Skip to main content

Full text of "English leadwork; its art and history"

See other formats 


ENGLISH 
.EADWORK 

IS  ART  &  HISTORY 


LAWRENCE  WEAVER 


Digitized  by  the  Internet  Archive 

in  2008  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/englishleadworl<iOOweavrich 


Ltl- 


m 


ENGLISH 
LEAD^)^ORK 

ITS-ART-e-r  HISTORY 


"  /.'///  thou,  thou   iiicagr 

e  lead. 

Willi  h   ratlicr  t/irc,U,\ 

itist  than  dost  protiiisc 

aught, 

Tliy  pa/i-iitss  iiioTcs  i, 

'ic  moil-   than   eloquence 

And  here  choose  /." 

MERCHANT    OF    VENICE. 


.\l\(i    MKRCUKV    AT    llOl.MI.    I..\(\.    IIIKIJ 


140 
[0 


III! 


ENGLISH 
LEAD^WORK 

ITS-ART-  £,-  HISTORY 

LAWRENCE-^»IAVERF.5A. 


! 

m 


!iP 


T  -  BATSFORD  •  94  •  HIGH  •  HOLBORN  ^^ 


i^;CHARLES-SCBIBNER^S  -SONS  -  L55-7nFTH-,^^NUlL 


Jv5 


.  tu  ...c?*  • 


s^'^l 


PREFACE. 


Till':  i_;n)\vinL;  sense  of  ilie  decorative  value  of  lead  in  arehiteiiure  and  the  garden 
has  c'reale.l'a  demand  Inr  a  lar-ei-  hislory  ct"  the  leadworker's  art,  which  shall  show, 
with    some    I'lilness,   what    has    been    done    in    the    past. 

Of  Looks  on  the  technical  side  of  leadwork  th<Te  has  l.c-eii  no  lack:  the  sanitary 
plumher  has  a  hl.rar\  rea<l\  to  his  hand.  The  art  and  history  of  leadwork  have  found 
IjLit  one  protaLionist,  my  friend  Professor  Lethahy,  hut  he  Is  a  host  in  himself.  His 
little  hook,  published  in  i>^')T,.  and  long  out  of  print,  reminded  irs  of  the  forgotten  s|)irit 
of  old  leadwork  with  so  just  a  perception  ,nid  so  stimulating  a  sympathy,  that  1  can  do 
and  would  do  no  more  than  write  nnself  down  his  disciple. 

Professor  I  .ethahy  relied  on  sketches,  chiell\-  fi-om  his  own  charming  pencil,  for 
his  ;6  pictures.  '["he  441  illustrations  of  this  volume  ar(^  almost  (exclusively  from 
photographs  or  measured  drawings.  If  haply  this  hook  he  foinid  to  have  merit,  it 
will  he,  I  lhiid<,  in  its  presentment  for  the  lirst  time  of  a  hill  series  of  the  chief 
uses  of  lead  which  demand  the  judgment  of  the  artist  as  well  as  the  capacit\-  of 
the  craftsman. 

The  scheme  of  the  hook  has  been  to  put  into  the  hands  of  the  architect,  the 
scul[)tor,  the  g.u-den  designer,  and  the  worker  in  lead,  a  hook  of  some  practical  use. 
I  have  enelea\oured  to  la\  just  so  much  stress  on  the  historical  side  of  my  subject, 
as  will  show  the  development  of  design  and  treatment,  while  connecting  the  work 
with  the  workers  and  the  days  in  which  they  w  oi'ked.  Dei.nis  of  a  inirely  archa-ological 
character  I  have  trieil  to  e.\clud<-  h-om  the  text,  ami  Roman  cofthis  and  the  like 
have  been  slightly  dealt  with.  i'-or  the  antiquary  a  i'.ibliography  has  been  added, 
and  the  notes  there  gixa-n  will  |)erhaps  be  of  use  in  i-learing  the  gnxind  f>r  the 
student.  Por  the  owners  and  lo\-ers  of  gardens  I  ha\-e  attempted  to  identif}'  some  of 
the  work  of  the  sculptors  of  the  eighteenth  ceniur\-  who  did  so  much  for  the  archi- 
tectural side  of  gardcmcraft. 

'Phe  material  which  is  avail<d)le  fir  illustration  is  so  great  in  amount  (particularlv 
in  pipe-heads,  cisterns,  and  statues)  antl  so  scattereil,  that  there  are  doubtless  omittetl 
both  from  illustration  and  reference  many  admirable  e.xamples,  hut  a  book  has  its 
limits.  M\'  collection  of  photographs  contains  man\'  examples  which  1  shoLild  ha\e 
included   hut   for   the   fear  of  overloading. 

Phose  who  are  fuuili.u'  with  a  cistern  hei-e  and  a  statue'  there  ma\'  look  for 
them  in  \-ain  :  1  can  only  hope  that  e\-ery  important  class  of  sul)ject  is  represented. 
I  ha\e  made  hut  small  reference  to  traditional  metliods  of  working  lead  as  belonging 
rather    to    the    technical    that    the    artistic    history    of   the    metal's    uses. 


M126736 


viii  I'RHFACE. 

l'"()r  such  mailers  I  refer  tlie  studeiil  In  m\  friend  Mr  1-'.  W.  'rroup's  ailiniraf)le 
lectures,  antl  notahly  ihat  pulilislied  in  "  ddie  Arts  connected  with  I'.uil.Hn-"  Had 
1  dealt  with  such  I'lelails,  I  c<iuld  hut  have  liorrnwed  from  him.  One  side  n\  the 
history  of  leadwork,  \iz..  tlie  sior\-  of  tlie  Worsliipful  Comp.un  of  I'lumhers.  with 
the  place  of  the  craft  anion-  the  Cil\'  (iiiilds,  I  ha\  e  omitted  altoi^cther.  Some  day 
this  fascinatin:,;-  branch  of  the  suliject  will  douhtless  secure  such  an  historian  as  the 
allied  craft  of  the  I'ewterers  found  in  Mr  Charles  Welch,  t.s.A.  It  w.is,  however,  too 
hii^-   to   include,  and    too   important    to   trille    with,   so    I    have   K-fi    it. 

Mine  has  lieen  largely  the  function  of  the  compiler,  and  for  such  work  the  help 
of  many  is  needful.  It  has  been  oiven  so  widel\  and  with  such  freedom  an<l  kindness 
that    I    make   personal   acknowledL^nients   in   .i   follow  in^    note. 

Mv  thanks  are  due  to  scores  ,A  pe,,ple  \\h,,  ha\c  suffered  me  -ladly  when  I 
pestered  them  for  information,  and  wandered  with  my  camer.i  about  their  churches, 
houses,    and    gardens. 

The  formal  dedication  is  out  of  fashion,  but  the  spirit  which  prompted  it  is 
alwavs  fresh.  1  lay  down  mv  pen  with  a  lively  sense  of  the  sympath\  and  forljearance 
of  those  who  ha\-e  allowed  me  to  dedicate  to  leadwork  the  leisLU'e  hours  of  many 
years  —m\'   mother  and    my   wife. 

LAWREKXK    WI'AXKR. 


14  NiiurHUKK  T|';rr.\ce, 

St  John's  Wood,  N.W.. 
November  1 901^ 


NOTE    OF    ACKNOWLEDGMENT. 


Tin:  majorit)  of  the  photDi^raphs  that  llliisiratr  "  l".n-iish  la-adwork  "  arc  cilhcr  from  the; 
lar-v  coll.Tiion  which  I  aniuircl  from  Mr  W.  ( ialsworthy  Davl.-,  or  were  takc-n  by 
m\s<-lf  with  thr  liclp  n\  my  hf.-lon-  frirnd,  Mr  I'.ciijamin  H.  IJclcll.  For  other 
photographs,  th-awiiigs.  and  inlormation.  I  am  indebted  to  \-ari(nis  hi.-lpcrs.  some  of 
whose  names  appear  in  th<-  text.  .\mon:_;st  others  1  now  acknowledge  the  kinthiess  of 
the  following:  Captain  Charles  l.indsa\  (for  the  fme  series  of  pi|)edK-ads  at  1 1  addon 
Hall);  Viscount  Dillon,  v.i^.s.a.,  Lonl  i'.olion,  t.s..\.  :  the  Rev.  W.  Woodlock,  s.j.  ; 
the  Rev.  E.  Hermitage- Daw  the  Rev.  '1\  S.  Cunningham,  the  Rew  .\thelstane  C"orhet, 
Miss  E.  Morton,  Miss  II.  M.  Knox,  the  l-ditor  of  the  '•  .\.  .\.  .Sketch- i!o..k,-  Lieut. - 
Col.  C.  I-Ield,  Lieut. -Col.  C.  r..  Croft  Lyons,  f.s..\.,  and  Messrs  C.  Harry  Wallis,  f.s..\.  ; 
J.  Starkl.'  (ianlner,  i.s..\.  ;  W.  Niven, 'i-.s..\. ;  Charles  .\ngell  ilradtord, 'r.s..\.  ;  .\lbert 
Hartshorne,  i.s.a.  :  Philip  M.  Johnston,  t.s.A.  :  Leonard  Stokes,  k.k.i.i:.a.  :  .\lfred 
Harris,  J.  11.  .\lKhln,  S.  (1.  Hewlett,  George  (  linch,  r.o.s.  :  R.  Eden  Dickson,  .\lex- 
ander  A.  Inglis,  W.  D.  liaxdon,  William  Kellv,  l".  W.  Troup.  k.k.i.i;.a.  :  .\.  R.  Coddard. 
Arthur  T.  I'x.lton,  r.K.i.n.A.  :  Stanley  II.  I'age,  II.  T.  .\ustin.  W.  S.  Curr.  .Xnd.rose  P. 
I'.oyson,    J.  C.   Brand,    ( ieo.   P.   P.aid^art.    C.   King. 

As  some  ol'  the  illustrations  have  appeared  in  maga/.int-  articles.  I  ha\e  to  thank 
the  proprietors  of  the  .  Inhifcctural  Review,  the  J)!irli)ioion  Maoazinc.  Country  Life, 
The  Jour>ta/  uf  the  Royal  liis/itiite  of  Ih-itish  .  Irehiteets.  and  others,  for  facilitating 
arrangements  tor  reprothiction  hei'e. 

To  the  Architectural  Rcviexv  1  am  indebted  for  the  use  of  the  initial  letters  of  the 
chapters.  It  is  proliabK  inexitable  that  some  who  liave  aided  me  with  illustrations 
ha\-e  not  been  mentionetl  in  the  list  abo\-e.  'Lo  such  I  can  only  temper  my  thanks  with 
fullapologN. 

Many  hard  things,  mostly  unjust,  ha\-e  been  .saitl  about  publishers,  both  before  and 
since  Byron's  savage  witticism.  That  author,  however,  is  hap[)y  whose  work  materialises 
in  the  hands  of  Messrs  Batsford.  of  whom  1  can  only  sa\ ,  in  Perdinand's  words,  that  they 
"make  my  labours  pleasures." 

L.  W. 


CONTENTS. 


INTROIUCTORV    (  IIAI'TI.K  -----         xiii 

I.     I'ONTS  --------  I 

Destroyed  and  Incorrectly  Described  ICxamplcs — (ieoLirajjhical  Distribution  - 
Classification  by  Design  — Detailed  Description  of  the  Tiiirt>-  Kxisting  Ancient 
Fonts — Various  l-'ont-like  N'esscls. 

II.      RAIN-WWTICR    I'11'1:-I11-:ADS  -  -  -  -  -  -  23 

Early  U.ses  of  Do\vn-])i]3Cs— Hampton  Court— Windsor  Castle— Haddon  Hall 
— Knole  Park— Dome  Alley,  Winchester— Hatfield-Guildford— St  John's, 
Oxford— The  Character  of  the  Early  Work. 

III.  RAIX-WATI'.R    IMPE-HEADS— r<w//V//W  -  -  -  -  45 

The  OverlappiuL;-  of  Styles— Holton  Hall— Stonyhurst  and  Bideford— Local 
Schools  of  Leadwork — Shrewsbury,  .Nottingham,  and  Aberdeen. 

IV.  cisti:rxs    -  -  -  -----        65 

Possibilities  of  Decorative  Treatment— The  Great  Tank  at  St  P'agan's- 
Methods  of  Making— West  Countr_\-  and  London  Cisterns  Compared— Detailed 
Descriptions  of  ICxamples  Illustrated. 

V.  MEDLEVAL    LEADld)    SPIRES  -  -  -  -  -  86 

The  Character  of  Spires  Classification— "  Collar  "  and  "  Proach  "  Destroyed 
Cathedral  Spires — P^xisting  Leaded  Spires — Scots  I.eadworkers  -St  Nicholas, 
Aberdeen— Old  St  Paul's— Chesterfield. 

VI.     LEADED    STEEPLES    OP"    TllP:    REN AISSANCP:  -  -  -114 

Wren's  Steeples  and  the  Sky-line  of  London — .A  Classification — Class  (a).  The 
Two  True  Spires — Class  {/>),  The  Spire-form  Steeples — Some  Destroyed 
Steeples — Scottish  Examples — The  Character  of  Wren's  Work. 

Cll.     LEADED    DOMES,    LANTERNS,    AND    WALLS— A    LOSP    p-OCNPAIN  -         132 
Cur\es    in    Roof-lines,   a   Slow    Development — The    P'se   of   Lanterns — Wren's 
Treatment   of  Domes   and    Lantern.s — Class  (c),   Constructive   Details  of  their 
Leadwork — .Archer's  Work — The  National  Gallery — Nonsuch  and  Cheapside — 
The  Great  P'ount.n'n  of  Windsor. 


xii  CONTEXTS. 

CHAPTKR  PAGE 

VIII.     LEAD    PORTRAIT    STATUES  -  -  -  -  -         146 

Fairfax  —  Charles  II. — William  III. —  Marlborough — Prince  luigene  —  Queen 
Charlotte — .Sir  John  Cass — George  I. 

IX.     L1:A1)    FIGURES    GEXERALLY  -  -  -  -  -         156 

The  Cross  of  Cheapside — Neptune  at  Hristol — Karne — Melbourne,  Derbyshire 
—  Giovanni  de  Bologna — Harrowden  Hall — Wrest  Park — Wilton — Nun 
Monkton — Methods  of  Casting — Hampton  Court — Syon — Castle  Hill — Deceit- 
ful h'igures — Forgers  of  "Antique"  Leadwork — Studley  Royal — The  Water 
.\ntc  in  Leadwork — Eighteenth-Century  References  to  Statues — Hardwick 
Hall-  Glemham  Hall— luifield  Old  Park-  Norfolk  .Market  Crosses— The 
Liindon  .Apjirentice. 

X.     VASES    AXD    I'LOWER-POTS  -  -  -  -  -         I99 

.Shenstone  on  Urns —Melbourne  —  Parh.im  I  louse  -  Hampton  (.'ourt — Windsor 
-Wilton— Castle  Hill. 

XI.     SEPULCHRAL    LEADWORK-  -  -  -  -  -         207 

Rnniano-llrilish  Ciffins  and  Ossuaries  -  Alcdi.eval  Cnffins  and  Heart  Cases— 
.Alis.ilutinn  Crnsscs   -Tomb  Lettering. 

XII.     \'.\R1()US    OHJl-X'T.S    AND    DECORATIVE    APPLIC.VTIONS    OF    LEAD  212 

Roman  Pigs  anrl  Pipes — Pilgrims'  .Signs — Papal  Bulke-  -Ornaments  on  Wood- 
work— Charms — Tobacco  Boxes — Ventilating  Quarries. 

XIII.     MODERX    LP:ADW0RK  -  -  -  -  -  -  222 

{•"nnts-  Rain-water  Heads — Cisterns — The  larger  Architectural  Uses — Figures 
on  liuildings  and  in  Garflens — P'ountains — \'ases  —  Clock-faces — Sunflials — 
Ciastitting-  Inscription. 

BIBLIOGRAPHY    OF    PAPP:RS,    BOOKS,    I'.TC,    ON    LEADWORK  -         251 

INDEX  --------         259 


INTRODUCTION. 


TiiK  uses  of  lc;ul  in  the  cirlicsl  linu's  were  so  various,  thai  a  sioul  \-olunK-  might  l.)e 
made  which  would  Icail  us  to  I'-g\|)l  and  Assyria,  show  the  pigs  of  lead  stacked  on 
the  ([uaN's  of  Tarshish,  make  us  see  the  Spartan  of  the  >i\th  century  n.c.  casting  his 
little  votive  figures,  and  surprise;  tlie  ])r(;histoi-ic  man  plugging  his  earthen  jjots  with  lead, 
k'nglish  leadwork,  h<i\\cver.  is  large  enough  l)oth  as  suhject  and  title;  my  te.xt  and 
illustrations  rarely  stra\^  al)i-oad,  and  then  onl)'  for  a  jjassing  com])arison. 

'I'he  art  of  leadwork  is  as  living  as  it  is  individual.  Its  chief  ap|)lications  arc  in 
architecture,  where  thc\-  are  many  and  necessary.  They  l)egin  with  the  severely 
practical,  as  in  rootmg  and  water  sup[)ly  [)ipes.  The)'  range  throLigh  the  objects  which 
Mend  the  useful  and  the  decorative,  such  as  fonts  and  pipe  heads,  and  reach  the  pur(;l\- 
decorative  in  garden  ornaments.  The  illustrations  that  follow  are  designed  to  show 
that  with  (v\\  exceptions  their  subjects  present  two  marked  characteristics.  The  material 
is  fit  for  its  uses,  and  its  varied  treatments  belit  the  material. 

It  has  been  objected  to  lead  that  it  is  a  metal  little  indi\-idual.  It  has  been 
suggested  that  everything  made  in  leatl  woukl  be  better  in  some  other  medium  ;  that, 
in  lact,  lead's  function  is  to  take,  for  econonn's  sake,  the  jjlace  of  some  richer  materi:d. 
I'his  attitude  is  founded  on  an  im|)erfect  study  of  the  products  of  the  Icadworker's  art,  as 
a  rapid  survey  will  show. 

The  fonts  illustrated  in  the  first  chapter,  when  seriously  considered  from  the  aspect 
of  their  possibility  in  other  materials,  give  answer  enough.  The  general  character  of 
the  arcaded  bowls  with  large  figures  is  admittedly  like  that  of  the  stone  fonts  of  the 
same  period.  There  is,  however,  a  delicacy  of  modelling  in  the  tloral  decoration  and 
in  the  detail  of  the  robes,  combined  with  a  general  softness  of  effect,  which  would  be 
impossilde  in  stone.  The  tineness  of  detail  might  be  obtainetl  in  marble.  l)ut  it  would 
be  joined  with  a  certain  harshness  unavoidable  in  tlelicatcK'  wrought  stone.  There 
remains  the  alternative  of  bron/e,  but  bronze  calls  for  treatmi-nt  more;  defined  and  les.s 
homeh'  than  suits  the  character  of  lead.  Bronze  is  the  metal  of  the  grand  manner,  a 
htting  substance  for  the  effigies  of  kings.  Lead  has  a  lower  place,  but  can  take  on  a 
gentle  dignitv  and  simi)licity  inca[)able  of  transference  to  another  period.  How,  if  not 
in  leail,  could  the  motifs  of  the  Pyecombe  and  W'arborough  fonts  have  been  expressed? 

If  the  history  of  pipe-heads  set  out  in  Chapters  II.  and   III.  be  rightly  considered. 


xiv  INTRODLCTIOX. 

thc:\-  are  sfcn  to  hci\-(.'  :^iven  what  is  the  most  attracti\e  held  for  the  rii^ht  use  of  U-ad  in 
tile  minor  buiklinu-  arts.  ('ha]iter  Xlll.  shows  many  L;ood  modern  examples  which  have 
cauyht  the  spirit  of  the  old  work  without  slaxish  imitation.  Despite,  however,  much 
precept  from  those  who  seek  to  raise  the  le\el  of  the  crrifts,  very  small  is  the  numljer  of 
jieople  who  make  pipedieads  of  merit,  and  this  com[)laint  is  true  of  all  leadwork  which 
h.is  artistic  possiliilities.  The  fault  lies  rather  with  the  average  jjlumher  than  with  the 
a\-eraL^e  architect.  'I'here  is  a  clear  enough  call  for  ^ood  desi-n  and  for  a  return  to 
sound  and  traditional  methods,  hut  nearl\-  all  the  "  ornamental  "  leadwork  done  al 
technical  schools  is  unspeakably  had.  In  more  than  one  of  the  hooks  on  ])luml)inL;' 
which  ha\'e  won  a  deservedly  hiL;h  ])lace,  hints  on  "ornamental"  work  are  ^iven  by 
instructors,  who  are  past  masters  in  technical  mysteries.  Most  of  the  e.\am[)les  used  to 
mould  the  decorati\e  sense  of  the  student  are  wholly  had.  I'ntil  the  authorities  of 
technical  schools  realise  that  the  craft  of  leadwork  must  he  taught  1)\-  one  who  is  an 
artist,  as  well  as  a  technical  e.xpert,  these  grievous  productions  will  fie  thought  by  the 
rising'  generation  of  plumbers  to  be  "artistic."  There  are,  of  course,  honoural.)le 
exceptions.  Professor  Lethabv,  Mr  F.  \V.  Troup,  and  others  ha\e  struggled  manhilly  to 
fill  London  County  Council  students  with  a  wise  spirit,  ami  individual  architects  have 
sought  to  instil  inti)  the  mature  plumber  some  right  feeling  for  his  material.  In  practice, 
however,  if  good  leadwork  is  wanted,  the  few  firms  who  s[)ecialise  are  almost  the  only 
sources  of  supply.  The  Worshii^ful  Compan\'  of  Phmibers  has  done  as  much  as,  if  not 
more  than,  any  City  Conijiany  to  support  and  improve  the  craft  it  represents.  If  the 
Companv  would  devote  to  some  instruction  in  artistic  righteousness  a  tithe  of  the 
<-nergv  which  it  gives  to  improving  technical  conditions,  a  good  and  gre.itly  needed 
work    would    be   done. 

In  the  field  of  roofnig,  antl  ,is  a  co\-ering  for  spires,  lanterns,  and  tlomes,  the  long 
range  of  illustrations  shows  the  yeoman  ser\'ice  of  lead  to  the  l.u-ger  needs  of  .u-chitecture. 
In  this  connection  it  is  well  to  remember  what  .Sir  Christopher  Wren  wrote  in  1 70S  : 
"  Lead  is  certainly  the  best  and  lightest  covering,  and  being  of  our  own  growth  and 
manuficture,  and  lasting,  if  properly  laitl,  for  manv'  hundretl  vcars,  is  without  (luestion 
the  most  preferable."  lie  vv.is  then  seventy-six,  and  the  dictmn  is  ([noted  from  a  letter 
to  a  frieinl,  which  set  out  the  gist  of  his  vast  experience  in  building.  It  is  fur  to  sav  that 
for  manv  buildings  lead  is  still  thr  "most  preferable"  to-<la\.  .\s  to  its  possibilities  in 
the  future,  the  subject  of  Fig.  400,  and  Mr  .Starkie  C.ardner's  hri-lge  (Fig,  405)  are 
hill   of  encouragement. 

In  garden  leadwork  the  decor.Llive  idea  is  stipreme,  and  exp|-esses  itself  in  fountains, 
cisterns,  vases,  ,uid  statues.  It  may  be  true  that  for  some  of  the  portrait  statues  leail  was 
employed  Ixvause  it  was  che.iper  than  bron/e.  .So  much  m.iv  be  conceded,  bm  ,is  to 
garden  statues  it  is  fn'r  to  affuan  th.it  it  is  a  moi-e  suitable  m.Ueri.il.  It  has  a  gentle 
imobtrusive  (|ua!it\  whic:li  hai'monises  with  the  domestic  aii-  of  i;,u-<lens.  Ilron/e  woulil 
Jk-,  under  F^n-'lish   skies,  an  absurd    m.Uerial    for   the  eu'^a^'inv   triv  i.ilitv   of    /'/■<■   A'/ifr/n/''- 


i.xTRonrc'iiox.  xv 

S/i/:'i\  or  thr  niihcr  sti)(l.L;y  l;ulics  who  rcprcscnl  tin;  arts  at  llarclwick.  If  liassanio 
was  a  little  uncixil  to  "  thou  meagre  lead,"  at  least  its  paleness  moved  him  more  than 
elocjuence.  This  paleness  is  manifest  in  i^anlen  ornaments  as  a  silvery  grey  patina,  and 
forms  one  of  the  most  delightful  features  of  lead,  which  in  I'"ngland  at  least  must  be: 
regarded  as  the  eharacleristic  gai-den  metal.  I'".ven  for  ])ortrait  statues  in  lead  there 
secMiis  no  reason  fm-  undue  apolog\\  One  ma\'  admit  the  coarser  treatment  that  lead 
demands,    and    the    absence    of  such    lineK'    modelled    siiunv    and    vein    as    bron/e    makes 

possible,    but    n le    will    affirm    that    good    lead    is    less   good    than    bad    bronze.      If, 

sometimes.  wher(!  money  is  strictb  limited,  a  better  artist  and  a  cheaper  material  were 
employetl,  inst(;ad  of  a  leeble  artist  anil  a  costly  material,  our  jjublic  places  would  not 
be  the  losers.  Where  the  iiedestal  of  a  portrait  statue  is  lo  l)e  decorated  by  less 
important  figures  of  an  emblematic  sort,  wh\'  clini^  to  a  Lmiformit)'  of  metal?  With 
the  portrait  figure  in  bron/e.  the  lesser  figures  in  lead  would  not  only  \ield  a  pleasant 
di\ersity  of  effect,  but  also  by  contrast  heighten  the  dominance  of  the  greater  statue.^ 

Before  closing  this  introduction.  1  would  plead  for  lead  as  offering  to  the  designer 
and  craftsman  a  field  of  oppoi-tunIt\-  too  much  ncL^lected.  Since  for  six  centuries  it 
hel.l  ,1  place,  small  but  disiin-iiishe,  1.  in  the  history  of  the  building  arts,  it  s  not 
unreasonable  to  hope  that  it  will  win  it  back,  and  renew  a  sleeping  but  im])erishable 
tradition.  In  matters  artistic  and  architectural,  the  pursuit  of  novelty  is  a[)t  to  make 
for  trouble.  The  st.-nse  of  material  that  ought  to  be  the  basic  sense  in  craftsmanship 
has  been  deljauched  by  the  fatal  ficilities  of  modern  maiuif icture.  In  urging  the  claims 
of  lead,  the  need  of  soft  and  simple  modelling  must  be  emj)hasised.  In  view  of  the 
Norman  fonts  it  sounds  like  attenuated  |)arado.\  to  speak  of  lead  as  a  nox'el  material. 
As.  however,  lead  was  almost  loruotien  during  the  nineteenth  century,  it  offers  problems 
which  are  virtualh'  new,  ami  demands  fi-esh  thought  which  will  be  stimulatetl  b\-  study  of 
the  ,,ld  work. 


ENGLISH     LEADWORK: 

ITS      ART     AND      HISTORY. 


CHAl'TI'.k     1. 
FONTS. 

jstroycd  and  Incorrectly  ncscribed  Examples     ('.fu^i^iaplncal  Distribution — Classification  by  Design — Detailed 
Description  of  the  'I  hirt\    I'Aistin;^  Aiu  ient  Fonts    -\'arii)us  Font-like  \'essels. 

,()N'rS  nevLT  fail  of  inlcrcst.  They  necessarily  lake  a  high  ])lace  in 
Christian  art,  tor  lhi'\-  are  the  [jlace  of  the  first  sacrament  of  the  Church, 
and  ihev  afford  singtilar  decorati\e  ])ossiliiliii(.-s.  Tlieir  ecclesiastical 
signihcance  is  comparahle  only  with  that  of  the  altar,  yet  unlike  the 
altar  the  font  fommately  has  not  Ijeen  the  battle-ground  of  iconoclastic 
zeal   to  anv   marked   extent. 

In  so  far  as  fonts  sometimes  bear  figures,  they  h.ave  been  open  to  puritanical 
disapj)ro\al,  and  have  suffered  from  the  "axes  and  hammers"  of  the  righteous.  Their 
material,  however,  has  never  been  the  shibboleth  of  theology,  which  has  made  the 
English  stone  altar  an  affair  of  ancient  history,  and  a  lost  vehicle  of  religious  art  and 
symbolism. 

Among  luiglish  fonts  the  thirty  of  lead  whicl:  remain  liave  an  important  if  a 
small   place. 

The  greatest  enemy  of  lead  fonts,  as  of  all  lead  objects,  has  been  the  intrinsic 
value  of  the  material.  The  discarded  stone  font  makes  a  con\enient  trough  for 
watering  animals,  or  will  pleasantly  decorate  the  parsonage  garden  when  used  as  a 
Hower-pot,  but  the  lead  font  has  higher  uses.  It  can  be  turned  into  many  bullets. 
There  may  be  no  present  occupant  of  the  bench  of  Bishops  who,  in  his  youth,  converted 
a  lead  font  into  slugs  for  the  shooting  of  rooks,  but  there  is  a  stain  on  one  epi.scopal 
conscience  to-day  in  the  matter  of  the  fingers  of  the  lead  statue  of  a  heathen  god. 
Doubtless,  therefore,  in  less  enlightened  days  lead  fonts  have  gone  piecemeal  on  the 
same  charming"  errand. 

Lead  was  much  beloved  of  Menr\"  X'lll.'s  Commissioners,  as  is  obvious 
from  the  grim  tale  of  fodders  from  conventual  roofs,  which  addetl  so  markedh'  to  the 
value  of  the  monastic  spoils.  Monasteries  would  not  have  had  fonts  except  where 
their      naves     or     chapels      were     put      to     parochial      use.  h.dward     \  I.'s      \  isitors. 

howe\er,  who  purged  the  parish  churches  at  the  abolition  of  the  chauntries.  were 
probably  not  innocent  in  this  matter.  They  would  scarcely  have  omitted  (from  their 
inxeniories  of  superstitious  objects  removed)  a  storied  font  which  so  obviously  meant 
money,  if  it  could  be  done  away  without  too  violent  a  local  outcr\ .  In  those  spacious 
days  tht'  .Severn  X'alley  was  rich  in  spoils  of  leadwork  from  the  roofless  churches,  for 
the  river  was  the  highway  to   the   Continent.      Perhaps  it   is  because   it  was  a  drug  on 


NGIJSH    1.1':AI)\\<)K 


the  markei  that  thrre  is  spared  In  (".InLiCfstcrshirr  the-  larL^esi  nunilw-r  of  Icail  fonts, 
nine  in  all  oLit  of  the  total  of  thirty,  and  six  of  Xoriiian  date.  I'nf  )rL;cltable  also  are  the 
economic  ecstasies  of  the  churchwarden  era,  and  the  icunoclasni  of  the  dimnionwealth, 
responsihie  for  the  destruction  (if  many.  In  187S  when  .St  Xichulasat-Wade  in  I'hanet 
was  "restored,"  the  lead  font  was  also  restored  to  its  oriL^in.d  condition  of  pi;.^  h/ad. 
The  lead  fonts  once  at  Chilham,  Kent,  and  at  HassinL^ham,  .Xorfilk,  ha\ c  gone  the 
same  ruinous  road.  Clifton  Mampden,  ( )\fordshire,  knows  its  ](.'ad  font  no  more;  abotit 
I S40  It  wis  d(ci(cd  unsh  ipi  K  (It  id  will  ^(  t  unshapely  sometimes,  Init  does  not 
Ksist  hem^  put  into  sh  qie  i^  un)  ind  w  is  huiii(d  to  its  doom.  In  1S28  there  existed 
in   the    church    it    Lei^h     Suiie\      i   kid   font    but   it   has   since  disappe.ired. 

\\  oolhampton  (/hurch  is  included  in 
s  )m(  lists  as  possessing  a.  font  "in  which 
thi  1(  id  is  placed  o\cr  stone  and  pierceck 
li  i\  m^  an  arcade  and  figures  showing 
I..,  iinst  the  stone  background."  We  may 
tiust  that  this  is  th<-  case,  and  that  some 
(1  i\  wc  ma\  see  so  delightful  a  treatment. 
It  is  howexer,  doubthil.  About  sixty  years 
1.^,0  the  present  church  was  built,  encasing 
I  \orman  building.  The  opportunity  was 
sei/ed  to  bury  the  font  under  the  floor  of 
th(  north  transept,  as  tlicv  could  not  sell  it. 
1  he  oldest  inhabitant"  is  responsible  for 
this  information,  and  the  advisability  of 
digging  fir  his  iiiilden  treasure  has  l)een 
suggested  to  the  \icar.  Pending  a  little 
spidcwork  there  is  no  more  information 
th  m    is   here  gi\-en. 

\s  recently  as  i  So  1  another  has  dis- 
appeared, but  this  by  mischance,  fir  when 
St  Mary's  Church,  Creat  IMumstead,  was 
burnt,    the   font   was   melted. 

.\s  fir  ;is  can  be  asi-erlained  this  is 
the  only  ilestroyed  lead  f.iu  of  which  any 
igs  of  Xorfilk  .uiti<iuities  there  is  a  sketch, 
lion  of  pii-tures  of  lonis  in  the  libr.irx  of  the 
1  the  Litter  is  lu'i-e  ivpnuhuvd  (big.  1). 
.\pparemly  the  fire  which  encomp.isscd  its  final  deslruction  w.is  noi  the  first  inale\.ilent 
act  in  its  histor\.  It  was  when  drawn  (and  Coini.m's  dr.iwiiig  agrees)  much  mutilated. 
The  top  of  the  font  hail  been  nealK  sliced  off.  The  upri-lu  objects  round  the  bowl 
appear    to    be    columns,    which    originalK    carri.'d   .irches. 

'Idle    other    ornaments    are    unusual,    consisting    of    shields    under    the    (theoretical) 
arches,    an<l  a   band    of  fit  scrollwork   encircling    the    bowl. 

If    the    elements    really    needed    to    consume    a    lead    font,    it    is    fortunate    that    an 
example  already   so   much   dam,igf<l    was   chosen    fir   their   sport. 


-i-unt  (dcM 


[),  St   M;l 


record  remains.  .\mongst  Cotman's  draw 
and  another  engra\ing  exists  in  a  fine  colli 
Society    of    Anti(|iiaries.      A     dr.iwing    fr( 


FONTS.  3 

AmonL;"  rcpLitcd  U-ad  fonts  which  ha\f  been  noted  in  \arious  lists  tliosc  at  Clewer, 
Cherrington,  S\\  \ml)ritlL;'c,  Chirton,  Wansfurd,  PitcomlK-,  Marton,  and  A\el)iiry  are  not 
of  lead.  ClLinl)riil<4c,  ( ilouccstcrsliirc.  which  is  sometimes  described  as  po.s.sessing-  a  font 
datei!  1640,  is  probaljlv  a  nn'sprint  for  .SHmbrido'e.  The  lattc-r  is,  however,  of  date  1644, 
and  llicrc  is  no  place  named  Clunbridj^e  in  Gloucestershire. 

