tion, or of greater developement, so as to prove beautifully congenial with the spirit of later art. The curtailed segment-headed is another pleasing variety of window; by which term we would designate those lights whose heads are formed of two simple curves, not flowing out of the upright lines of the sides, but meeting them at an angle, so as to produce in the head three angles instead of one. Of this kind of window (filled up in a similar style to the former, and surmounted by a hood moulding) Winchester cathedral, Boston church, and many other edifices of the same period, will afford us tasteful examples. The square-headed window will need no elucidation to person who has visited either of our universities, or any of the existing mansions of the Tudor times. Few specimens of this feature, however, (if elaborate finish be required) can exceed in elegance à rich form of window executed in the cloisters of ChristChurch, Oxford.

the

be gained by pointed lights. There is indeed yet another description of window occasionally met with, which we have not hitherto noticed, viz. that which has for the outline of its head the single segment of a circle. We cannot however consider this former as any other than a pernicious, although authorized, innovation, intrenching upon the obvious principle, that in the pointed style all arches should be pointed.

Such then are the principal varieties of window recognised in the practice of the perpendicular style; and if we turn to the character and decorations of Doorways in this style, we shall not find them less varied or elegant. Here, on the one hand, we may select the high-pointed arch, finished (as indeed windows of the same form may be with equal propriety) with a label or hood moulding; either following the curvature of such arch, or rising into the graceful undulation of the double ogee figure, or even assuming the old pyramidal outline, and purfled in either of the two latter cases at discretion. Instances we have, indeed, of the union of the pyramidal and ogee forms of label in the same example, as in the beautiful gateway of Beverley minster, the dignified elegance of which cannot be surpassed. On the other hand, we may adopt the flattened doorway; with or without its label, arched or ogee,—or surmounted by a square label, and finished out thereto by spandrels of tracery or foliage-a form of decoration sometimes applied also to doorways with the simple-pointed arch, but by no means with the same frequency as in the case of the obtuse. In the detail, also, these doorways have their characteristic decorations of moulding, commonly differing from the ordinary casement and mullion-mouldings of windows, by the adoption of a greater complexity of outline, redundancy of columns, hollows, based beads, occasional introduction of tracery in the jambs, foliage in the casement mouldings, and various other decorations.

The remaining description of window, the oriel, or bay, may be considered as of two kinds, which we may be allowed perhaps to distinguish as the chamber-oriel, and the hall-oriel. By the former of these we would understand that smaller oriel which, at a 'considerable height from the ground, gains its projection by the support of a cluster of advancing corbelmouldings, and of which some fine examples, out of many, may be seen at Magdalen and Christ-Church Colleges, Oxford, at Windsor Castle, at John of Gaunt's palace, at Lincoln, and, (though not with equal purity of detail) at Hampton Court. By the other appellation of "hall-oriel," we would signify that larger description of window, so common in our college and other halls, which rises at once from the ground, and frequently comprises within itself the forms of three or even five entire windows. Of this kind of oriel we may adduce elegant specimens from Crosby Hall, London, and Eltham Palace, in Kent. In the composition of domestic edifices it is impossible to find a more useful feature than the oriel window, under either or both of these forms, as imparting to an exterior a pleasing variety of outline and of shade," ledged" door, studded with nails, and adorned with and cheering an interior with an air of lightness and gaiety, and an amplitude of prospect, not to say with the associations of old English hospitality. In Ecclesiastical structures, however, these latter qualities are by no means requisite; and we cannot therefore think it other than a misapplication of the oriel, to make use of it for such purposes and to such an extent as is done, in fact, throughout the aisles of Henry the Seventh's chapel, especially when an effect more simply imposing, and adapted to the genius loci, might

Nor are there wanting in the department of carpentry appropriate varieties of Doors also to such openings :---whether be needed the simple kind of

massive flourished hinges and strengthening bands of iron,---or the more ornamented door, framed in panels, with mullion-like mouldings studded on the face; and, if in folds, adorned with a slender buttress or columnar bead at the line of junction,---or that which heightens its richness by placing in such panels suspended escutcheons, compartments of foliage, and long opened scrolls,---or lastly, that most elaborate variety which emulates in foliated ramifications the close tracery of a gorgeous window or shrine. Of

all these examples of doorway and door, and of others | these, the former, as it rises, diminishes its projection too fanciful for present classification, the edifices to which we have before referred will furnish extensive illustration.

