ments of the edifice to which it refers. We need say nothing more on the valuable and authentic character of the information thus conveyed.

Some historical account of the Church and Castle is prefixed, extracted from Archdeacon Bonney's "Historic Notices of Fotheringhay," to which excellent work the present forms a very agreeable supplement.

Views and Details of Stanton Harcourt Church, Oxfordshire. By J. M. Derick, esq. Architect. (For the Oxford Architectural Society.) fol. 1841.-The Oxford Society has caused these plates to be executed on a large and intelligible scale, in order to furnish such an example of the construction and details of the Early English style, as may prove of practical use where designs or restorations in that style are required. The reason for selecting the church of Stanton Harcourt, was that its Chancel and Transepts afford excellent models of Early English work; and, as that style, either from preference or necessary economy, is much in fashion for church building, this is certainly one of the most useful publications the Society could have undertaken, both for architects and amateurs, far better than any modern imitations, or any more picturesque views of antient models. We think it would be very desirable to have one good church of each style represented in the same manner; as we cannot agree with Mr. Pugin to relinquish all the charms of variety, or to confine the attributes of beauty to any particular stage in the progress of ecclesiastical architecture. The Chancel of Stanton Harcourt is particularly spacious, and reminds us of that at Cobham in Kent, in the same style. The chancel screen is of remarkably elegant Early English character, formed by a range of open trefoiled arches, supported by slender pillars belted in the centre of their shafts by a moulded zone- all of oak. It is evidently of the same age as the chancel itself, and is believed to be the earliest example that has yet been noticed in England. Plate V. represents a structure in the chancel, which Mr. Derick has entitled "The Holy Sepulchre," and for such purpose we do not hesitate to say it was erected; but we have been not a little amused by the extreme caution on the part of "the Society," in the prefatory notice: "On the north side of the Chancel, near the Altar, is a very singular structure, which has long been a puzzle to antiquaries, but which may be conjectured, from its situation and from the usual em

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blems of the Crucifixion found upon it, to have been used as the Easter Sepulchre, although different in form and character from any other that has been hitherto noticed. Others suppose it to have been only a canopied monument, of unusually small dimensions; whatever its use may have been, it is a very beautiful piece of work of the fourteenth century, and as such, a drawing of it is here given, without presuming to decide the question. The artist has for convenience called it the Sepulchre, but this must not be considered as pledging the Society to that opinion." Now, who the longpuzzled antiquaries have been, we do not know, as the only place where we find this erection before mentioned is Skelton's Oxfordshire, where a view is given of it, and it is called, it is true, "" beautiful altar-tomb,-said to commemo-, rate some person of the ancient family of Blount," and the further mistake is made of supposing the canopy and the base to be of different periods. But we can confidently assure the Oxford Society that it need be a puzzle no longer; for, not only is it, as they allow, in the ordinary situation for the Holy Sepulchre, and adorned with appropriate emblems, but it is precisely of the same shape as is frequently seen on the continent. One in the cathedral of Frankfort is an example: the body of Christ is of course placed on the table; in the back ground appear the three Maries; and on either side, standing without the tomb, statues of Joseph of Arimathea and Nicodemus (John xix. 39). The sleeping soldiers were usually represented in front: at Stanton Har court we have, instead, angels with shields, the five wounds, and other emblems of the Passion. It is perfectly true that the Holy Sepulchre and private monuments were occasionally combined, in the canopied altar-tombs of a late period, of which the will of Lord Dacre in 1531, quoted in the Appendix to the Glossary of Architecture, furnishes proof; and another is supplied by that of Thomas Wyndesor, esquire, in 1479, who desired " my body to be buried in the north side of the quer of the church of our Lady of Stanwell, afor the ymage of our Lady, wher the sepultur of our Lord standith. Wherupon I will ther be made a playn tombe of marble of a competent height, to thentent that yt may ber the blessia body of our Lord and the sepulture at the tyme of Estre to stond upon the same, and with myne armes, and a scripture convenient to be set about the same tombe," which monument may be seen represented in the Gentleman's Magazine for 1793, p. 993, and again in

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1812, ii. 113 (where it was by error confused with a monument at Harlington).* Many tombs of this kind may be noticed throughout the country: but the Sepulchre at Stanton Harcourt is of an earlier and different style to these. The range of armorial shields on the canopy, which appear to have encouraged the supposition of the structure being a family monument, are not clearly made out either in the description or the print before us. The second, on the front, according to Skelton's plate, ought to be Despenser; and for all of those mentioned in the description we think there cannot be room.