Alio.^iiher  fire  and    the  devices  of  the  wicked   have  left    us   but   thiri\-.      Of  these, 
ten    are    made    from    three   patterns    (with    some    small    variations),    leavin^■    twent\-three 
separate  desi-iis.      W'e  ma\   classify  the  thirty  in  two  ways  :— 
I.    I'.\    their  -en^raph'i.al  distribution,  and 

11.    l')\   lh<'  General  character  of  their  desion. 

.\rran^ed  b\   counties  the\   are  as  follows: — 

iH-rksliirc. — C'liil(lrc\-,  LonL^-W'ittenliam    thirteenth  century  ,  Wool.stone  ''\ormanj. 

Ihickini^liaiiislnre. — I'cnn  ,datc  uncertain;. 

Derbyshire. — A.shover  (Norman). 

Dorset. — Wareham  (Norman). 

Gloneestershire. — Frampton-on-Scvern,  Liancaut  (preserved  at  Scdbury  I'ark,  Llancaut  Church 
being  in  ruins),  Siston,  O.Kenhall,  Tidenham,  .Sandhurst  (these  si.x  are  Norman,  and  all  cast  from  the 
same  patterns),  Haresfield  (fourteenth  century),  Down  Hatherley,  Slimbridge  ;  Renais.sance). 

Hampshire.  — Tangley  ( Renais.sance). 

Herefordshire. — Burghill  (probably  Norman),  .Aston  highani  (Renaissance). 

AV«/'.— Brookland  (Norman),  Wychling  (probably  Farly  linglish ),  ICythorne  (Renaissance). 

Lifhohishirc. — Barnetby-Ic-\Vold  (Norman). 

Xorfolk. — Brundal  (probably  ICarly  English). 

Oxfordshire. — Dorchester  (Norman),  Warborough  (thirteenth  century). 

Surrey. — Walton-on-the  Hill  (Norman). 

5?^i-j^.r.— Kdburton,  Pyecombe  (Early  luiglish  \  Parham  Decorated),  Greatham  House,  Pul- 
boroiigh  (date  uncertain  . 

It  is  worthy  of  note  that  there  is  no  lead  font  north  of  Lincolnshire. 
Classification  b\-  desi-n  -"i\es  us  the  followiuL;'  arrangement  of  the  thirty  : — 

a.  Eleven,  the  chief  feature  of  which  is  a  large  arcade,  generally  with  i)romincnt  figures  under 
the  arches.— Frampton-on-Sevcrn,  Siston,  O.xenhall,  Tidenham,  Llancaut,  Sandhurst  (Gloucestershire), 
Dorchester  (O.xfordshireX  Burghill  (of  Burghill  all  is  restoration  sa\e  the  top  of  the  arcade),  W'alton- 
on-the-Hill  (Surrey),  Wareham,  Ashover. 

b.  Six,  arcaded,  but  with  other  imjjortant  decoration.— Brookland,  Warborough,  Long  Witten- 
ham  (the  last  two  from  the  same  patterns  with  variations),  Edburtoii,  P)ecombe  (these  two  from  the 
same  patterns  with  \ariations),  Haresfield. 

c.  Three,  not  arcaded,  with  figure  decoration. — Childrej-,  Brundal,  Eythorne. 

d.  Nine,  without  figures  or  arcading,  but  with  various  decorations.— Wychling,  Woolstone, 
Barnetbyde-Wold,  Parham,  Tangley,  Slimbridge,  Down  Hatherley,  Aston  Ingham,  Greatham 
House  (Pulborough). 

(■.  One,  without  any  decoration. —  Penn. 

Class  A.— Fonts  with   Large  Arcades  and  Prominent   Figures. 

11k'  six  Gloucestershire  Norman  touts  are  tub-shaped  and  cast  from  the  same 
jjatterns. 

Only    those    at    Oxenhall    (Fi.o-.    2)   and    Sandhurst    (Fio-.    4)   are    illustrated,   as    the 


ENGLISH    LKADWORK. 


-:^">iijp«itf~:-: 


-~y^^C'-^i^^_:^ 


hIp^— '-A-.  -^  I'T  ^^  *wg j*-;-*-^ 


orchcstcr,  Oxlordhlme. 


FONTS. 


others  are  the  same.  With  the  e.KceptiDn  of  these  four,  which  it  would  be  .superfluous 
to  illustrate,  this  rhapter  includes  one  or  more  photo^rajjhs  of  e\-c-r\-  e.xistincf  ancient 
lead   font  so  lar  recordetl. 

h'oLir  (if  the  Gloucestershire-  fonts  h; 
tilled  with  scrollwork  of  a  x'i^'orous  snaki 
•|"he    latt<-r   an-   of  ..n-at    interest.      Two    fi-i 


e  an  arcade-  of  twelve,  si.\  arches  beinj( 
ike  pattern,  and  si.\  with  seated  fi<j;ures. 
e    patterns    only    ha\  e    been    employed.      In 


rlu 


is  lifted  in  benediction,  while  the  left  hand  holds  a  book,  sealed 
in  one  figure,  unsealed  in  the  other  -an  Apocalyptic  suggestion.  The  robes  are  richly 
ornamented,  and  I  )r  ( ieorL^c  (  )rmerod  sun^estc-d  that  the  fiL;-ure  represents  the  Trinitas, 
l)ut  a  mon-  likeU'  intei-pretation  is  Christ  enlhronetl. 

'Idle  Llancaut  example  h,is  ten  arcades  onl\',  and  th(-  .Sandhurst  font  eleven  (six  with 
scrolls  and  Uvr  with  fi-ures).      The  friezes  are  all  decorated  with  a  delicate  floral  pattern. 

The  existence  of  these  six  fonts  all  cast  from  the  same  mould  is  a  pleasant  e.xample 
of  the  stock  patl(-rn  in  the  twelfth  century.  l"he\-  suggest  that  the  stock  pattern  is 
not  in  itself  (if  we  acc(-pt  the  teaching-  of  history)  an  e\-il  ihinL^'.  The  odious  character 
of  most  of  th(-  stock  patterns  of  the  last  century,  pariicul;u-ly  of  those  which  took 
their  inspiration  from  the  dre.tr\  almos|)here- 
of  the  fifties  and  the  Croat  h^xhibilion,  has 
caused  a  not  unnatural  leelin^  that  no  archi- 
tectural detail  is  tolerable  unless  it  is  desi-ne<l 
ad  hoc.  Where  it  is  a  matter  of  hand-wrought 
objects  this  ner\'Ousness  of  repetition  is  likely 
to  stimulate  fanc\-  and  make  lor  \'ariet\'. 
Where,  however,  castini.^-  in  metal  is  concerned, 
it  seems  a  more  reason. ible  method  to  en- 
courage repetition,  as  it  enal)les  a  greater 
amount  of  thought  and  effort  to  be  expended 
on  the  original  patte-rn  than  is  t-conomically 
possible  oi-dinaril\  if  onl\  one  ol)ject  is  made. 
The  Norman   craftsman   evidentK"  did  not   fear 

to  scatter  replicas  of  his  lead  font  once  he  was  satisfu-d,  as  he  might  well  be,  with  the 
original  pattern.  If  six  examples  have  persisted  for  about  e-ight  hundred  years,  it  is 
reasonable  to  suppose  that  there  were  originalK  two  or  three  times  six  made  trom 
the  pattern.  One  cannot  help  wondering  what  shrieks  about  stock  foatterns  would 
reml  an  outraged  architectural  heaven,  if  tweh'e  or  more  modern  churches  w(-re  made 
to-da\-  the  artistic  dumping  ground  of  one  jjattern  of  font. 

Among  the  many  treasures  of  the  Abbey  Church  at  Dorchester,  Oxfordshire,  is 
an  arcaded  Norman  font  similar  in  general  character  to  the  ( iloucestershire  type.  I-'ig.  ;, 
shows  the  complete  font,  and  Fig.  6  a  jjart  of  it,  th(-  latter  to  emjjhasisc-  the  peculiar 
lieauty  of  the  fall  of  the  robes. 

The  arcade  is  in  ele\en  bays  with  a  different  figure  seated  under  each  arch.  The 
number  suggests  the  faithf'ul  apostles,  but  as  each  figure  is  nimbed,  and  as  the  hair 
falls  on  both  sides  of  the  face  in  all,  it  seems  more  likely  that  the  modeller  intended 
to  represent  our  Lord  in  different  attitudes. 

Here  we   have   the   .same   motifs  of   books   and    benediction.      Two  of  the   figures, 


.S.indhuist.  ( 'iloucestershire. 


i;XGLISH    LEADWORK. 


hnwrvcr.  hnl.l  keys.  Had  this  Ik-cii  so  in  only 
one  case.  Sainl  I'cler  woiil.l  rrasonaMy  ha\-e 
lircii  indicaU'd.  As  thcrt-  an;  two,  tht_-\-  pro- 
bacy symbolise  thr  keys  of  Hell  and  of  Death 
in  the  hand  of  Christ. 

The  t^eneral  treatment  of  the  hgnres  on 
these  two  fonts  is  that  of  An-lo-Sa.\on  times, 
and  tliis  date  was  elaimed  f)\-  the  late  Dr  George 
(  )rmerod  fir  the  ( "doucestershire  fonts  (he  wrote 
actually  of  the  Tidenham  e.xample,  but  0.\enhall 
is  identical),  and  by  the  late  i'rofessor  Freem;ui 
fir  the  Dorchester  f mt. 

The  architectural  treatment  of  the  arcacling 
suggests  Norman  work,  however. 

In  the  histor\  of  art  there  must  lie  few 
examples  of  conservatism  so  marked  as  in  the 
ca.se   of  the    leadworker,  and    it    is    likely   that   we 


5.— Hiirghill. 
ha\-e  here  a    Norman  plumber  using  Anglo 

Patterns   persist,  and  there   is   a   nalur.il 
tentlenc)     to    use    old    ones    rather    than    U  < 
make  new    ones   in   a    rising   style.      'i"o   tak' 
a   modern  instance,  present-da\    ironfmnder- 
of     the      nnwiser      sort     discovered      A'.-/;,'       f 
A'oiivcan  some  ei'^ht   \  ears  a'_;o.       Desi^nii  .       ^ 
of  the    -glue   an<l    siring"    scho.il    rushed    U, 
the    rescue.        New    patterns    were    made    .1 
-reat  cost,     dhe  result  is  that,  though  /.'.  / 
'A'oi,:ra„  is  "dea.l   and   damnc-<l,"  its  sirin.'s 


ps  will  sprout  fo 


IV  v<-ars  Oil  th<-  li 
places  of  .Suburbia.  for  this  w  have 
thank  the  perm.uience  of  castin;^  palter 
i'"orlunate,  howexer,  the  same  permanei 
which  has  pres.'rved  fir  us  .\  n- 1.  i-S.cx 
modelling  to  -i\e  interest  and  beaulx  U 
Norman  fint.  It  is  probable,  morei 
the  (il.uuestershire  and  other  fmls  now  .1 
s<rib<-d  as  Norman  belong  to  the  end  of  tl 
twelfth  centui-\ ,  il  not  to  the  be^imn'ng 
the  thirteenth. 


li-i      :^<C*, 


' 'tf-V  rriiVii u 


iMil 


FONTS.  7 

The  font  at  I-)iii-,<4liill,  I  Icrctni-dshirf;  (Im.l;.  5),  is  intcr(;sting  rathtM"  for  what  it  was, 
and  for  what  its  stone  base  sui^L^ests,  than  for  any  ])rcscnt  Ix-auty.  Early  in  the  nine- 
ternlh  centur\  the  tower  of  the  cliurch  tell  and  seriously  damaged  the  font,  which  was 
])laced  in  the  \  esir_\-  for  safely.  In  1 S80  it  was  restored,  l)Ut  in  the  effort  to  straighten 
the  lead  the  lower  ])art,  wliich  wa.s  \-ery  thin,  perisln'd.  The  upper  ])art  was  then 
attachetl  to  th(-  ag'gre-ssively  moulded  houl  which  was  made  for  the  purpose.  'i"he 
cur\-es  on  the  lower  edge  of  the  hoi-der  ap|)ear  to  he  the  tops  of  lost  arches.  There 
were    thirteen    of    them,    and    the    contemporary    stone    base    also    has    thirteen    arcades; 


N'^..: 


-Wal 


the\ 


probably  de^ 
l)e   those  of 


led  togethe 
ir  Lord  anc 
these  figures  or  containetl  scrollwork 
Norman  fonts.  The  carving  of  tl 
stone  treatment  and  the  treatment  of 
Walton-on-the-Hill,   Surrey,   he 


riie  figures  on  the  base,  thotigh  much  mutilated, 
the  apostles,  and  the  lead  arcades  possibly  repeated 
imilar  to  the  alternate  panels  of  the  Gloucestershire 
is  l),ise  affords  an  excellent  comparison  between 
ike  designs  in  lead  (compare  Figs.  3  and  5). 
a  magnificent  example.      Only  three    patterns   are 


employee 

1   for  the  twelve 

and    two 

ha\-e    the    right 

enclosed 

by    lines    of   be 

ated   figures,  which  have  no  nimbus.      All   three  hold  books, 

ghi    hand    uplifted    in    benediction.      The   top   band    of   ornament. 

is    rich,    antl    the    spandrels    have    delicate    ornament.      It 


KXGLISH    LEADWORK. 


Fli'..  S, — W'art'ham,  Dorset 


Fig.  9. — Ashover,  Derbyshire. 


FONTS.  9 

is  curious  that,  of  the  thirty,  only  two  lead  fonts  should  be  other  than  round.  The 
bowl  at  St  .Mary's  Church,  Warcham,  Dorset,  is  he.vagonal,  and  twelve  boldly  modelled 
figures  stand  under  the  round-headed  arcadini;".  None  has  the  nimbus,  but  as  one  holds 
a  square-headed  key,  the  figures  are  doubtless  St  Peter  and  the  eleven  apostles.  There 
are  no  other  marked  evangelistic  symbols  ;  either  scrolls  or  books  or  both  are  in  the 
hands  of  the  eleven.  It  is  to  be  noted,  though,  that  the  figures  are  cast  from  separate 
[)alterns,  and  ilo  not  repeat,  as  for  instance  at  W'akon-on-the-Hill,  Surrey,  where  three 
patterns   are    re[)e.Ued    Idur   times. 

It  is  worthy  remark  that  no  lead  font  is  octagonal.  The  W'areham  font  stands 
on  an  octagonal  base,  which  suggests  that  either  the  bowl  or  the  base  came  from 
another  church,  the  bowl  probably,  as  being  conveniently  portable.  The  number 
eight  was  symbolically  the  number  of  regeneration  (why  so  is  not  clear),  but  this 
symbolism  did  not  attack  fonts  generally  until  the  Perpendicular  period.  Symbolically 
lead  fonts  are  weak.  There  is  none  either  with  the  seven  or  the  two  sacraments, 
and   the  s\  mbolism   of  the    P)rookland   font    is   C(jsmic   rather  than   Christian. 

The  font  at  All  Saints'  Church,  Ashox'er  (Fig.  q),  has  been  described  as  a  stone 
font  with  leaden  statues.  This  is  perhaps  a  little  misleading.  The  figures  are  not 
attach(;d  direct  to  the  stone,  but  the  stone  bowl  is  covered  b_\-  the  lead  casing  which 
the  figures  decorate.  F"or  the  twenty  figures  under  the  arches  two  patterns  only 
were  used.  They  are  simply  dra[)ed,  and  ha\e  neither  mitre  nor  nimbus.  P^ach 
carries  a  book,  but  the  right  hand  is  against  the  body  and  not  lifted  in  benediction. 
The  modelling  is  remarkable  for  its  bold  relief,  which  is  about  '}  inch  in  the  figures. 
The  top  band  of  ornament  has  been  damaged  greatly,  but  the  lower  border  is  unhurt 
and   beautiful.      It    is   probably   late   twelfth-centurv   work. 


Class  B. — Fonts  with  Arcades,  but  with  other  Important  Decoration. 

The  e.\am[)le  at  Brookland,  Romney  Marsh,  may  fairK  claim  to  be  the  most 
interesting  of  lead  fonts,  if  not,  indeed,  of  all  English  fonts.  It  is  6  feet  in  girth, 
and  its  double  arcading  bears  the  signs  of  the  zodiac  in  the  upper  tier,  and  delightful 
busy  figures,  illustrative  of  the  labours  of  the  months,  be-low.  The  heads  of  the  arches 
bear  the  names  of  the  signs  in  Latin  and  of  the  months  in  French,  and  as  there  are 
twenty  arcades,  eight  appear  twice,  the  duplicates  being  from  March  to  October. 
This  perhaps  suggests  that  the  patterns  were  not  made  for  the  purposes  of  this  font. 
If  they  were,  and  an  arcading  of  twelve  only  had  been  used,  the  bowl  would  have 
been  about  14  inches  in  diameter.  This  is  smaller  than  any  of  the  others,  which  vary 
from  iS.V  inches  at  Down  Hathcrley  to  32  inches  at  Barnetln-le-Wold.  The  mouldings 
running  roiintl  the  up])er  [jart  of  the  bowl  are  thrice  broken  b\-  atlcled  panels,  which 
are  much  rubbed  but  ai)[)ear  to  represent  the  Resurrection.  They  are  evidently  an 
afterthought.  The  plumber's  priestlv  client  perhaps  thought  the  decoration  secular 
rather  than  spiritual,  and  called  for  these  additions,  unwillingly  done  may  be,  for  one 
is  crookedly   fixed. 

The  creatures  of  the  zodiac  and  the  scenes  are  freshly  and  gaily  modelled.  Dealing 
with  them  in  order,  beginning  at  the  middle  of  the  large  illustration  (Pig-  12),  to  the 
riiiht  of  the  seam  and   reading  to  the  ri'>ht,   we  have — 


P.XGLISH   LEADWORK. 


•;v-v'-vv 


/LjnariHS — January. — Aixn-c,  Aquarius  uplLirns  his  waterpot  viLj;orousIy  ;  below, 
two-headed   Janus  drinks   farewell    td   the   old    year,   and   wt-lconic   to   the   new. 

Pisces — February.  —:\\)n\v,  the  usual  two  fishes  re\-erseil  ;  i)elow,  a  sealed  hooded 
figure  warms  his  feet  at   the  chininc). 

Aries — March. — Ahoxe,  a  |)aticiU-lookiii!_;  ram  ;  l)el(jw,  a  delis^htful  hooded  figure 
pruning  a   \ine.      (The  lettering    al)o\c   the  arch   is   incorrectly  given  as  Ca])ricornus.) 

'/'(Hints  .Ipril.  —  Ahove,  the  hull,  almost  as  lean  as  Capricorn;  helow,  a  girl  of 
slender  graceful  llgure  stands  with  tall  lilies  in  her  hand.  She  doubtless  is  a  syml)ol 
of  Rogation-tide.      The   "  gang-da\s "   fall   generall)'    in    lMa\,    but   sometimes   in   April. 


x,i>:\:- 


>  V'r^'H'—— BBJ^ajjimwui 


/"^  .-"^ 


Fig.  13. — Long  W'ittenhani. 


Pa.ssing  now  to   Fig.    1  1    we   find,    reading   from   the   left — 

Gemini — Mav. — Abo\e,  tin-  twins,  naked  chiklren  ;  lielow,  a  knight  on  a  rathe 
small   palfrey,    with   a   hawk   on   each   wrist. 

Cancer  —June. — Abo\-e,  the  crab  is  fortunateh'  labelled,  for  It  woukl  not  have  beei 
suspected  ;   beknv,  a   man    mows   with   a  scythe,   whetstone  at  siile. 

Leo — fulv.  .Above,  a  let )pard  like  lion  ;  below,  a  man  in  a  wide-i)rimmed  hat  1: 
raking  hay. 

Virgo — August.  —  Above,  \'irgo  has  a  slim  girlish  figure,  with  a  spike  of  corn  ii 
one  hand  and  a   \-indemiatrix  in   the  other;   below,   a   man   bends  down   reaping. 


ENGLISH    LEADWORK. 


Warhnn.iPrh. 


Passing'  now   to    I'v^.    lo,   and   reading-  from    tlie    k-ft,    we   i_;x-t 

Libra— September.  Alx.ve,  Justice  with  haiida.-cd  eyes  holdin-  even  scales;  helow, 
a   thresher  with   tlail   iiphfted   over  the  slieaf. 

Seorpio-  -October.      Al)o\-e,    the    scorpion     is    a    liarniless    creature,    a    fro"-    sa\-e    for 

his  tail,  which  doulitless  dot-s  the  necessary 
stini,;inL;  :   helow,   a  figure  treads  the  wine-press, 

I    I  ^^^^^^^^^^^B-    »  Sagittarius      XiK'eiiiber. — Abo\e,     a    cen- 

k'\''i*^^^^^m'jy.r-  ^^,^„.  ,-,.^.^  ]^;^  ^,^,^,-^  i„.i^i,„i  ]^;,,^  .   1,^.],,^^.^  .^  swine- 

herd  in   a   deli^jhtful    conical    hat    is    apparently 

L 'aprieoi-inis  - Dccctnbcr. — Above,  Capri- 
corn is  an  amazins^-  creature  (see  to  the  left 
of  the  se.uii  in  the  large  illustration)  and  mi^'ht 
have  come  out  of  die  Ilad  Child's  I'.ook  of 
Pieasts  ;  below,  a  man  is  killin;,;  a  wolf  with 
an  axe,  a  winter  sport  now  happily  fdk'n  into 
disuse. 

idle   stone  font   at  liurnham  Deepdale  has 

similar  subjects   for  the   labours  of  the   months,    with   some  differences   of  treatment. 

An   odd   feature  of  the  architectural    treatment  of  the    lirookland   font   is,   that  every 

third   pillar  of  the  arcadin-  stands   on   a   loop. 

'Idle    secLilar    character    ol     this     font     haviuL;    impresseil    a    clerical    correspondent, 

he  asked    whether   it   expressetl   the   following    idea  :— That   the  seciuence    of  the    months 

represents  man's  temporal  exist- 
ence,  ,uid    that   baptism   creates 

th.-    spiritu.il    life    which    should 

infirm    our    external    life.      The 

idea    that    the    temporal    lik'    is 

shown    as    a    microcosm    of    the 

eternal     is    delirrhtful,    but    (|uite 

unlikely    to    ha've    Ix-en     in     the 

plumber's    mind.      'I"he    twelfih- 

ci'iitury  men  were  p|-ob.ibl\  little 

conscious  ,,f  such  subtleties,  and 

just     mo.lelled     the     thin-s     thev 

felt     best     and     knew     best     and 

loved    best,   to  the  -lory  .,f  Cod 

(loin-   a   job  well. 

The"  Warborou.-h  f.iu  i. 
most  decorali\-e  and  came  from 
the    same    pluml)e-r  as    the    f.nt 

.It    l.on;^  Wittenham,    to    be    described    next.      Se\( 
diouiih    their   arraivicment    \aries.      I 


% 


;  \  -  ■ 


ha\.'    the    point, 


cms    .are    tlie    same, 
adc    ,u    the    bottom, 


FONTS.  13 

and  bishops  ri[)[)arellecl  as  in  the  Childrey  example,  with  the  rii^ht  hand  in  the  act  of 
blessing.  The  big  middle  feature  of  the  Warborough  bowl  is  a  somewhat  angular 
arch.  Of  the  two  circular  ornaments,  which  appear  under  it  and  elsewhere  on  the  bowl, 
one  is  a  wheel  with  curved  spokes,  .md  one  a  beautiful  geometrical  design  which 
suggests  laccwork.  Mr  l,(lhal)y  describes  this  font  as  N'orman,  but  the  decoration 
seems  uKire  ap|inipriatc  In  tile  laic  ihirlcenlh  century.  This  bowl  is  of  the  maximum 
depth  that  is  found,  \i/.,  lO  inches,  and  has  onh"  one  seam.  The  circimiference  was 
cast   in   one  piece,  whereas   ninsi   of  the  lead    fonts   were   cast   in    four  ])ieces  (in  addition 


.:£Wm^^^^^^^:      Jl 


*^--  ^■ 


Fig. 


to  the  bottom)  and  joined.  At  Woolstone,  however,  there  are  two  seams,  and  at 
Walton-on-the-llill  we  find  three.  At  W'arboroLigh,  as  with  most  of  the  lead  fonts, 
there  are  the  marks  of  the  locks  of  the  covers,  which  were  made  compulsorx'  by  Ivdmund 
Cantuar.   in    123O. 

.\t  Long  Wittenham  (l-'ig.  if^)  the  tall  arches  are  onu'tted.  The  upper  half  is 
divided   into  compartments  and   more  plentihilly   decorated   with   wheels. 

The  Edburton  and  Pyecombe  fonts  help  to  keep  up  the  high  archaeological  reputa- 
tion of  Sussex.  They  lack  figures  altogether,  and  are  probably  the  work  of  a  Norman 
plumber   of   about    1 200   or    later.       Both   fonts   have   the   heavy    tinted   rim,   the   upper 


ENGLISH    Ll'.ADWOKK 


•"ONTS. 


I  read  in  n' 

and    the    n; 

n   detail 

or   size.        1 

ia\-inL;' 

m    arcadin^- 

•\ani|)l<; 

(Fik^    15)  s 

arrow  middle   band   of  scrollwork,   hut   there   is   no  slavish  likeness 
"he  lowest  band   differs   in    the   two,   the    Pyecombe   font   (Fig.    16; 
of    fifteen,    with    floral    work    within    the    arches;     the    Edburton 
hows   the   scrolls   without   the   arches. 

1  he  Pyecombe  bowl  is  6  feet  in  circum- 
ference and  1 5  inches  deep,  that  of  lulburton 
is  5  feet  and  13^  inches  respectively. 

I  houi_;h  distinctively  Xornian  in  char- 
acter, the  cominv  of  (Gothic   is  apparent  in 


lIarcNrn.ld,  (i 


Flc.  19.  — Eythornc. 
eneral  effect  is  perha])s  a   little  sugi^estive 


the  trefoil  heads  of  the  upper  arcading. 
of  embroidery,   but  very  successful. 

The  decoration  of  the  Haresfield  font  (Pig.  iS.\)  is  |)arado.\ical,  and  raises  a  some- 
what difficult  (luesiion  nf  date.  The  arcading  has  the  character  of  fourteenth-century 
work,  while  the  buttoned  \eriical  shafts  suggest  the  seventeenth.  Sevei'al  authorities 
consultetl  \ar\   in  their  attribution   of  date,  but  as  the  cusping  can  hardly  be  post-Oothic, 


;    -. 


Fig.  20.  -  -Chiklrcy. 


■i.;.  .M.— Wvcliling. 


ENGLISH    LEAUWORK 


Woulstonc. 


and  as  there  are  instances  of  such  turned  shatts  hein^;'  used  in  fourteenth-centur\-  wood- 
\\(.)rk,  the  earlier  date  is  here  ado[)te(l.      This   font   has   appeai-ed   in   some   lists  as   l)einj4' 

of   lM-11-nictal,    hut    incorrectly.       Its 
"^  liameter  is  24  inches,  the  thickness 

>f  the  rim  is  .',  inch,  and  of  the  sides 
generally  a  little  over  {  inch. 


Class  C. — With  Figure  Decora- 
tion but  without  Arcading. 

The  Childrey  font  (h"i-.  20)  is 
\er\'  sim[)ly  treated.  The  twelve 
l)isho|)s  who  stanil  on  low  pedestals 
round  the  howl  all  wear  mitre,  alh, 
•  tiid  chasuble,  ,uid  all  carry  a  crozier 
in  the  riu^ht  hand  and  a  book  in  the 
left.  The  modelling-  is  of  a  rather 
elementary  sort. 

The  lirundall  bowl  (I'i--.  17)  is  the  only  lead  example  left  to  \orfolk,  a  county  rich 
in  fonts.  It  is  probablv  of  late  in  the  thirteenth  centur\',  and  is  the  only  one  l.)earin:^- 
an   imaL;e  of  the  cnicihxion.      The  tk'ur-dedys  treatment  of  the  lower  border  antl  of  the 

it  is  nai\-e.  A  notal)le  feature  of 
the  Christ  h^urcs  is  that  they  are 
impressetl.  The  font  is  in  two 
thicknesses,  the  outer  one  \-ery  thin 
and  the  inner  heavier  and  later. 

The  I^\  thorne  font  has  a  hyure 
of  unusual  type,  seven  times  re- 
peated. -Several  conjectures  ha\e 
been  made  as  to  who  is  repre- 
sented, but,  as  the  fi^'Lirc  is  nude, 
perha[)s  .\dam  is  the  most  likelw 
He  holds  a  torch  in  his  IcU  hand, 
'{"here  is  no  difhculty  in  scltlini;- 
the  date,  for  the  artist  has  written 
it  large,  1628,  on  four  panels,  a 
numeral  to  (-ach  ])anel.  .\  su^i^es- 
lion  that  the  sc'ven  lii^hl-bearinL;' 
fiL^urcs  arc  in  sonic  wa\  symbolic 
ma\  well  be  dismissed.'  In  1O2S 
the  sense  of  religious  symbol  was  not  very  ac 
in  depth,  and  is  much  batlercd  and  out  of  sha| 


The   bowl    is  shallow,   10  inches  only 
It    no   lon''<'r   fulfils   its   use,    a    modern 


1-0.\TS. 


-N.       1' 


ENGLISH    LKADWORK 


stone   toiu    has   ta 
in    tliat    it    is  aloni 


place.      Of  the   h\e   post- Reformation    lead    fonts   it   is   not; 
sessinL!"  tiLjLire  ilecoration. 


Class  D.     Consisting  of  Nine   Fonts  without   Figures  or  Arcading. 


The    Wychhn-    Im,\v1    (Fi-     21)    is   a   ; 
niodern    woodwork    wliich    has    been    added 


lod   deal    disfi-urcd    l>y    the    rather   a--ressive 
l)resunialjly   to    keep  the   leadwurk   in    shai)c. 


26  — Tanylcy,  Hant^. 


•'k;.  27.— Tan^k-v,  Hants. 


Im.;,  2,S.      Down    Hatlicrlcy.  In;.  2.1.-- Slinil)ri<l,L,'0. 

It  is  the  simplest  of  the  pre  Reformation  fonts,  and,  thouL;h  (h'lTuailt  to  date  (the  strin-y 
ornament  has  a  euriousK  modern  look),  it  is  prohaliK  ot'  the  cml  "I  the  thirteenth  rentin-y. 
It  is  an  e\am|)le  of  the  rhe,|iiered  hlsiorx  of  metal  fonts.  The  reelor  Males  that  the  font 
was  f.)und  when   he   rest(.ire<l    the.  ehiireh,' huilt  into  a  lot  ,.f  kriekwork   an. I  ■■  pro\  Identiallv 


FONTS.  19 

saved  from  the  hrirklaycrs  and  smashers."  Restorers  ha\e  so  often  proved  the  most 
finished  of  "smashers"  thai  it  is  refresliin^  to  fiml  a  church  where  these  vocations  have 
l)een   kept  ch'stinct. 

At  Woolstone,  lU-rkshire  (  Im'u".  22),  is  the  most  architectural  of  the  lead  fonts.  it 
altogether  lacks  figure  work,  and  is  in  effect  a  sketch  of  a  church.  A  narrow  band 
-separates  the  top  part  of  the  howl,  which  Is  divided  into  an  arcadin;;-  of  twelve  pointed 
arche.s.  These,  as  do  the  thirteen  arches  below  the  horizontal  band,  possibly  represent 
windows.  .\t  the  bottom  of  the  bowl  is  a  single  arch  the  door.  As  there  are  ten  l)old 
perpendicular  straps  and  eii^ht  slopini;  thwarts,  the  church  represented  may  be  an  earlv 
timljer  building  which  preceiled  the  present  church  of  All  Saints'.  One  dcjes  not  look  in 
the  thirteeiuh  cenlui-\  (which  may  be-  conjectured  to  be  the  date  of  tliis  font)  for  so 
pious  a  sense  of  archa-oli i^ical  record  as  this  bowl  su^i^csts.  It  gives  one  furiously 
to  think  how   mLuh  greater  would  be  our  knowled^^e  of  pre-Conquest  buildings  if  media-val 


builders  hatl  made  a  practice  of  picturing;  in  their  new  work  the  lineaments  of  the 
buildinL^s  thc-y  had  destroyed.  A  modern  and  dreary  instance  of  this  is  tln'  tablet 
set  up  in  the  City  showing'  the  passer-by  what  manner  of  church  was  .Saint  .Xntholin's, 
WatliuL;-  Street,  before  the  passion  for  destruction  took  it  from  our  ken.  The  Woolstone 
font,  liowever,  is  infinitely  somuler  in  principle,  fir  the  stor\-  of  the  lost  church  is  told 
simply  and  unaffectedly,  and  the  fmt  is  a  witness  of  new  effort  and  a  continuin;,r 
tradition  of  sanctity.  A  ^ood  deal  less  can  be  said  for  tin-  St  .\ntholin"s  tablet,  which 
witnesses  but  to  destruction  and  silence.  Still,  hideous  as  it  is,  it  is  better  than  nothinj^-. 
It  is  proper  to  add  that  some  antiquaries  reject  the  theory  that  the  Woolstone  font 
illustrates  an  earlier  church. 

At  BarnetbydeAX'old  (Vv^.  23)  the  decoration  is  very  conventional  but  eminently 
suited  to  the  material.  This  h)nt  was  lately  rescued  from  a  coal  cellar.  It  had  been 
j)ut  to  the  base  use  of  a  whitewash   tub,  so  has  enjoyed  the  e.xtremes  of  colour  sen.sa- 


i:\GLisH  li:ai)\\u 


Fic;.  32.— Gloucester  Muscl 


m 


33.-1. ewes  Castle 


IIMH.         Thr     tuo     lou, 


in 


111   the    liij)  hand.       It 


p.ittrrn   and   (hll 
|>ri-siini.iliK     X(i|-nian. 

The  font  al  I'.irh.nn  (  Im-.  -M)  is  the  only 
(■xamplc  liiKincsiionalily  nf  the  fourtrcnth 
century,  and  stands  alone  in  tre, anient. 
There  exists  not  onlv  no  othei-  font,  l)iit  no 
lead  water  hutt  even,  ulnch  relies,  as  this 
does,  chietlv  on  lettering;  as  decoration.  The 
font    is    divided    \a-rtic,dl\     and    hori/ontallv 


l.\-     lor 


the     lee-enc 


■■  11.  C.  Xa/ar-  (|esus  X.i/.n-enns)  in  l.eau- 
tilul  I.oml..M-dic  lelt.-rinu.  Idie  spaces  so 
(Miclosed  are  hiied  with  the  shi(Tl  of  .irms  of 
one  Andrew  Peverell,  who  w.is  kin'-lit  of  the 
shire    in    1351    and    pnTahK    -.ive    the    font. 

The  Tan^ley  font  is  sparin^K  decorated 
in  a  matter-of-fact  wa\ .  .Six  strips  of  baluster 
shape  di\ide  the  howl,  .uul  the  ornaments  he- 
tween  are  two  roses  (hi-.  27),  three  crowned 
thistles,  and  three  fleurs-de-lys  (Fi-  26). 
With  such  treatment  it  is  safe  to  assign  the 
work  to  eai-K    in  the  seventeenth  century. 