A valuable adjunct to the door under many circumstances is the Porch, whose sweeping arch displays a depth of shadow well calculated, upon approach, to prepare the mind for the contemplation of an impressive interior, while perhaps a stream of light from a lateral opening suffices to relieve the door, and to intimate, it may be, an ornamental ceiling. The niches which frequently decorate its front afford a place for the characteristic effigies of patron and founder; or the face of the porch is otherwise distinguished by heraldic blazonry, cognizances and badges ;---the whole mass, meanwhile, having a tendency to increase, by contrast, the apparent height of the main building to which it is attached, to add variety of distribution, and, by broken lines of summit, to blend with the lofty forms of the principal structure. Where indeed a porch cannot be introduced, its effect may to some extent be answered by the use of a recess, or interval, between the entrance opening and the door itself, the shadow derived by which means will mark the point with an appropriate relief and importance.

by successive graduations, which, in their simplest aspect, are formed by one slope of weathering or water-table, and, in their more ornamental, by a little gable, and correspondent double inclination of weather-moulding. In the first case, where somewhat more of variety and decoration is attempted, grotesque figures of animals are often introduced erect upon the water-tables for purposes of emblematical allusion or of heraldical support; or, in the place of these, slender piers with pinnacles frequently occur to enrich and diversify. In the other case, the little gables, where requisite, are rendered more elegant by the addition of crockets and finials. Further to adorn the face of each graduation, niches, compartments of tracery, armorial bearings, badges, &c. are usual and appropriate; and, to decorate the summit. of the uppermost, a pinnacle is no less requisite, where the buttress rises above the parapet.

For the production of effect by the use of solid buttresses, nothing can be, under ordinary circumstances, of more essential importance than boldness of projection. In proof of this we might refer those who are for limiting their members of composition by a given number of feet and inches (or of brick-lengths, rather than by the rule of the impressive,) to the fine lines of buttresses at Westminster Abbey, and those of King's College Chapel, at Cambridge, or even of the simply-dignified chapel of its scholastic precursor at Eton. In all these, also, an additional point of observance is the deep and bold plinth which passes round the buttresses and along the walls, and which, though it produces a number of horizontal lines, produces them only where they are most wanted, that is, where the structure bases itself upon the ground, and comes more immediately into conjunction with the flat lines of low surrounding objects.

Having thus paid some attention to the varieties which the perpendicular style affords of those primary features of Pointed Architecture, the window and the door, together with the porch as an accompaniment to the latter,-(primary we designate them, for in the Pointed system they are so, while, in the classic modes, they are but matters of subordinate decoration;)—we pass on to other constituent parts of exterior composition, which are intimately connected with the distinctive character of the style under review; of these we may select the Buttress as one of the most striking. This feature was in ancient art as essential as it was characteristic, having to resist the pressure frequently of a ponderous groined ceiling of stone, and always of a weighty roof. In this age of plaster-finishings, indeed, and of scientific carpentry whose object it is to secure within itself the resistance of its own pressure, the same necessity for abutment seldom arises; we have, however, no desire to limit with such strictness the application of the imposing feature in question, the buttress, since, at least, it cannot do otherwise than add to the stability of the mass to which it is attached, and is sin-nacle. The flying buttress has also occasionally anogularly useful, in a decorative point of view, in pre- ther application than that which these buildings exserving bold masses of shadow, and vertical tendency hibit, wherein, by assuming the ogee, or double form of line. Of buttresses, the perpendicular style re- of curvature, and being arranged with a circular or cognizes two kinds,—the solid, and the flying. Of polygonal distribution, it produces in effect the out