Examples of Encaustic or Inlaid Gothic Tiles. No. I. This very striking work consists of twenty-four facsimile copies of ancient figured tiles, printed in colours, of the size of the originals; thus presenting a perfect duplicate of each subject. One characteristic of the arts adopted in the middle ages is, that they were chiefly founded on the usages which had been common throughout the Roman empire. Byzantium was the place to which the sciences of architecture, painting, and sculpture retreated from the wreck of the "high and palmy state of Rome." The crusaders in course

of time introduced the pointed arch from the East, and formed a pleasing variation from the Roman models in vogue.

At what time the paving of buildings with encaustic tiles was adopted is not, we believe, precisely ascertained, but there can be little doubt but they were intended to supply the place of the tessellated work of the Romans, only avoiding the necessity of making out the devices and ornaments which they bear by minute tesselation. Thus a tile four or six inches square performed the office of many coloured tesseræ after the old Roman method.

The scientific renovation which has taken place of the different modes of architecture, from the early Norman era

* It should not escape observation, that this monument, during a late repair, has been injudiciously removed from the north side of the altar to an obscure corner near the west end of the church, and that this wanton alteration has been effected with money left to repair the fabric by Andrew Lord Windsor, the son of the individual whose tomb has thus been sacrificed! We shall be glad to hail the time when the influence of the Oxford Society shall penetrate into the remoter wilds of Middlesex, and effect a restoration.

through all the grades of the style popularly denominated Gothic, downwards to the age of Elizabeth, has suggested, it appears, the propriety of restoring also the mode of tessellation or paving with encaustic tiles; a mode of adorning floors which imparted to them all the richness and elaborate character of a highly decorated carpeting. Nothing, therefore, can be more happy and appropriate than the production of correct and graceful examples from ancient buildings.

Already have our potteries adopted the revived manufacture of encaustic tiles; and at the seat of Edward Buller, esq. M. P. for Stafford, at Dilhorne, near Cheadle, we have ourselves witnessed the pleasing effect produced by decorating the hall with encaustic tiles from the Staffordshire potteries. In this first Number are laid before us varied exam

ples, both heraldic and purely ornamental, of several beautiful Gothic tiles; they form models ready at hand, and applicable to the use of mauufacturers engaged in the revival of the art. Most of the specimens delineated may, we think, be referred to the fourteenth century. They are chiefly from the churches of Winches. ter, St. Cross, Romsey, and Warblington, in Hampshire. Numerous examples, we parochial churches throughout the counknow, are extant up and down in various ties of the realm, and the Editor, in ex

ploring these as his work proceeds, will find a large field open to his view. Often may the patrons and benefactors of churches be traced by armorial bearings on their floors, particularly of the chancels. Inscriptions have in some instances been made-tastefully to combine with ornamental tracery: it is one happy feature of the black-letter character to be decorative as well as legible. We must beg to call the Editor's attention to the fact, that some tiles bearing devices of an early period, perhaps of the 12th and 13th centuries, were raised or embossed. Those which we have seen of this kind were of one colour, a brown, glazed. Even their fragments are extremely rare. A woodcut of a curious embossed tile from the ruins of Whitland Abbey is engraved in our Magazine for 1839, to illustrate the account of Laugharne and its environs. These embossed tiles might not have perhaps been placed for pavements, but for decorating shrinework, and the spaces between pillars and mouldings. We shall probably hear something more of them as the work proceeds. Ardent lovers as we are of the taste dis

played by the artists of the middle age, we hail with delight the unpretending

work before as likely to advance the return of one beautiful feature of their ecclesiastical decorations. A. J. K.