.slinihrid-c  (  l-i-.  20)  Is  (|uite  in   the  cis- 

Down  llatherlex  f  uit  (hi-.  2S)  is  very 
small,  Inn  tlie  ornament  is  .unhitious.  Roimil 
the  bottom  there  runs  a  IkukI  of  dudor  crest- 
in-,  which  nnuht  well  h.ive  heen  used,  and 
prohahK  w, is'  used,  to  dei-or.Ue  nun-water 
lieads.  Idle  staivs  are  of  a  type  familiar  on 
London  cisterns,  aii.l  the  Io/ami-cs  are  of  a 
ple.isant    formalitx. 

InteresiinL;  loo,  .uikmil;  the  late  ex.am- 
ph's,     is    that    of    .Aston     In-h.nii    (hi-      25). 

The  ,l.ae  loSo  .ippears  on  the  howl  as  do 
the  innials  (unple,.s.uu  li.dnl)  of  the  -ivers  of 
die  font,  W.  R.  and  W.  .M.  1  he  acantluis 
|,-,,ves  ,,re  -ood.  which  cm  scuvely  he  said 
,,l     the    scr,i|.pv    leafwork    helow    the    initials. 

I  here  Axv  also  the  inevitahle  clu'ruhs  and 
rosettes. 

1-or  the  font  which  si, m. Is  .Ml  the  lawnal 
C.ivatham  House  ne.ir  I'ulhorou-h,  .Suss.'x 
(hi...    ;,,),   little   cm    he   s,ud.        It  h.is  fillell   to 


FONTS.  21 

the  low  estate  of  a  tlower-pot.  It  was  (lisesta!)Iishccl  some  forty  years  ao-o,  when 
(irealhani  rhiirih  was  restored,  and  iiothiiiL;  1)\  ua\-  of  datt-  can  he  hazarded,  for  it  is  a 
simple  unassiiinini,;-  thini^  and  rexcals  nothing-.  l\ertani,;ular,  huill  up  of  sheet  lead  J  inch 
thick.  an<l  with  little  feet  at  the  cornei-s,  its  onl\  ornameiUs  are  small  circles  on  the  faces. 
it  has  been  suggested  that  this  example  was  ne\er  anxthing  more  than  the  lead  lining 
of  a  stone  font.  Its  rudeness  of  construction  makes  this  theory  a  reasonable  one,  but 
it  seemed  (5n   the  whole  better  not  to  exclude   it. 


Class    E.     Vv^ithout    Decoration. 

The  font  at  I'enn,  lUickin-haiiishire,  has  onl\  lateK  been  adde<l  to  the  list  of  lead 
fonts  (I*"ig.  31).  It  Is  uni(iue  in  this  n-spect,  th.u  it  is  the  only  one  rounded  at  the 
bottom.  It  altogether  lacks  decoration,  but  has  been  scratched  all  o\-er  with  dales  and 
initials,   and    amongst    them    is    1OJ5. 

llow    much   earlier   than    1OJ5    the   font   was   madi-   is  a   matter  of  pure  conjecture. 

The  histor\  of  the  disco\-er\  of  this  font  is  instructive  and  has  elements  of  hope 
The  bowl  was  coated  thickh  with  colour,  and  had  alwa\s  been  supposed  to  be  of  stone. 
The  discerning  knuckle  of  tiie  \icar  tapping  it  suggested  that  it  was  not  stone,  and  the 
])oint  of  a  knife  confirmed  his  suspicion.  It  may  \'ery  well  be  that  other  lead  fonts  e.xist 
whicli  are  mas(|uera(ling  as  stone,  and,  provided  that  the  clerical  penknife  I)e  gently 
used,    other  surgical   ex[)ei-imenl    in  the  same   direction    nia\'   inci'ease  our   list. 


Font-like  Vessels. 

There  remain  the  \essels  th<it  ha\  e  sonntimes  been  described  as  fonts,  the  use  of 
which,    however,  seems  doubtful. 

The  leatl  vessel  in  the  Glouce-.ter  Municipal  .Museum  ( l-'ig.  ;,2).  though  given 
in  Mr  Letli,ib\'s  list  as  a  font,  must  l)e  abandoned  to  some  other  use.  It  was  found 
at  the  old  Wdodchester  Chiu'ch  in  Gloucestershire.  It  is  formetl  of  four  panels  -\ 
inches  s(]uare  attached  to  a  circular  base,  which  |)robal)ly  is  a  later  addition.  The- 
facts   militating  against   its  lieing  a   font  are  : — 

1.  It  has  no  markings  on  the  v(\';i_v  where  hinges  or  lo,ks  might  have  been  attachetl. 

2.  It   is   much   smaller  than   any    known  example,   and 

3.  The   decoration    is    unusual    for   a    font. 

It  might,  of  coiu-se,  ha\e  been  a  ])ortal)le  font:  but  if  so  it  |)rol)ably  would  have 
had  handk-s.  It  weighs  jii  lbs.  3,',  o/.  .\lternali\e  suggestions  are,  that  it  was  a 
stoup  or  a  relii]uar\  y\y  a  lavabo.  For  its  own  sake  it  deserves  illustration.  The 
modelling  is  of  an  ex(iuisitt'  delicac\".  The  scene,  framed  in  a  border  of  trailing  vine 
lea\es,  is  the  Deposition  from  the  Cross.  The  dead  Christ  is  on  the  knees  of  the 
ISIessed  X'irgin,  ami  His  head  and  feet  are  su[)[)orted  1)\  two  kneeling  figures  probably 
representing  St  John  and  St  Marv  .Magdalen.  Above  the  figures  and  set  round  the 
cross  itself  are  the  scourge,  the  crown  ^A  thorns,  the  s])onge-bearing  rotl,  the  cock  of 
Peter's  denial,  and  other  emblems  of  the  Passion.      Xotable,  too,  are  little  busts  of  Herod 


KNGLISII    I.EADWORK. 


and  of  the  }Ii,i_;h  Priest,  l»itlT  uf  \  illaiiious  mien.  Herod  is  crow  ned,  and  Caiaphas  wears, 
a   mitre  and   a   spiky   heard. 

With  reuard  in  the  vessel  at  I.eues  Castle  (Im-  33),  it  is  prol.al.ly  An-lo-Sa.xon. 
The  evidence  of  its  use  as  a  font  is  slender,  in  fact  confined  to  the  existence  of  a  cross, 
in  the  triangle  ot  ornament.  There  are  the  remains  ot  ii-on  handles;  which  seem 
to  show-  that  it  w.is  not  an  ossLiar}',  a  reli<iiiar\,  or  a  stoii|i.  It  ma\  ha\c  heen  a 
salt-cellar,    lait   its   use    must    remain    conjectural. 

Another  vessel  at  Maid-.tone  Museum  was  tlred-ed  from  the  Medway  some  years 
aL;o.  It  is  rather  chimaged,  and  it  ,dso  had  iron  handles.  The  tiecoration  is  m\"siif\  ini^. 
It  has  a  classical  feelincj",  and  mi-ht  he  Romano-ISritish.  At  such  a  date,  how'e\ cr,  the 
ri\er  was  the  font,  as  ohjection  was  taken  to  still  water  for  haptism.  To  the  eai-ly 
Cdiri-^tians  nnmiiT,;  streams  were  as  the  ri\-ers  of  Ii\  ini;  walc'r.  in  any  c.ise  for  so  early 
a  date  the  font  would  he  too  small.  If  it  is  to  he  sa\ed  as  a  font,  a  later  date  must 
he  assigned.  I'erh.ips  it  is  of  early  Norman  date,  hut  it  is  an  altoL^cther  \aL;ue  and 
duhious  ohject.  There  remains  the  chance  of  its  Ixmiil;'  i)ost- Reformation  (an  anti-clima\ 
after   talk   of  K,,mano  British). 

Some  \cars  a-o  Mr  Roach  .Smith  ilescril)ed  a  lead  vessel  found  at  I'eli.xstowe 
which  he  thou-ht  helon^ed  to  the  tenth  century.  It  had  lost  its  rim,  hut  seems  to 
ha\c  retained  some  traces  of  twn  or  three  llan^es.  It  was  6  inches  hii^h,  31  inches  in 
circumference.  ,in<l  h.id  ,ui  iron  handle.  There  were  tour  ornaments  on  the  outside. 
each  being  a  stiff-stalked  plant  with  leaxcs  and  llowrrs  at  its  hase,  an<l  also  tw.^ 
branches,  each    like   the   i-eiund    stem,   ending   in   three   le<L\es. 

The  majorilv  of  stone  fonts  were  line<l  with  leail,  and  it  is  reasonable  to  assume  that 
.some  such  linings  were  dc-corati\cl_\-  treated  as  has  been  done  h\  Mr  ISankart  on  the 
inside  of  some  modern  lead  fonts  which  are  illustrated  in  a  later  chapter.  None  seems, 
howxwer,   to   ha\'e   been    I'econled. 

On  the  outside  of  a  tliscarded  si,,ne  font  preserved  in  the  church  of  Waldron.  Sussex, 
there  is  an  incision  of  about  S  inches  in  length.  In  the  ujiper  part  of  this  are  sm.ill  holes 
whiih  may  ha\-e  ser\ed  to  secure  a  lead  instription,  such  as  is  lound  in  some  m<'dia_-\al 
tombstones,  and   as   remains  of  lead  were   found    inside    the    basin,  this   theory  is   probably 


It  has  been  stated  that  the  font  at  Chohham,  Surrey,  is  of  leatl  with  wootlcn  panel.s. 
It  can  only  be  tlescribed  as  of  lead  in  the  same  way  that  an\-  leaddined  wood  font  woLild 
be.  The  bowl  is  entiri-ly  cased  in,  and  it  is  imp..ssil)le  to  say  whether  the  outside  of  the 
leatl    is   decorat.-.l.       F.ir  'this    re.ison    it    has    been    excluded    from    the    list. 

In  the  writing  of  this  chapl<-r  the  author  has  to  express  his  -real  <l<-ht  to  Dr  Alfred 
l-rver,  l'.S..\.  Without  his  help,  h,,th  in  c.unsel  and  in  illustration,  it  woul.l  have 
been  very  incompkaely  don<'.  The  I.Mst  th.it  can  be  don.'  is  to  make  clear  (it  is 
common  'knowl.-d^e  to'  those  whos,-  han.ls  are  -rimv  with  the  dust  of  archa-ologic.il 
"  I'roceedinL^s')    that     Dr     |-'r\er's    excursions    into    the    hist,,r\    n\     fonts    in    general    are 


CIIAl'lI-.k     II 
RAIN-WATER    PIPE-HEADS 

Early    Uses   of    I  )()wn-i.)ipcs--Hanipton    Court— Windsor    Castle      Ihickloii    Hall-Knolc    Park— Dome    Alley, 
Winchester-  Hatfield -CuiUirord  -St  John's,  Oxford— The  Character  of  the  luirly  Work. 

tHMtiiiciil  of  i-ain-watcr  heads  may  he  ilixidrd  rouo'lily  into 
periods,  one  exlendiiiu;  from  the  earliest  examples  of  the 
e  sixteenth  centiir\  until  about  1650,  and  the:  other  including- 
the  second  half  of  the  seventeenth  and  the  first  half  of  the 
•ntnries.  After  1750  there  is  nothing-  of  much  interest  except 
wtmple,  those  of  Aherdeen  and  of  Shropshire.  In  these  and 
raft,  instead  of  d\  inu;  down  into  simple  diilness,  sometimes 
ither  sources,  such  as  plasterwork,  and  produced  e.xamples 
material,  hut  are  not  without  decoralixc  charm. 
'Idle  lirsi  period  (with  which  this  chapti/r  deals)  be^'an  before  the  Renais.sancc  touched 
the  pltimber's  art.  It  coiuinued  until  the  new  ideas  were  established,  and  may  fairly  be 
called  the  Au.i^ustan  a,oe  of  Kn^lish  leadwork.  Durinc;-  the  thirteenth  and  fourteenth 
centuries  the  English  craftsman  in  lead  had  to  some  extt'iu  lost  the  pre-eminence  which 
the  lead  fonts  of  the  twelfth  century  had  won  for  him.  We  can  show  noihino-  to  compare 
with  the  delicate  crockets  and  leafwork  of  French  mediawal  roofs,  which  Buro-es  so 
faithfully  recorded.  When,  however,  stone  oaroovles  were  abandoned  for  e.xternal  lead 
down-pipes  and  heads,  the  hai^iish  plumber  came  into  his  own  a^jain,  and  at  a  time  when 
his  ideas  of  design   were   markedly   lluid. 

Pltimbers  were  conser\ali\f  craftsmen,  a  reputation  which  they  enjoy  to-da\\  it  is 
constaiuK  found  that  leadwork.  jtidoed  by  desion  and  treatment,  is  fifty  years  or  more 
l^eliiiid   the   stone   car\ini_;-  and   plasterwork  contemporar\-   with   it. 

■j'he  reason  for  this  is,  doubtless,  that  no  foreign  leadwurkers  were  im[)oried  with 
Torri^iano.  or  with  the  German  craftsmen  who  followed  when  the  Italians  fell  into  evil 
])olitical  odotir.  I{\-en  had  they  come,  the\-  would  haxe  broui^hl  no  tradition  to  disturb 
the  EnL;lish  treatment  which  had  held  swa\  since  the  thirteenth  century.  The  Gothic 
tradition,  which  persisted  so  lon^  in  the  shells  of  btiildin^s.  and  was  discarded  for 
Renaissance  treattnent  at  first  onl\-  in  such  details  as  stone  carxin^;-,  continued  lono-  in 
the   .letails   of  leadwork. 

d'he  fori'iL;'!!  leadwiirker's  art  and  fanc\-  rioted  in  crestino's  and  fmials,  l)ut  pipes  and 
pipe  heads  seem  to  haxe  left  him  cold.  It  is  characteristic  of  the  practical  genius  of 
En-lish  luiildini,;  that  the  external  down-pipe  is  a  distinctively  English  method  of  dis- 
ijosing  of  rain  water.      The  onlv  interestitig  foreign   rain-water  head   known  to  the  author 


]-:.\GLISH    LKADWOKI 


Fic.  3v-  (Iresl'.jnl  CI 


is  from  a  sketch  of  a  Bd-lan   cxani].!.-.      It   nii-ht   lie  of  the   scv.Mit.'cntli   century.      Here 
[Ik;  (lesi!_;n  is  inlluencecl  hy  the  protest |ue  ^ar-nxlc.  which  was  siniietinies,  e\eii  in  niedia-val 

work.    nia(l<-    <-ntirel\    in    lea.l    instea-l    of,    as 
•-:^      "  1^1        iisualK,    in    stone,    'in     ItaK     there    an-    no 

~M        rain-wati-r   pi]  es  except  modern  iron  ones  of 
______  "        the  worst    t\pe.      Tlioii-li    the  Romans  were 

in;^(in  roofs  to  the  L;rounil  1>\  pipes  instead 
ol  shootiiiL;  it  oti  li\  projecting  spouts,  there 
is  no  e\idenci-  that  these  pipes  were  other 
than    of    stone    oi-    terra-cotta.       The)     used 

lead    ll'eeK     lol'   sei'V  ice    pipes,    l)Ut    a|)pareiltly 

Linder  ■■Conduile,"  sa\  s  that  in  the  four- 
le(/nth  centiii-\  lead  rain-water  pipes  were 
in  use  in  I'.n-kmd,  hut  nowhere  else,  and 
skotches  a  most  unconvincing  lead  head  and 
Icii-lh  of  s(|u,u-e  pipe.  He  unfortuuatelv 
does  not  su,--<-st  whore  the  head  is  to  he 
f,und,  and  there  is  in  I-.n-land  nothin-  so 
earl\    l>\-    two   lenluries.       It    has    keen    .said 

that     fra-ments    of    pierced     work     in     C.othic     patterns,     IouikI     at     hdimtains    Ahhey, 

formed    parts    of    pipedieads  :    hut    the    fragments    in    (piestion    seem    rather    to    he    parts 

of   lead-vontilatin-    <|u<u-ries.       khere    is,    how-       

ever,  an   earli.-r  r<-ferenc<-    than    \-iolletdc--I)uc 

to    khi^Iish    rain-w.iter   pipes.      IIem-\     III.    in 

1241     (see    the    Lilu'rate    Roll)    writ(-s    to    the 

Keeper     of     the     Works     at     the       kower     of 

Lonckm:    "We   command    n  ou    to   .    .    .    cans, 

all    th<'    leaden    -utters    of    the     -r.-at     tow.r 

thnm-h     which     rain     uater    sh,,uld     fill    from 

<lown  to  the  -round,  so  that  the  wall  of  th( 
said  tow.-r,  which  has  keen  newK  white 
washed,  ma\  ke  in  nowise  injured  k\  the  drop- 
pin-  .if  rain  water  nor  ke  easik    weakmed." 

khe  USeof  le.ld.Iown    pip(-s-rew  prokakK 

rath.-r  from  a  desire  to  save  w  at. -r  f  ,r  .  1.  nn.sti, 
us.-  than  1. 1  a\-oi.l  th.-  splashing  .l..wn  ..n  th. 
wa\far<-r's  hea-I  ..f  th.-  .lischar^.-  Ir.,m  pn.j.-ct- 
in-    sp..uts.  khe    us,-     .,f     por.ius    kuildin- 

st.in<-,  liakle  to(-r..si.,n  thnui-h  th.-  waU-r  k.-in.- 
kl,.wn  a-ainst  the  walls  in    its   fill,  w,>ul.l    t.nd    u>   th. 


k-a.I    pip,-   .,f  th.-    ihirt.-.-nth    c 
ihin  pit-ces  .)f  stone  comin;'  in 


,1   ,h.-  pip.-  in  ah 


\holk-i  1,-  Due  sh..wsa 
i.-ntK    sei  in  1. 1  allow  ot 


k.\i.\-\\Ari;R  I'li'iMii'.ADS. 


The  fixing-  of  the  ])i|)c  on  iln-  Ouc  of  ilic  w.ill   is  appircntly  a  later  development,  due 
to  the  oTeater  slniplicitv  ot'thi-  ni  ■tlii;!  and  th;-  !■>■  .M^niiiDn  of  its  decorative  possibilities. 

Whcrr  rlown-|.ip.'s  vvTc  nni  us>;,l,  ihc 
lead  c-o\crin-  llir  roof  -ullcrs  was  oUcn 
drcsscl  thron-h  ihr  op<-nin-  in  the  parap<-l, 
lined  th<'  .hanncl  of  the  -ar-ox  Ic  and  ex- 
tended hexond  it,  as  on  Crestonl  Chnrrh 
(Fio-.  31^).  In  oilier  cases,  as  at  I'ttiir^lon 
Church^     the     -ar-o\  le     was     a     lon^-    'lead 

trated    in    Twopenv's    drawin-s    of  "  Kn-lish 
Metal  work"). 

At     Mardwi.-k    the    lea.l     -ar-o\  les    are 
bulgetl,    slit,   and    twisted    to    th<'    form    of  an        7^} 
Elizabethan    puffed   sl<-<-ve. 

At  Linn.ln  Cathedral  is  a  -real  parapet 
o-utter,  illnstraled  in  ('hapler  V. 

(  )n   the    Maxor's    Parlour,   l)erl)\,  there   is  a  curious   nicked   and   curled   lead   i^utter, 
with  short  round    taperin;.^-  spouts   hau'^in,;-  from    it   at  intervals.      'These  spouts  discharj^'e 


-Windsor  Castk 


■'u:.  vS. -^Wiiu 


the  water  clear  of  the   face   of  the   building-.      This  h  )asj  is  probably  of  the  last  (juarter  of 

the  lifteenih  century,  and  the  little  spouts  are  interesting;  as  beino-  embrx'onic  down-pipes. 

Iloth    Mr    Re-inald    lUomfielil   and    Mr   .Starkie  Gardner,  when  writing'  of  leadwork, 

refer  to   the   head   at    1  lampion   ("ouri    I'alace  (  Iml;-.  36),  which  bears  the  initials  "  H.  R.," 


KXGLISH    LEADWORl 


and  the  date 


IS   l)cliv>    prolial.lv    the   carlifsl 


-lla.l.l.in    Hall. 


iiiiiiL;.  and  with  sucli  authoritifs 
ont-  dues  not  lightly  dlsa-rf<-.  Hxamination, 
hdwcxcr,  |]|-(i\cs  th.it  Ml  far  Inmi  lirin-  ( 'f  the 
sixtrciith  it  is  ccrt.iinl}  of  the  nineteenth  cen- 
tur\.  it  is  fresh  Innkin-.  and  the  arrises  are 
sha'rp  The  resi.lent  surveyor,  Mr  Chart,  to 
whiini  these  suspieiims  were  Cdnimiinicated, 
s,i\s  thai  ahdut  f(irt\  \cars  a-o  tliere  flourished 
at  l!ani|iton  Court  a  strenuous  master  plumher 
who  renewed  with  some  ferocitv.  I  )ouhtless 
the  existin-  heads  .u'e  a| >|)roxini,Uel V  like  the 
ori-inals.  hut  the  to,,  mouldin-s  .u'e  u-ly  and 
suu-<-st  the  X'ietorian  |,luml)er  at  his  eoarsest. 
rh<-re  ,u-.-  no  auth.'iuie  earlv  heads  with  the 
s,un,-  m.uildin-s. 

Amon-st  the  e.u'liest  heads  are  two  at 
Windsor  Cistle.  whieh  .m-  purely  in  the  ol<l 
manner  (I'i-s.  ;,;  and  ,vS).  (  )ne  is  d.ite.l  isSq 
Ml  hold  fi-ures,  and  hoih  were  ori-inallv  on 
the  I'di/.il.eth.ui  portion  of  the  Castle  on  the 
north  Ironl,  now  p.ua  of  the  Roxal  Lihrary. 
Th.-N  u(  re  t.dsen  .lown  in  |-Cl.ruary  nnx\.  re- 
p,u-nd,  ,uid  photo-r.iphed.  The  lion  pranc.'s  in 
vigorous  m.'di.eval  stN  le,  an<l  is  a  verv  hlithe 
pi^M'  ot  modelling.  All  the  letters,  ornaments, 
,uid  crestin-  an-  appli.-d.  Vhr  plan  of  the 
heads  is  enri.uisK    irn--ular  ,md  interesting. 


RAIX-WATl'.R    I'll'E-Hl'.ADS. 


■Mji^-^ 


Fh;s.  42-44. ^rii'K-iiLAix-,   Hadhon   Hah.. 


Exr.i.isii    i.i:.\i)\\"()Ri 


Amongst  otluT  early  d; 
OIK-   ..r    I  ;S;.  ;,i   Chanl,   with 


llicn-  is  (or  was,  it  may  li.ivc  (lisapi  x-and  recently) 
ttleniented  cresting  and  fmir  pindanis.  At  liiirton 
A.^-nes  arc  some  line  lica.ls  hcarln-  dale 
1603,  and  there  arc-  simple  hatth.-mmted 
examples  of  1 6og  on  the  east  side  of  the 
tower  at  l.an-ley  Marish.  Hurks,  an<l  of 
1(131    on   a   L;al)led    house  at    Swindon. 

At  lladd(,n  Hall  the  lead  heads  are 
iinmenuis,  and  lik<-  most  thin'^s  there,  a 
ii.<-ral  .■dueation.  Idle  eontinnous  huildino- 
^Ahirh  enables  LIS,  as  we  move  from  one 
room  to  anothrr.  to  step  from  one  centiir\' 
lo  anothri',  and  to  sec  the  de\  clopment  of 
ircalmcnt  and  fcclin-,  sa\  of  wood  panellin-', 

kindness  with  the  leadw-ork.  The  heads 
lan^e  from  ahout  15X0  to  lOqft.and  he^'in- 
mii-  in  work  of  purcK  (iothic  feelinL;'  run  on 
to   the   stiff  vase-shaped   heads  which  are  the 


teenth  century.      The  later  h<-ads  are  illustrated    in  the 

ants   of  the   stone    L^ar-ox  les.       lnde(/d,  the   -ar-os  Ics    ha\  < 
keen  disestal.lish.'d    in    their  favour.      The  lead'spotils  tvnn 
the   stone   fi-ures  which    ori-inallv    dischar-cd    elc;,,-   , 
kuiklin-  were  shortened,  and  now  dischar-c  into  pip,-dieads. 

k\    the   -ar-oyle   idea,   and    has    fishi.nicl    the    front  of  the 
h(-ads    as    more    or     less    human    kices,    one    of    a    s.ttled 
melancholy     (  Fi-      40),      the     other     expressing    a     sli.^h 
humorous    dissaiisficti.in    (hi-,   ,V,).      dhev    an-   alto-etl 
a    pretty    jest   in   lead,  and  save  lor  the  two'laui^hin-  mas 
prophetic    of    I)r    Johnson,    on    an    example    of     1  Ouo     ai 
Durham     Castle,    there    are    few    hea.ls    which    are    frankU 
anuisint;-. 

The    spirit    of    the    me.li.evallst    was    evi.leiuK    akroa.l 
when    the\    were    conceived   (al)out    16.H.).       We   h.ive  here  a 


-rim    pleasantry    ver\    different    from    the    p., lite    wit    which 

sLi-eested    the  'aral,es,|ue    masks   of,,    fc^w    N.-ars    later   (s.-e 

Fi-.    S4).       In    I'i^.  45    is  shown  a  h<-ad  on  the  (iiv.u    Hall, 

Lower    Court.      A    Ion-    emkattle.l    L^uller    .lischai-es    into 

one   end.      d'he   head    has   a    lleur-ded\s   crestin-   and  a  tra-erx    disc    on    the    front,  hut 

trace   of    RenaissaiKc  treatment.       I  )r  Charles  Cox,  in    a    pap.a"   on    l)rrl,\shire    i'lumlx 

has    illustrafd  a  head  similar  to   that   .,f   Fi-.  43,  hut  without  a  -niter,  and  with   a   circ, 


.\1.\-\V.\T 


'iriMiKADS. 


29 


ithci-  ri.h.T  ini 
'  the  first  half 
h.dic.l  In  1^1^, 
n.I    if   It   can    1m 


ihaii  tile  simple  wheel    pattern  of   Imo-.  45.      He  dates  it 


the   time   of   Sir    Henrv 


teeiith    eentlir\,   ]>ossil)f 

1  ahseiice  of   Keiriissance  feclin;^-  makes  this   theory 

1   the   head   is  the-  earliest  extant.      IJut  one  may  be 

I'he    l-'.\am    liall    heads   have  a    \  ery   similar   lleur-dedys  crcstini^',    but  one   is 

I'his  is  riled  as  shuwiiiL;-  that  the  (|iiite  (jnihie  treatment  d<)(/s  not  necessariiv 

Iv    wnrk. 


<lisr  of  ; 

probabK    (.1    the    hrst    hall    ot    tli 

Vernon'  wh,,died  in   1^1^.       \ 

plausil.l 

sceptica 

dated   1 

indicate 

Mr  Lethabv  fi-ures  in  his 
l)<M,k  a  hea.l  th'e  same  as  this 
cxampli'.  hut  he  shows  no  L;iitter 
with  it.  Moreo\cr,  the  top  pipe 
socket  bears,  in  his  sketch,  the 
Vernon  boar's  head  erased, 
whereas  the  only  existing  head 
which  has  ihe  iioar's  head  on 
die  top  socket  has  a  peacock  dis- 
played  instead  of  a  tiMcery  disc 
on  the  front  (b'vj;.  4 1  ).  It  the 
INbmners'  peacock  is  indi-vnous 
to  the  head  on  whith  it  is  now 
hx<'d,  it  dales  the  heads  sonie- 
wh<-re  probabU  not  earlier  than 
1577,  when  .Sir  |.,hn  .Manners 
went  to  live  at  lladd,,n  on  the 
death  of  his  f ither-indaw,  cer- 
tainly not  earlier  than  1507, 
when  hi-  married  1  )oroth\  \'er- 
non,  and  s, ,  demolishes  th'e  idea 
of  a  head  of  131  V  I'rolKiblv  a 
.sale  date   is    1580. 

If  the  pa;4e  is  here  some- 
what ovc-rchar-.-d  with  names 
and  dates,  it  is  bv  wav  of  illus- 
trating th.- s|,.w  im'pact  of  the  new 
ideas  and  the  permanence  of  ilu- 
(iothic  spirit. 

TIk'  finest  heads  at  Iladdon 
liall  are  tin(|uesti,,nablv  those 
on    the    north    si.le   n(  the    Lower 

(..  ourt  ( 1"  ii;s.  4J  and  47).  .\  deliL;htful  leauire  is  formed  by  outer  fronts  of  pierced 
tracer),  which  produce  lights  and  sha<lows  of  amazino^  grace.  This  tracery,  and 
the  delicate  cornice  with  dentils,  firm  one  of  the  hajjpiest  possil)le  coml)inations 
of  the  traditional  (iothic  with  the  new  ideas.  'Idle  effect  is  stim|)tuous,  and  we  can 
scarcely  lind  an  (.-xamijle  in  the  minor  arts  when-  the  o\erl  ipjjini^  of  the  st\les  leaves 
a   restilt   so  harmonious.      'Idie  media'\al  tr.iditioii  was  dNing.  but.  like   Nature  in  autumn, 


Hall. 


30 


i;.\"GLISII    LKADWCiRK 


was   hcautitul   (•' 
hm    with   ..11   iJK 


ath.      ']'h(_'  new  st\k'  was   tnidiiiL;   its  \\a\   somewhat   imeertainlv, 
l-li-ln    nf  tlie   chiid    |.la\iii.!_:    a    new  -aniV.       If  s,.ni<-  of  the  new 
tnrms  we're  eiinmis  and    h\  hrid.  all   lia.l    the  tasci- 
-:-.'        natiiMi  i  it  i-\|)eriinent  ,iiid  the  \iL;(  mr  nf  xoiith. 

'I'lirnin-      to     I-'i'l;.    47,     the     three     pendant 
JiKilis,  ilic  middle   (Hie    poK-cnal  while  the  outer 
.,■    .  ";  _  ones   arc    I'l  umd,  are  ,1  |  ileasanl    rt-lief  to   the   line 

of  the  underside  of  the  l„,wl.  The  hea.l  nf  Fio'. 
\2  is  similar,  save  for  thr  plercd  cvlin.lers  which 
appear  to  earrv  it.  These  deserv'e  a  word.  It 
has  l.e.n  si,--ested  that  thev  carrv  the  heads. 
1  hev  are  slmplv  thin,  holl,,w  eyiinde'rs,  and  could 
on]\  support  the  heads  if  lhe\  were  the  I'asin^s  of 
oak  pluL^'s,  of  which  there  is  no  e\  idence.      They 


ll-'-w^^^ 


l-ie.  48.— Haddon   Hall. 

arewipe.l  on  to  the  lieads.  The  actual  sup- 
ports, where  there  are  anxDther  than  nails, 
are  plain  iron  staples  drix  en  under  the  he.ids.  s.-'^       ^ 

The  theory  of  oak  phi-s  seemed  so  plausible,  ^    \^^^  J'*^ 

and   indeed   so  practical,    that    the    heads   at       ^*^" 
Bolton    Hall,    which    have   similar  cylinder.s.       f^    , 
when  taken  tlown  at   the   recent   relmildinL;,        ^ 
were  examined  to  ascertain  if  there  was  an\        \ 
si-n    of    plu-s,    hut    th<M-e    was    none.       As       j|^ 
similar    t\  linders    occur    .it     ("ovcntry.    an<l 
th<-se   ha\-e  no   pluL;s,  the\-  ma\'  he   taken    to 
I.e    purely   ornam<-ntal,       Moreov.-r,    if  these 

the\  would  scarcely  have  keen  onntKnl  from  the  head  of  Im'.' 
that  ot  i'i^.  42.  Idle  e.xample  of  V'v^.  43  is  intc-rt-stinL;  h\ 
hmnel  keiii'i"  omitted. 


dlev    were   Ueedhll    for 
of   the    heart  shaped 


R.\ix-\v.\rEK  iMi'i;  iii;.\i)S. 


Still   less   touched    1)\-  the  risiiiL;-  in;iniirr,  l)Ut  of  a  L^ruvrr  kind,  is  the  castellated  head 
decorated  with  lleiirs-dedys  of  I'i-.' 40,  uliich  is  pi-ol.al.K    of  the  sanv  date  as  that  of  Fi- 
44.     'Idle  latter  is  lixed  in  the  l'|)|)ei-  ( 'ourl,  and 
the  initials  are  those  of  Sir  Jolm  Manners,  uhos, 
elo|KMnent    with    Dorothy    Vernon    -oes    far    l- 
support  our  claim  to  !„•  a  romantic  people. 

'idle  hea.ls  of  I'i-s.  4O  and  4S,  thuuuli  (mi 
the  same  L;ciieral  lines  of  mimic  castles,  ha\i 
each  that  touch  of  dilference  which  L,rives  a 
livelv  inter.'sl. 

'ddie  example  of  I'i-  50  is  a  little  l.afllinL:  ^^^  'J^ 
in  its  l.'tterin-  Md.C  M.\.  prohal.K'  stands 
for  Sir  J..hn  '.Manners,  and  the  C.  l.en'eath  f  .r 
(H-ac  (,r  C.c.r-e.  (Irace,  the  el.lest  dau-ht.-r 
of  Sir  Henry  I'ierpoint,  married  Sir  John's 
eldest  son.  Sir  ( leor-e,  on  2ni\  .\i)ril   i  5<)4.  .-  -  ^.    -  y   ^    ■     t 

N<.l  ,.nlv  th.'  lieads,  l.ul  the  pipe  sockets 
show  a  weakh  of  care  an<l  iiuention.  One  is 
shown  in  Fi-.  51.  the  shield  liearin-  the  .uaiis  of 
the  l'eml)rii--e  famiU,  <i  harrv  of  six.  ClearK 
the  lla<l,l(,n'  pluml.ers  uer<-  historically  nn'nde.j, 
for  it  was  alioul  the  nn'ddle  of  the  fourteenth 
centm-)    that  a  X'ernon  married  a   i'emliiai.i;;4-e.  Fic.  50.  — Haddon   Hall. 

.Some  are  decorate(l  with   discs  of  tracery 
(Fi-.    53).    and    the    \"ernon's    l,o,u-'s    head    alternatt'S    witli    shields    of   arms,    interlaced 
<liamon(is,  (leurs-dedys,  and  even  with  the  heart  ornament   of   Fi-'.  54,  which   will    -lad.lcMi 
tlie  (happily  now  discredited)  <lisciples  of  L' Arl  Nouvcau. 


Fu.s.  51    and  52. — Pipe  Sockcl.s,   Haudon    Hail. 


In  the  case  of  some  sockets  the  tracerv  disc  is  separate,  and  the  nail  i^'oes  both  thnniLjh 
it  and  the  plain  ear  into  the  wall.  In  other  cases  a  piece  has  been  cut  o\\\.  of  the  ])lain 
ears  and  the  disc  .soldered  on  from  the  I)ack.      In  others,  where  new  ears  were  necessarv. 