Of the flying buttress, characteristic and elegant as it is, we need hardly say more than that the aisles of Westminster Abbey will afford an illustration of this feature in its most unadorned form, with simple weatherings above, and arch-mouldings beneath; and that Henry VII's chapel will furnish us on the other hand with examples of the same feature under its most elaborately-ornamented aspect, as pierced with rich tracery, crocketted with animal figures, and abutting against a pier surmounted by a purfled pin

line of the cupola: of this we may draw illustration [ deed, sometimes exhibit a plain continued copingfrom the market-cross of Malmesbury, and other build- moulding; but they wisely preferred in most cases ings. On the use of buttresses, we may remark in to meet the sky with a broken line of battlement, general that, while their introduction in ecclesias- whose simplest form is that in which the upper edge tical structures is highly characteristic and almost only of each battlement and embrasure is moulded; essential, it is by no means equally so in domestic and its more ornamental aspect that in which the edifices, where there is not ordinarily the same cause moulding is continued round the entire line:-after for majesty of exterior, nor for apparent counteraction, which the greatest richness is procured by perforato the thrust of massive roofs or stone ceilings. Their tion, and elaborate open tracery. The west front of application, however, under such circumstances ad- York Minster will furnish us with some of the ordimits of some latitude. nary varieties of pierced battlements,-St. George's Chapel, Windsor, with some of more varied designvarious fronts at Oxford with open parapets in which the continued serpentine or the zigzag line prevails;and King's College Chapel with specimens of pierced pointed battlements, and of the elegant perforated parapet composed of quatre-foil lozenges. In addition to these, the architectural traveller will have occasion to notice many examples too irregular for classification; and he will not fail to observe also, that, where a front has any pretensions to an ornamental character, the parapet generally exhibits a climax of airy elegance,-one of the many circumstances to which the Pointed style is indebted for the aptitude with which its masses harmonize with the scenery of nature; a result the more striking as contrasted with the effect of the hard-lined blockings, attics, and balustrades of classic architecture. The same may be said of the Gable-a feature so valuable in our style, and which, together with the roof terminated by it, is generally found by its greater or less inclination to adapt itself both to the high and to the flattened character of its accompanying members of composition, and more especially to that of the large window which it so frequently surmounts. We have, indeed, no wish to see the hand of modern improvement (as it is styled,) reducing in pitch the high barn-roofs of our older structures; and just as little relish have we for the gable, sometimes instanced in the present day, which makes pretension of stopping such a roof, but is found, on a change of position, to be only a piece of high blank wall. Since the gable is supposed to follow the lines of the roof, as that, in its turn, had anciently a declivity suited to the general character of the building it covered, as the high or the flat-pointed, let us, if we are to have the high gable-top, have it with the steep roof; if our roof be lower, our gables should be such as obtained under the same circumstances in the usage of the latter Henries.

The Pinnacle is a feature, the notice of which naturally connects itself with that of the buttress. Of this, too, the perpendicular style includes every variety; and, as the first, the simple pyramidal of four or (as it occasionally is) of eight sides, purfled up the angles in almost all cases, and issuing, either from as many little gables as it has sides, or from a straight cornice-moulding, sometimes plain, but ordinarily cut into small battlements and perhaps heightened with grotesques. In this, taper outline and bold but distinct purfling are matters of the most obvious importance. As to the latter of these points, almost any specimen of the fifteenth century might serve, one should suppose, to rectify the erroneous extremes, instanced in some modern works, of the use of crockets either so small and insignificant as to break without enriching the outline, or so long and close as to present the appearance of a continuation rather than a series,—not to notice, at present, any of the hideous anomalies in this particular of the Italianized or Grecianized schools of Pointed architecture. Another variety (but one on a larger scale than the former) | is that of the square purfled pinnacle, whose sides, instead of being solid, are perforated in compartments of light tracery, and sometimes also, in lieu of the straight outline, assume a slight curve inwards. Of this kind of pinnacle, under its proper application, as placed upon a pierced battlement or parapet, we may adduce examples from the tower and south porch of Gloucester Cathedral. The other and last description of regular pinnacle is that, so frequent in Tudor architecture, which differs from the first-mentioned kind by taking the outline of the ogee instead of that of the straight line, issuing out of a level and usually embattled cornice, and frequently enriched with a leaf-ornament disposed like fish-scales, &c. Instances of this variety are numerous at Hampton Court and in other works of a proximate age.