The House of Commons, as as elected to the Fourteenth Parliament of the United Kingdom, being the Second of Victoria. By William Atkinson Warwick. 12mo.We have here another labourer in this much-trodden field of contemporary biography; and one evidently of research and labour not inferior to any of his predecessors. The number of facts collected in the receptacles of this class is now very considerable. There is one error in Mr. Atkinson's plan, which much disfigures his pages. Persons of good descent have frequently two or three surnames, as representing more than one family; in these cases they are here styled both WilsonPatten and Patten-Wilson, Twizell-Wawn and Wawn-Twizell, a'Court-Holmes and Holmes-a'Court, &c. &c. &c. whereby an ambiguity in their names is occasioned to persons previously unacquainted with them; and this is perfectly unnecessary, as the arrangement of the book is not in an alphabet of the members' names, but in one of the places they represent. We have not time to examine the biographical statements critically; but a cursory perusal convinces us that the book has been compiled with care. In p. 90, for J. d'Israeli read Isaac D'Israeli; and Col. Tomline is the eldest son, not a grandson, of the late Bishop of Winchester. In the list of Speakers, p. xxiii. Mr. Manners Sutton was not "the Hon." nor was he created a Baronet, but a G.C.B.; he should (when first elected) have been styled Esquire, like his predecessors; Mr. Abercromby, the son of a peeress, was "the Hon." which distinction is lost by retaining the official style of "Right Hon."

The Tower; its History, Armories, and Antiquities, before and since the Fire. By J. Hewitt. Published by authority of the Master General and Board of Ordnance. 12mo. We have been much pleased with the contents of this little volume, which consist principally of a catalogue raisonnée of the armories at the Tower. By the expenditure of a large portion of the money received for admissions, by the personal researches of the officers, and by the courteous and thankful reception of presents, great improvements have been recently made in these collections, as we intimated in our Nov. Magazine, p. 528; and the authorities

have taken a step materially calculated to advance their objects, by the circulation of this intelligent Guide to their stores; the compiler of which has made it his business to assemble all the new information in his power, and to correct former misapprehensions. The occurrence of the late Fire was merely coincidental to the appearance of this work; and it is remarkable that its compilation, and an official survey, which we have elsewhere mentioned, were both completed in the week before it happened. The chapter descriptive of the Grand Storehouse is of course entirely changed, and, as the most authentic account of the losses there sustained, we have transferred the substance of it to a subsequent part of our present Magazine. The very neat and accurate woodcuts with which the book is liberally illustrated, are worthy of every praise; but we must protest against the neglect of heraldry we find here, as well as in so many other places, even in so obvious a matter as the Royal Arms. The title-page of this book, issued by authority of a Government Department, is decorated with the Arms of the King of Hanover; and on the cover, a shield land, bears three leopards passant, not. intended for the ancient Arms of Engguardant. In another edition the account of the Regalia (for which a new Jewel House has recently been erected), should be rendered as historically complete as that of the Armories. In p. 2, we find the time is anticipated, when the removal of the Records to the new Tower at Westminster, shall open the architecture of the White Tower to public view. We may look forward in hope to the same period for the removal of the modern and heterogeneous excrescences of that structure, may be well spared when the other parts (now the Horse Armoury, &c.) which of the interior shall be available for the

same purposes. The ancient fortress glory. At present, the Norman castle in would then stand forth in its pristine not so large as the Tower of London, are the metropolis of the Tyne, and others more handsome in appearance.

Geology. (New Library of Useful Knowledge.) Cradock-We have read carefully this little treatise, and pronounce it to be a very judicious and useful compendium of the very interesting and important science of which it treats; a science the progress of which is advancing rapidly and successfully, under the guidance of a sound and legitimate philosophy.

THE ROYAL ACADEMY.