;.\"(,;l[sii  li-'.adwork. 


the  tracery  discs,  inste;ul  of  l)ciiv_^  cast  iicrfciratcd,  wrvc  cast  with  a  solid  liack,  and  this 
hea\-ier  castiii,^-  was  tlieii  lastciicd  \.<>  the  new  cars.  The  pattern  fur  this  li(;;i\icr  casting- 
was  prohahly  an  (iri;4inal  disc  mduntcd  on  the  iiriL^inal  plain  ear,  the   moiintinL;  piece  hein'^ 

trimmed    round    to   the   (Uitline  of 
the  disc. 

M,,w<'ver  splcnchd    the  work 

at     Knole    and    i  lathrld,    there    is 

a   <|iialit\    al.out    th(    earlier  heads 

at     lladd(,n     Hall    which    stirs    lis 

to   po^ltiv.■   ahrction.       Idiere  is  a 

wealth  of  pure  inxcniion,  a   sense 

o|    material    so    just,  a  humour  so 

[  spontaneous  yet   ^'ently  sardonic, 

;  an  historic  rexi-llin,;  in  the  coats- 

r^/        ol'-arms     of     toieotteii     heiresses 

that  nnist  mo\-e  us  to  amazement. 

'I'ruK-    these    se\cnte<'nth-centnr\ 

plumhi-rs  were    .Admirahle  Crich- 

tons  in  their  craft. 

d'hi-ee    lat<-r    examples    from 
W.uldnn    are     illustrated     in     the 

While    Had.lon    11  ill    pi  .\id(.   th,     Ink    t   ^loup  (,t    he  ids   re-anled   as    an    historical 
series,     Knole    Park      S(  \  i  no  iks     icitimK     .,i\(s    us    th(      tuK  st    series    iA    heads    of    one 
period.      Datine-    horn     i  O04  \(>nj    th(  u      lu      oit\   sc\en    in     ill,    includiuL;-    some    lhirl\ 
different   types.      '1  Ik  s.    he  ids 
not    onlv    touch     tin      hr  Ik  st 


^;^*%-^^ 


Fk;.  53.— Haddun   Hall. 


R.\I.\-W.\ri:R    l'IFi;-HEADS.  33 

harshness  due  to  wliilc  paper  liiuiiiL;  Ix-cn  |)ul  into  the  pierced  turrets,  when  they  were 
photographed,  hut  williont  it  the  dclicale  network  would  not  ha\-e  had  full  justice.  It 
will  be  noted,  too,  how  in  die  plainc^r  pattern  the  strength  of  the  simple  lines  of  tlie  design 
are  lightened  by  the  little  enibaitled  cresting  and  cable  moulding,  a  detail  much  belo\ed 
in   the  early  seventeenth  ci;ntur)    and  always  successful. 

However  richly  decorated  the  work  of  this  period  it  is  alwa\s  restrained,  never 
insist(-iu.  Pierced  work  like  lace  ap[)lied  flat,  flat  pierced  jianels  forming  false  fronts 
and  throwing  shai'p  shadows,  piencd  turrets,  pierced  i)endaiUs  finishing  in  ])olygonal 
balls,  solid  turrets   iiuiuiiierable,  rhe<|uer-.,  chexrons,    8's  and   strapwork    in    bright   tinning 


Fig.  55. — Knole. 


plans  irregular  or  balanced,  all  go  to  make  up  a  variet\-  of  treatment  that  indicates  the 
apogee  of  the  leadworker's  art.  The  detached  pierced  work  is  perhaps  the  most  effective 
by  reason  of  the  bright  spots  of  light,  which  alternate  with  sharp  shailows  and  touch  the 
whitening  lead  to  silver. 

On  the  south  front  at  Knole  two  heads  have  pierced  and  twisted  ternn'nals  which 
match  the  characteristic  early  Jacobean  stone  finials  (Fig.  56).  They  bear,  as  do  many 
others,  the  initials,  arms,  and  crest  of  Thomas  Sackville,  Earl  of  Dorset,  who  enlarged 
and  beautified  Knole.  .\nother  on  the  south  front  lias  incised  bands  and  straps,  which 
were  probably  filled   originally  with   black  or  coloured   mastic.      The  east  front  has  eight 

C 


34 


;XGLISH    LEADWORK. 


lieads,  all  small  ami  of  (nic-  t\|)r.  l)ut  each  with  some-  diflL-rcncf  in  treatment.      The  W'aler 
Court  has  several,  one  particiilarK'  noticeahle  tor  its  en^a.^'iiiL;"   plan,    its  :_;Teat   lenL;lh.  and 

the  (iutl(.-t  at  the  extreme  left.  The  .Stone 
Court  an<l  Green  Court  heads  are  lar-e  and 
rich.  One  hears  pent.icles,  said  to  he 
siL;niticant  of  1  hum. is  .S,u  k\  ille's  masonic 
interests.  This  is  pn  ihlemalicil  ;  the  pen- 
tacle  is  pmhahK  there  simply  as  a  pleasant 
L;"eometrical  ornament  \-ery  suitahle  for 
tinniuL;'. 

When  we  l^'o  from  the  series  of  courts 
to  the  entrance  front  we  find  no  heads  or 
down-pipes.  The  water  is  projected  hy 
J,..:.,     r 


lain    lonu"    ^an'ovles    to    the    ''round,    ii 


hahilahilitv.     lh<'      huilder     dispell 
them    ah.  .-ether. 

rhe  date  of  e.trU  lead  hea.ls  is  n.  .1 
alwavs  s,,  ch'ar  as  at  Windsor.  M(dia-\,,1 
feelin-  <lied  hanl  m  leadwork.  Xot  ..nU 
did  the  spirit  (.f  the  Renaiss.mc-  work  ii'i 
spasms,  hut  it  was  so  Ideal  in  its  incidence 
that  thedatiiiL;"  of  sixteenth  and  se\ente(.Milh 
((■ntur\-  work  is  ;i  perilous  enter|)rise.  and 
"ahoLi't"  a  u..rd    of   Mes,  .pntamian    hlessed^ 

the  en-a-in-  -utters  and  heads  at  Win- 
chester in  Dome  Allev.  hd-.  58  shows  the 
deli-hthil  arran-emenl  wherehv  the  water 
issues   from    the   \alley  of  the   rnu\    uii-ler  ,1 

palU'rn    -utt<-r.    and    is    .lischap^ed    iiuo   the 
side   of   a    frankly    hnmehshaped    head,    and 
so  throuj^h   a   down-pipe   reaches   the   i^round.       d 
here.      The-    dudor   r,  ,sr   .and    the   leaves,    strewn    ( 
fashion,   are   richly   ,md    h.ippilx    uKMlelled.       Idle 


^.^-^ 

1  if^PWWI"! 

m 

m  %' 

syj  p 

ii 

.^-C^-^,^ 

r 

"l 

1^ 

'     04 

Fu;.  57.— Knole. 


which    d( 


still     h 

ilds 

s\\a\ 

il.Msan 

llv 

di. 

asua 

pipt 

AIX-WATER    I'll'K-HEADS. 


lio.s.  5S-60.  —  Pll'E-HEAHS,    GUITER,    AND    APKON,    DoME    AlI.KV,    WiNXHKSTER. 


^6 


ENGLISH    LEADWOKK. 


-sDckets  perhaps  ha\'c  an  ecclesiastical  siL^nihcaiice.  unless 
lhe\"  are  taken  as  representative  nf  Catherine  of  Ara^oii 
nr  Queen  I\Iar\'.  The  huildin^s  of  Dome  Alley  are 
prolxihly  Elizal.H-than.  The  original  gables  were  later 
cut  (l(i\\  II  ti)  their  present  Inrni.  There  is  nuthiuL;  in  the 
treatment  of  the  heraldic  changes  to  contradict  the  idea 
that  the  leadwork  is  of  (Jueen  Mary's  rei^n.  as  has  l)een 
claimed  by  Mr  A\  mer  X'allance,  b'.S.A..  but  it  is  more 
likely  to  be  later.  The  triani^iilar  aprons  are  unusual,  and 
seeing  that  the\-  date  probabb  from  the  alti'ration  of  the 
gable's,  it  may'  be  that  the  lead- 
work  is  as  late  as  about   1620. 

The  heads  have  l,)st  th<- knobs 
at  the  top  and  curls  at  the  b(,ttom, 
which  T\vo|:)en\'s  drawing,  maili 
in  iS;,;,,  shows.  They  are  3  feet 
high,  and  lO  to  17  inches  wide, 
'idle  gutters  are  in  \arious  lengths, 
some  about  4  feet. 

dhe    form    of   gutter,    so    uni- 
\-ersal  to-da\-  in  the  hard  sharpness 
of  cast-iron  eaves   gutter,  was  rare 
^  in    early    tla\  s.       The    more    usual 

IMMI^JI^        *'"'"'  ''"'^  ''''■  ^tnnght   parapet  t>  pe 

"-^^|2g^  as  at  Qld   Pakice   Yard, 

"'^/^KSw^HK^^W^^Kl  where    the    bottom 

,-      }2    j^^m  rests    on   the   top  of  the  wall.      .\t 

-^    -^  ^^     .IH  I),,ni,.     Allev.    however,     it     is     of 

modern   shape,  and    rests  on   plain 
irou  brackets. 

ddie  Coventrv  gutter  (Fig. 
61)  has    for  decoration  a  singularly 

ralistic  treatment  of  the  leases  an<l 
tendrils    widi    a   convntional    com- 

simiku-    't,,      that      of    "Winch.'ster 

occurs      at      Upton      Court,      near 
keading,    and    the   spouting    is   dated    \(,(k\. 

In  Mr  l.ethaby's  JH.ok  is  a  sketch  of  lead  -utter  (I'ig.  (.j), 
pipe  (I'ig.  64),  and  pipr  IxM.l  (I-ig.  03),  on  a  cuiage  at  l'.ramh,dl, 
(  heshire.  The  colta-e  has  been  pulled  down,  ,ui<l  it  w.is  ouK 
after  nnich  dilficult)  that  the  leaduork  was  lound  and  phot.i-r,iph,-d 
in    a   bindder's    yard.      'I'he   gutter  (a    \  ine    ])alt(rn    of  w.ive   outline)       Kn..  64.     l>i[x-,  liranihalL 


Fig.  62. — Gutter,  Bramh.iU 


I'lpL  head,  Bramhall. 


ami  the  pipe  arc  particul.irU-  hcautitul,  tlic 
head  ilatcd  1698  is  less  notcuorlh)-.  It  is 
likely  that  the  pipe  and  puller  date  from 
al)()ut  1600,  and  that  oriL^inally  the  pipe 
fitted  round  the  gutter  outlet  without  any 
head  ]>v\n'j;  tisi-d.  As  this  arrangement 
would  tend  to  caLise  overllows,  the  head 
was  a.ldrd  a  eenlury  later.  'idu-  head  and 
reel  ornament  on  the;  edj^es  ot  the  pipe  I-. 
unusual,  though  it  appears  on  some  AnL;l<i 
Roman  coffins,  on  an  Exeter  i^-utter  men- 
tioned helow,  and  on  a  1  )urham  Castle'  head 
of  1699.  The  \ine  ornament  on  the  face 
■of  the  pipe,  the  socki-t  hearin;,^  a  crowned 
portcullis,  and  the  ears  coxered  with  a 
tracerv  ornament  make  up  the  most  heauti- 
ful  i)ii)e  in  iMV'lainl.       I  he  -uitcr  is  ()  inches 


R.\IX-W.\Tf:R    PH'K-HKADS 
[ 


37 


Fig.  66. — I.eighton  Bromswold. 


wide  1)\  4  inches  deep,  the  ornamental  front 
beiuL^  soldered  to  an  L  section  to  form  the 
channel.  The  pipe  is  4  feet  4  inches  long, 
and  4J,  1)\-  2\  iiuhes  (external  sizes).  The 
ornamental  front  is  a  casting  soldered  to  an 
unornamented  channel  section  to  form  the 
pipe. 

The  head  (Fig.  63)  has  not  very  much 
[0  commend  it.  The  fretly  outline  of  the 
funnel  and  the  rather  meaningless  heart 
oinament  suggest  the  touch  of  an  amateur. 
Ii  is  plainly  unworthy  of  the  unique  (the 
lord  is  used  advisedly)  pipe. 

The  difference   in   colour  is   not  due   to 

:i\   legitimate   treatment   such  as  tinning  or 

jlding,    hut    to    ihr    "picking    out"    of    the 

IMitern    in    a    connnon    welter   of   oil    paint. 

This  head   is    22    inches  high   by    19   inches 

wide,  and  its  body  projects  only  4^  inches. 

At  E.xeter  there  were  on  two  buildings 

1    Xorth   .Street,  now  demolished,  fine  lead 

litters    with    vine    pattern    arranged    wave 

lashion,     and    one    had     in     addition     well 

modelled  bead  and  reel  mouldings. 

At  Leighton  Bromswold  Church  (Fig. 
66),    a   head   and  two    lengths    of  pipe  end 


;>.  6;  and   6S.-IIal 


after  iisin-  hra.l  ;m,l  pipes,  the  plumlMi"  siirren.lere.l  the  prime  use  ,,f  them  by  failing;  t<> 
carrx  tlie  water  the  whdie  \va\  in  pipes.  The  prdjectiii^  spoilt  or  shne  is  sta\c(l  witli  an 
iron    har.   and    the   work,   a|)art   h-om    its   rielmess    and    intrinsic    \aliie,   has   a    sentimental 

1)V  CeorL^e  He-rbert,  wlin  was  patmn  nf  the  h\inL.;.  "  ddie  Temple'"  h.is  no  poem  on 
■'ddi<'  Church  Pipe-Mead"  to  stand  hv  •'The  (/hnreh  Porch."  It  would  doul.tl.ss  have 
puz/led  e\-en  the  prince  of  s\ ml  )ollsts  to  ha\c  f  lund  a  spiritual  significance  in  a  spout, 
hut   the   memory   of  .\(,ah    mi-ht   ha\e   pro\dked   his   muse. 

Great  as  is  the  \ariety  in  the  desi;.^ii  and  ti-i-atmeiu  of  pipedieads,  it  is  not  sur|)risin^-. 
tor  the  positions  of  :_;utters  and  pipes  demand  ii-reL;ular.  sometimes  e\(n  lii/arre,  shapes. 

uaiei-  st.uid  in  them,  they  serxc  simpU  to  dii-ect  it  to  its  down-pipe.  1  rreL;iil.irit\  in  plan 
and    section    is,    then-fore,    no    practical    disad\-ant.i-v. 

.\l  Hatfield  11,, us,-  th,-r<-  is  a  fin,-  seri,-s  ,,f  h,-a,ls  ran^in-  fn.m  lOio.  .Several  arc 
v,-ry  lar-,-,  and  tw,)  ,,f  the  lar-,-st  fil  roun,l  an-l,-s  of  th,-  huiMin- an-l  rest  ,)n  the  stone 
c.rnic,-,  whi,h  is  pi,-iv,-,|  v,-rti.allv  in  tak,-  th,'  hinnei  ,uitl,-t  (1m-.  05).  Th,-\  In-ar  the 
Cecil  c,.at  with  supp,)rt,-rs.  On  th,-  an,L;les  an-  pi,-rc,-,l  circular  turnts,  an,!  an  emhattlcl 
crestin-   with   cahl,-   in,,ul,lin-    runs   r,,un,l    the   t,)p  ,-d-,-. 


•Idi,-    pip<-s    ; 


)\     :;    inches,    with    a    semi 


lh(-   fr, mt   face 


.Some  of  the  h.-ads  ha\e  simple  chevrons  and  lnl,-rlac,',l  ,liainonds  (k'i-.  '.;)  in  hri-ht 
tinnin-.  ddi,-)  an-  s,,  like  the  Kn,)l,-  hi^uls  in  sm.ill  ,letails  as  to  t,-inpt'th,-  belief  that 
the  master  plumber  who  finished  workin-  at  Kn,)l,-  inr  tin:  b.arl  ,,f  l),.rsei  ab,,ut  1608 
went    on    t,)    llatfi,-ld    t,,   ,!,.    the   w,.rk    th,'-r.-    in    1 0 1 , .. 


RAIX-WATKR    I'l  I'l-.-HKADS. 


39 


K.  S.  on  the  head  of  I-'i-.  68 
is,  ut  ctjursc.  for  Rohrrl  Syssil, 
a  spellinj;- which  has  not  survived 
to  support  the  pi-onunciation. 

At  Ahhoi's  Hospital.  Guild- 
ford, is  a  scries  of  fourteen  pi|)e- 
heads  and  pi|)es  dated  fnun  1627 
to  1629.  The  departure  from  the 
eai-I\  manner  hecomes  here  more 
marked,  and  frankly  classical 
j)il,istei-s  ap|)(/ar  on  the  fronts  of 
some  of  the  he.ids,  \\yn  on  the 
Iliyh  Street  front  are  \<'ry 
elaborate  and  ht  into  the  corners. 
One  bears  the  initials  (i.  A.,  the 
date  and  the  ai-ms  of  George 
Ahhot,  Archl.ish,,p  of  Canter- 
bin-\-,  the  founder  of  the  charitx'. 
The  dc^licat.-  l.rattishin-  on  tip- 
top   is  a  deli-htful    feature  (Fi^-. 

7-r)- 

The  modelling-  of  the  llower 
ornaments  on  its  fellow  (  Im.l;".  69) 
is     capable     if     a     little     clumsv. 
The    heads    in    the  (|uadran-]e'  are   smaller  a 
heavy   horizontal    bands   which    perhaps    strik 


Fig.  69. — Abbot's  Hospital,  Guildford. 

id    simpler.       b'i:,;-.    71    shows   one    wi 
■    the    e\-e   as   II' 'K.    but     tliev   are    \- 


h   tw( 


Figs.  70  and   71. — Guildford. 


ENGLISH    LKADWURK. 


for  the  vigorous  shadows  which  tliey  give.  The  head  of  l-'ig.  ;o  is  an  example  of  a 
rather  early  head  which  has  lost  tlie  early  feeling  and  has  not  fotnul  its  wa\-  to  a  satis- 
factory alternative.  The  treatment  of  the  funnel  is  weak  and  amateurish,  and  the  panel 
hearing  the  date  has  a  clumsy  moulding.      The   jjilasters  are  a  good   example  of  how  not 

to  use  architectural  detail  as  mere  ornament. 
The  pipe  sockets  are  really  more  interesting 
than   the   heads,    ha\ing   raised   cable   bands 
and   orn.uiuiital    |)attei'ns  timu/d  on  the  face. 
Idle  pipes  have   been   painted   freely,  and  as 
the    tinning   onl\    stands    up    about    one-six- 
trcnih  of  an  inch  it  is  xisilde  only  on  careful 
examination    (  I'ig.    J}).       There-     are     nine 
■^        patterns   in   all.    Including    \arious    types    of 
j         cross    and    the    lleur-ded\s.        Another    pipe 
'         socket,    probably    of    1750    or    later,    has    a 
delicate    lion's    mask    enclosed    in    a    lieaded 
pointed    o\al. 

At    .St   j.ihn's   College,  Oxford,  are   four 

magnificent    heads    of    1630.    the    imi)ortant 

nting  and  gilding  of  the  lead,      ■fhe  ro\  al  arms  and 

zoned   in   their   pro|HT  coliun-s,  and  the  turreted  face 

-e   i)ainted   black  and  white  in  chevron  bands  and  in 


Fit;.  72. — Guildford. 


features  of  which  are  the  elaborate  p; 
the  arms  ,,f  Archbishop  Laud    are   bl 
of  the  heads  and  the  hmnel   outlets 
many  other  delightful  patterns. 

We  are  indelited    to   the   p.u'nst; 
this  colour  work.      iNIr  Troup's  meas 
heads    are   reproduced    in    Figs.    70   and    77,    and    ph 
graphs   of  two   in    bdgs.    74  and    y^.      j-'orlunately   t 
were    sufficient    traces    of    the    old    colour    to    niak( 
acciu-ate    renewal    a    certaint\-    and     not    a    specula 
I  his  colour   treatment   was   pi'obabh'   not   uncomnioi 
the     se\-enteenth     centur),     luil      three     centuries     ha\ 
weathered  niest  of  it  awa\.      dAvo  heads  on  the   1! 
I.ibrar\-    retain    traces,    but   apparentlv  onl\    of  black   and 
white.'    C.ilt    relief    was    doubtless    .'|ulte  '  <  (immon  :     the 
heads    at    Cond(,ver    Hall    and    on    the    new    buil.lin.^s   .1 
.Magdal.'n    Collt-v,  Oxford,  are   so   treat..!.      .\s  Xiojl,! 
le-Duc   says:     '•  Medi.rval    lead   w.is    wr..ught    l:k 
sal    gol.lsmith's  w..rk,"  and  a   profusion  of  -ikling   would 
lend   actuality   to   this   impression.      it   is  curious   in    this 
connection    t-'.    note   (Mr    Masse's    \u,uk    is    the   authorit\  ) 

where  fiilure  to(,be\   the  I'ewterers'  Compain   resulted    in 
meat  was  apparently  a  pewlerer's  p,,ison. 

At    .St     b'hn's    College,  Cambrid-e,  are   also   admirabl 
of  leading  u[")  to  the  later'work  describe.l   in  the   next   chapt 


,ind    cases   are   cited 
ikies.      A   plumber's 


ite<l   I  5Q().      liy  way 
^ni  ma\   be  \entured 


.\I.\-\V.\T]':R    I'll'lMIEADS. 


of  soiiK'  remarks  mi  lcu<l 
lu';i<ls  bv  Mr  Rc-inal.l 
BlonificM,'  A.K.A.,  in  his 
fine  hisiorx  nt  l\cnai.ss:iiu'c 
Architc-cturr.  1  Ic  says  thai 
towards  the  laUcr  pari  nl 
the;  scxciuccnlli  cciiUir)  ihc 
older  and  simpler  ir(Mtnieiit 
of  heads  -ave  way  to  more 
recondite  forms  owiiiL;  to 
the  ambition  of  the  plnmher, 

now    hecnme   a    \er\    <lexler 

ous  workman,  to  show  his 
skill.  lie  points  to  the 
i;;,,)  head  in  the  Square 
of  Shrewsbury  (hi-.  79)  as 
illustrating  the  ehan-c  that 
was  destro\in;^-  !•, ni^lish 
craftsmanship.  Mr  Mlom- 
field  sug-gests  that  the  work- 
man had  long  since  passed 
the  limitations  imposed  b\- 
technieal  in.'xperience,  and 
could  not  resist  the  tempta- 
tion to  sacrifice  artistic  \  alue 
to  mechanical  skill.  The 
elaborate  work  on  the  heads 
of  lladdon  and  Knole  and 
Hatfield  of  the  early  se\en- 
teenth  century  must,  how- 
ever, have  ret]uiretl  as  lull  a 
knowledge  of  the  plumbers' 
craft  in  all  respects  as  tlu' 
later  work  at  .Shrewsbur\- 
and  elsewhere.  While  the 
richness  of  the  later  work  is 
generally  produced  mereh" 
bv  applying  an  excess  of 
separately  cast  ornaments, 
the  early  work  is  not  Lick- 
ing in  an  ecpialK'  rich  but 
withal  restrained  treatment 
of  applied  castings.  In 
addition,  we  have  the  deli- 
■cacv   of   the   pierced   work. 


ENGLISH    LKADWORK. 


^S 


HEADC 


vtlf 


r^i..-^— v/"^ 


76.— St  John's  Coi.i.kc.k,  Oxkoki 


AIN-WA' 


'Il'lMIKADS 


43 


ka.n 


)^J-yJ 


BATTLEMENT 
ANDBEADIMG 
(ACTUAL  51Z=) 


THE5EA5liNC-SEEMf.C>B=    , 

TO  A  iUOHT  30SSING  •ON  Trt-3:t)E 
ANJTfE  TWIiTOMWEJ-lNClJEO. 


OUTUNE  OFCaoR-AI 


PLAN  OF -HEAD 
Fig.  77  —St  John's  College,  Oxeord. 


E  X  G  L I S  H    L 1-:  A  D  W  O  R  K 


and   the  colour  treatment  of  paintini;,   L^iMinL;-,  and   tinniiiL;-.  whicli   cilled   for  a   dex 
as    marked  as   is   needed    for   cist   work  Imwever   ehiborate. 

\\"ith  re,L;ard  to  the  modelling  of  the  cast  ornaments,  tlic  lion  of  15SQ  on  the  Wi 
head  is  at  least  as  i^'ood  an  effort  as  the  acanthus  leaves  and  swa^s  of  the  later  heads,  and 
the  most  that  can  he  said  for  the  later  work  is,  that    in    the   techni(]ue  of  casting-  undercut 


terity 
ndsor 


Fig.  78.— Guildlord. 


Fig.  79. — The  S(iuaic,  -Shrrwsbur 


work  greater  skill  was  shown.  The  decli 
the  seventeenth  centur\-  is  due  rather  to  tl 
man  owing  to  the  growth  of  power  of  the 
architect  in  the  details  of  leadwork  was  fai 
the  water  leadwork  on  tin-  Wren  church( 
is  interestlno. 


n  charm  which  we  feel  towards  the  end  of 
d<ing  in  importance  of  the  indi\-idual  crafts- 
litect.  ?\loi-co\-fr,  the  intercsi  taken  1)\'  the 
This  is  pro\ed  hy  the  poverty  of  design  of 
There   is  scarceU   a  head   in    London  which 


[     45     ] 


CHAPTER    III. 
RAINWATER    PIPE  HEADS    [Con(inned). 


The  Overlapping  of  Stylt-s— Bolton  Hull  — Stonyhurst  and  Hideford— T.ocal  Schools  of  Ixadwork- 
Shrew^hury,  Nottingham,  and  Aberdeen. 


I",  turn  I 
tn'iim|>l 
an,l    ap 


t(i    liic    latrr   work,    in    wliicli    tlic    classi 
anil    Gothic    detail,    where    it    ai)i)ears. 


(•tail   has    hecoine 
lis    tinconifortahle 


do    more     th; 


I'dr    the    sake    of   con\-enience    th('  histor\-    of    pipedieads    has    been 
di\i(U-d    into   two   cliapters. 

A    division    into    two    periods    is    naturalh'    much  too    arhii 

suggest   broadly,   that    in    this   kind    of  leadwork   there  were   tui 


main  influences — the  medi,i\al  and  the  Renais.sance.  Owing  to 
the  sporadic  working  of  the  ik'w  ideas,  and  the"  slowness  with 
which  they  penetrated  to  the  more  remote  parts  of  Kngiand, 
there  is  naturallv  a  gr(_-at  oxcrlapping  of  styles.  A  marked  in- 
stance of  this  is  found  at  K<'ndal,  Westmorland,  where  a  head 
of  171  I  much  resembles  in  general   treatment   the  Guildford   heads 

of    1627.       The    ap 


escallop  shells  and 
fleurs  -  de  -  lys,  and 
there  is  a  para])el 
of  delicate  l)rat- 
tished    work   which 


uonisiii 


N^' 


Fic.  Si. — Coventry. 


171  I.       At    dlis    dale 

the   finish   at  the  top 

of      jjipedieads      was 

almost     invariably    a 

heavy  and    not   ver_\ 

interesting    cornice.      Kendal     was     remote, 

and   the   old   manner   consequently  lingered 

there. 

Old   Palace  Yard,   Coventry,   has  a  re- 
markable   series    of    leadwork.       Reference 


46 


KXGLISH    Ll'lADWORK. 


has  alrt-ad}-   hcen   made   to  one   i^utter  of"  alxuii    i  5S0  (Fi-".    61).      Sc\cii    heads   of   1556 
and    dii-nahnm-,    iccrlxc    the    discliar^e    from    a    tine    shell-pattern     ]>ara[)et    i^utter.    with 

Most  of  th(/  lieads  ha\e  classical  cornict-s  of  L;Teat  pro- 
jection with  dentils,  hilt  much  (h.thic  detail  lingers  in 
battlement  and  discs  of  tracer).  They  alternate  with 
pilasters    and    ,iral>es(|Lie    masks.       I  hei'e    is    a    charmint;' 

min^linL;  sii^L^esls  a  Commonwealth  plumher  adding- 
stock  patterns  in  the  new  taste  to  those  his  father  left 
him,  and  usinn  one  or  the  othc'r  according  as  they 
happened  to  fit  the  plain  lead  bo.xes  that  called  for  en- 
richment  ot    some    kind. 

Idle   Coventrx    crahsman   e\  id.Mith    .lid    not    desire   to 


Fig.  82.— Maddnn   Hall. 

<leliver  his  work  from  th<-  |)ower 
of  the  do-.  One  head  (I'd-.  80) 
has  a  ninninL.;  hound,  ami  a  pipe 
socket  has  'two  vi-orouslv  mo- 
<lelled  spaniels.      ddie  Iniild'in-    is 

<leliohthll       throughout.  Woo.l- 

work  and  plasterw,n-k  are  hill  of 
interest,  hut  dilapidation  ^rows 
apace,  and  the  liiil,- co,,rlvard  h.is 
a  ne-lected,  almost  do(,med,  lo,  ,k, 
which  bodes  ill  l,n-  its  survival. 
A  motor  car  fictor\  of  uncom- 
promising utilit\  and  \ileness 
has  be.Mi  added  recently.  One 
fears  that  the  success  of  the 
Eno-lish  Ju,--ernaut  mav  s,,on 
claim  another  \iciini,  and  one 
that    (;o\cnlr\    i;m    111    spare. 

At    Charlton     Moum-,     Kenl, 
the    h<-a.ls    ,u-,-    (laK'd     i()5<,    and 
are,    theivfore,    not    so    early   as    tl 
arms  (h"i^-.  S3),  the   pendaiil    knobs  an.i    iin-  (| 


k.\i\-\v.\'i'i-:R  i'ii']-:-in-:ADS. 


47 


WMmj. 


^ 


tV*^  J-»w 


'*^.*m» 


rS^'J 


-^^ 


v^:^  J-jLiv-T  'i« 


^^mm^y^M-  •  *" 


^^^•^^^Ses^:^--  --: 


S4  S( 


-,   llMDuN   Hall. 


;nglish  li:ad\vork 


>^\\-c   tnr 
bi-  shitl 


nt   iii(li\  idualiu  .      Am illicr  licad   (  Im^.  SS)   is   iiotahlc   tnr  the 
ahnvr    the   Innvl. 

Returning  to  1  laddon  1  lall,  there  are  some  heads  in 
\  thv  l'])])er  Court  with  rirh  arabesque  masks  and  baltisters- 
at  the  corners,  uliich  mark  a  break  from  the  okler  manner, 
and  lia\e  (|iiite  an  ItaHan  look.  Ex'en  on  them  a  sH!_;ht 
pnijeclinL^cmbattk'd  cresting;-  is  retained  for  tlie  (kdii_;lnkil 
spots  (if  shadow,  whicli  it  tlirows  on  the  top  ed^e  (  Im'.i^s.  84 
an<l  85). 

There    are    also    several    heads   (Fi-s.    86   and    Sy)    of 

\'er\-  simple    treatment,    which    art-    most    difficult   to  rlate. 

They   may   be  ascribed    to    about    1070.      There    is    in   the 

Giiil'dhair  Museum,    London,    the    h-ont    only    of   a    head. 

dated    1676,  the   top  of  which    is   nicked   and   Ijent  over  in 

-^        e\actl\-  the  same  wa\ .      It  would  be  hai'd  to  dex'ise  heads  of 

I        such  perfect   simplicit\-  which  \'el  shotild   lie  so  entireK'  sue- 

^y:-^]        cessh.l.  There 

f*  J*'|        is     not     even     a 

ipe  socket  :    the 


Fig.  87.— Haddon   Hal 


'i  

;|         head       is       made 


than      the      pipe. 

This  is,  of  course, 

not  a  thiuL;"  to 
imitate,  because  thoui^h  the  junction  ot  the  pipe 
and  pipediead  is  of  satisfactory  appearance, 
there  must  be  trouble  at  the  lower  end  ol 
the  len-th  of  pipe,  where  it  joins  to  the  ne.xt 
len-th.  I'nless  the  lower  len-th  be  htted  w^ith 
a  socket  (thou-h  not  necessaril\-  ornamented) 
it  will  ha\e  a  slo\cnl\  look,  because  it  must 
lie  worked  to  a  lar-er  opening-  to  take  the 
upper  pip<-.  At  blatheld  sonn:  of  the  sockets 
are  of  the  same  size  as  the  ])ipe,  and  the 
spi-ot  ends  of  the  pi])es  abo\e  are  worked 
to  a  smaller  siz(_-  to  make  the  joint.  This, 
however,  besid.-s  l.iokin-  a  la/v  piec-  of  work, 
has  th.-  practical  disadvanta-e  that  the  b..re 
and,  therefore,  the  w  ater-c.u-|-\  ini;-  capacity  of 
the    pipe    is    reduce(l. 

In    practical    points    such    as    this    it    is    not 
always    safe    to    follow    the    older    work,    which 

sometimes  shows   stran;4c   hqises.      Jerr_\  diuildin^-   is   not   a   |)urely    modern   \- 
old  as   laziness. 


pfeS^^^^Sfl 

9 

wl^^P^H.^^^"^!! 

^Q 

1 '      r^y  i 

gd| 

B^^^^^;  "' 

^r 

^^^^ 

A 

^^HoH^^^I 

^j^H 

Cliaiiton   House,   Kent. 


k.\i 

Th<'  Inn-  vasc-shai.,-,1  li<-a<l 
(il  is  r.aUrv  dull)  hut  hccausc  it  s 
later.  This  type  rri-(|ucml\-  has  a 
am!  can  Ijr  sci-ii  in  scoi-cs  in  Luinb 
Ihniipton  Curt  ha\c  thr  Hat  h".  n 
l''n)ni  ijooDnwanI  om-  fnids  iliat 
a  huil.lin-  has  -,'n,Tall\  nnly 
one  type  of  head.  'I"h<-  apph'cd 
ornaments  var\  somewhat,  hut 
fancy  was  d\  in-  an<l  the  weahh 
of  inxciuion  we  fni.!  at  I  hiddon 
and  Knoh'  ah,,nt  i  Oo, ,  ha.l  h,- 
come   anei<-nt    hislorN  . 

