study first, the general and leading principles, and afterwards that detail of which we can collect the best specimens from buildings of the date we mean to imitate.

The leading principles of all Gothic buildings were these: 1. The uses of a building were considered before its ornaments.

This principle is obvious in the staircases of towers, which were generally made in a turret at one corner, larger than the other three, and often carried up higher to give access to the roof of the building. Small turrets and pinnacles, or fineals, will be considered only as ornaments by the careless observer, but the mathematician discovers that such projections above the roof, form part of its construction; because they add weight and solidity to those abutments which support the Gothic arch.

2. The ornaments prevailed most where they would be most conspicuous.

The richest ornaments of Gothic architecture are the turrets, pinnacles, or open battlements at the top of the building. These were seen from all parts, and in the beautiful tower at Magdalen, it may be observed, that the enrichment ceases below, where it would not be so much seen. The gates and entrances are highly ornamented, because they are immediately subject to the eye; but the walls are frequently without any decoration. This economy in ornaments is confirmed by the laws of nature. See page 260.

3. The several principal parts of the building were marked

by some conspicuous and distinguishing character.

As the chapel, the hall, the chapter-room, and the bishop's, abbot's, or president's habitation, &c. The dormitories were not less distinguished as a suite of similar apartments. But where, in conformity to the modern habits of symmetry, it is necessary to build two parts exactly similar, it is difficult for a stranger to distinguish their separate uses.

4. Some degree of symmetry, or correspondence of parts, was preserved, without actually confining the design to such regularity as involved unnecessary or useless buildings.

This irregularity, which has been already noticed in speaking of the towers for staircases, is carried still farther in those projections, by which an apparent centre is marked: for if any ancient Gothic building be attentively examined, it will be found that the apparent centre is seldom in the middle. Thus in the beautiful cloister of Magdalen, the gateway is not in the centre of the west, nor the large window of the hall in the centre of the south side of the quadrangle; yet the general symmetry is not injured, and the dimensions are, perhaps, enlarged by this irregularity.

5. This degree of irregularity seems often to have been studied, in order to produce increased grandeur by an intricacy

and variety of parts. A perfect correspondence of two sides assists the mind in grasping the whole of a design on viewing only one-half; it therefore, in fact, lessens the apparent magnitude, while the difficulty with which dissimilar parts are viewed at once, increases the apparent dimensions, provided the eye be not distracted by too much variety.

The frequency of Gothic towers having been placed at a different angle with the walls of the chapel, must have been more than accident. The position of the tower at Magdalen, with respect to the chapel, is a circumstance of great beauty, when seen from the centre of the cloisters, because two sides are shewn in perspective. And, upon actual measurement, it will be discovered that few quadrangular areas are correctly at right angles.

And, lastly, the effect of perspective, and of viewing the parts of a building in succession, was either studied, or chance has given it a degree of interest that makes it worthy to be studied; since every part of a building is best seen from certain points of view, and under certain relative circumstances of light, of aspect, of distance, or of comparative size.

The great scale on which Gothic architecture was generally executed, is one source of the grand impression it makes on the mind, since the most correct model of a cathedral would convey no idea of its grandeur. The false Gothic attempts of our modern villas, offend as much by their littleness as by the general incorrectness of detail."

The Red Book in Magdalen College contains such examples and remarks, concerning the detail of Gothic architecture, as might be curious to the antiquarian; but which can only be understood by the numerous drawings with which the subject was elucidated.

Having assigned as a reason for writing in the plural number in the Red Book of CORSHAM, that a third person was there consulted, it may perhaps be proper to mention, that, in the architectural part of the plans for Magdalen College, and all the other buildings described in this volume, I have been assisted by my son only.

The annexed plate of ASHTON COURT [fig. 116], furnishes an example of making considerable additions to a very ancient mansion, without neglecting the comforts of modern life, and without mutilating its original style and character.

This house was built about the reign of Henry VI., and originally consisted of many different courts, surrounded by

building, of which three are still remaining; in all these the Gothic windows, battlements, and projecting buttresses, have been preserved; but the front towards the south, 150 feet in length, was built by Inigo Jones, in a heavy Grecian style; this front was designed to form one side of a large quadrangle, but, from the unsettled state of public affairs, the other three sides were never added, and the present long front was never intended to be seen from a distance: this building consists of a very fine gallery, which has been shortened to make such rooms as modern habits require; but it is now proposed to restore this gallery to its original character, and to add in the new part, a library, drawing-room, eating-room, billiard-room, with bed-rooms, dressing-rooms, and a family apartment, for which there is no provision in the old part of the mansion. It is also proposed to take down all the ruinous offices, and rebuild them with the appearance of antiquity, and the conveniences of modern improvement.

If, in conformity to buildings of this date, the courts were all to be preserved, and surrounded with buildings, or lofty walls, the damp and gloom, as well as the grandeur of former times, would be recalled; but by opening the side of these courts to the park with an iron rail, cheerful landscapes will be admitted; and by keeping the buildings in some parts low, a free circulation of air will be encouraged, and the more lofty buildings, rising above these subordinate ones, will produce that degree of grandeur and intricacy exemplified in the east view of ASHTON COUrt.

The old part (as distinguished in the plate) [fig. 116], consists of the hall, the chapel, and the two turrets; but no part of the gallery, added by Inigo Jones, is visible, except the chimneys in perspective. The new part consists of the entrance porch and cloister, which supplies a covered way to the great hall, and forms one side of the quadrangle.*

Over this low range of offices the more lofty range of new

* The idea of an octagon kitchen is taken from that still remaining among the ruins of Glastonbury Abbey: I mentioned it to the architect engaged at KENWOOD many years ago, and I have since observed it is introduced at CASHIOBURY, with admirable effect, by Mr. James Wyatt, under whose direction that ancient Abbey has been lately altered with such good taste and contrivance, that I shall beg leave to refer to it as a specimen of adapting ancient buildings to modern purposes.

building appears, consisting of a large square tower, which will also be seen rising above the long south front. In that part which joins the new to the old buildings, are a dressingroom and boudoir, lighted by a bow-window, placed at the angle in such direction as to command an interesting view of Bristol, and the river Avon, with its busy scene of shipping. To take advantage of this view, from a house in the country, may appear objectionable to some; but I consider it among the most interesting circumstances belonging to the situation of ASHTON COURT. To the wealthy mechanic, or the more opulent merchant, perhaps the view of a great city may recall ideas of labour, of business, of difficulty, and dangers, which he would wish to forget in the serenity of the country; but the country gentleman, who never visits the city but to partake in its amusements, has very different sensations from the distant view of a place which, by its neighbourhood, increases the value and the enjoyment of his estate.

A general idea prevails, that, in most cases, it is better to rebuild than repair a very old house; and the architect often finds less difficulty in making an entire new plan, than in adapting judicious alterations: but if a single fragment remains of the grandeur of former times, whether of a castle, an abbey, or even a house, of the date of Queen Elizabeth, I cannot too strongly enforce the propriety of preserving the original character of such antiquity, lest every hereditary mansion in the kingdom should dwindle into the insignificance of a modern villa.*

There is not more false taste in adding pointed arches and wooden battlements to a modern building, than in cutting off the projections, filling up the recesses, and mutilating the picturesque appendages of a true Gothic structure.