Dec. 10. This evening, being the 734 anniversary, the biennial distribution of the gold and siver medals took place in the theatre of this institution, before a general assembly of the members of the Academy, several distinguished men of science and literature, and some persons of rank and wealth, encouragers of the fine arts.

Sir Martin Archer Shee commenced the business by an address to the audience, in which he distinctly pointed out the advantage which these public modes of eliciting the dormant talents of youth produce, not on the arts alone, by training up youth in the best principles of art, but also an so. ciety, by exciting general attention to these intellectual pursuits; and expressed the satisfaction that the council and other members felt at the evident improvement which had manifested itself since the last time he addressed them on a similar occasion, and went into some detail as to the particular classes which had especially distinguished themselves. The prizes were then distributed in the following order :

To-Mr. Henry Le Jeune, for the best historical painting; to Mr. William Calder Marshall, for the best historical group in sculpture; and Mr. William Hinton Campbell, for the best architectural design, the gold medal, with the Discourses of the Presidents Reynolds and West.

To Mr. Frederick Stackpoole, for the best copy of a picture made in the painting-school, the silver medal, and the Lectures of the Professors Barry, Opie, and Fuseli; to Mr. James Price, for the next best copy, the silver medal.

To Mr. James Gildawie, for the best drawing from the living model, the silver medal, and the Lectures of Professors Barry, Opie, and Fuseli. To Mr. Henry Le Jeune, for the next best drawing of this class, the silver medal.

To Mr. George Nelson, for the best model from the human figure, to Mr. Henry Bayly Garling, for the best drawing of the south portico of St. Paul's Cathedral, and Mr. Michael Angelo Wageman, for the best drawing from the antique sculpture, the silver medal, and the Lectures of the Professors Barry, Opie, and Fuseli. To Mr. Alex. Davis Cooper and Mr. Henry Boyce, for the next best drawings in the class, the silver medal.

To Mr. Thomas Henry Merrett, for the best model from the antique sculptures, the silver medal, and the Lectures of the Professors Barry, Opie, and Fuseli. To Mr. George Gammen Adams,

and Mr.Alfred Gatley, for the next best model, the silver medal,

In justice to the students in the two last-named classes it should be stated that very rarely more than two medals are awarded, but the talents and assiduity evinced on this occasion being greater than usual, extra medals were given.

FINE ARTS COMMISSION.

In the Gazette of the 24th Nov. the Commission, whose names were given in our last Magazine, p. 646, as having been appointed "for inquiring into the best mode of promoting the Fine Arts in the United Kingdom," was, by a corrected announcement, described as "Her Majesty's Commissioners for the purpose of inquiring whether advantage might not be taken of the rebuilding of the Houses of Parliament for the promoting and encouraging the Fine Arts." This is a very essential limitation of the powers of the commission. Nevertheless, it is an important step in advance for the interests of the Arts; it may be taken as an augury that the Nation will be at length roused to do something; and the Artists of Great Britain may be congratulated on the subsequent appointment of C. L. Eastlake, esq. R.A. as Secretary.

PICTURES BY HOGARTH.

Messrs. Smith of Lisle - street have recently discovered in the country a duplicate set of the pictures of the Marriage à la Mode, by Hogarth, which appear to have escaped the researches of all the writers on his works. They are evidently the finished sketches from which he afterwards painted the pictures now in the National Gallery, which are much more highly wrought. The backgrounds of these pictures are very much subdued, which gives a greater importance to the figures. They are now the property of H. R. Willett, Esq. of Merley House, Dorsetshire, who has lately been fortunate enough to add them to his already rich collection of Hogarth's works, of which an account is given in Nichols's Anecdotes of Hogarth, 1833. Mr. Willett has also become the possessor of the Portraits of Hogarth, painting, and Broughton, mentioned in that work as being in the Marquess Camden's collection, as well as of that of Jacobson, the architect, from the collection of Mr. Watson Taylor.