.\t  Toundisfonl  I'ark.  near 
Taunton,  there  is  a  \-er\  com- 
plete s)stem  of  rain-water  lead- 
work  (Fi-'.  90).  From  the  \alle\s 
at  each  .side  of  a  hi-h-pit(  heil 
roof  the  water  descends  throu..^h 
heads  and  pipes  (obviously  recent ) 
into  a  pretty  horizontal  gutter 
with  ornamental  top  ed-e.  idle 
outlet  from  this  -utter  conducts 
the  water  into  a  turreted  head 
(Fig.  89)  with  pipe  dischar-in- 
into  a  handsome  lead  cistern. 
The  "castle"  treatment  of  the 
head  is  so  distinct  from  the  stiff 
feelin-  of  the  pots  ,,f  llowers 
which,  with  the  date  1671.  deco- 
rate the  cistern,  that  one  is 
tempted  to  think  the  head  is 
earlier.  As,  howexer,  the  Dur- 
ham head  of  1699  (^"'.U'-  95)  "-'"Hi- 
liines  the  same  "castle"  motixc 
with  a  markedly  classical  cornice, 
we  may  take  the  Poundisford 
Park  head  as  probably  contem- 
porary with  the  cistern  (which  is 
illustrated  in  the  ne.xt  chapter), 
of  tin.'  two  manners  in  stonewor 
church  and  elsewhere.  The  -utte 
another  house  at  Taunton,  and  in 
came  from  the  liear  Hotel.  Ue 
with  a  parapet  of  the   .same  outlin 


X-W 

XT 

V.K 

I'll']-- 

(Fi^ 

8 

2)  is 

illust 

\as  ; 

c< 

mmc 

>n    to 

.ADS. 


49 


ited  not  .so  much  for  its  intrinsic  merit 
n  throughout  England  for  a  century 
mask  on  the  face,  as  at  Hampton  Court  (Fig.  93), 
the  Inns  of  Court  and  the  city  churches.  Some  at 
■red  with  a  \er\'  Intricate  monogram  of  George  \l. 


)undistord  Park. 


We  ha\e  here  a  parallel  in  leadwork  to  the  mingling 
-:  which  appears  on  the  Salisbury  Chantry  at  Christ- 
r  is  notable  ;  the  same  pattern,  but  doubled,  appears  on 
the  Devizes  Museum  there  is  a  similar  gutter,  which 
vizes.  At  East  Otiantock's  Head  there  is  a  head 
L-.  which  was  e\-identlv  a  iK-culi.iritx-   of  the   Somerset- 


I'.XtiLISlI    I.KADWOkK 


shir.'  plumh.T.  The  same  ..inline  Inil  in  a 
l.rlilr  \ariatinn  is  luLin,!  at  Staiiw  ick,  \'ork- 
,hiiv.  A  head  11(11  imlikr  that  at  l'..imdis- 
iMfd  I'ark  is  ,Mi  'r(.rrin-t(.n  Lhuivh,  Devon- 
shire (I'i.L;.  g  I  ).  1  he  cni-ner  turrets  are  less 
actively  warlike  than  those  of  l\)iindisibrd 
Park,  as  beonies  the  peaeetul  nature  nf  their 
homeland  the  \  ine  decuratidu  whicli  struL;- 
-les  n.und  the  little  panipet  has  a  soft  and 
The  tii|-nial  lliiwer  ornament 
oeket  has  a  peeuliar  interest, 
as  it  amounts  almost  to  a  trade  mark  of  the 
west  eountrx  phimher.  Plither  at  Taunton 
or  [{xeter  there  was  apparentK'  an  eminent 
family  of  leadworkers,  who  did  the  best  of 
the  oi-iianienlal  wcrk  ol  the  two  counties  ()\'er 
a   lonu"    nei'iod    of   \cars.      This   llower  orna- 


air. 
.ipe 


iMO.  ijo.— Poundist'onl   Park 


ment  crops  up  contiiuialK'.  It  will  lie  noticed 
on  some  of  the  cisterns  illustrated  in  ("haptei- 
IW     -Ihehea.lal  I'etworth.  Sussex,  dated  1054, 

di,-nit\.  The  Durham  Casile  heads  have  an 
especial  value  hist,  nacall  v,  as  showiu'^  the  pains 
taken  that  heraldry  should  tell  its  storv  accu 
ralelv.  A  head  of  1  00  1  fix,-,l  to  the  soiah  wall 
of  the  chapel  hears  a  shield  w  ith  the  arms  of  the 
S<-e  of  Durham  aknie,  which  was  then  vacant. 


R.\i.\-\\A  ri-:R  i'ii'iM[i-:.\D> 


r.ish(,|.   Cosfns'  Con-c- 
s|)(iiiilcncc    (Surtccs,     1870- 
71,   \'()1.   55,    p.    341  )    L;ives 
under  '■  Durham   Ivcp.iircs," 
Stli      .Ma\       1066:      '■  I'aiM 
Al.lcrnian  Mxrcs.  plunnncr, 
for  1 3  sloiiL-   ()l    Icul    cuxci-- 
in^-   the  ()\'cll  ni    tl 
tain,    nicndiiiL;    the    u;a 
leads,  an. la, I 
f.ir    ke.'i.ln-    me     {>i{ 
,/,-j.(,s.  ,vl."     \'<T>    |.ossll,l 
this    important    eiti/en    \\,i 
the     author     of     the     h 
<]ated   106  I. 

The   exan 
95      hears     ,,n      the      riehl 
niantleil    round    shieM     di 
ns    in    pale    l.odi    nf    tli 


e  and   of    Bisho])   Crewe. 
:^-^        As   ("rcwe   was  a   l)aron   in 
25:       his  own   ri^iit,   we   have  a.s 
lis      personal       mark      the 
baron's    coronet   as    well  a.s 
the    prince- -  l)isho|)'s    coro- 
neteil     mitre     which     indi- 
cated     his      office.         The 
_  tasselled  labels  of  the  mitre 

r)P>-t: -!  ^  c:^"b[       stand  clear  of  the   tlat   sur- 


^'u;.  93. — Hampton  Court. 


Fic.  94.     Pttworth. 


ICNGLISH    LI'-.ADWORK. 


rrcurs  l.cili  ,,n  ihr  mMc  n(  the  hca<]  imd  .n, 
the  <-;i|-.  In  th.-  latter  casr  it  is  enclosed  by 
a  ninul.lin-  which  l^nks  h'ke  the  cast  cable 
which  is  s(i  |ileasaiu  ami  cdiistaiit  a  feature 
in  the  nl,|  unrk,  bill  is  aciiialK  a  Hat  ribbon 
cl,,selv  twisfd.  Unha|.pilv,'  th<'  ,,ri-inal 
lead  pipes  have  been  aboli'shed,  an.l'iron 
siibstitiite.l.  -Idle  altogether  odi(ius  cast-iron 
ear,  which  fastens  the  socket  to  the  wall, 
seems  a  nee.Ilc'ss  barbarit\ .  Of  all  the 
olieiices  of  cast-ii-oii  pipe,  siir(dy  the  band 
ear  of  this  type  is  the  L;re,it<'st.  If  it  serves 
no  other  purpose,  thoii:_;Ji,  it  is  a  com- 
nienlai-\  \iL;oroiis  enoiiL;h  on  the  distance 
we    ha\e    tra\elled    since    1699. 

Another  head  of  1699  (Fi^'.  92)  has 
battlements  with  a  pierced  \-alance  of  Tudor 
ornament  instead  of  the  classical  cornice. 
Iheattemjit  to  remain  (iothicmtist  ha\  e  amused  the  pkimber  \astl\  .  lie  has  perpetuated 
his  sense  of  humoLir  in  two  bewi--ed  and  laii-hin-  fices  on  the  lower  part  of  the  hea<l. 

\'er\    sinular   to   the    Durham    hea.ls   are    those   of    liolt<.n    Hall   (  bi-s.  „0-oq)  thou-h 
h.'re     the      Kenais- 


A4^^^''  !  iL.  .--^^^^ 


^•-<  nu 


IV    -Duihani   C. 


ibicon    h, 


beenfi 
Th.-     , 


remains  is  in  the 
pierced  fronts  of 
the  c\-linders.  ddie 
varia'tion  of  heraldic 

-rc'at  historic  imer- 
c-st  to  the'  hc-ads. 
The  arms  arc-  those 
of  Charles,  sixth 
Marc|uis  of  Win- 
chc'sier,  aftc-rwards 
Duke-  of  Bolton, 
and  of  his  second 
wife,  Marv  Scrope. 
Thc-desi.i^nissomc-- 
whal  ovc'r  rich,  but 
ihemodellin-ofthe 
I'aulet  hinds  and  of 


^.\'-^<^/<^^     \"'"' 


■'        V     r^'^^J^^ 


^„  ^'j--:-JSi 


"^M^ 


•<^. 


'iG.  96.— Ijoki 


k.\ix-w.\ti:r  pii']-:-hkaus. 


the  Scrcipc  cli(iii-hs  which  suppnrt  ihc  shields  is 
especially  vi-nroiis.  In  nuv  lieu  I  the  I'aulct  cdjU 
is  supported  1>\  the  Scropc  chdii-hs.  a  hyhrid 
arrani4-emenl  i\ur,  .lnLilitlcss,  !'>  the  .Scmpc  shield 
li;i\in-  licrn  lost,  and  die  uap  lillrd  liv  a  plundxT 
wh..  N^asa  (iallin  in  hrraldrx.  idle  elienil.s  are 
pod-v  in  the  best  -ra\cstnn<-  manner,  ddie  dale 
deserves  a  wor.l.  The  simple,  clear  fi-ures  ,.f 
the  Winds,,r  and  Knnl,-  heads  are  left  liehind  tnr 
a  prelenlinus,  liusk\  i\pe,  uhicli  acc(,nls  with  die 
o-eneral    treatment    of    the    head,    hnl    is    not    verv 


Vu:.  yr,-      li"ll"i>    Hall. 

a  Imirahle  in  its  own  right.  A  head 
on  Winchester  Colle-c-  has  similar 
numerals.  .\l)oui  1700  they  were 
common. 

l!,.lton  liall  was  hurnt  down  in 
\uo2,  l>ut  the  lea<lwork  esca])e(l  prac- 
licalK  unhurt,  and  Im'^.  99  shows  the 
heads  as  in  place  hefore  the  fire.  The 
roof  was  co\-ered  with  lead,  which 
melted  and  cascaded  into  the  heads 
and  down  the  pijH-s.  1  lowe\-er,  no 
harm  was  done,  as  the  melted  lead 
settled  down  in  the  ixittoni  length 
of  iiipe.  whence  it  was  remoxcd  l)\ 
the  simple  method  of  s])litting  the 
ipe    Li[)    the    hack. 

A    technical    word    may    I.e    ad.led    as    to    the 

lakiiig  of  these   heads,  which  a])plies,  more  or  less, 

ids  of  the  late  sex'enteenth  centur) .      The 

hox   part    is  made  of  cast  shc-etdead   beaten   to 

hape  and  soldered   up.      'I"he  cornice  has   been 

gths.    mitred,    and    soldered    on.       The 

eiitils  and  all  other  ornaments  are  sejjarate  castings 

lered  on.     The  substance  of  lead  averages  10  lbs. 

the   foot,  but   varies  between  7  and  12  lbs.      The 

method  of  fixing,  viz.,  simply  soldering  on  from  the 

nt  instead  of  also  pinning  through  to  the  back,  is 

slovenly    and    unlike    the    l)est    work    at     Haddon  : 

hence  the  drop])ing  off  of  ornaments,  and  muddled 


,.\GLISH    Ll'-.ADWOKl 


rclixini,;.  The  (i\-(Tla])[)iiiL;'  acunlluis  Iraxrs  at  llu-  hnitnni  of  the 
head  arc  iliarai-tcristic  of  the  iM-riod,  ami  while  -ivin-  an  innleniahle 
richness,  do  so  at  the  price  of  iroiihliii-  the  -cneral  effect.  In  1678 
there  has  ceased  to  l>e  much  reticence  in  the  use  of  applied  di-cora- 
tion.  There  are  no  traces  of  ^ildin-.  colour,  or  l)ri'_;ln  tinniiiL,;.  The 
pipe  sockets  and  ears  ha\c  cahle-moul.f-<l  hands,  an<l  are  also 
(K-corafd  u-ith  the  heraldic  .l<-vic<-s.  The  pipes  used  u  iih  the  Hat 
heads  are  rect.m-ulai- (5  [  inches  In  .;!  inches),  and  with  the  anoie 
heads  ari'  circular  (4,',  inches).  The  flat  heads  are  2  feet  11  inches 
wide  liv  2  feet  lo  inches  hi-h  overall,  and  the  an-le  heads  2  feet 
2I,   inches  Ironi    an-jes   to   edge   ol    ears. 

Ihe     HatfieM     Park    head,    dated    1680    (Fi--.     too),    is    a    very 
di-nificd    work.       lake    the   <-arlier   hcids   of    1610,    it    rests    on    th'e 
f^^C         stone   coi-nice.      There   are    few   heads   that   accord   so    fith    with  their 
bS         architectural  settln-       The   lead    crnice    is   of  a    stnni-   vet    -racetul 
^V         motil.liii-     that    matches    the    stone    cornice.       The    two  'seniiclrcular 
I  1  II   11        ]irojections  on  the  face  of  the  head   ai'e   taken   up  on    the    fice   of  the 

pipe,  and  thc're  is  an  i-cononn-  in  the  .ipplied  ornament  which  is 
refreshing  at  this  date.  The  whole  effect,  if  a  little  stiff  is  ennncntl\  scholarlx.  If  there 
is  a  weakness,  it  is  in  i\v  rather  hard  line  of  th<'  horl/oiital  i)rojection  on  the  funnel, 
which    catches   the    li-ht   a   little    harshly. 

In  this  head  one  se,-ms  to  see  the  hand  of  an  archifct  hehind  the  phniiher.  The 
earlier  leadwdrk.  saxc  in  one  notakle  exception  at  Knole  (  hi-.  50),  seems  to  ha\a-  been 
<lonc  with  little  r.'fen'nce  to  lh<-  -eneral  treatment  of  the  lund.lin-.  The  plimil.er  was 
prohahlv  lo|,l  to  provide  the  rc:|inn-d  mmiker  of  stack  pipes  and  heads,  an. I  the  desi-n 
WcLs   left   to  his  own   fanc\ .      There   was  a   lack  of  co-ordination,    which    produces   results 


lac,.   100.      Ilalfiel.l 


rai.\-w.\t1';r  I'li'K-m'-.ADs. 


55 


Fu;>.  102-104. 
1  and   Albert   Miisfum. 


dcli^lnlul  ciioul;!!,  luii  diverse  enouL;h  to  [prevent 
any  unity  in  detail,  e\-en  if  it  existed  in  the  j^eneral 
scheme  of  the  l^uildin^-.  One  cannot  think  of  Inijjo 
Jones  allowing-  a  plumber  any  voice  in  the  design 


it   hi 


I  I'M" 
)f  the 


work  :    Wren  was  ccrtainl\-  less  careful. 

Palladiaii  work  with  elex-ations  in  the 
nri-  did  n(il  admit  cil  the  careful  propor- 

stoiicwork  hciiiL;  ilisturi)ed  l)y  streaks 
The  ihouL^ht  of  a  down-pipe  on  the 
■  Ban(|uetiiiu;  Hall  verges  on  profanity. 
m  was  the  death  of  Icadwork.  There 
lipcs  and  hi-ads  on  the  side  elevations 
work  at  Hampton  Court.  The  heads 
iiul  ornamental,  hut  they  are  not  very 
On  the  ju.lge's  Lodgings  at  Win- 
a   head    dated    16S7   (Fig.    loi).      it   is 


diich 


d   t( 


only  at  the  top 
clear  between. 
JewTy  have  sh 
.At    .South    Kei 


Th. 


the    I 
pipe 
landin- 
.n    Mu'^ 
01.1  .M 


h<-ads 


rksh 


tl,  th 


probably 
the  head 
1   stands  (|uite 

St  Laurence 
the  same  way. 
re  are  on  loan 
useof  Buckle- 
•<l.  They  are 
ntioush'  archi- 
le,  which  in  its 
1)  common  on 

One  of  the 
n    banalit\-   h\ 


hr 


al)lt 
piece 


rnamenis  and  the  ui 
is  altogether  a  rather  slovenly 
seems  to  be  an  amateurish 
)f  the  head  dated  1694  (Fig. 
iments  of  ereat  sinii)licit\  and 


L\  pes,  one  rather  pret 
ther  of  the  hinnel  sh;^ 
impler  and    undecoratecl   form    is 
Ue    eightei,-nth-centur\     buildings, 
itter    ( h'ig.    102)    is    redeemed    fn 
le  two  antler  like  r 
monogram.     It 
of  work,    and 
cop\"  made  in   1  705 
104).  w  hich  has  orn  ^ 

distinction. 

The  larger  head  (Fig.  103)  is  an  excellent 
example  of  1690:  the  twisted  edging  is  not  only 
rich,  but  its  softness  seems  peculiarly  suitable  to 
the  material.  The  pilasters  are  unusually  treated. 
The\  are  lluted,  with  Ionic  capitals,  and  have  a 
dado  of  chetiuers,  which  lighten  the  design  with 
a  pleasant  spottiness.  The  three  connections 
between  the  bowl  and  the  funnel  are  also  rare  : 
thev  gi\e  the  general  effect  of  trusses,  but  are 
onlv  thin  straps.      The  lettering  is  admirable 


and 


;x(~.i,isi[  Li-;.\in\()Ri 


^       ^^^^^^^^^^       „„„,  ^ 


stands  tor  Sir  licnry  WliKhoimhe  and  I-diza- 
Ix-th,  one  n\  his  two  wives  of  this  name. 
()n  tlic  i.a\  X'irar's  lions.-  and  the  Ciist.ini 
lloiisr,  I'xKir,  and  also  on  the  Stone  House, 
Topsham,  are  simpl.-  heads  of  the  end  of  the 
lar  on  plan, 
and    ton'>iut 


\t  DartinoLith.  on  St  Saviour's  Churcli, 
L  [)ipe  socket  is  entircK  covered  1  >v  a  lari^c 
nask.  With  everv  desire  to  escajie  l.ein- 
;il,l.et<Ml  as  a  hiind  C.nilvc  enthusiast,  it  is 
lithcult  to  a\oid  the  conclusion  that  the 
urth<-r  we  niov.'  from  ni<-dia\al  into  classical 
reatnient,  th<'  less  interesting  do  pipedieads 
.econi.'.  Xot  only  is  chissical  detail  suhsti- 
Lited  fir  medi,e\.il,  liut  the  chan^^e  seems 
often  to  have  destro\-ed  the  craftsman's  sense 
Of  this   perversion    th(.-   Stonyhurst  and   ili.lefird  hea-ls  (  Im'-s.   105  and  106) 


ll.,.     lO, 


.\i.\-\v.\ti:r  I'll 


ADS. 


sliows  that  the  |iluiiil)iT  had  ahdicatcd   liis   ciiiitri)!,  and  was  content   to  rt-prodiicc  in 

what   anothci-    had    carvcil    in    an    aHcn    niatcriah       It    is    not    siii^-^x-sted    that    no    c; 

wood     patterns    were    used     in     tile    earher 

work.    hut    at    St.  >n\  hurst    the    feeling    of 

the  pattern  material  donnnates  the  linished 

lead    instead    of    l.ein-     siihordinate    to    it. 

As    an     exampK'     of    the     richest     possible 

is  .scarc:el\-  an  inch  ol  surfue  not  covered 
either  1)\  the  co.it,  crest,  or  mantlinL;,  and 
yet,  owini^-  to  the  unit\  of  treatment,  and 
the  ahsence  ol'  dates,  cheruhs,  im'tials.  cK.-c., 

The  llideford  head(lM--.  106),  which 
is  also  ol  ahout  1700,  suggests  a  nerx'otis 
horror  of  plain  surfac.'s.  '  ''h  is  a  plaster- 
work  rather  than  a  lea.lwork  <lesign.  it 
shows  not  only  an  almost  wanton  lu.\ui-i- 
ance  of  ornament  Init  also  a  lack  of 
econoni}-  in  material.  The  designer 
seems  to  ]ia\e  thought  in  trowelfuls  of 
plaster  rather  than  in  weight  of  rather  costK  metal.  The  treatment  has,  howevei 
advantage  o\-er  the  .Stonyhurst  work  in  that  the  surfaces  are  rounded  and  eas 
becomes   the   nattire   of  lead,  and    the   "cneral   desi'>n    is  at   least    xcrn  I'-ular.      I".\en 


lead 
rved 


lo.S.  —Cutter,    F!arnsta])le. 


is  a  plaster  design  it  is  English  and  not  foreign.  The  later  English  plumber  ma_\- 
have  rather  lilundered  with  his  matc'rial,  but  he  at  least  ne\-er  borrowed  ideas  from 
such   ingenious  gentlemen  as   Art.u'i  and    llagutti.      One  does  not   often    hnd   the  jx-ndant 


.XC.LISH    LKADW OKK 


,.    and   thc-ix*    is    sonu-tliinLi    vcvv    nai\c    about    the    Iwo    l(.'(i]iard^    who   are    prancing" 
from    tlir    i)i|K-   alun-    tli('    l.rick  wall.      The    modellin-    of    the    stalks    a.ul    leaves    to 

lent   which    Ikiuks   the   shield.      The  cherub   is  the   most  ordiiiarx    touch   on  a  (juite 

e .\ t r a o r ( 1  i  n a r \  c ( ) m I ) o s i  t i <) n , 
which  shows  the  riotous 
ease  with  which  the  i)luml)ei- 
played  with  his  material. 
'I'his    head    is    ])Ut 


^^^-J  1      l)air :     the    second     is    similar 


fy4,FPLAf\CiFTGP 
DOTlTii  Llf^t  3flO¥5  PLA^ 

OF  MOOLPmO 


^^f^m^      Staple    th( 
\'U\'/tS  with    to\ 

isi-f '  -  - ■ 


PLV-H  CF  IPPER  BAUDS 


but  hardly  as  rich.  At  Barn- 
staple there  is  a  lead  gutter 
battlements  and 
ope  mouldin;,;  enclosiiiL;- 
ornament,  which  is  a  medley 
of  \-ai4ue  tk)\vers  and  wini^s 
(l-i-.  'loS). 

\'er\-  arcliitectural  are  the 
heads  at  Frampton  Manor 
House,  lioston,  Lincolnshire 
(Fi-  lo;).  The  lluted  pilas- 
ters, the  lloLirishes  round  the 
central  panel,  and  the  rich 
I  modelling;  of  the  lower  [)art  of 
the  head  -i\e  it  a  distinctly 
baro(|ue  effect.  Altogether  it 
is  quite  foreign  in  feeling.  The 
[)ipe  ears  and  tlte  side  wings 
^^  j  of  the  head  itself  h.ive  deli- 
\Y.  cateK  moukU-d  \vater\  crea- 
tures—swans and  mermaids. 
There  are  lea\es  on  each  side 
of  the  lower  part    of  the   bowl. 


-^ 


VLm  OF  LWER  BAAflS        I 
109. — Canons  Ashby. 

Trac/d  by  pnmi^uui,  of  Mr  A.   Ifarti/iorm;   F.S.A..  from  /us  Phi, 
ill  III,:  '•  Sl^riir^  Gan/.in  Sl:,l,/i  Bool;." 

bourne,     Dei-bvshire,     there    are    several 


)erl.\shn-e.      ()i 


and  Irxed  to  the  wall  — most 
unreas.Miable  leaves  that  <lo 
nothing.  This  head  is  very 
characteristic  of  the  early 
eighteenth  century,  and  is 
cerlainK-  one  of  tlie  fmest 
existing  of  its  t\])e.  .\t  Mel- 
Is  ob\ioiisl\  cast  Irom  the  same  pattt'rns. 
bits  of  plumbers,  for  M.'lbourne  is  a  long 
,imil,u-.  but  less  worried,  on  .Sawley  Church, 
cndal    th<-re   ,u-<-   creatures   of  ,i   dragon    sort. 


R.\IX-\\'.\1I-. 


59 


m,„l,-llrcl  like-  ihc- 
I-'raniplon  swnns 
with  n.-cMlrss  .l.'li 
cary.  At  Llanclly 
on  the  estate  offices 
are  a  \ei-\-  ricli  hea-l 
aiui  pipe  (fi-iircil  in 
"Arch.  Cainbreii 
sis,"  fiftli  series, 
vol.  xvii.,  p.  236). 
At  Rain  Castl.' 
there  is  a  very  re- 
fined example  con- 
sisting of  a  plain  box 
with  delicate  halus- 
t.'rs  at  the  enrner. 
andaeonn\e.  It  is 
dated  1712. 


Figs.  109  and 
I  10  show  l)y  photo- 
graph and  measured 
drawing  what  is 
|)erhaps  the  most 
nicor(.  of  I':nglish 
heads.  It  is  from 
(/anons  .Xshhy. 
I'he  rich  sweeping 
cur\-e  of  the  curled 
ears  is  its  most  in- 
teresting feat  tire, 
and  one  that  de- 
serves repetition  in  a 
less  exuberant  kev. 
.\l  th(-  Architectural 
M  iiseum,  1  lit  ton 
Street,     there     are 


I'lG.  I  1  2. — Petworth. 


6o 


KXGLISH    LEADWORK 


■K;.  113.     LviiMiv   Pakk,  Gi,ouci;srKu. 


RAIX-WATER    riFK-Hi:.\I;S. 


lour  nkl  K-Hfl  hc-ads,  the  most  important  of 
which,  tlie  example  from  Lydney  Park,  Glou- 
cestershire, is  here  represented  by  Mr  Erskine 
Ciimmin^'s  measured  drawings  (Fii^'.   i  13). 

At  Levens  Hall  rank  was  something-  more 
than  the  i^uinea's  stamp.  It  was  writ  very 
lar^e  on  the  pipe-head.  Hut  for  this  the  head 
is  uninterestin;;-  {I'lii.  117).  Pelworth,  Sussex, 
provides  a  head  (Fi^'.  i  12)  which  is  a  veritable 
museum  of  lead  llowers  struni^  and  festooned 
o\-er  the  howl.  It  ^i\(;s  a  rich  effect  and  is 
ver\  orderly  and  balanced.  The  i)iercin--  of 
iLu  sheet  lead,  as  in  the  head  of  1701  at 
rorrinL;ton.  Xortli  Devon,  is  unusual,  and 
!4i\es  a  papery  effect.  Note  also  the  rather 
smirkin;..;-  masks  on  the  ears  of  tlu-  pipe 
socket  (Fit;-.  III).  .Shrewsl)ur\  has  only  one 
earl)  se\-enteenth-centur\'  head.  It  is  dated 
1610.  has  an  embattled  gutter  runnini.;-  into  one 
side,  and  raised  chevron  ornament  on  front. 
It  is  \cr\  similar  in  character  to  the  Knole  and 
1  latheld'heads  ,,f  the  same  period.  The  build- 
iuL^  on  which  it  is  fi.xetl  is  \-er\  ruinous  and  is 
likeK  to  disapi)ear  soon.  In  the  eighteenth 
century  local  schools  of  plumbing  seem  to  have 
taken   shape,  and   to   h,i\-e   inlluencetl   the  craft 


w 

^^^^R 

^^M  ' 

i 

1 

^^3w '^ 

j^^'^j^'sM^H 

1 

M 

Im^ 

ISh 

^  "'      }o\: ^ 

"iG.  115. —  The  Constabulary  Otliees,  .Slirewsbury. 


I'lc.  116.  —  Condover  Hall. 


ENCiLlSH    LEADWOKI 


)!'  a  lar-c  district.  'V\m-  rccurrciiLC  of  the  sanu- 
)ni,iiiiciUs  oil  cisterns  shows  tliis  to  haxc  been  the 
,isr  in  Devonshire.  Shrewshury  affords  another 
lotalile  instance.  'I'here  arc  many  lieads  of  the 
\|)r  of  1m;j,s.  115  and  iiS  with  ^im|ile  cornices  and 
■rr\  (■l<il)oral<'  nioiio-rams.  and  main  hear  the 
nunicipal  leopard's  mask.  They  shou  -reat  technical 
■apacitv,  and  -ixc  a  n.iK'  of  -ai<-t\  to  the  hald 
hrlck  and  stucco  elrvalions.  Reference  has  heen 
made  in  the  last  chapter  to  the  two  hea.ls  in  ddie 
S,|uare,  dati-d  1731  (  Im'-.  70),  which  show  the  rich 
ukI    frelhil   methods  of  this  perio.l  at  their  hest.      'Vhv 


1.,,,.   ,,;  -l.evdns    Hall 

demolished  huildin-  and  is  ai 
present  in  use  <it  the  constabulary 
offices. 

The  most  attracti\e  shape 
is  that  of  Fi--.  I  18:  the  head  of 
I'd-.  I  14  has  the  same  elaboration 
of  monogram  ami  acanthus  orna- 
ment, but  ihc'  shape  is  not  i^ood. 

There  continneil  in  the  dis- 
trict a  defmite  tradition  in  this 
manner  until  1  Soo,  pnulucinL^ 
desl-ns  generally  lame  and  un- 
happ),  but  not  without  a  certain 
d(-.\terit\.  .\t  all  excnts  they 
showed  an  appreciation  of  past 
merits,  and    e\cn    aliout    1  Sod  \\c 

projection  like  the  earK  se\<-n 
l,e„,h  ,.MUm-v    pipes  of   Hatfield. 


Th 


i.e    occurs    at    Wa 


])ipe  sockets  sometimes  laki'  the 
form  of  CorinthicUi  capital.s  (I'i.^. 
-c^),  a  superlUiily  of  architectural 
nau''htiness     which     is     not     im 


iS.     .Shrewslnuy. 


RAIX-WAII'. 


■Il'l 


i-:ads. 


63 


lias    an    an^ie    head    in    the    distinctive 
i()uklint;s   arc   of  careful    proportion,  and 


all,    near    Shrcwshn 
.    116).      'I'lic   cornic 

re  excellent   ol    their    kind,    if  a   little  too  suggestive   of  plaster. 

the   pipe   socket    is  .mother  coiimion   feature  of  the  local   work. 

eneral  effect.      This  .Shropshire  school 


lief,  which  li-'ht 


th( 


there  are   seven 


amusing.       Condover    II 
.Shrojjshire   manner   (I'ig 
the  strings   of  llowers  ai 
The    woman's    head    on 
There   remains   the  gill   1 
stretches  down   Ki   l.udlu 
school     is    thai 
of     Xottingham. 
The    work     re- 
mained   interest- 
ing   until    a    late 
dale.         Ihere     is 
consideral.le     re- 
finement   in    the 
head      of      I-ig, 
119,   though   the 
double-headed 
eagle  is  a  tame 
enough  l)ird  ami 
poorly  executed. 
The     very     late 
exam])le  of  Fig. 
120     is    of   'a 
happ\-  simplicit)-, 
if        some  w  h  a  t 
amorphous. 

The  last  ex- 
amples of  local 
peculiarities  are 
taken  from  Aijcr- 
deen.  The  head 
of  I'ig.  121  is  in 
the  possession 
of  Mr  William 
Kelly,  to  whose 
acute  and  sym- 
pathetic ohser 
vation  the  author 
is    indebted     for 

much  valuable  information  aneni  the  Aberdeen  leadwork 
all  iner  the  town,  though  some  are  even  more  elaborat 
modelled   faces  and   serrated   edges,  are  full   of  vigour. 


Another  local 


Fic.s.  119  and    1 20.  — Notiiii.yli.un  Mi 


—  Plumlicrs'  (Company   Museum. 


It  is  one  of  a  type  that  occurs 

The   threi-   large  leaves,  with 

l1   the   cast   open-work   valance. 


composed  ot 
striking  featu 
ings  are  perh; 


rose    scjiarated    from    the    thistles    on    either   side    by    tleurs-de-lys,    is   a 
It  will   be   noted   that   these  ornaments  ar<_-   in\erted.      The  top  mould- 
rather  too  hea\v,  but  the  whole  composition  is  eminently  successful.      A;- 


64 


ENGLISH    LKADWORK. 


the  date   is   probably  alnuit    1750.  this  head  contrasts  pleasantly  with  the   far  less  spirited 

work  of  like  date  in  Enj^iand. 

The  example   of   1ml;.   123    is   (|uite  characteristic  of  the   i^eiieral    Adam    feelinL;  which 

pervades  the  leadwork.  On  others  of  plain  hinnel  shape  there  are  delicate  swa-s.  The 
Ai)erdeen  heads  repa\  simK  the  more,  in  that  Scotland 
.^-enerally  is  rather  weak  in  Iradwork. 

The  example  of  ki-.  122  is  an  echo  of  Strawberrv 
llill.  Carpenters'  C.othic  one  knows,  here  is  plumbrrs' 
Gothic.  The  h<-ad  is  now  at  Kin-'s  Cojle-e,  London,  and 
is  the  proprrly  of  the  Worshipful  (A.mpanN  of  Plumbers. 
It   came   h-om '  ( ■.rinisthorp.-,   a   house  of  thi-    klarl   of  An- 


.ter,  but   it 


pn 


Ue.      The 


.Saracen's  head  and  coronet  were  probably  stock  enrich- 
ments, for  a  ficsiniile  head  came  from  the  demolished 
Christ's  llospilal.  .SureU  (iothic  tr,icer\  was  ne\er  put 
to  odder  use.  The  t  wo  '  ( [ualref  m'Is  which  line  with  the 
.f  Saracens  nose  have  a  particularK  forMrn  look,  but  how 
this  h.-ad  would  have  pleas.-d  Horace  Walpole.  At 
Wollaton  Hall,  near  Nottin-ham,  ih.'  Saracen's  head 
appears  ai_;ain  on  [lipedieads  and  sockets,  dated  1746. 
but  here  the  e'eneral  design  is  of  the  ordinary  classic 
sort  of  that  date.  As  fir  pipedieads  in  Ireland,  as  far 
as  earl\  wdrk  is  conc<-rne(l,  their  place  is  in  the  chapter 
which  the  snakes  occupy  in  the  traditional  historx',  but 
this  may  be  "another  inJListice,"  In  Dublin  there  are 
some  heads  of  the  t\  pe  of  I'd-.  <;;,,  but  the\-  do  not  call 
fM-  separate  illustratii  Ml. 
To  the  symbolist  on  the  prowl  rain-water  hea.ls  will  be  a  disappointment.  It  would 
be  only  reasonable  to  look  for  some  decorative  motixc  su^-estin-  water,  but  search  has 
so  fir  been  \ain,  if  we  except  the  horizontal  /\'j:/..i\^  bands  that  are  furK  connnon.  As 
however,  /i,^/a-s  as  symbolic  of  water  are  archaic,  the  symbolism,  if  it  can  be  claimed, 
is  probably  (juite  unconscious.  There  are  eighteenth-century  cisterns  which  beai-  fro^s 
and  such  like  on  their  fronts,  a  commentary  L;"rim  enoui^h  on  the  fuina  of  ei;_;hteenlh- 
centLn-\  drinkin-  water,  but  hardly^ht  fx,,!  for  the  s\  nibolist's  m.-ditation.  One  looks  in 
\'ain  fir  bands  of  wa\\  lines  on  the  front  of  a  head,  or  somi-  modification  of  thi'  wax'e 
scroll.       One    would    be    -rateful    even    for   a    f\lfit. 


AliL-rdeLn. 


[     ^>5     J 


CH.\rri:R   i\'. 

CISTERNS. 

Possibilities  of   Decorative  Treatment— The  Great  Tank,  at  St   Fagan's— Methods   of  Making — West   Country 
and  London  Cisterns  Conipared-Detailed  Descriptions  of  I-'xamples  Illustrated. 