The treatment of Parapets was another subject upon which our ancient mason-architects bestowed

Not to dilate upon the variety of picturesque exte much and judicious attention. Their labours do, in-nal forms anciently assumed by that essential feature

of domestic architecture, the chimney, we may, in of frequent use in the later practice of pointed archiour upward course of observation, select, as the sub-tecture. This is sometimes finished with a plain or jects of some general remarks, the Tower, spire, and with a perforated battlement; sometimes with the turret. In the former of these, when happily com- addition of a purfled pyramid or depressed spire, as posed, the peculiar characteristics of the perpendicular may be exemplified from Magdalen College, Oxford; pointed style are developed with wonderful effect. but most frequently with the ogee-cupola, as in Tall lines of regularly-graduated buttresses are here Henry VII.'s Chapel, or the yet more aspiringlydisplayed with great advantage, and can never indeed elegant turrets of that treasury of excellencies, King's be omitted without insipidity and vacancy of com- College Chapel. position. Long and deeply-sunk windows, with high labels, here produce conspicuous dignity of outline and force of shadow,-effects further promoted by the use of niches, or of high panels of tracery. Airy battlements, light pinnacles, distinct purfling, and boldly-varied grotesques and knots of foliage unite in finishing the mass with dazzling but consistent ele-parisons may be made in respect to them by witlings gance. The towers of Gloucester and Wells Cathe- and self-constituted critics.

drals; Magdalen College, Oxford; Taunton Church, Somersetshire; and Great Malvern Church, Worcestershire, will furnish a few out of numerous happy illustrations of these excellencies, in some or in all points; and will shew, at the same time, how greatly many other of our towers, that may be of an equally or more expensive character, might have been improved by an observance of similar principles, especially upon the points of abutment and termination. The lanterntower is an elegant variety, which, to be properly so called, should both contain more of window than usual, and also transmit light into the area of the building which it surmounts, as at York and Ely Cathedrals. The octagonal lantern, though destitute of the latter application, is frequently used with great advantage to terminate the square tower, as in the fine example of Boston Church, Lincolnshire, and many others.

The characteristics then of these masses should, severally, seem to be those of dignity in the tower, lightness in the spire, and richness in the turret-crowning cupola; characteristics which, as supported by the all-pervading genius of the style, will even render such features admirable; whatever deteriorating com

THE PRINCESS MARY YACHT;

OR, THE BETSEY CAINS.

E. T.

THE following account of the PRINCESS MARY Yacht, gathered from a variety of sources, will, we trust, prove acceptable to the reader. It must be acknowledged, however, that no satisfactory particulars can be gleaned as to the origin of this vessel; but the current tradition among seamen is, that she was Thames-built, and was purchased either by the Prince of Orange, or some of his adherents, to form part of the fleet destined to effect the Glorious Revolution of 1688. It is, also, said, that the Prince himself came over in this Yacht; and that he gave it the name of the Princess Mary in honour of his illustrious consort, the daughter of James II.*

During the reigns of William and Mary, and Queen Anne, this vessel was one of the royal yachts; but during that period she underwent considerable repairs, which greatly interfered with her original build: she was, at length, called "one of Queen Anne's

