of the civil wars, as he resided at the castle of Brampton Brian. Gough, in his Additions to Camden, and Collins, in his Historical Collections of the noble families of Cavendish, &c., say that Brampton was destroyed by the parliamentarians in 1643, and the latter, that Wigmore was burnt by them at the same time.† Since this event it has been merely a ruin, and in possession of the descendants, Earls of Oxford. If, then, Wigmore Castle be not renowned for the sieges it has undergone, its owners have played so conspicuous a part in the history of this country as to give to it a high degree of interest; and, calling to mind the facts detailed in these pages, it is impossible to contemplate the now deserted ruins without reflecting on its former splendour and importance. Annexed are pedigrees of the Mortimer family, and that of the Duke of York. The first is from that in the College of Arms; the second from a MS. by Edward Lhuyd, entitled The British Genealogist, in the library of Goodrich Court; and the third from Anderson's Royal Genealogies. William Warren= William Comes de Warren-Gundreda, fil. Radulphus de= et Surry Hugo de Mortuomari Willmi. Conq. Mortuomari Miliscenta f. Com. Darbeye 1st baro. de Wigmore 2 Wm. Longes patha Netherley exdono Gwladusa. f. Hugo D. def. de Radulp. Will. de o. s. p. | 2 Robertus= Robertus de M. o. s. p. M. miles Marguretta=Rob. de * My friend, the highly erudite Rev. John Webb, of Tretire, Herefordshire, gives me this information on the authority of his notes: and adds, 66 upon this fact you may rely." + London, 1752, fol., p. 199. | 2 | 3 Rog. de Johanna Matild. Theob. Johanna Johannes Hugo Walter Edm. M., 1 | f. P. de Com. de Genevill de Verdun Edmund Mortimer, &c.=Eva, d. of Rhys Davydd ab John Mortimer, of Eva, d. of Lewis Davydd Meredydd, Richard Mortimer=Catharine, one of the daughters of the Right Rev. Dr. &c. Roland Meyrick, Bishop of Bangor Edward III., King of England,=Philippa, dau. of William, third died in 1377 Richard, Duke of York, in 1425,-Cecily, dau. of Ralph Edward IV. ARCHITECTURAL ESSAY ON THE CHURCH AND BY JOHN BRITTON, F.S.A., &c. THE following essay was written for a mixed auditory, adapted to the place, and to the anniversary of Shakspeare's birth-day, April 23, 1836. Pointing to a large drawing of STRATFORD CHURCH, Mr. Britton observed:-Who can gaze on this venerable, but lightsome edifice without mingled emotions of admiration and reverence? Who can see its tapering spire, its elegant chancel, and scan its monuments of departed men of note and excellence, without * Read at the Architects' Institute, London, May 23, 1836. feeling his passions warmed, and his imagination excited. This church is the mausoleum of Shakspeare. Here he was baptized-here his remains were interred-here his parents his wife-his family —were all collected in peace and endless harmony. Whatever little incidents in life may have occasioned dissension or discord amongst them, were all reconciled, forgotten, and forgiven, in this their last and closing home: for "here the tired ceased from labour, and the weary are at rest." Architecturally, historically, poetically, this building affords a theme replete with interest, full of pathos, terse in "pith and moment." Built and consecrated to the omnicient Creator of the universe, it awakens the most sublime emotions of the human soul ;it carries the mind "from earth to heaven," and " gives to airy nothing a local habitation and a name.” Whilst the vast temples of the old world, with their idols and endless hieroglyphics, astonish and bewilder our reasoning powers, they also oppress the heart with sadness and sorrow. Evidences as they are of human institutions and superstitions thousands of years back, they demonstrate the ingenuity and persevering industry of man; but they also shew that his mental faculties were enthralled, and filled with monstrous absurdities. Even the more modern Grecian and Roman temples, though admired and praised by the architect and artist, and hallowed by the poet, have nothing of that truly fascinating charm which belongs to the Christian church; especially when that edifice is large in size, rich and elaborate in sculptured decoration, adorned with painted glass, and stored with monuments of illustrious persons. In these characteristics and attributes many English churches abound. The cathedrals, in particular, are volumes of history; whilst several parish churches abound in varied and important materials for the study of the practical architect, the antiquary, and the scholar. If that of Stratford be not the most preeminent of its class, it has some features and some accessories which render it at once peculiar, attractive, unique, and fascinating: and these peculiarities it will be my duty to point out, in such a way as to claim the attention of every person of laudable curiosity. To the architectural antiquary, and to the artist, I need not appeal: the true lover of Shakspeare, and the enthusiastic poet, will not require the aid of a local ciceroni, or the comments of a critic. The eyes of such are in their imaginations, which, possessing the combined powers of the microscope and telescope, magnify the small, and bring home the distant. The parish church of Stratford is peculiarly and invitingly placed at one extremity of a large town, remote from its noise, bustle, business, and life. It is rural, retired, and partly shrouded by lofty trees, whilst the "ever-flowing Avon" moves slowly and smoothly past its walls. Contrasted with the streets and "busy hum of men," it is admirably adapted for "sweet solitude" and mental serenity. The melancholy and musing Hervey could not have found a scene better adapted for his Meditations among the Tombs; and a more philosophical and profound mind may ruminate on the spot with deep and piercing thoughts on man, as he has been, as he is, and as he may be. But I must view the building itself, notice its architectural characteristics, and offer a few passing remarks on persons intimately associated with its history. In plan the church comprises a nave, or rather a choir, with aisles; a north porch being its chief entrance; a transept, with a tower and spire rising from its intersection with the eastern and western ends, and a chancel, forming the eastern extremity. In these different parts are exhibited a few varieties of the numerous architectural designs which mark the middle, vulgarly called the dark, ages. The tower, with parts of the transept, are the oldest. Dugdale calls the whole church" of very ancient structure, little less than the Conqueror's time, as I guess, by the fabrick of the steeple ;" but by the windows and mouldings we may safely refer them to the latter part of the twelfth century, during the reign of either King Richard I. or John. It was about that age that the semi-circular, or genuine Norman, style of architecture began to give way to a new species of design, in which columns, mouldings, windows, and doorways, assumed lighter and more lofty proportions; whilst a pointed form of arch was introduced in the place of the semi-circular. It was the era of reform in church architecture, which led to a great and essential revolution in the constitution, laws, and ordinances, of architectural design. Thenceforward every succeeding century, almost every succeeding period of twenty years, was distinguished by palpable changes, and generally by striking improvements, in the forms, arrangements, and details, of ecclesiastical buildings. Unshackled by schools, by precedent, by the dogmas of critics, the monastic architects gave full and free latitude to genius; in every new design they seemed to have been actuated by the laudable ambition of surpassing all former works, and inventing something beautiful, and fascinating. The church now referred to manifests some of this inventive ambition; for the parts west of the transept are improvements |