AIN WATI-R  risur 
we  iii:i\    considri-  ill 


\c   so   ()l>\i(iiis  a  cdimrction    with    |ii|K--hca(ls  that 

xl,  lhuii;_;h  thc\   arc  related  in  Innii  to  fonts. 

'liieir  .len.rative  jirohlems   are   altogether   different   from  those  of  lead 

|)i|)e  heads.      l'i|ie  he.ids    are    -eneralK    out    of   reaidi.       The)-  admit   of  a 

delicacN    of  treatment    in   pierein-    and    modeUin-    the    lead   tliat  makes   for 

icly,  and  even   allows   lri\-olil\.      It  would 

be  difficult,  however,  to  \)v   fri\-oloLis  on   the 

front  of  a  cistern.      ,Snch  ornament  as  is  used 

must    necessariK     he    in    low     relief       Any- 

ihint;-    like    the    otitstandin-    detail    which    is 

permissible  on  a  font  wmild   he,  on  a  cistern, 

in    ;4ra\e    danger    of    harsh    treatment    from 

the  domestic  can  and   htickel.      \'et  e\cn  so. 

there  is  a  notable  v'uriety  of  treatment. 

The  limitations  of  form  are  of  necessity 

onsi.lerable.      (."isterns  can  .miIv  take  simpli- 

.shapes.      The)     may    \)v    rectan-iilar.    poly 

oonal,   circtilar,    or    seomental    on    plan,    btil 

variety    ends    there.      Vnr    practical    reasons 

their    sides    \-erticall\     should     be     straiL;ht. 

Their    toj)   edi^es    must    be  strictly  horizontal 

and     inireliexed     b\-    parapets     or    any    like 

finishes,    such   as  ;^i\e   an    iniendinL;"   variety 

to  rain-water   heads.      1  )ecor,iti\ely  the  aim 

is,   suitably    to    ornament    a    llat    surf  ice    of 

regular  outline,  and  speaking;'  broadly,  there 

are   four  main   ways  of  doing  this. 

1.  To   treat   the  surface  with   some   un- 
obtrusive recurring  ornament   in   the  same  way  that  a  media;val   ma.son  diapered  a  wall,  a 
method  entirely  and   unfortunately   neglected. 

2.  To  p)anel  the  face  by   applying   moulded   ribs,  and   further  to  diversify  the  surface 


•^ 


124. — St  Eaiiswith's,  Folkestone. 


66 


ENGLISH    Ll-.ADWORK. 


1)\   s|)(iitiii^^  ii  with  small  (irnanicnts  such  as  daifs,  small    hmircs  and   heraldic  char^^c-s,  the 
()i-dinar_\    method   of  the   se\-eiueenth   and   ciLilueenth   centtiries. 

certain    unity   of  eft'eci    nut   ohtained    hy   simple    p.uid    ti-eatmeiu.      This    method    obtains 
()nl\'  in  ricli  work,  like  the  most  elaborate  example  at  IJncoln's  Inn  {Vl'j,.   147). 

4.    To    make    a    moulded    frieze    the    dominant    decoration,    i\o.,    tlie    jardiniere    at 

Charhon(Fi-.    151). 


25. —Italian  'r.uik, 


Museum. 


With     them     m 


let,  or  is  merel\-  a  [ileasaiit  combination  ol  di 
s  illustrated  mainK  as  show  in-  a  t\pc  ol  d 
■elievin-  flat  surfaces  in  modern  leadwork,  a 
he    first    tv|)e    classifir.l    alnAc.      'Idi<-    l.,,.x    h, 


lor  the  mclusion  in  ihrs  chap- 
ter insie.id  of  in  the  later 
chapter  on  sepulchral  lead- 
wdi'k  of  the  gruesome  example 
gi\en  in  \'"\'j^.  124.  Moreover, 
it  is  a  reli(|uar\ ,  and  not  a 
cistern.  Decorati\  el\ ,  how- 
ever, the  lw<i  ihinns  are  the 
same. 

The  examjjle  is  from  St 
Eanswith's,  h'olkestone,  the 
l)on(;s  are  ]ii-obably  those  of 
the  saint.  We  ma\  put  aside, 
howe\er.  the  ecclesiastical 
significance  of  this  lead  box 
and  its  contents.  Decora- 
ti\el\  the  idea  is  excellent. 
Idle  surface  is  covered  with  a 
network  of  dots  (one  lozen^'e 
of  which  has  been  emphasised 
b\  the  eiiLjrax-er  for  the  sake 
of  clearness).  Kach  dot  is 
lo/eii-e  shape.l,  and  ne.u-  the 
top  n\  the  box  the  lo/ell-e 
pattern  is  crossed  by  a  hori- 
zontal line  n\  the  same  dots. 
Whether  this  reticulati,.n  is 
intende,!  actualK  to  su--vst  a 
,es,  se,'ms  not  to  b<-'  material.  It 
which  mi.-ln  well  be  ad,>pted  f  .r 
rt  the  only  example  that  at  all  hts 
h    cover    (not    lilted    to    it)    which 


uK    was  or 


pa 


.f  a    R( 


ilhn.       It    h 


ive   parallel    cable   niouldin.^s.      ddie   reli,|uar\    its 
oiil;  to  be  set  forth  here)  of  the  twelfth  centur\  . 
In    Im-     125    is    illustrate.l    the    <'X<|uisite'    k 


hich    the     British     Museui 


CISTKRNS. 


67 


possesses,  but    il    is   < 

f   1 

ali, 

m 

)ri-- 

n. 

be  of  the  late  tifleeiit 

h  c 

■nti 

w\ 

but 

it 

are  tile  addition  of  th 

e   I'hili 

stin 

c. 

Th 

The  second  and    loui 

th  1 

)an 

Is  . 

if  01 

nai 

larity  in  character  to 

the 

fri 

■/(■ 

of   t 

he 

are  of  the  same  famil 

y  as 

th 

■  fi- 

■(•/e 

of 

worthx   of  mention  as 

'sh, 

)U  i 

'^ 

hat 

th< 

times  not  onl\-  has  i-( 

i>ts 

in  I 

he 

earl 

er 

l''reneh  rislerns  at  S( 

nth 

K. 

■ns 

n-ti 

Ml, 

with  h.iri/onlal  ban.N 

c.. 

\  i-i- 

1',^ 

the 

^^\^ 

have  lotnul  no  ta\ dim 

m 

b'.n 

^la 

id. 

There  is   one   d 

istr 

■ssi 

il; 

feat 

ni-( 

the  attempt   to  trace 
the   desio-n  of  flat    s 

th( 
irfa 

d< 

ve 
in 

opn 
lea 

en 
bv. 

No  Enj4-lish  rain-wat 

.|-  (^. 

ste 

•n 

)f  01 

,lin 

type  exists  that  can  ] 

)osi 

1\< 

ly  1 

>e  <1 

He( 

beiny-  of  the  sixtet-nt 

1   C( 

nil 

r\ 

.r  e 

irli 

The  Builder  of 

23 

■d 

All 

^iist 

1  ^ 

_y"i\'es  a  sketch   of   a 

cis 

ei'n 

<1 

ited 

1 ; 

The  artist  fotind  it  ii 
ol  a  dealei'  in  biiiMin^ 

th 
ma 

■  m 
ter 

al. 

less 
vho 

ha 

rlol 

th 


th; 


irnament   siiwests  that  it  may 
e  disfiguring-   inlet  and  outlet  pipes 


f  conical  top  also  seems  to  be  no  part  of  the  original. 
iient  are  particularly  interesting  owing  to  their  simi- 
Ilove)-  Tracey  tank,  and  the  remaining  three  bands 
thi-  Lincoln  Cathedral  e\amj)le.  These  parallels  are 
•  decoration  of  the  F.nglish  leadwork  of  Renaissance 
work,  but  is  also  alliecl  to  foreign  examples.  Two 
and  one  at  the  Climy  .Museum.  Paris,  are  also  treated 
ole  surface,  a  \-erv  deli''htful  method  which  seems  to 


Parts  of 
by  ribs  il 
ornanien 
sketch, 
features 


into  saleable  g,„)ds.  It  b.  mv  th( 
E.  R.  in  .|uatrefoils.  and  the  ro_N 
^\ith  supporters  an^l  somewhat  ( 
mantling.  I^xccpt  for  the  (".oth 
in  the  (|uatretoils,  it  appai-eiuK 
differ  much  from  the  later  ribbed '<■: 
he  front  and  ends  wvw 

0  square  panels,  having 
not    now    decipherable    on 

It     had.    ho\\i-\'ei'.    two    uiu 

1  moulded   plinth   .ind   corn 
The  earliest  dated  example  know 

the  author  is  illustrated  in  I'dgs.   120- 
The    Earl    ..f    Plymouth    is   the 
of  this   magnificent   example   of   p]ng 
It    is   a   delightful    featun-    on    i 
garden,    between     the     main     entran 
battery  of  time   it   is  quite  circular. 
ence  about  240  inches.      Each  of  the 
is    (i\   inches    in    depth.       The    latter 
irregular  distances  with  a  \iew, 
important  features  of  the  desig 
is   as   much   as   half  an    inch    th 


a  bo  rate 
c  touch 
did  nol 
amples. 
<livided 
sp,,lsol 


0            Fig.  126.— St  Fagaivs: 

Detail  of  Recurring  Panel. 

tiinate  possessor,   at    .St 

Fagan's    Casde,    Cardiff, 

1,  or   rather  Welsh,    wate 

-  leadwork. 

stepjied    stone    liase    in 

the    middle    of   a    round 

■     to     the     Castle     and    the    dri\e.      .Save    for    the 

The  dimensions  are — height,  44  inches  :  circumfer- 

panels  is   \%\  inches  by  14J  inches,  and  the  frieze 

was    not   made   in   uniform   lengths,    but  joined   at 

|)[)arentlv.  to  interfere  as  little  as  possible  with  the  more 

.      Weight  of  metal  has  not  been  spared.      The  cistern 

k   on   the   top  edge,  to  which  wise  extravagance  its  per- 


;.\GLISH    LEADWORK. 


Fir,.  127.— St   Fai^an's;   Detail  of  F: 


CISTICRNS. 


69 


niaiiciur   is   l,irL;cl\    due.      Xowlu-rc-   is   it   less   tliaii   a  <|uai-tcr  of  an   inch   thick,  as  far  as 
can    he    ju(1l;ci1    without   the  aid   of  cah'|)crs.      'i'hc  i-ch'cf  is  slight  on  the  rcix-atinL:  panels, 

hltlc  on  the  royal  panel,  and  jinnpinL^  to 
about  thrcc-(|uartcrs  of  an  inch  on  the 
panel  containing  the  Lewis  arms.  'I'hiiix 
out  of  the  tliirt\-l\\()  panels  into  which  it 
is  di\ided  are  cast  from  the  s.ime  p.iltirn, 
which  is  sh.,wn  lar-e  in  I'd-  1  ::<).  dhe 
remainiiiL^  two  L;i\  e  I'espectix cK  thero\al 
arms,  with  the  date  i()2C),  and  the  arms 
of  Sir  lulward  Lewis  of  \'an,  .St  I'a-an's, 
Penmark  Lla.v,  and  IJanlrithyd.  'litis 
kni^iht  of  nian\  places  1)oul;Iu  die  manor 
of  .St  h'a-an's' from  Sir  William  1  lerhert 
in  1615-16.  The  laid<  would,  therefire. 
sc'CMii  to  he  one  of  the  things  with  which 
he  beautified  his  new  estate,  unless  indeed 
he  brous4'ht  it  from  \'an,  a  place  near 
Caen)hlliv  and  some  six  nndes  from  Car- 
diff. There  r.'mainsat  \'an  s,.me  d'udor 
work  and  a  lar^e  roimd  dovecot.  I'hc 
date  does  not  neces.saril\  den\  this,  as  it 
may  indicate  the  setting-  of  the  tank  in 
its  new  place,  biit  tile  nature  of  the  orna- 
ment makes  it  likeK  that  \h20  was  the 
(late  of  its  makin^:.  As,  howexer,  the  panel  with  the  Lewis  arms  was  olniousK'  (from 
its  treatment  and  trom  the  seams  on  the-  inside  of  the  cistern)  inserted  after  the 
main    part   of  the   cistern    was    made,    a    pleasant    t.isie   of  doubt    reni.uns. 


129. — St   I''ag,in's  :    l)rt;i 


,:;o.      (  i>urii,    Lincoln   ( 'athcdral  :    Detail  o\    V 


It    is    likeK     that     the     cistern     as     it     stands     now    is     not    com])lete.      ProbabK'    a 
ountain    stood    in    it    oriL^inally.    with    some    conceit    like    a    cupid    or    nymph    spotuin^' 


70 


ENGLISH    LEADWORK. 


water.      If  it   was  a   local   pnxUiLtinii    it    is  a  feather  in  tlie  cap  ( unhappv   nietaplnr)  of  the 
W'elsli    phiniliir  <if   th<-   ^e\■eilte<•Iuh   ccntur\.      Sp(.-akini4    L^eneralK-,    the    main    impression 
it    ^i\es    is   lA'  a   curious   h'keness    in    i^ciicral    treatment    to 
^f  •«',::■!»;_        tile    arcaded    Norman    fonts,    of  whith    there    are    six    in 

( iloucestershire.  The  companitixc  nearness  of  these 
fonts  makes  it  a  not  too  lliL;ht\-  sui^uiestion  that  they 
max    ha\c    influenced    the   design. 

At  Kemi)ston  Hall,  1  )orsctshire.  is  an  an-le  cistern 
with    curved    front    .livi.le.l    hy    mouldin-s    into   six    panels. 

de  I>s,  and    the    initials    II.  A,  ^' 

It  wciuld  he  unwise  to  dogmatise  as  to  the  date  of 
the  •■xample  of  1-i-.  i;,i,  which  is  at  Lincoln  Cathe.lral. 
It    lo,,ks    \cr\    early,    indeed    the    ornament    has   a    tlavour 

Thou-h    plain    it    is    hill    of  interest.       File    runmn-   l.amls 

motixes  (Ld^.  i_:;o).  The  tiiree  \ine  patterns  on  gutters 
(illustrated  in  Fi-'s.  58,  61,  and  62)  all  repeat,  and  have  a  definitt-  compositi.)n.  But  these 
Lincoln    (lowers   meander   round   their   native   tiih   in   a   pleasanth"  casual  fishion,  which  is 


;2.— No.    10    Downiiii;  Street. 


CISTERNS. 


71 


forei'L;!!  tn  thr  usual  iiriniiicss  lA  Inulwovk.  <  )ii  the  wcsl  coimlry  cisterns  of  tlic-  seven- 
tcriuli  (■(•iniir\  iItc  ti)|)  anil  hutlnni  liands  < if  ornament  ha\c  thr-ir  ini^'cnioiis  little  woodland 
scenes  modelled  in  the  same  Irri'-ular  \\a\,  hut  fiL^ures  almost  necessarily  import  a 
freer  treatment.  The  Lincoln  ornament  is  nai\e  to  the  point  of  l)eint4-  nniati-Lirish, 
and  there  is  no  effort  to  -ive  the  line  of  stalk 
a  .listinctive  sweep,  which  would  pull  th<'  desi-n 
t.. -ether. 

At  \o.  10  Downing;  .Street,  Westminster, 
there  is  a  plain  panelled  cist./rn  .lated  1 000.  It 
is  very  sparin-K  i-nrlched,  as  only  li\c  of  the  1 
fort\-four  panels,  into  which  the  I'ihs  di\ide  it, 
hear  ornaments,  which  are  the  ilate,  a  crown, 
and   C.    R. 

At  Ayscou-hfee  Hall,  .Spaldin-  Linciln- 
shii-e,  there  is  a  Inie  cistei'ii  almost  circular 
(Fi-      p^,0    and    aliout    ,^     feet     in     hei.-hl.  idle 

of    the    cistern,    such    as    we    ha\'e    in    the    ISovey 

•j'racey  and    i'oundisford    Tark  circular  examples, 

which    are    similarly    di\idecl    into    scjuare    pancds. 

This   is   hut   one   of  many   pleasant   thini^s  at   A\-scouL;hfee    Hall,  which,   under   municipal 

care,   has  a   somewhat   ne^lecteil   look. 

Bolton    Hall,    \'orkshire,    has  a   lim-  series  of  lead   cisterns,    which   are    of    the    .same 
period    as    the    pipt-heads    illustrated     in     the    last     cliaiiter.      TheN'    stood    ori^■inally    at 


olton    Hall,   Vnrksli 


the  foot  of  the  stack  pipes,  and  it  will  he  noted  that  the  cistern  at  the  ri,L;'ht  of  the 
L;r(^up  in  Fi^.  134  is  auj^ied  on  plan  to  suit  the  an^le  pipediead  already  mentioned. 
The  semicircular  plan  of  the  larger  ones  is  unustial,  and  a  ])leasant  variant  of  the 
ordinary   rectan^tilar   form.      The   simplicitv   of  their   treatment    is    in    contrast    with    the 


72  KXGLISH    LKADWOkK. 

rather  cmwdrd  (irnaniriit  of  the  pijjc'-lK-ads.  There  is  no  atlempl  In  panel  the  Iroiils  with 
rihs.  On  the  lar-er  cistern,-,  the  classical  leaf  ninuldin-  which  runs  mun.l  the  tn|,  and 
hi.tt.im   divides   the   semicirciil.ir   front  verticallv  with    a    double    Land.      F.  .r   the    rest    thev 


I'lG.  136. — Nottingham  Castle. 


Soulh   Kensington   Museum. 


were  content  simply  to  apply  the  coat  of  arms  of  the  I'aulet  and  .Scrope  familie.s,  with  their 
stipporters.  (  )n  the  small  an^le  cistern  the  Scrope  chouj^hs  support  the  Paulet  .shield,  due 
probabl)   to  muddled  reh.xini^'  at  some  time  when  a  number  of  the   heraldic  ornament.s  had 

dn.pped  off  ,nvin-  to 
bad  work  when  the 
cisterns  were  first 
made.  There  are  more 
a[)pliedornaments  miss- 
iuL;  from  late  se\-en- 
teeiith  and  eiL;liteenth 
centurx  leadwork  than 
h-om  that  of  the  si.x- 
leenlh  an.learlv  seven- 
teenth c.-nlin-ies.  The 
later  men  were  more 
intent  on  piling  on 
enrichments  th.ui  in 
s<-ein-  that  those  they 
applied  were  lirmlv 
tix<d.  Althou-h 
cherubs  are  plentihil 
on  the  pipe  heads,  the 
r.ohon  cist.'rns  lack 
theii-  celestial  presiMice. 


CISTKRNS.  yj, 

'l"hc\-  arc  iiicirc  plcnlifiil  on  cisterns  tlian  on  tnnls.  The  Slimbrid^c  foiu  (see 
('ha|)t(;r  1.)  dated  10(34  mi^ht  almost,  except  Un'  its  size,  he  a  rain-water  hiitl.  It 
has  tour  chenihs,  hut  se\enteenth-cenlur\  chenil)s  did  not  (h'scriminate  hetwcen 
spiritual  an<l  secular  tLihs,  and  took  Lip  their  ahode  as  readily  on  the  latter  as  on  the 
former.  It  is  worth  recording  that  uc  do  not  lind  Flni^iish  cisterns  decorated  with 
religious  emhlems,  if  we  except  cheruhs,  which  are  as  often  profane  amorini  as 
hea\enl\  products.  On  a  I'rench  cistern  at  the  .South  Kensin-ton  .Museimi,  illustrated 
here  l.\  wax  of  comparis<,n  (Im'-  i;,5),  there  is  a  panel  of  the  \'ir-in  and  (diild. 
Vrv\  lean  and  strenuous  do-s  are  coursin-  romid  the  frieze.  The  round  tank,  fiated 
1681,  at  Xottin-ham  C'astle  is  an  admirahle  example  of  the  plainer  sort  (Flo-.  136). 
The  arms  are  those  of  llenry  Cax'endish,  K.Ci.,  and  the  "serpent  nowed  "  is  the 
Cavendish    crest.       'idle    outward    slope    of    the    sides,    from    the    top    downwards,    adds 


38.  — Exctur,    1696. 


decorati\e  interest  to  the  tank,  hut  makes  it  less  practical  when  it  comes  to  clean-sinif 
it.  .\tter  all,  if  one  clrinks  water  from  a  lead  cistern,  a  few  Iiacteria  more  or  less 
are  not  of  much  account,  ami  se\(.-nteenth-centin-\  courage;  was  imdistiirhed  b\-  those 
pleasant   creatures   whose   names   makt-  a   point   of  ending;    in  cofiiis. 

There  is  a  viL;our  altout  the  decoration  of  I)e\-onshire  and  Somersetshire  cisterns 
of  the  late  se\-enteenth  and  early  eighteenth  centiu-ies  which  cannot  l)e  claimed  for  the 
London  work  of  the  same  date. 

The  Exeter  e.xamples  dated  1694,  1696.  1  jcoS.  1715,  and  i7:!4,  and  the  tanks  at 
Poiindisford  Park  and  l^ovey  Tracey  all  have  a  delightful  variety  of  (lower  and  animal 
ornaments  which  ai'e  freshl\-  amusing.  Proliahlv  the\  were  made  h\"  the  .same  plumber. 
Some  of  the  ornaments  which  are  seen  on  the  tank  of  1694  (P'ig.  137)  are  repeated  on 
that  of    1724.      They  ohxiously  are  cast  from    the  same  or  duplicate   patterns.      There   i.s 


l':\(il.lSH    LEADWORK. 


;-nc   <in    the    1724  cisHTii   thr   huiUsm;iii 

IS   a   (|ulcsccnt   air  which  <\nrs  nni  i|uitc 

witli    the  \ii)lciu  acli\it\   <it    the 

In^^  (,„K-  hi-h  in  ihc  air)  uhich 

cr   him.       hut    it    makes  a  (|uite 

The  I  )caiicr\  .U  I". \ctfr  possesses 

two  \c\-\    much  alike,  dateil    1604  and 

70S.      'Ihe    former    is    illustraU'd     in 

hi-.  1,^7,  and  th<-  a(hiiiralile  modehin- 

the  \  ine  pattern  in  the  middh-  of  the 

_^.^j^-        tJJ  1  he   eislern    of    I'd-.     1  :;S,    In    the 

y^        !        P'-<--i-n    ol     Mr     Harrv     Hems,    at 

^'  iT.*:      h:xeter,  is  a  partieularK   ^..,,d  example 

smiple  panrllin-.      It  is  dated    1O06. 

,1  pn.l.al.lv  ha.l  all  panels  hll.-d  with 

\iees,  th..,|oh  two  ha\e  -one.        Idle 

^J>-."  iM    ■I'l'l    l''h  '•!"  the  front  an-  especially  in- 

'<U-      jJF     terestiiiL;.      l'erha|)s    the    second    from 

the      ri-htdiand      lop     corner     is     the 

h.ippiest,  the   \ine   pattern   heiiiL;   em- 

ilo\ed  most  successhilly.       I  he  return 

en.ls  are  decorate,!   with  the    same    six 

-naments.      It  will  he  noted  tliat  there  are  s(|iiare  outlines  round  these  ornaments,  which 

iL;;!4-est   that   the  ornameiit.s  were  cast   separately  and  applied.       idiis   is   not   so.  however. 


CISTICRNS. 


appi 
that 


pc 


)ye-<l  |u,-Suss,-x 
various  ornainciU  mnilcls  w 
fixed  t(.  the  main  pattern 
into  the  Hat  hc.l  <. 
iniprcsscd  after  tl' 


ire-l.acks.       'l-h 
ther  teiiipor 


\.  (II-  the\    were  sep 
in  pattern  had    I.e. 


Uel 


ployed.       \'e\cr,   however, 

lo   we   fnid    in   lead- 

work   sucli    freakish    ornani 

■nt   as    in    one   early 

fired)ack,  \\hei-e  die  ornanK 

•lU  is  the  impress  of 

the  moulder's  hand,  a  trick  ; 

MnnsiiiL;  enough,  but 

.scarcely  art.       1  he  Iront  an. 

1  sides  ot  the  cistern 

(Fij^-.  138)  were  cast  in  one 

llat  sheei,  wliich  was 

bent  at  the  front  ani^k's,  an. 

also  at  the  back,  re- 

tnrnin',;  v',  inclies.   The  retiii 

n  pieces  are  soldered 

t,.ashe,-riea,lhackin-.     W 

<- stays  of  sh.'ct  lead 

13  inches  deep  dixide  the  i 

iside  into  ec|u,il    dls- 

tances  ;   they  reach  to  withn 

h  inches  of  the  top. 

and  stand  i  l<-ar  of  the    hott 

Mil.       In  the  nn'dtlle. 

tyinL;'  the  Iront  and  hack,  is 

icinularsolid  bar  of 

lead    I ,',    inches  in  di.inietei" 

( )thei-  dimensions 

are:   length,  6  feet  :   hei-lu. 

2  feet  4  inches  ;    w  i( 

I'lG.  14;:.— St   Mary's,   -Scilly. 


indisford 
Taunton  (l-i--.  139),  is 
shown  in  se(|uence  to  the  illus- 
tration of  the  rain-water  head  in 
l-i-.  89.  It  is  dateil  ibji.  The 
.in-anL;enient  of  the  pots  of  flowers 
Ml  the  panels  is  lormal  enough, 
Imt  fuicy  has  been  oiven  rein  in 
the  little  frieze  that  surrounds  the 
top.  The  scenes,  as  is  befitting, 
have  a  garden  atmosphere.  One 
pleasant-faced  urchin  is  appar- 
entl\  about  to  help  himself  from 
a  fruit  tree,  while  another  is  con- 
templating; a  rather  weedy  dog. 
Trei's  niin;.4le  with  flowers,  and 
altogether  the  composition  is  de- 
lightfully casual.  The  decoration 
of  the  Bovey  Tracey  tank  (Fig. 
141)  is  rather  stiffer,  and  the 
tVieze,  though  of  a  graceful  ara- 
besque, has  not  the  vernacular 
charm  of  the  Poundisford  Park 
example,      ddie    little    figures    in 


76 


ENGLISH    LKAJJWOKK 


Fk;.   143.— Cistern   with   Anns  of  the   FishnionL;ers'  Company,  at   Inwood. 


^ 


1.— Child's    liaiik,    Fleet   Slrfcl,    16S; 


CISTERNS. 


77 


"\ 


lUi^     l;..llk,      I    kxl 


46.— The  Record  Office. 


78 


ICXGI.ISH    LKADWOkK. 


the  pjincls  are  charniliiL:.  JLisiicc  with  .suord  and  scales  has  forgotten  t(i  hanchige  her 
eyes,  and  the  l<id\  with  the  Cdrnucupia  h.is  nilher  the  air  (if  one  of  Miss  Hnnt-yman's 
SalHes.  Hope  holds  her  anclior  with  ini|ii-essi\e  stolidity,  and  the  other  little  people 
have  enL;aL;'ini_;-  characters  of  their  own. 

At    St    Mary's.  .ScilK  .  nnv   expects   somethiiiL;   rather   unusual.      (  )nc  may  he  forL^iNen 


the   vaiiue   h 


ope  ot 


iffo.l 


the   leadwork    that 

would  accord  with  tin-  suhtropical  atniosphi-re  of  the  Isles.  liut  London  throws  its 
influence  afar.  The  cistern  of  Fi^.  142  is  not  oiiK'  of  tlie  ordinarx  i,ondon  type,  hut 
even  hears,  which  is  iniusual,  the  name  of  the  maker,  "Walker,  London,"  a  name  one 
seems   to  ha\e  heard    hefore.      It    is  a   ro\  al   cistern,  and   hears   the   initials  and  crown  of 


sfe 


George  L  or  IL      The  cheruhs  are  \er\   full}-  liewinL;"ed,  ami  the  arms  of  the  central  ])aiiel 
are  those  of  ll.M.  Ordnance  Office,  which  controlled  the  Castle  at  .St  Marx's. 

In  all  th(/  tanks  of  this  type,  and  there  are  still  scores  in  London,  the  ingenuity  of  the 
desii^ner  was  husiest  in  the  treatment  of  the  rihs.  There  seems  to  he  no  end  to  the 
comhinations  of  half  circles  and  strai-ht  lines.  'I'his  sort  of  desi-n  is  an  affair  of  set-S(|uare 
and  compass,  and  frankly  is  not  diftuult.  d'he  Lond.m  work  is  not  rich  in  tanc\ .  There 
is  not  in  the  modelling;  of  the  applied  orn.unenls  .untliin-  like  the  -aiety  we  lind  in  the 
enrichment  of  uoi-k  ol'  similar  d.ite  in  the  West  of  I'.noland.  London  |)lumliei-s  dotted  the 
faces  of  their  cisterns  rather  mechanicalix  with  slu-lls  and  stai's  and  stiff  little  goddesses. 
On  a  cistern  in  the  kitchen  of  the  Brewers'  Compaiu ,  in  .\ildle  .Street,  the  Brewers' 
coat  of  arms   is   repeated    ihirtem    times,    surel\-   a   little   too    ol'ten.      h'or   tlu'   i-esi    it    has 


CISTERNS. 


79 


1 48. — 4  Queen  S(iuare,    Hloomsbuiy. 


Fii:;.  149. — 20  Hanover  Square. 


8o 


ENGLISH    LKAIAVOKK. 


irs  and  shells  hctweun  the  ril)s.  A  swul:  "r  l\\<i.  however,  L;i\'es  it  a  little  \arietv. 
is  singular   that   swa^s  are   so   little  used  in  leadwork,  seein-'  that  they  were  such  usual 

enrichiiieiits  in  tin-  allied  craft  of 
plasterwork.  'Idle  City  Com- 
panies are  rich  in  cisterns.  There 
is  one  at  the  Bakers'  Company 
dated    1720. 

At  In  wood  there  is  a  Lon- 
don cistern  dated  1OS5,  which 
hears  the  arms  ,,f  the  Fish- 
mongers' Company  ( Fi-.  143). 
The  modellin-  is  distinctlv  better 
than  the  average-,  and  Mr'Starkie 
Gardner  regards  this  tank  as  an 
example  of  the  de-ree  of  relief 
that  ma\  |)rope|-lv  he  applied  to 
pan.-lled'  leadwork.  There  are 
se\(i-al  examples  of  merit  in  the 
("luildhall  Museum,  Londc^n. 

Child's  Bank,  Fleet  .Street, 
has  three  to  its  credit.  V\'j_.  144 
shows  one  of  the  best  in  London. 
It  is  dated  10S5.  'idle  half  panels 
return  rouml  the  sid(.-s,  an<l  in 
this  show  a  pleasant  disre-ard  of 
the  ]irevailinL;  practices.  The 
1  curly,  and  there  is  an  echo  of  history 
the  b  an<l  the  S.      The  littli-  figures  are 


I  50,  — 44  ( ireat  ( )i 


ornaments  are  admirable.      The  stars  ar 
in  the  verv  small  bust  of    Kin-  Charles  1 


^-- 

' 

M 

■■':,      ;i 

-V- 

i  ^' 

./vv 

\ 

"»«-" 

■^         -  ...' 

«►•'  " 

.-S«^^ 

I 

-^  — 

ft^ 

^ 

liy 

1^ 

■■■< 

■> 

^ 

^ 

Fig.  151. — Cliarltoii    House,    Ken 


CISTERNS. 


8i 


vi'^Di-dUs  and  iiUircsiinL;-.  Thosi 
!)('•  Kin-  D.ivid  harpin-  (,n  his  1 
times,  it  is  (lilVuiili  u>  ilDL^niatisi 
watLT  rclati\(;  iiihahiliiiu;   LDndnii 

A  second  cistern  at  tin-  sani 
in     the     fleur-dcd\s,     hut 
some     Tudor     imscs     art- 
very  feebly  niodcllcil. 

The  'tank  of  1757 
(Fio-.  145)  is  the  third  of 
the  scries,  and  is  a  L^ood 
example  of  the  firmalisni 
of  the  later  ei-hleenth- 
centiiry  work.  The  some- 
what e.\eessi\'(d\  whis- 
kered lions  of  the  ()\al 
panels  are anuisinL;  though, 
and  the  strips  of  i-ather 
aimless  ornament  down 
the  side  lighten  the  i;ene- 
ral  effect. 

At  the  Record  ()ftce, 
in  Chancer}'  Lane,  near 
the  doorway  of  the  kolls 
Chapel,  are  four  ei.i;h- 
teenth-centiir\  cist  e  r  n  s, 
one  of  which  is  shown  in 
Fig.  146.  This  stireh 
reaches  the  zenith  of  the 
marine   store  st\  le   of  de- 


u  the  riL;hl  and  left  of  the  lower  tier  may  he  taken  to 
•]).      As   to   the   remaining  ornament,    which   occurs  six 
It  suggests  an  exasi)erat(/d  prawn,  or  perhai)s  a  fresh- 
isterns — anyhow  a  watery  creattire. 
Sank  is  dated    167c;,  and   retains  a   little  (jothic  feeling 


he    plumhei 


I    Ins 
pat- 


n  ol  h 
must     have 
1     an     acute 


m0 


tik,^  ^t,^C 


coration. 
has  made  tl 
tank  a  musi 
terns.         1 1 
suffered     tr 

horror  ot  plain  surfaces. 
It  is  an  t-ntertaining  pro- 
duction, hut  one  is  grate- 
ful that  it  does  not  always 
happen. 

Mr  Max  Clarke  has  at  his  house  in  (jueen  Sciuare  a  good  example  (Fig.  148), 
which  yet  has  some  technical  tailings.  Tlie  patterns  seem  to  have  been  carelessly  used, 
with  the  restilt  that  the  alignment  of  the  rihs  is  very  irregular.  The  star  ornaments  are 
poor  compared  with  those  on  the  tank  of  F'ig.  144,  and  the  lettering  is  straggling  and 
forlorn.      The  treatment  of  the  coats  of  arms  is  rather  more  ambitious  than  successful. 


152. —Charlton   House, 


XGI.ISM    LEADWORK 


r^Wi^ 


At  20  Han- 
over       .S(|uare 
( "  ibv      rdiiiniDii 
l.)<l-in--hnus<- 
of     learned      so- 
cieties"),    which 
shelters    those 
TO  are  wise  in 
e\cr\-thincr    from 
ol.slVtrics        10 
h   hjlk  son-s, 
there  is  a  tank  in 
the  area,    visible 
the     door- 
way  (I-ig.    149). 
he     Record 
(  )ttice      e.\am])le 
was      a      study 
'  1     spotty    orna- 
lent,    this    is    a 
iheral    education    in    the    interlacini^-    of    rihs,    almost     Runic    in    coniplexit}-. 

Lincoln's    Inn    has   three   excellent   cisterns.        One    is    very   plain,    di\idcd    into    two 


|)anel 


n    simple    n 


and  altogether  lacking- 
further  ornament.  The 
second  (illustrated  in  h"ig. 
147)  is  one  of  the  most 
elaborate  in  haigland,  and 
shows  some  scholarshi|)  in 
its  design.  Though  the 
outline  of  the  ribbing  is 
not  unusual,  the  ribs  them- 
selves are  richl}-  modelled, 
and  the  trusses  at  the  sides 
gi\'e  a  strong  architectural 
lla\'our.  The  trophy  of 
fruits  at  the  top  ami  the 
mask  are  adnu'rable  ol 
their  kind. 