The Spire, ever characteristic and imposing, is a feature of which more is always to be seen than said. The same principles, however, which regulate a good pinnacle of the first order, are those which produce elegance in a spire. This member (of which it would be impossible to classify the many unimportant varieties of distinction) is one, it may be observed, most frequently found in the older productions of the pointed style, but which is yet by no means foreign to the practice, much less to the feeling, of the perpen-eight or thirty guns;" but this, from the date of the account, dicular mode. We have also some specimens of a kind of curtailed spire, (if such it may be called) wherein the ordinary figure is cut off at about one third of its height, and finished with a parapet and pinnacles of this description, for one, is the interesting steeple of St. Nicholas' Church, Gloucester.

The octagonal Turret is another terminating feature

In the "State Tracts," (vol. i. p. 56, fol. 1705,) it is said, that the Prince of Orange "embarked on a frigate of twenty

Oct. 29th, evidently alludes to his first embarkation, and before the storm arose which forced back the fleet. On the second, and successful attempt, "the Prince," says Rapin, (History of England, vol. ii. p. 776,) "on the 1st of November, in the afternoon, embarked on a new vessel called the Brill." This evidence makes questionable the seamens' tradition of the Betsey Cains being the vessel that brought over the Prince, from Holland, in the Revolution fleet.

yachts;" and was so known among nautical men. Upwards of fifty years ago, (and one account says as early as the reign of George I.) this vessel was sold by government to a merchant. However this may be, a venerable friend of the present writer, (and an excellent seaman,) remembers, that at the first mentioned period she was a royal yacht, much altered and modernized ;-yet the old sailor and the scientific shipwright could still discover the peculiarities of her particular build.

Report affirms, that she was sold by government to the Messrs. Walters, of London, and was re-chris

tened the BETSEY CAINS, in honour of some lady connected with the West Indies ;---in which trade she was long engaged. Another change took place, and this vessel having been purchased by the Messrs. Carlens, of London, was employed by them as a Collier. When thus situated, the Betsey Cains attracted the notice of all nautical men; and, wherever she lay, the sailors crowded to see her;---the more so, probably, from a memorable prophecy said to be connected with the fate of this venerable ship, viz. that "the Catholics would never get the better whilst the Betsey Cains was afloat."

with one of the snuff-boxes: these boxes are, also, numerous in the coal trade, being kept in memory both of the various fortunes of this ship, and of the durability and inimitable qualities of the British oak.

While the Betsey Cains was lying upon the rocks she was made the subject of a painting, (now in the possession of Henry Hewetson, Esq. of Seaton Burn,) by Mr. James Ferguson, of North Shields, from which

In 1827, (February 18th) after a changeful service of nearly a century and a half, this vessel, in entering the Tyne, struck upon a reef of rocks, called the Black Middens, (near the Spanish battery, under Tynemouth Castle,) and for want of timely assistance, became a complete wreck. In this state, forlorn and melancholy as it was, she excited great public attention, every one being anxious to bear away a relic of a vessel that had remained afloat during such a long-a lithographic sketch was executed by Mr. William extended period;-and the sailors, as remarkable for their superstition as for their bravery, regarded the loss of the Betsey as a serious injury to the Protestant cause. After lying a short time on the rocks, she ultimately broke up," and from her planks and timbers, a great number of snuff-boxes and other articles of memorial were made. Each of the members of the Corporation of Newcastle-upon-Tyne was presented

66

Vide "Mechanic's Magazine," No. 309; April 28, 1831

Davison, of Sunderland, so well known in the north of England as a marine and landscape painter.

For this account of the vessel, we are indebted to a respected friend; of whose MS. Collections on the Oak, it forms a brief portion. The annexed cut of the Betsey Cains was reduced from the lithographic sketch above mentioned, but the contiguous scenery of the river and country was necessarily omitted from want of space. The sketch has been published both in North Shields and London.