These pictures of the Marriage à la Mode are painted in an exceedingly free

and sketchy manner, and most probably at the same time as the four pictures of an Election now in Sir John Soane's museum, the execution of which they very much resemble. There is a considerable number of variations between these and the National Gallery pictures. The following list gives the principal differences, but an accurate observer would with facility detect many others.

No. 1. The building in progress, seen through the window on the right, has scarcely any scaffolding; only the back of the carriage entering the coach-house is seen, while in the National Gallery picture, the whole of it, as well as the coachman, may be distinguished. There are no blocks of stone lying in front of the building, and only five figures are before it, while in the finished picture there are seven. The footstool, on which the old peer rests his gouty foot, has no coronet upon it, and there are no leaves on the genealogical tree. No letters appear on the deeds, marriage settlements, &c. The reflection of the young nobleman is not seen in the looking-glass, and there is no china jar under the table near him. The pictures hanging about the room are the same, but not so much finished. The walls are quite plain, and the ceiling is not decorated with the picture of the destruction of Pharaoh's host.

No. 2. The screen behind the young nobleman is quite plain. The chimneypiece has no ornamented wreaths or decorations. The curiosities on the mantelshelf are different; there are no figures on the dial of the clock, and there is considerable variation in the picture of the angel playing on the bagpipes, over the mantel-shelf; his hair is not curled, and the frame is not so much ornamented. The head of the lady is younger; it has a much more refined and beautiful expression than that in the National Gal lery, and is one of the finest heads Hogarth ever painted. On the table near her is a jewel-case instead of a plate with slices of bread on it. The pictures of the Apostles in the background are totally different, and there is no appearance of any figure on the canvas at the extreme end. The ceiling has no ornaments or medallions; the chairs are not embroidered; and that one, the back of which, in the National Gallery, appears to be close to and burned by the flame of the candle, has in this picture the front towards the candle, and the seat is under the table instead of towards the wall. There are no musical characters on the open music book on the floor; nor any letters on the ledger, or bills, &c. the old steward holds in his hand.

No. 3. There are no jars or drawers in the case on the left hand side of the picture near the quack, nor any wreaths of flowers below the cornice above it. The pictures near the quack are different, and very indistinctly sketched. The buildings seen through the window are totally different, as is also the arrangement of the window itself, there being no pillars on each side of it, as in the National Gallery picture. The letters F. C. (Fanny Cock) are not on the enraged woman's bosom. The girl's face has not the same expression, and she has not so much hair hanging down her back. The title-page of the book is quite plain, instead of having large letters on it; the alembics, &c. in the background on the right are different, as are the wheels of the machine for setting dislocated joints, which are also not so distinct.

No. 4. There are no cards or notes on the ground at the feet of Farinelli, who has no ring on his left hand; and the head of the eagle in the picture above him is placed higher up the body of Ganymede. The arch of the alcove, in which is the bed, is not ornamented. Mrs. Fox Lane's foot is not seen; the masquerade ticket the lawyer holds in his hand is quite plain, and the nic-nacs on the floor are different. There are no letters on the catalogue, but the pot near the basket has "Lot" roughly written upon it. The figures on the screen are not the same; the one on the extreme right appears to be an Armenian smoking a pipe, instead of a figure of Punch. The sofa is not embroidered.

No. 5. The arrangement of the stays, faggots, &c. in the left corner is different, and there are not so many of them; there is no appearance of letters on the paper afterwards lettered "The Bagnio ;" and the red reflection on the foreground is much fainter. The bed clothes are not the same, and the cornice is not ornamented. The legs of the figure in the tapestry do not appear under the female's portrait; and a portion of the tapestry over the window is not torn and falling, as in the National Gallery picture. There is no lion's head near the figure of Solomon in the tapestry, and the figures in it have very different expressions. The staple of the lock, which has been broken off in bursting open the door, lies on the floor, but there is no key to be seen near it. The light thrown on the ceiling by the watchman's lanthorn is different, and the man in front of him has a plain dress on, instead of a striped one, and there is no bowl on the chair near him. The head of St. Luke in the picture over the door has a large beard; the bull's head is in