Chap. III. ENGLISH ARCHITECTURE.

197
SOUTHWELLCollegiate Church, Secular Canons (S. Mary the Virgin).
Dates and Fouiulers.
1110
12.30
T
,,. .
to 1250
j
'

12S5
)
to 1 .300
J
13.35-40 Organ Screen
Early Decorated
L. B. H
150i2^j48
A- N. porch
Aisles.
L. B. H.
- 16 -
Transepts.
L. B. H.
12.3
28^

114
28i
48
1270-85 Cloister to chapter house
1294 Chapter house, .32i ft. dia-
meter, and vestibule.
IA5) Larsie windows and west window.
L. B. H.
C. Towers.
- - 105
2 west 99
Spire 50
See founded 1886. Repairs carried on steadily since about 1856 by John Gregory and his labourers.
From 1875 the roofing, restoration of the west spires and of the chapter house, were completed under
Mr. Ewan Cnristian, who (1886) has commenced the stalls and restoration of the screens ; and the flooring
of stone and marble. The perfect condition of this structure, erected of magnesian limestone similar
to tliat of Bolsover Moor, attracted the attention of the Commissioners in their Report on Stone for the
Houses of Parliament, fol., 1839. Its internal length is 306 ft. It was reopened February 2, 1888.
NEWCASTLE-ON-TYNE-
LIVERPOOl
Sect. VI.
ELIZABETHAN ARCHITECTURE OR LATE TUUOR STVLE.
436. The revival of the arts in laly has furnished the subject of Chap. II Sect. XVI.
It commenced, as we have there sen, wiih its autlior Brunelleschi, who died in 1444
;
and it was not till nearly a century afterwards tliat its influence began to be felt in this
country. The accession of Queen Elizabeth took place in 1558.
437. Whilst the art here, tliough alwi.ys, as respected its advancing slate, much behind
tliat of the Continent, was patronised by the clergy, it flourished vigorously
;
but when
tliat body was scattered by the dissohition of the religious housts, no one remained to foster
it; and though Henry VIII. delighted in spectacle, and a gorgeous display of his wealth,
he was far too great a seiisuali-t to be capable of being trained to reflnement in the arts.
There is in England no gt-neral pervadini* love of tlie arts, as among .dl classes on the
Continent. The Elizabethan, or as some have, pcriiaps more properly, called it, the last
Tudor style, is an imperfectly understood adaptation of Italian forms to the habits of its
day in this country. It is full of redundant and unmeaning ornament, creating a restless
feeling in the mind of the sp-ctator, vvhih, in ihe cinque-cento work, the renaissance of
Italy, was in some degree atoned for by excellence of design, by exquisite execution of the
subject, and by a refinement in the forms which some of the first artists the world ever
saw gave to its productions. In Italy, the orders almost instantaneously rose in tiieir