portions, (for which we doubt whether the Architect could produce any good authority, or shew any good reason) yet the general admiration which it has excited, is no bad proof of its merit; but if we were pressed for examples, we need only men tion the New Church now erecting, at Brighton, by Mr. Barry; and the New Buildings at King's College, Cambridge, by Mr. Wilkins, in proof, that even in different applications of this style, there is yet sufficient talent and knowledge amongst us to restore it, if not to its original splendour, to a rank which would do honour to our Age and Country.

Hints to some Churchwardens, with a few Illustrations, relative to the repair and improvement of Parish Churches. With Twelve Plates. Pp. 30. 10s. 6d. London. Rodwell. 1825.

"INSIDET quædam in optimo quoque virtus, quæ noctes et dies animum gloriæ stimulis concitat; atque admonet, non cum vitæ