The  vertical  strips  of 
ornament  at  the  ends, 
while  gciod  in  tlnanseKcs, 
seem  rather  a  mistake.  (  )ne  feels  that  the  cistern  would  have  been  beiUT  if  il  had  slopped 
short  of  these  slrijis,  and  finished  outside  the  \cr_\  gooil  Irainin-  of  husks.  While  the  i)ro- 
Dortion  of  the  tank  would  not    ha\c   bec'ii  so  good,  (lecorati\-elv  there  would    h.ive    been  a 


Fic,.  i54.-Bedro 


CISTI'.RXS. 


83 


imit)-  whicli  now  il  i-.itlicr 
misses.  'I"hc  third  cislci-n  in 
the  Iini  is  (hited  ;l  tew  \c;irs 
later  than  the  last,  and  was 
evident!}  ins[)ired  1)\  il,  as  the 
rilis  and'  some  of  the  enrich- 
ments are  the  same.  Prohalily 
the  .same  ]:)atterns  were  used. 

Xear  by,  in  dreat  ( )rmond 
.Street,  at  thV  Xurses'  lloineol 
the  Chikh-en's  Hospital,  there 
was  a  cistern  dated  1745  (t'ig- 
150),  evidently  made  from  tht; 
same  patterns  as  the  two  liest 
e.xamples  at  Lincoln's  Inn. 
The  stone  pedestal  on  which  it 
stands  is  a  modern  addition, 
set  up  by  Mr  Frederick  W'arre. 
He  found  the  tank  stoweil 
away  in  a  cellar,  and  as  Lord 
Thurlow  once  lived  in  the 
house,    the   scales   of  iustice   an 


lictors 


A    th( 


Fig.  156. — -Sackville  College,  East  Grinstead. 


84 


ENGLISH    LKADWOK 


judi^e.  He  \v;is  ()iil\  thirteen  years  old  when  the  tank  \v,is  niatlc  mi  mn>l  he  accjuitted 
of  ha\-inn-   an\-    hand    in    its   desi-n, 

\'erv  del'i-htful  is  the  httle^  tank  <A  I'vj;.  151.  wliich  Sir  Speiuer  Maryon  WiLson  of 
Hasthorne  has  at  Charlton  I  louse,  Kent.  It  is  not  strictl}-  a  cistern  (Ijein^'  only  al)Out 
24  inches  lonu;^  and  11  inches  hi^h),  htit  rather  a  jardiniere.  The  decoration  is  more 
natural  than  is  oi-dinarily  found  in  1714,  and  were  it  inidated,  hft\-  ye.irs  earlier  would  lie 
a  reasonable  attrihution.  Its  .L;reat  charm  is  in  its  colour.  It  is  almost  purely  white, 
and  mii^ht  indeed  have  come  from  lUakesware,  where  I'Jia  wrote  of  the  "  (low  er-pots, 
now  of  palest  lead,  sa\e  th.it  a  spot  here  and  there,  saxcd  from  the  elements,  hespeak 
their  pristine  state  to  ha\e  been  L;ilt  and  ^litterini^."  .\t  Charlton  no  ^ilt  sur\i\-es,  if  it 
were  e\er   there. 

.\s  fir  as  possible  the  illustrations  fir  this  b.iok  are  made  strictl)  ,/</  hoc  by  the 
onn'ssion  of  th(;  surroundin''s  of  the  k-aduork  ;   but  the  octa'^on.il  cistern  at  Charlton  House 


Fi.;.  157. -l.L-ad   l'ui,i|.lu 


(Im-.     IS2)    would    lose    hall 
hlled  with  uater-lilies,  and    is   a   i. 
trees.       Hach   fu,-  of  the  oct.l-on 
example  of  th<-  panell.-d  l\  pe.       It 
as  the  initials  W.   !..  app.-ar   .mi    t 
base  of  a   fmntain.        The   upper    , 


harm    if  di\orce<l    from    its   charmin;,^    setting.       it    stands 

he   tank.      Ori-ii 

,   an    add'ition,    and    uas    but    receiuK    ac.|mred.       It 


ihetimeof  .SirWilli.im  l.an.^horne 
it    was   pi-obabl\,    as    it    is    now,  tht 


is"antic|ue  (pre. 
a  m.ist  a-n-eabl< 
ribbin-  'I  hey  a 
centurx.      The   ci: 


u. ii-.l),  .ui.l  n 
.p.,siti.,n.  Tl 
if.l    ,;;4.   bu 


,  but    the    swans   an.l    cupi.l    mak.'    uith  the  tank 
re    twii    m.ii'e    listerns    at    ( 'harlton    Ibuisi-    with 
.Kta-.inal    .,n.'    is    pr.ibabK     ..f    the    se\.MU.'enth 
-   (1m--.    15.0    is   an.ither    injnst,..-    1,.    Ir.-lan.l.        The    r.is<- 


md  thistle  .H-cur  several  lim.'s,  b.it  th.'  shanu-.uk  is  n.U  l.i  b<-  f.nin.l.  Wvw  ar.-  als. 
:w.i  notable  s,|uan-  pat.h.'s  ,,t  ..rnam.MU  that  l.i.ik  lik.'  rich  embr.  .i.  l.-r\  ,  an.l  have  a 
ilm.ist  (iothic  fe.Tn-.  I'h.'  .I.ilphins  -iNv  ih,-  n.'.'.lhil  waterv  l.uich.  In'a  He.Uonl  Ro\ 
;:ellar  is  a  cist.-rn   .il    th.'    sam.-   dale,     17J;,,    an.l    pn.babK     b\    ih.'    sam.-    hau.l    (  Im-.     154 


risii:RX.s. 


Thr    nutlilKs    n\     ihr    ril,s 

|)(Tlia|)s    indiLalc    (/.roi-L^c 

tank  of  Im'l;.  15=;  is  in  lh<'  kite 
En-lisl,  ,'nnu-li"in  ail  l.m  ils,M-iia 
tlial  the  hou 


Iciuiral,  an. I    IhhIi   tanks  Ix-ar  a  pair  (if  small   busts,  wliich 

11(1    his    ((iiisdrt.         I'lic    missed    palm    liranchcs    arc    \-frv 

,  imludin-  a   Gc(ir-c  and    the  Dra-'on.      The  lead 

r  a   (IcliL^htriil    lidLisc   (in    Richmond   Green.      It   is 

and  it    lias    l.ccn  su-'cstcd  that  the  ddiil.ledieaded 


ihc    Aiisii 


mhassador 


*    -^ 

I^V 


\ 


.\ 


'X^^ 


ea-le  is  an  indica 
..r  that    date. 

'I'hc    \ci-\    interestin'4    little 
cistern    (if   I'i-.    15S   was   taken 

from         a         denidllshed         house 

in  Tenterden  Street.  W.,  I.N 
Messrs  Cowuui  .^  Son,  It  is 
date(l  I  -~,j.  not  a  \cr\  fruitlul 
period  loi-  s\mlinlism,'liut  the 
strips  of  /i.L:/a,L;-   nia\    lie   there 

ornaments  lia\-e  not  lieeii  found 
elsewhere,  and,  re-arded  simpK 
asdecorali.in,  th.w  are  rather  a 
harsh  addition  loan  oiherulse 
pleasant      arran.L^ement.  Ihe 

Xeptunes     ,ire      drivin,^^      their 

and  the  wreath  is  (|uite  Grace- 
ful, if  a  little  attenuated.  Idle 
baskets  of  llowers  seem  rather 
a  nu'stake.  At  Sack\ille  Col- 
lege, Hastid-insteadllM-  13O), 
the  panellin-  has  a  .airi(insl\ 
haltin-  but  ri'Imed  outline,  and 
the  enrichments  are  admir.d-le 
and  sp.u-in^lv  used.  b'i^.  ,5., 
shows  four  delightful  low  re- 
liefs in  the  po.s.ses.sion  of  Mr 
llerl)ert  Batsford.  Thev  pr<  e 
bablv  formed  part  orijinallv 
of  ;'i  cistern,  and  are  -oo.'l 
typical    work    of    the    hrsi    half 

of    the    eii^lueenth    century.      Tile    same    reh'efs    appear    on    a    cistern    at    the    Cinddhall 
Museum,   London,  which  bears  the  date  1705  and  the  name  of  .Sir  John  Cass. 

Ptnupdieads  are  less  common  than  cisterns,  but  the\  are  not  \ery  interesting.  One 
of  normal  type  is  ilhistrated  (  b'i-.  15;).  which  is  ratlier  early  in  date  (for  a  ]wnip-head). 
Others  bear  the  stock  cistern  enrichments,  such  as  shells,  stars,  and  lions'  masks. 


J"  J^ 


V 


\ 


-Panel.s  of  the  I'our  Seasons 


[      X6      ] 


CllAI'TI-.R     \' 
MEDIEVAL    LEADED    SPIRES. 

Tile    Character    of    .Spires  —  Cla.ssificntii.n—'- Collar "    and    •■  I'.roach  "—Destroyed     Cathedral    Spires— Existing 
I.ead.-d  Spires— Scots  Leadworkers   -St  Xidiolas,  Al.erdeen    -Old  Saint  Paul's— Chesterfield. 

.Al(  )XG  the  clehls  of  ^ratitutle  which  arclTitcctiire  owes  to  lead,  there  is 
none  more  weit^htx  than  its  nse  in  roofm.^-.  The  roof  nia\-  lie  said  to  be 
the  second  nee.l  of  architecture,  as  the  wall  is  the  first.  The  wall  -ives 
|)ri\ac\,  the  roof  hrini^s  protection.  The  spire  is  the  stiprenie  form  of 
the  roof :    it  is   the   roof  spirittialised.      In    its   relation    to   th;-   Cothic  spirit 

istnictcd  s\inl)ol  of  aspir.ition,  and  its  hiiildin-  is  one  of  the  greatest 
ronstriicted  heatitx  and  s\nil)olism  which  C.othic  art  has  made. 
.Smcr  lead  is  the  most  efhcieiit  of  all  roohiiL;  mat.'rials,  it  is  fu'r  to  sav  that,  in  the 
leaded  spirr,  construction  and  s\nil)olism  have  their  perfect  meetint^.  .\monL;  spires 
Generally,  those  that  an-  leaded  take  a  small  and  rather  foi-otten  l.iit  still  honoured  place. 
'Idle  leaded  spire  has  a  character  all  its  own,  and  maintains  its  character  of  a  spirittialised 
root  more  intelli^ihly  than  a  stone  spire  can  do.  Idic  white,  almost  L;listeninL;,  patina 
which  comes  with  ai^c  on  lead,  wIhtc  air  is  not  hefonled  with  cit\  smoke,  makes  the  spire 
stand  like  a  frosted  spcir  a-.iinst  the  sk\  ;  and  the  slight  twists,  which  almost  exci'}-  timber 
spire   has   taken,    -i\e   a    pectiliar   sense'  of  life.       Ihese   are    '■refinements"    which    do  not 

more  sensitive  by  its  metal  (  o,it.  .A  shin-led  spire  is  apt  to  twist  ((.leobm-x  Mortiima- 
isan  <-xample),  but  there  is  none  s!un-led,  th.u  compares  with  the  inebriate'  va-aries  of 
the    l.'aded    spire   of  Chesterfield. 

One  of  the  m.,st  interesting  points  that  arises  with  leaded  spires,  as  inde<-d  with  all 
subjects,  is  the  (|uesiion  of  ,u-i-ins,  and  in  this  connection  shin.-T'd  ,is  well  as  leaded 
timber  spires  must  be  mentioned.  Mr  iM-ancis  liond  in  "(iothic  Architecttire  in 
En.L^land,'  to,,k  some  pains  to  classify  spires  of  all  txp.-s.  lie  divid<Ml  iIi.mu  bn-adly 
into  I'athless  and  Parapc'tted.  A  fresh  classihcation  is  now  offered,  on  the  s.ime  lines, 
but    amended. 

PathU-ss 

1.  Collar-t\pe,  (•.;'.,    Kxton. 

2.  I'.roach-'tvpe.  'r.<'.,    i'.r.umtiui,    U.irnsiaple,    (lodalnnn-,    b  kleton.  .Sw  \  mbrid-e, 

.Mmon.lsburv. 

3.  Pinnacled  tvpe,  ,•.;■.,    |.,,n^  .Sutton,  and  ,St   .Nicholas,  Alu^rdeen. 


MEDIAEVAL    LK.\r)i:i)    SPIRES. 


Fk;.  i6o.-  Ryton,  Northumberlnnd.  Fic.  i6i.— Almondsbury,  Glos. 

{Pathless  Collar-lypc.)  {Pathless  Jhvaeh.) 

Thrkk  Typical  I.kadkd  SpirI' 


Fig.  162. — Harrow,  Middlesex. 

{Parafelleti  SIraighl-sided. ) 


Parapet  I  cd^ 

1.  Collar-type,    e.g..    St    John's,    Perth,    the   lower  of  which   has  a   hea\-y  over- 

sailini^'  parapet  within  which  the  spire  stands. 

2.  Broach  type,  e.g.,  Hemel  Hempstead. 

3.  Straight-sided    type,    e.g..    Harrow,    Chesterfield.     IMinsier.    (ireat    Baddow, 

Much  W'enlock,  Wickham  Market. 

4.  Spirelets,  e.g..  East  Harliny.  Wenden  Ambo,  Swatiliam,  Hitchin,  Sawbridge- 

worth,  and   Ash.  Kent. 


ENGLISH    LKADWORK 


'he  pathless  C(illar-l\  pc  and  hmach-typc   can    hest    Ix-   cinisidtTcil   tnm-tlK/r.  tor  some 

i(in  has  arisen  in  the   dcfinitinn   i>\   leaded    spires   uwinL;    to   the   simiewhat   loose  use 

111'  the  \\n\\\   'd)ri)arh."       The  spin's  miw    described  as 

"  c(illar-t\  pe  "   an'   sdmi-tinies   called    ■■hroacli."       The 

shinL;l<'d    spires    ((■.;•.,    Shere,    '{'ani^niere,     Mersiham, 

Xewhaxcn,  and    I'lumpton)  an'  all  Of  C(illar-t\  pe,  an<:l 

nia\-  lie  t.d<en  as   the    first    renime   h'oni    s|iir<'S  s(|uarc 

which   an'   simply  Inftx   nidls.      d  he   spin's  of 

S.uithurll  MinsK'r  have  lic-n  n-stdred  in  ih.'ir  nri-inal 

n  as  pictun'd    in    1  )u.-dale  ( h'i-     i6;,),  and    Hexham 

Alihey   had   ,1   pxramidal    nxif  .m    the    wav   to   hein-'  a 

■.pire    {\-"v^.     i'j4>' 


I'le,.  163.  -Southwell    Minster. 

(/■>„«,    /V,;;,/„/r.) 

cnrners  <if  the 
tower  which  they  meet  in  a  puint.  ihe  M'rtical 
timlH'rs  of  the  octa-on  are  framed  in  a  <-nllar  whi.  h 
is  snpp.irted  l,v  the  timbers  nf  the  l.iwer  part.  d'hr 
cullar-txp.'  is  I'lnilialiK  an  earlier  firm  nf  the  tnnlicr 
spire    than    ih.'    imiach  type.  I'lc.  164.      Hexham   Ahhcy. 

R\lnn     has    a    leadeil    spire    of   sli-ici    (dllarlvpe,  (/Ovw  /)«v,'''''''-^-  '■-'/'''''"'■''''''  --'''c/'""' '''''•'') 

hilt    in'-eneral    pnipnrlions    it    is    nKirc    lik.-    the    l.ifi\ 

bn.ach    cif   .\lm.,ndsbin-y    than    th<'    s,|nat,    shin-le.l    c,  illar-tvpe   spin's.      The   dia.n.mal    ri!)S 
meet    in    a    \er\    irre''ular   line   nn    the    laces   n\    die   <icia<'(in    (  b'ie.    I'lO). 


MEDLEVAL    LEADED    SPIRES. 


89 


go 


EXCLISH    LKADWOKK 


Tlic    essence    of   the    l)n)ach    is    that   the    tillin^-iii    liri\\<-eii    tlie   aii-les   of   the   lower 

and    the    (iia;4()nal    faces    c.f    the    spire    is     ot     px  raiiii<l,il     form.      Mr    Bond    sa\  s,    when 

(lealinL;    with    hroach    spires,    ■■just    as   the    timher   spire-form    was 

copied    in    stone,    so    the    stone    hroach   was   copied    in    w 1,   c.;'., 

at  l-!raunton.  h)ev,)n.'  lie  does  not,  howev,-r.  point  out  that 
there  are  more  l.roacJT-txpe  than  c.illar-tvpe  pathless  leade.l  spires. 
Mr  I'rior.  in  his  ■■Hist/.r\  of  ( '-olhic  Art  in  Hn-land."  writes  of 
•■  w,,oden  lead-covered  sp'ires.  fn-st  the  models  an<l  th.'U  the  copl.-s 
of  the  si,  me."  .Xnda-ain,  '■  Almon<lshur\ .  Gloucestershire;  llemel 
llempstea.l,  Hertfordshire-;  and  Braimton,  which,  hein-  wood  and 
lea<l  produi  lions  of  the  Xorthamplonshire  ■  hroach,' ma\-  he  conjee- 
lured  as  ori^inalK   due  to  ils  inlliieiice." 

S,,  much  m;i\  l.e  admitted  \\  ith 
out  sll--eslin-  '  that  the  leade, 
hroach  is  a  slavish  or  unintelligent 
cop\  of  ih.'  stone  hroach.  It  is  a 
.lue^iion  of  c;u-pentry.  Vlv  con- 
struction ,,f  the  collar-upe  is  more 
con-eni.il  to  wond  than  is  the 
hroach.  I  he  ocla-onal  framin-  calls 
(hut  not  \cr\  urgeniK)  f)r  strut- 
tin-  at  the  Ikis,..'  in'  the  hroach 
'/^^  the  main  IraminL;  is  sirulted  ii\ 
sin'_^le  limhers  rimnin^  through  the 
^)i  dia'.^onal  fin-s  .,f  the' oct;i-on  ;  and 
firt  this  is  not  so  salisfacl,,rv  as  the 
douhl,-stniltin-of  the  car.linal  lacc-s, 
which    ohl;nusin    the    Coll;u--tvpe. 

The-  ,|uc-siion  should,  perhaps, 
heconsi.lrre.l  rather  from  the  point 
of  \-ie\\  of  \\,-;ilherin-.  The  huild.r 
of  lca,led  spirrs  h;id  a  slmpl,'  pro- 
l.lem  lo  f;ice.  He  had  lo  put 
,,cta.-onal  spirr  on  a  s,|uare  lov\er. 
and  to  provid<'  a  weatherin,^  from  lhe<lia-onal  fices  ,>f  ih.' 
spire    to   the   an-les   (,f  the    towr.       in    the   case  ,,f  shin-led 

l<-ad<-,l    spires    he    used    hoih  the  c,  ,ll,u--tvp'e   and    the    hro;uh- 
l)pe.    hut    the    latter   more   connnonh. 

While  it  is  true  that  in  stone  hro.uh  spires  the  p\r,unidal     [n     i,,s      Ko,  luster  (  uhcdial 
hro;ich.  home   on  a   si|uin(h,  huttresses    the   spire   and    li.is   an  (/-raw  />„,i;,/<i/,.) 

important  constructional  luiution.  it  seems  e(|u;ill\   true  th.il  in 


Fig.  167. 
Hurfford  Cathedral 

/-'ivi/i  Diixn/aU-s  "  M.'nau 


the    hi'oach   or  collar-l\  pe    is 


■spires  tne   constiaiciional    si-mlican 

om    the   weatherin-    point    of  \ieu.    the    liro;ich-i\  pe    is    as    etticieiU    as    the 

id    the   hroiich    is   far   the    more   aliracti\-e. 


MEi)i.i-:\'.\L  li:adkd  spires. 


Regarding;-    the 

<|iicsli 

was    inspired    li\-    ll 

ic    rise 

M-raphirally.      Th.-     1 

IcMilcl 

.SuiTr\    arc    conipar; 

uiv.-K 

R\tc)n,    Xorthiimlici 

-land,';i 

'riic    (iLicslidii 

as    to 

1<1 


1  of  (lc\clo|)ni(iU,  Mr  Prior's  victw  that  the  lead  broach 
)f  the  Xorihani[)tonshire  stone  ijroach  is  confirmed  geo- 
pircs  of  hroach-typi-  in  l)t;vonshire,  Gloucestershire,  and 
car  Xorihaniptonshirc,  while  the  farthest  lead  spires,  viz., 
d  .St  John's,  I'erth,  arc  of  the  collar-type, 
tlic  jjroportionati-  numbers  of 
•h-iypc    r<'spccti\-cly    that    existed    in 

The  urim  comiiiciU  on  the  English  soldiers  in  the 
Ci-imc,i  tiiat  "they  showed  a  marked  tendency  to  di(;,''  ^  ^_ 
ma\  f,n'rl\  be  ap|)lie<l  to  leaded  spires.  If  the  nation 
is  happ\  'which  has  no  hist.)ry.  the  national  art  of  lead 
roofm;,;'  must  be  unhapp\  indeed,  for  it  has  more  histor\' 
than  bein^-.  Thi-.  much  is  clear  when  we  remember 
that  not  one  of  the  catheilral  lead<-d  spires  remains. 
Rufle  as  are  the  sketches  in  Dugdale's  "  Monasticon 
Anglicanum,"  there  are  some  indications  of  the  various 
t\-pes,  though  it  would  br  unwise  to  build  a  theory  on 
the  prints,  which  on  such  (|uestions  as  these  can  do  no 
more   than    foilif)    guesswork. 

I'he  cenlral' tower  of   Hereford    Cathedral  (l'"i,-.    167) 


h; 


,pi 


it  w; 


pe 


the    Record    Office    has 
.\bbe\,    and    a    \'ie\v    of 


The  Chertse\-  Cartulary 
a  plan  of  the  siu-  of  Chert 
the    .\bbey    Chinrh    shows   a   leaded    spire. 

At  Rochester  (  h" i-'.  lOS)  the  central  tower  was  also 
crowned  with  a  spire  which,  perha|js,  was  of  broach- 
t\pe.      The   spiredi^hts  are  (|ueer   little   features. 

.\monL;"  existin;^  p.ithless  collai--l\  pc-  spires  that  of 
Hadleigh,  Suffolk  (1-ig.  1O5),  calls  f)r  special  remark. 
It  properly  belongs  to  the  pathless  class,  although  it 
now  has  a  para]K't.  The  latter  is  ([uite  modern,  and 
must,  therefore,  be  disregarded  for  the  [uirpose  ot' 
classification.  Before  this  addition  of  some  thirty  years 
ago,  there  was  a  wooden  railing  round  the  sjjire,  which 
was  called  the  cradle.  This  cradle  was  doubtless  a 
piece  of  churchwarden  carpentr\-,  pro\ided  to  make 
repairs  easier.  Originally,  there  is  no  doubt,  the  spire 
rose  from  the  tower  walls  direct.  The  present  parapet 
is   a    frank    absurditv  :    it   protect 


Fig.  169. — Ickleton,  Canibs. 
footway   round    the   spire,   and   is  merely  a  trilling 


Ickleton,  Cambridge.shire,  has  a  notable  spire  (Fig.  169).  It  is  very  low 
ipared  with  the  height  of  the  tower,  and  has  an  odd  treatment.  The  chief 
racteristic    of  the   collar-ty[X'    ni    shingled    spire    is    that    the    sides   do   not    run    down 


■.XGLISII    I.K.\rn\()RK 


i 


i. 


m.mf/'^. 


MKDI.i:\'AL    LEADED    Sl'IRES. 


93 


ii-ht    fr 

•'l.nth 
Mrrsth 


Th 


ihc    iKise,   rcstiiiL;-    on    ihe    tower    wall.       At    the   collar   the 
1(1    of   the    diagonal   sides   breaks   outwards.      This    is    true 


nil,  l'cnil)Mi'\ ,  I'liinipluu,  Tai 
)f  .Si  |,.lnrs,  I'rrih,  l.'adcd  r 
.SuHolk,   and    R\  ton,    \orlhunilH-rland 


::.    anrl     Newhaven,     all    shin-led. 

\|)e.        It    is,    however,    not   the    ca 

1    Icade.l   collar-type. 


s    that,    thout;'h    it    is    hroach-type,    the    side 
broach    itself,    and    so 

.urh   siiin-ied 

nn'se   between 


|.;i 


■uliaritv    of     Ickleton 
out  wan  1    al)out    lialbwa\-   down    th 
L;"i\'e   it  a  stroni;    supcrlicial    rescnibLuK 
spires  as  ^b■rsd^anl.       It  is,  in  tact,  a  coinpi'onn'se   I) 
the    broach    and    collar    t\  pes,  and   supports  the  con 

timber  as  it  is  for  a  stone  spire  bklrton  spin 
date  1351.  Ih.'  lead  has  taken  <mi  a  deli-hthil 
partly    bhiish    an, I    partlv   a    bnnvnish    -n-v. 

Of  all  lea.l  spin's  I'.arnstaple  is  perhaps  the  most 
-raceful  and  iiUen-stin-  <  I' i-.  1 ;  1  ).  It  has  stood  lor 
over  five  centuries.  The  alterations  in  the  seventeenth 
centur\-,  when  the  spire  lights  wrrr  opened,  add  con- 
siderably to  its  charm,  as  will  be  s(en  bv  a  comparison 
with  th.'  nei-hbourin-  pictun'  of  (  io.lalnnn-,'  which  lacks 
the  o|)enin.-s.  It  will  also  be  nntice-d  that  the  canlinal 
faces  of  Codahuin-  spin'  stand  a  little  within  the  wall 
of  the  tower,  wheieas  at  liarnstaple  the  lead  sheetinj,;' 
overhangs.  \'ery  \alual)le  is  the  .sense  of  perfect  roofing 
at  Barnstaple  which  this  overhanging  gi\-es.  It  gains 
over  Godalming  aKo  by  its  much  more  stnmgly-marked 
broaches  and  the  almost  im|)ertineni  little  opening  with 
louvies  at  the  point  of  tin-  bmach.  The  little  twist  is 
enough  to  gi\'e  it  inti.-rest,  without  inspiring  ner\ousness 
as  does  the  spirt-  at  Chesterheld.  The  arrangeiueni  of 
the  n)lls  at  Godalming  (bdg.  170)  is  simpler  and  mon- 
regular  than  at  Barnstaple.  (  )f  the  two  methods  that  of 
Barnstaple  is  the  conmioner  and  the  more  interesting. 
It  takes  the  middle  course  between  the  se\erit\'  of  the 
Godalming  nails  and  the  almost  self-conscious  irregularity 
that  obtains  at    Hadlei^h   (F'ig.    165). 

Alniondsbury  ( JMg.  161)  has,  for  its  height,  very 
small  broaches:  they  strike  the  diagonal  faces  at  a  com[)aratively  acute  angle.  With 
regard  to  the  leading,  the  sheets  aie  narn)w,  and  thi-  diagonal  arrangement  of  the 
n)lls  is  carried  down  to  the  base  of  the  spire.  Theie  are  no  spiredights,  but  very 
small  openings  for  ventilation  near  the  top.  .\t  Braunton,  I)t-\-on  (Fig.  166),  however. 
there  ate  gabled  \-ertical  spiredights  with  liiffer  boards,  and  the  rolls  are  gradually 
worked  Irom  a  diagonal  arrangement  to  the  horizontal,  half-wa\-  down  the  spire- 
lights,  a  treatment  which  adds  much  interest.  At  Swymbridge  (like  Braunton,  near 
*  .See  r.il)liuL;ranhv  (Sundrv),  "  Histor\-  of  Godalming." 


423' 


— Canterbury  Cathedral. 

( Fn>w   Dugdali. ) 


EXGLISH    LEADW'OK 


Biirnstaple)  the  s[)ir(j  has  ^ahlcd  lii^hts  similar  to 
ISraiiiUon,  hut  the  spire  was  restored  a  few  years 
aL;-o,  and  it  may  he  that  the  existin;^'  spire  is  not 
an   exact    reproduetion    of  the  orii^inah 

Following-  the  order  o|  mir  cl.issitication  we 
come   to   tile   pathless   pinnacled    t\  pe. 

The  west  h-onl  of  Canterbury  is  still  probably 
the  most  interestlnL;  \\i"-l  front  in  I^n^land  :  hut  in 
losino-  the  lead  spire  on  the-  norllvwest  tower  of 
Lanfranc.  it  has  lost  half  the  charm  of  its  irrcLiular 
u-roupiiiL;.  The  di'awinL;  h\  Thomas  Johnson,  j)art 
of  which  is  shown  in  Iml;.  ijj,  is  one  of  the  hest 
in  I)uL;(lale.  it  shows  the  spire  as  beiiiL;  of  more 
slender  proportions  than  tln'  \  ic-w  in  Dart's  ■'Canter- 
bury." In  this  it  agrees  with  the  painting  at  Lambeth 
Palace.  The  spire  was  remoxa-d  in  1705.  The 
l)uL;(lale  dr.iwin^'  seems  to  show  that  the  [)innacles 
en;^aL;e<l  with  the  l)ase  of  the  spire  in  the  .same 
wav  as  they  flo  at  l-on.L^  .Sutton.  If  this  were  the 
case  Canterbur\'  would  be  of  the  pathless  pinnacled 
type. 

The  spire  of  Con-  .Sutton  (Fi.l;s.  173  and  174) 
is  uni<|ue  in  England  ;  it  is  certainly  very  beautiful. 
Professor  E.  A.  P'reeman,  in  his  notes  to  Wicke.s'.s 
"Spires  and  'Powers,"  is,  howcxcr,  very  scornhil  about 
it.  He  says,  "The  examples  of  Witney  and  Oxf.rd 
Cathedral  sIkjw  that  pinnacles  nia\-  be  xery  well 
combined  with  a  broach  spir<\  cither  with  or  without 
turrets,  at  the  corners  of  tin-  tower.  Sutton  shows 
an  unsticce.ssful  attempt  in  the  same  direction  .  .  . 
the  effect  is  wry  bad,  bein;,;-  nriiher  that  of  |)innacles 
set  on  the  s(|uinchcs,  nor  that  of  turrets  risiuL;",  as 
thev   oenerallv   do,   hi-hi'r   ih.m   tlir   tciw.r.' 

thorit' 


^-pp.-.-^  Despite   thi'  cnum-ncc-  ot    thr  .uithontx    ii  will   not 

^  H  H  I       be  held   -enerallv  that  ihr  ellecl  is  v.rv  bad.      (  )n    the 
^   -'^4-1       contrarv,    this    spin-    and    that    nf    St     Nicholas,    .Wnr- 


Vic.  173.    -I.oriL;  Silt 


add  to  a  s])ire,  without  aiu'  s 

t\j)e  of  spire  is  adopted,  as,  for  insi 


dern  (which  was  similar),  s, 
succosshil,  and,  -f  thr  two,  I 
runm-n-ly  .Irsi^ncd.  VUr  pi, 
and  spire  is  hill  of  iiUi'i'cst,  v 
shows  nn  p,u-licuiar  iiuenli. 
th,-  architcd  (.1  Don-  Sutton  is  the  mor 
that  we  ha\e  all  the  -rate  and  b,aul\  th 
1,T  ,,1  thr  •■roof  idea,  which  -oes  when  th 
at   Norwich  Cathedral  and   Kettc^rin-, 


luite  extraor.linarily 
•Sutton  is  the  more 
the  joiniiiL;  of  tower 
,s  llial  ,.f'.\berdren 
Idle    .ichu'Vom.MU    ni 


nacK 


MEDI.EVAL    LEADED    Sl'IRES. 


i 


v'A/T'- 


Iv 


h 


i_ 


96 


ICXC.LISII    L]:.\in\ORK 


All-  L('thal)\-  lias  pdiiilcd  uul  the  dL-li-lnfiil  cffcci  which  is  -aiiied  at  Lon^'  Sutton 
l)y  the  Iranini,;^  inwards  of  the  pinnacles,  a  rcfnu-mcnt  which  Wickes  a])|)arentb/  did 
not  observe,  for  it  is  not  brought  out  in  his  (h-awiuL;.  Probably  Wickes  had  a 
poor  idea  of  leail  spires  <ilto-clher,  for  the  onl\  other  he  shows  is  that  of  Wickhani 
Market.  Later  students  are  less  scornful.  Measured  drawin-s  of  St  Mary's,  Lon- 
Sutton,  apjiear  both  in  the  "  Sprin-'  Gardens  Sketch  I'xiok"  (vol.  3)  and  in  the 
"Architectural  Ass(,ciation  Sketch  Book"  (vol.  i  ).  .\  b,.,.k  on  leadwork  is  not  clo.sely 
concerned  with  the  insides  of  leaded  spires,  luit  these  nu-asured  drawinL.;s  are  a  liberal 
education  in  timber  construction.  The  boardin-  to  which  the  lead  is  h.xed  at  Loni^- 
Sutton    is   rouL^h   oak,    1    inch    thick,   and   the  height   of  the   spire   is   S4   feet   6   inches. 

It  is,  of  course,  ([uite  inipossil)le  to  su^^esl 
1     .V-,  a    date    for    the    earliest    lead    spires,     but    this 

much    is   clear,  that   the\   are  much  earlier  than 
stone    spires. 

ddie  towers  drawn  in  the  "  Henedictional 
of  I'.thelwood  "  (tenth  century)  are  co\-ered 
with  p\ramidal  roofs,  but  thev  can  hardlv  be 
calU-d  s|,ir,-s  ;  and  thou-h  the  drawing  of  these 
roofs  sug-ests  leadwork,  one  cannot  build  a 
theorv  on  so  uncertain  a  foundation.  The)- 
may  ha\e  been  shin-led.  There  is  little  doubt 
that  Lon^^  .Sutton  is  the  earliest  existing  lead 
spire/.  Mr  l-'raniis  liond  points  out  that  it 
is  ■■hardly  clear  of  transitional  detail,"  and 
Mr  I'rior'  also  puts  it  as  early  as  the  latter 
|)art   of  the   twelfth    tciuui-\-. 

Mr  H.Mid  in  referring  to  the  earl_\  spires 
and  amongst  them  Long  Sutton,  savs  that 
they  did  not  produce  schools.  Wdiile' this  is 
unquestionabK-  and  unfortunateU  true  as  to 
Long  .Sutton,  it  m.i\  be  that  the  spire  of  .St 
Nicholas,  .Xberdeen,  may  havi-  been  inlluenced 
b\  Long  .Sutton.  There  is  no  documentar\ 
exidence  to  hrin^  in  sup|iort,  but  it  is  a  not 
,v  an.l  ro,,f  ,,f  Si'Xich,.las  was  hn-elv  Hnglish, 
and  whv  not  the  design:-'  An  l-.ngllsh  plumlH'r,  John  I'mrue],  was  empl.^ved  to  cnar 
with  l<-ad  the  roofs  ,,f  Ab<-rd<-en  Lniversitx  in  1  5.  .h,  and  the  spire  of  St  Xichohis 
was  being  built  at  this  time.  Huruel  might  not  impossibly  have  seen  Long  Sutton 
spire,    and    advised    his    .\lHM-deen    frien<ls    to    f,,ll,,w    s, ,   admirable   an    example. 

.Xberdeen  seems  to  have  lak.'U  to  lead  spires  very  early.  Idle  earli.'st  of  the  burgh 
seals  (I'ig.    176)  bears  what  was  conjectured  bv   Mr  .\stle  (•■\'etusia  AL-numenta."  \  ol.  iii.. 

the  shrine,  are  represente.l  as  haxing   reticul.ited  co\erin-s.       Idle    network    probably  iiuli 
cates  lead  rolls.      I'.v  wa\-  of  comparison    it   is    u.M-thv..f  note   that    the   existing  spirelet  of 
Sawbrid-.-wortli,    I'h-rts.    is   k'ad.'d    with    a    similar   diamond    pattern. 


Fig.  176.  — Early  Burgh  Seal,  Aberdeen. 
Dossibk-   theorv.      d  he   lea.l    for  tf 


97 

rs  L^ivc  an  agreeable 

:  n-molc  was  one  William 

iLirninu;   of  the  choir  roof 

.()   "  ihck   ihc   mekil  quer " 

|uivalent   to   thatch.      The 

am  shall,  after  the  walls 

pccifications   or   bills  of 

c-r  to  di^hl.  and  di^ht 

ken.      1 1  is  p.iy  for  the 

he  was  to  get  a 

liis  comforts  forgotten, 

vulgo 

relv  a 


Pasch  next   to  cuii 

This  David  Menzies  seems  to  have  acted  precisely  the  same  part  of  general  manager 
of  the  city's  expenditure  on  their  church,  as  did  the  famous  William  Canynge  the  younger 
at  Bristol,  when  he  "  with  the  helpe  of  others  of  the  worshipfulle  towne  of  Bristol,  kepte 
masons  and  workmenne  tt)  edihe,  repayre,  cover,  and  glaze  the  church  of  Redcliff,"  the 
St  Mary  Redcliff  which  is  the  chief  glory  of  Bristol.  This  parallel  from  the  south  is  given 
because  it  is  good  to  emphasise  what  a  great  part  the  merchant  adventurers  played  in 
the  architectural  energies  of  the  Middle  Ages.  And,  further,  the  works  were  almost  con- 
temporary— Aberdeen,  1474,  Bristol,  1442.  Canynge's  work  followed  the  fall  of  St 
Mary's  spire,  and  Canynge's  name,  connected  inseparahlv  with  Chatterton's  forgeries,  is 
a   link   with   a   tr,iged\'  of  English   literature. 

To  return  to  Menzies  and  his  fellow-citizens  at  Aberdeen.  b'rom  1474  to  i5iothe 
work  at  St  Xicholas'  spire  went  on.  the  lead  being  ])aid  for  largely  by  salmon,  a  staple 
export  of  the  town.      The  carrving  of  the  lead  to  Aberdeen  was  evidentlv  no  small  matter. 


ENGLISH     LKADWORl 


Ml'.DI.MVAL    LKADKD    SPIRMS. 


99 


>f    I  arland,    went  as  far  soiilh  as 


I  an   (11(1,  for  the   records  show 
nionc}-    (<u-   "up-putting  of  the 


for  in   1500  the    I'rox-ost   hinisc-lf.    Sir  Jdhn    l\ulhcrt( 
B('rwick   to   lirin^    it   home. 

In  the  year  of  Floddcn,  1513,  their  lahours  came  t 
that  in  Novenil.er  of  that  year  Henry  Reid  '■-ifted" 
weddercok,"  and  John  Cullan  furnishi'd  the  -old  "for 
gilting  of  the  weddercok."  h"ig.  175  shows  the  steeple 
as  it  stood  Ironi  Idodden  until  1874,  when  it  wa>  de- 
stroyed liy  fwc.  It  is  some  consolation,  and  no  little 
good  f  )rtune,  thai  from  such  earl\  photographic  days  the 
negative  remained  from  which  the  illustration  has  heen 
made.  It  would  seem  from  the  photograph  that  the 
Aberdeen  ])innacles,  like  those  at  Long  .Sutton.  Ix-nt  in- 
wards slightly.  Al.erdeen's  records  of'ihe  great  spire  do 
not  end,  however,  with  the  stor\-  of  its  huilding.  In  1  54O 
the  bailies  ordained  their  Master  of  Kirkwork  to  send  lo 
St  Andrews  for  a  [)lumlier  "to  ref)rme  aiK.l  mend  the 
faltis  of  thair  kirk."  .\.-ain  in  1,^50  "the  lead  thak  ^ 
wanted  repair,  whether  of  the  roof  gcnerallv  or_of  our 
spire  is  not  recorded  particularly.  That  hiriher  rci)airs  to 
the  leading  were  regardeil  as  lm[)ortant  works  is  clear 
from  the  admirable  lead  panel  that  came  from  the  roof  of 
St  Nicholas,  Aberdeen  (big.  177).  It  heirs  the  date 
1635,  the  arms  of  the  burgh,  and  its  line  motto  "Bon- 
accord."  Another  exists,  made  from  the  same  pattern, 
but  dated  1639,  and  is  a  rather  sharper  casting.  The 
size  of  both  is  1  foot  4I  inches  by  1  foot  (}[^  inches. 
They  serve  no  purpose  sa\-e  niagnilo(|uently  to  remind  us 
of  the  pleasure  of  some  Mastei-of  Kirkwork  in  his  labours. 
The  patterns  were  pr()bal)ly  car\  ed  in  wood  (robust  and 
masculine  work  it  is),  pressed  iiuo  the  casting  sand,  and 
cast  by  the  plumber  on  one  of  his  roofing  sheets.  With 
the  timber  work  of  the  great  spire  we  are  not  so  con- 
cerned as  with  its  lead  covering,  but  the  name  of  the 
"Wright"  who  probably  framed  it  remains,  John  bendour. 
In  those  days  there  were  no  m'ce  distinctions  as  to-dav, 
between  carpenter,  joiner,  and  carver.  b'endour  was  a 
'■  Wright,"  a  worker  in   wood,  and   a   master  at    his  work. 

All  woodwork,  massive  or  intricate,  came  from    his   hand.  .<,i«&«*^^Ma  »    ■        > 

In  1495  he  was  building  the  roofs  of  St   .\icholas.  and  in  f,,;.  ,80.  -  Danlmrv.   I  ->  \. 

1507-08  he  made  and  car\-ed  the  choir  stalls  and  screen. 

Passing  now  from  the  pathless  spires  we  come  to  the  parapetted  examples,  and 
Class  1.,  the  collar-t\  pe.  It  is  unusual  h)r  collar-type  spires  to  stand  within  a  parapet, 
but  there  are  at  least  two  exam])les.  and  one,  /.c,  St  John's,  Perth,  is  important  (Fig.  178)- 
The  parapet  is  hea\ily  corbelled  out,  and  in  proportion  to  the  tower  the  spire  is  very  low 
ami   sciuat. 


5   r  * 


lOO  ENGLISH     LEADWORK. 

In  connection  wiili  St  Xich..l;is\  Alirnlci-n,  we  h,iv<-  alrcadv  met  I-cndoiir,  the 
car[)enler.  In  15  lo  he  agreed  with  the  ^rcat  llishd])  William  Elphinstone  (an  heroic 
figure  in  nn-(li;eval  Aljerdeen,  an  e|)isco])al  Ma-cenas)  tn  huild  the  -reat  central  leaded 
spire  of  St  .Machar's  Cathedral,  Old  Al.erd<-en.  linild  it  he  ac.-ordin-ly  did,  hut  no  trace 
remains,  s,L\e  the  written  contract.  It  was  to  he  after  a  form  .ind  pattern  L;i\cn  1)\-  the 
liishop  to  iH^ndour,  to  l)c  substantially  hewn  and  joined  "as  the  steeple  and  prik  (spire) 
of  the  kirk  of  Saint  Johnstoun  is."  Here  we  come  into  contact  with  the  existing;-.  This 
likeness  of  the  cathedi-al  sp'ire  to  that  of  St  |ohn's.  Perth,  must,  howr\er,  ha\e  been 
rather  in  the  method  of  timber  construction  than  in  the  actual  shape  and  proportion. 
This  seems  to  be  proveil  by  the  freestone  spires  of  the  cathedral  built  b\-  Elphinstone's 
like-minded  successor.  Bisho|)  Cia\  in  Dunbar,  for  he  ordered  them  to  match  his  pre- 
decessor's work.  So  closel}-,  e\-en  sla\ishly,  were  his  lordship's  orders  followed,  that  there 
ap[)ear  in  the  stone  spires  sham  dormers.  Now  dorniei's  are  proper  enouL;h  to  a  timber 
spire  needinL^  \-entilation,  liut    not   needful    in   a    stone   spire.      The  cathedral  did  not  loni;- 


]      ^^ 

^      \       V  '    ;^''>' 


^-^g 


TIr  Caheinl 
i.Sr.— A   Reproduction  of  Fart  of  tlu 


Old   Aberdeen   in   .Slezer's   '■Tiieatrum   Scotia;,"   1693 


enjoy  its  leadetl  spire.  After  havin-  been  despoiled  of  its  lead  and  its  bells,  in  1560.  it 
lell  into  laiin.  Unhappily,  not  e\cn  an  old  dr.iwin-  remains,  such  as  \'an  den  W'ynL^aerde's 
■■  \'iew  of  London,"  datcxl  1543,  showin-  the  spire  of  (  )lil  St  Paul's.  Sle/er's  "Theatrum 
Scotia^"  (L'i-.  iSi)  shows  Dunbar's  spires,  but  the  -reat  tower  is  covered  with  a  low  roof. 
Lhe  contract  is,  however,  of  |)ecu]iar  interest  as  showiuL;  the  o^reat  im|)ortance  attached 
to  the  St  John's  spire.      'Lhe  outside  bellcote  is  ob\i,,uslv'a  late  addition. 

At  D.mbury,  Esse.x  (Li-.  iS,,).  there  is  ,ui  inlerestin,^  if  somewh.it  cPKSsd.red  coUar- 
type  spire.  It  is  in  fact  an  epnome  of  \-,u-ious  metho.ls  of  coxci-Iul:  .1  timber  spiri-.  Lhe 
lowest  part  from  the  collar  douiiw.u'ds  is  coxcred  with  copper.  The  top  part  is  leaded, 
and  the  middle  is  shin-led.       It  is  st.ited  th.it   the    structure   o|    the   spire   dates  from    1  40J  ; 


but  m    1740,  when  it  was  struck   bv  li-htnin-,  the  apex  w.is  burned.       Peril, ips 
now    leaded    indicat,-s    the    extent    of  th<-   ,l,un,i,e<-   ,nid    of  the    restor.ttion. 

Tlu-    par.ip<-tt,-d    bro.ich    spire   ,,f    Hemel    Hempstead    (hi-.    170)    is    prob 
fourteenth    centurv,    an<l     is    one    of    the    K.hiest     rem.iimn-.      On    the    e.ist 
spire,    shown    in    die    illustratiMU,    will    be    seen    ,ui    oblong    K.,id    pl.ue   .ibout    i 


>l     th 


MEDI/EVAL    LI'.ADi:!)    Sl'IKKS. 


tn 


Thi 


\t  ch.'su-i-ricM  "th 

^     lint     a    \(_:r\     cni 

II      I.Ut     the     in,,    n 

idcd. 


hnic    uhiih    was    probably    left    for    jjurposes    of    repair. 
lar  npenitT!_;.      Aninii!,;-    l)roach    spires    Hemel    Hempstead 
ii[)le,    since    llic-    para])et    covers 
.    and    the    spire    looks    straight- 


Al  Durham  (I<"i-.  183)  and  I':iy  (l-i-  1S2)  Calhe(h-als 
the  western  towers  a|)pear  in  ha\e  been  cmwned  with  broach 
spii'cs  which  came  within  the  parapets.  At  I'.K  the  spire  was 
very  slender.  In  1174  I!ishnp  (".enlTrey  Ridal  built  the  west 
i-nd  and  steeple.  In  1454  iMsho,,  William  (irey  "  bestow'd 
^■reat  sums  of  money  on  building"  the  steeple  and  west  end 
of  his  church."  It  is  (|uite  likely  that  tht!  l)roacli  spirek  t  w  is 
Grey's  work  of  1454.       it  c.ukl  not    have    been  a  copy  ,,f    K,  1  iN 

steeple    nf    I  174.        kidal's  w  ni  k   w   IS 

probabK    nn    the   lines  of  the    [)\i  i 

miclal     roofs    (the\     can    hardb     b 

called  spires)  of  Southwell   Mmsti  i 

which  are  illustrated  in  1''!^;'.   1  0 , 

Amonn    parapetletl    spins    tnd 

indee.l   anion-  all   leaded   cathtdi  d 

spires  the  place  ol    honoui'   must   I  f 

given   to   Old    St     Paul's.      In    I  1^ 

184   is   reproduced  a  rare  en^^i  i\  m^ 

which     shows     the     spire.  \i)irt 

frnm     its     intrinsic    charm     it     (iii 

|)hasises    the    pmud    wa\-    in    which 

St  Paul's  tlominatcd  London       I  he 

print  cannot  be  claimed  as  in    ui\ 

sense   contemporary,    for    the   spiic 

was  destroyed    in    1  50  1 .      It    is   un 

tlatt'd,    but    is    said    1)\     those    w  h(.) 

are    connoisseurs    in    these    things 

to    bt'    of    not    very    early    in    the    se\enteenth    century.      A 

great   merit   of  the  engra\ing   is   its  (comparative)  wealth  of 

detail,  which  is  absent   from    Hraun   and    Hogenberg's  view, 

drawn    by    Joris     Hoefnagel,    and    also    from    Wyngaerde's. 

The   latter  was  j)ublished  about    1545,  but   is  very  sketchy. 

The  important  features  of  this  spire,  in  its  relation  to  those 

that   remain,   are  its   pinnacles.      These   "assert  (to  use   Mr 

Prior's  phrase)  the   English  principle  of  angle  accentuation." 

If    the    engraving    is    to    be    trusted    so    far    in    tletail,    the 

pinnacles  themselves  were  of  two  stories  aiul   stooil   within 

the  parapet.      The  Cowdray  engraving  shows  the  tower  and 

^ests  that  the  pinnacles,  of  which  there  w^ere  eight,  engaged 

rateil   by  a  pathway  from   the  parapet.      If  this  was  in 


El)   (  ithedril 


V\c..  183.— Durham  Cathedn 

(From  Pu^'da!,:) 

spire   of  St    Paul's.      It 

with  the  spire   itself,  and  were  sep 


I02  ENGLISH     LEADWORK. 

fact  the  case,  the  spire  occupied  ,i  position  midway  l)et\v(;en  tlie  pinnacled  type,  e.o.. 
Lonu-  Sutton,  and  the  parapctted  type,  e._<^'\,  Iml;.  192,  Minster.  Dui^xlale's  67  Paiifs 
gives  the  height  of  the  s[)ire  as  274  feet  and  of  the  tower  antl  spire  together  as 
520  feet.  Stow's  figures  are  2O0  and  260,  and  the  engraving  (of  Fig.  1S4)  says, 
"This  spare  wch  was  of  tiller  coverd  with  lead  was  in  height  2O0  foot."  The  first 
steeple  built  in  1221  had  hecome  weak  in  1315.  and  was  thoroughly  repaired  "and  a 
new  cross  with  a  pommel  well  gilt  set  on  the  top  thereof"  This  pommel  was  large 
enoU''"h    to    contain    ten    hushels    of    corn.      In     is'n     li''htniiiL;    ami    the    ensuiu''-    tlames 


destroxed     in    four    houi's    the    proudest     h.nglish    spii-e.      '{'here    seems    to    ha\e    heen    ; 
idea    of    rebuilding    it    in     lov,.      On    29th    October    the    Chamber    of    London    receive 


'erhans,    howi 


•pu 


le"    is    h< 


/  150    "towards    the    work    of   the    steepl 
loosel\-,    and    refers   onl\    lo   ihe    tower, 

(Juite  diflereni  were  the  spires  .111  the  wi-st  and  central  towers  ol'  Lincoln  (big. 
185),  '  'I'Ik'v  were  obviousb  ,,r  die  parapctted  t\  pe.  and  stood  well  within  the  walls, 
l(-a\ing  a  path  between  the  spii-e  and  the  par,i|)et.  This  p.ith  cuts  off  the  spirt- 
from  the  jjinnacles.  Thou-h  tin-  leaded  pinnacles  rem.iin  on  the  lhi-ee  towers  of 
Lincoln,    the\     cannot    be-    reg,u-detl     as     organic     parts     of    the     spire,    as    are     those    at 


MEULICVAL    LKADI'.l)    Sl'IRKS. 


•03 


Fig.  185. — Lincoln  Ciuhcdral. 


Fk;.  186. — Norwich  Cathedral. 


Fir,.  187.      Kii)on   Cathedral. 


Fig.  188.— Lead  ( 


Cathedral.  Fic.  1S9.  — I'arapct 


I04 


ENGLISH     LEADWORK. 


Lonn'  Sutton.  In  Fi^'.  igo  is  illustnitfcl  tlic  top  of  the  central  tower  with  its  leaded 
pinnacles,  melancholy  reniiniU-rs  of  what  has  ^one.  The  pinnacles  were  [jrobahly 
restored   by   Essex   in    1775,    when   thr   Ih'msy   stone   battlements   were   put   up. 

The  top  of  the  centnd  spire  of  Lincoln  is  said  to  ha\e  been  5^4  feet  from  the 
ground.  This  figure  sounds  suspiciously  like  a  local  attempt  to  say  4  feet  better 
than  Old  St  PaLil's,  but  as  the  spire  was  destroyed  in  1548  b\-  a  tempest,  the  <iLiestion 
remains  unsettled.  \\'hate\er  the  hei,L;ht,  the  effect  of  the  three  spirt-s  must  ha\-e  been 
uni<]ue.  P]\-erv  one  who  does  no  more  than  pass  Lincoln  in  a  train  must  be  impressed 
by  the  dcjminance  of  the  cathedral  towers.  Wdien  the  height  was  doubled  by  spires, 
the  effect'  must  have   been   ama/in^K    increased. 

Other  notable  details  at  Lincoln  are  the  lead-covered  wdod  parapets  (Fii^-.  191) 
and  i^utter  ( b'i.L;-.  1S9).  The  former  from  the  L;round  looks  like  stone.  It  is  on  the 
west  side  of  the  south-east   transept,  ,md   ex.icth   copies   the   bulk   of  the   stone  parapets. 


Fin,  iqo.  —  Lincoln   Cii 


Fui.  191,— I.t-aded  Parapet,   l>incoln  Cathedral 


The  latter  has  sunk  tracerv  panels  spaced  not  too  regularly.  Thest-  ha\e  been  copied 
at  Canterl>ur\-  Cathedral.  Here  also  may  be  illustrateil  the  lead  cresting-  from  I^xeter 
Cathedral   (Fi-\    iS.S). 

Our  half  of  the  west  front  of  Norwich  Cathedral  is  shown  (Fi-.  iSO)  for  the 
sake   ol'  the   \cr\-   lofty   pinnacles,   which   were  as   lari^e  as   the   spii'e   of  a   parish   ihnrch. 

.\t  Kipon  the  twn  west  towers  (one  of  which  is  ilhistralnl  in  I'd-.  1S7)  and  tlu' 
central    tower   hail    lead    spires,  all   apparentU'  of  the  slrai'^ht-sidcd  t\pe  widioul   broaches. 

I'ew  spires  show  the  delightful  whiteness,  to  which  lea.l  will  weather  widi  a-e, 
so  well  as  does  Minster.  In  the  corner  |)hoto^raph  of  V\'^.  \()2  it  will  be  noticed 
that  the  spire  shows  even  whiter  than  the  sky.  <  )f  this  type  of  siiire  I'rofessor 
iM-eeman,  in  his  notes  on  Wickes's  book,  is  so  sweeping;'  as  to  say  that  "when  the; 
spire  rises  within  a  mere  ordinar\  battlement  without  an\-  connection  with  the  lower, 
the  effect  is  always  unpleasin:,;,"      If  this   severe   standard   were  appro\-ed,  the   pai-apetted 


MEDI/EVAL   Ll-:.\lJi;i)   SPIRES. 


Fig.  193. — Ciieat  Batldow 


io6 


KXCLISH     LKADWORK 
strai''ht~si(le(l 


spires  and  the-  s|iin.-lcts  would 
hv  I-Lilcd  ..lit.  Only  the  pathless  spires  would 
pass  the  test,  tor  there  are  no  lead  spires 
resenihliuL;^  the  later  stone  spires  which  were 
connected  with  the  parapet  hy  jjinnacles  and 
rtyino-  buttresses. 

The  njlls  at  Minster  are  \ertical  onl\-. 
as  are  those  at  Cireat  liaddow,  I-lssex  (  Im.U'. 
193).  where  on  each  face  there  is  only  one 
roll  between  the  an^^ie  rolls,  and  this  ceases 
at  the  fourth  horizontal  division  from  the 
top.  The  little  l)ellcote  is  an  interestin;^- 
adtlition.    hut   .ippai'cntly   reci-nt. 

Harrow,  on  the  other  hantl,  is  prodigal 
of  rolls,  there  bein^  three  on  each  face 
between  the  aii-le  rolls  (  b' i-.  162).  The 
spire    is    of    the    fifteenth    century.      On    the 

the  names  of  the  churchwardens  of  1823. 
under  whom  the  spire  was  re|)aired,  and 
curiousK-  enough,  also  the  legend  "  Hannah 
Patman,  plumber,  1S23."  This  leail working" 
lady  w-as  carrying  on  the  business  oi'  her 
deceased  husband. 

The  spire  of  Chesterfield  (Fig.  194), 
with  its  amazing  twist,  is  a  cause  of  such 
controxersx  that  one  needs,  when  dealing 
with  it,  to  beha\  e  even  as  Agag.  and  walk 
delicatelv.  [ohn  Henry  Parker,'  by  writing 
th.U    "th'e   lead    is   so  disposed  as  lo'gixc    the 

not  a  little  misleading.  .Some  h.ive  gathered 
from  this  that  the  spire  has  an  app.irent  but 
not  a  real  twist.  Happily  a  good  photo- 
graphic lens  is  not  so  subject  as  the  retina  to 
optical  illusion,  ami  the  illusiration  is  (|uitc! 
emphatic  as  to  the  ixalitx  of  the  twist.  .\s 
to  the  cause  of  the  twi.t  it  is  generally 
thought  th.u  the  \\,u-plng  of  the  main 
timbers    is    responsible.      I'.cinallv    carehil    in- 


emph.isis,  indeed  with  e(|u.d  heat  [:uin-iiini/ 
ari/ia-o/ixniiiii  is  not  far  behind  odiit))! 
tlicolocicuiii    in     fei-\(iur\    thai     the     timbers 


Fig.  194.— ClustciliLld. 


MKDI/EVAL   LKADEIJ   SPIRl-.S. 


Fig.  195. — Wickhani   Market,  Suffolk. 


Fig.  196. — Much  \Venlock,  Salop. 


io8  ENGLISH     LKADWORK. 

shdw  i-:'c-/y  .v/;'//,  an<l  that  th(-\-  show  /io  s/'xn  nf  ha\'inLi;-  war] )(.■(!  ami  spruiiL;'  at 
the    joints. 

One  is  a  little  suspicious  when  "  spirals  "  are  imported  into  architectural  discussions. 
Some  people  want  to  read  spirals  into  exerythiuL;".  .Xssuminu;,  however,  that  we  may 
properh-  look  for  a  pur[)ose  in  the  twist  of  Chesterfield,  the  spiral  theory  seems  just 
tenable.  .About  1370  practically  the  whole  structure  of  Chesterfield  jxirish  church  was 
rebuilt.  The  nave  and  tower  are  ■j^im]  ordinarv  work  of  the  |)eriod,  and  we  are  asked 
to  assume  that  the  architeti  determined  on  a  spire  which  should  i^ivi-  extraordinary  dis- 
tinction to  an  otherwise  ordinary  church.  The  whole  striicture  of  the  spire  rests  on  four 
massivt'  beams  which  are  built  into  the  top  of  the  tower,  crosswise,  forming  on  |)lan  nine 
sm.dl  S(|uar(.-s.  The  corner  squares  are  intersected  diaL;"onall\-  b\-  cross  [jieces  which  take 
the  diagonal  fices  of  the  octa,L;(jn.  l'"rom  each  corner  of  the  middle  s(|uare  rise  the  ^reat 
stanchions  which  form  the  real  core  of  the  work.  'The  spire  is  built  in  sections  from 
18  to  20  feet  in  heiL^ht,  antl  it  is  affirmed  that  each  succeedin:,;-  section  is  intentionally 
twisted  at  a  rcL^ular  dcL^ree  abo\-e  the  one  liencath.  ( )b\iouslv  such  a  construction  leads 
to  all  maimer  of  dift'iculties  in  the  direction  of  keepini^-  the  spire  at  all  plumb.  The  theorist 
^oes  on  to  affirm  that  when  the  steeple  rose  to  about  two-thirds  of  its  heii^ht  the  builder 
L^dt  alarmed  at  the  amount  it  was  out  of  plumb,  aljandoned  the  s\  stem  of  twist,  and  made 
fir  the  summit  by  the  straight  route.  This  theory  is  set  out  for  what  it  may  be  worth. 
It  is  not  \astly  inipressi\e,  but  experts  in  the  mvsteries  of  carpentry  must  be  left  to 
settle  the  point.  That  the  twist  is  due  to  the  !_;reat  weight  of  the  lead,  and  the  warpin^t; 
ot  imperfectly  seasoned  timber  seems  a  simpler  explanation.  It  should  be  remembered 
that  Chesterfield  is  not  alone  in  [xissessiiiL;-  an  erratic  shape.  The  lead  spire  at  W'alsin^diam, 
Xorfolk,  though  not  so  lar^'e,  is  considerablv  lient  at  a  point  about  one-third  from  the  top. 
The  shin-ied'timber  spire'of  Cleobury  Ab.rtimer  is  also  badlv  twisted.* 

One  other  point  with  re-ard  to  the  Ch.'sterfi<-ld  spire  deserves  mention.  The 
herring-bone  arrangement  of  the  rolls  produces  an  opticd  illusion  which,  thou-h  more 
notic-abl,-  to  the  eve  when  lookin-  at  the  actual  spire,  is  also  to  be  obsrrxcd  in  the 
phot,,oraph  (hi-.  104).  It  mi-ht  b<.  thou.^ht  th.U  the  plan  n(  the  spire,  iiistea.l  of 
bein--  a  plain  octa-on,  is  an  octa-on  ol  which  the  ei-ht  faces  recede  in  V  fashion 
inwards,  or  (to  put  it  another  way)  that  the  plan  is  a  sixiei'ii-sided  star,  and  ih.u  an 
ima-inary  line  connecting  the  outer  pnints  of  the  star  would  firm  an  octaL^cn.  'I  his 
is  not,  of  course-,  the  case;  the  sui^L^estion  of  a  st,u--shaped  plan  is  pureK  ,ui  optit'al 
illusion.       It    may   also    be    pointeil    out    that    the    rolls    are   of   herrin-  bone    .irnin-ement, 

parapetted    examples. 

.\t  the  (diurch  of  Otterv  .St  Mar\  is  a  ,leli,-htful  octa-onal  spire  st.uidin-  well 
within  the  p.irapet,  and  so  low  and  s(|uat  as  lo  be  almost  of  the  proportions  of  the 
o<ta-on.,l    le.ide.l    ro,,|    ,,f   the    Chapter    House    n\    York     Minster. 

\\i(kham  .Mark.-t  (hi-.  i.,,s)  has  especial  interest  in  ih.it  it  has  ,ni  octa^^onal  spire 
on  an  oct.i-oii.d  lower.  .\  pleas  ,nt  \.irl,ition  from  th  ■  ..rdinirv  aoex  is  allonled  bv 
the  mouldin-s  which  encircle  ii,  the  rolls  on  the  Iwo  little  sl,i-es  so  ni!l<le  beine  ariMll.-ed 
spirally.      One    cannot    help    wishin-    that    some    builder    of    l.'.id     spires    ha^'l     built    an 

*  The  "iwisl"  tlu-my.  sIdiiIv  clrsnil.cd  above-,  is  st-l  .mt  in  a  Ion-  articK-  in  tho  l\rhy<.liire  Courier  a^  14th 
NovemliL-r  190,5. 


MKDI.l'LVAL    LE.MJVA)    Sl'lRES. 


109 


Fk;.  197.— Ahh,    Rli 


I  It;.  iy8. — SwalTliani,   Norfolk.  Vic.  199.— Sawbridgeworth. 

ThkI'I-:  Tvi'icai,  I.eadkm  Spirklets. 


octa^itiKil  or,  hcttrr,  sixtcrn-sidrd  spire,  and  arrani^cd  the  main  rolls  in  siron^ix- 
markcnl  spirals  from  the  hase  up.  Thi-  result  would  he  unrestful,  hut  as  it  is 
presumahly  the  husiness  of  a  spire  to  aspire,  it  would  have  heen  an  interesting" 
e.\periment,   and   eertaiiiK    amusing-. 

Much  Wenlock,  .Salop  (Fi^.'  196),  has  no  \ertical  rolls  hetween  the  an-ie  rolls, 
and  conse(iuentl\  the  horizontal  sheets  are  \er\  narrow.  There  are  openings  with 
meagre  hitter  hoards,  and  helow  them  sonu'  rolls  arranged  in  network  fashion,  which 
gives  \ariet\-.  This  spire  was  erected  in  ijzjO,  hut  the  tower  is  of  the  thirteenth 
century,   so   prohahK"   the   present  spire   took  the  ])lace  of  an   earlier  one. 


St  Mar-arrt's.  Lourstuft,  li 
s])irr  of  the  strai-hl-si.lrd  iy|H-  standing 
well  within  ihc  paraprt,  and  calls  for  no 
special    remark. 

\u>y  the  hi,L;hl\-  (".othic  person,  the 
parapetted  spirelets,  such  as  those  at  Hitchin 
and  luist  llarlin-,  can  haxc  no  justification, 
except  a  pureK  decor.c 
whi>  want  to  justifx  < 
spir<-  is  a   roof,'an<l    Ih^I 


ENGLISH     Li:.\D\VORK 
lead 


one.        To    people 

•Mhin-.  a  1. roach 
in  !)<■  hun-  in  it. 
For  the'  lar-e  plain  spin-  standin--  within  a 
parapet  there  is  less  e.xcLise,  and  lor  spire- 
lets  none  at  all.  d  he\  are,  ho\\c\-er.  \cry 
,l,T-htful  ihin-s,  an. r  should  he  jealouslv 
preserved.  A  tew  >  ears  a-o  a  -o,h1  le,,d 
.spirelet  at  lirandon,  Norfolk,  was  taken 
down  without  any  faculty  hein-  ol.t.uned. 
The  criminal  does  not  a])pear  to  ha\c  been 
dealt  with  in  an\  suitahle  (dlliertian  wa\ , 
such    as    with    melle.l    lead,    an    omission    one 

sinudar  spirelet  'on  '"^St  .Mhan's  Al.hey. 
Perhaps  it  w.is  -rimthorped.  At  St  Alhan's 
nothing    is    astonishiiiL;,    hut    the   spirelet    has 

.Sawbrid-eworth,  Herts  (Fig.  iqq),  has 
a  charming  spirelet.  ddie  diamond  shapeil 
arrangement  of  the  rolls  on  the  uppei"  part 
is  umisual,  and  of  hai)p\  effect.  Idle  l.u-ger 
di.uuonds  coming  al>o\c  smaller  gi\c  a 
pleas.un  irregularity.  The  h.ipha/ard  ar- 
rangement on  the  lower  p.irt  is  possibly 
the   result   ol^  comparali\-el\-   recent   repairs. 

.\sh,  Kent  (Fig.  19;).  Of  this  there 
is  little  to  sav  sa\-e  that  the  little  spin- 
groups  od<lly   with   the  corner   turret. 

15ramlord,  .Suff.lk,  has  ,1  plain  spirelet 
of  conslijerable   merit. 

The  luosi  notable  spirelet  is  that  of 
I-ast      llarlmg,     .Norfolk    (  !' ig.     Joo),     which 

ambitious  in    i'.ngl.uid    fn  .m    the    leadworkers 


■w,  bill    die  most    b 


rel,-,    proper   stai 
ih    v<-rti<al    si<les. 


il.        Ih 
,,d   drui 


-led.       T 


200.    i;,iM  11, 


junction  of  spirr  ami 


AIiaJl.l'A'Al.    LEADED    SI'IKKS 
is  an    imitation    in  petto   of   the    o 


octai^onal  intermetliatc  stage 
l>ct\\ccn  tower  and  spire  that 
we  liiul  in  stone  at  W'ilby  and 
I-lxton.  There  is  in  Dug- 
dale  a  <h-awing  (Tig.  202)  of 
a  \(T\  notable  feature  of 
Hiihn  Abbey,  Norfolk,  which 
is  (il  cognate  character.  The 
lower  stage  of  the  spire  was 
appai'ciuK'  circular  and  alto- 
gether leaded,  ami  seems  to 
liax'c  been  in  a  general  wa\- 
the  ancestor  of  the  hjist 
Ilarlinu;  treatment.  .\t  each 
point  of  the  East  Harling 
drum  there  rises  a  leaded  pin- 
nacle, and  from  each  pinnacle 
twii  ll\  ing  buttr<-sses  are 
thrown  to  the  spire.  The 
Lipper  tier  of  buttresses  is 
crocheted  with  se\-en  crockets 
to  a  buttress.  Mr  Leonard 
-Stokes's  sectional  drawing 
(Fig.  201)  in  the  ■'Archi- 
tectural .\ssociation  .Sketch 
P.onk-  (vol.  i..  Plate  ,S) 
shows  the  wo.Mlwork  only 
down  to  the  roof  of  the  tower, 
but  the  beams  run  <lown  to 
and  rest  on  th<'  sills  of  the 
window  in  the  belfry  storv. 
The  timber  work  is^.f  oa'k 
throughout.  .\s  to  the  lead- 
ing, the  metal  is  dressed  over 
each  face  of  th('  pinnacles  and 
lappe.l  on  the  <'dges.  The 
I'olls  on  the  spire  are  solid 
(without  wood  core)  and  they 
form  reticulated  ])atterns 
which  \ary  not  only  on  dif- 
ferent faces,  but  between  the 
top  and  bottom  of  the  .same 
face.  The  leading  on  the 
lower  parts  of  the  main  pin- 
nacles   has    been    restored    in 


12 


ENGLISH     I.I:A1)\\0RK. 


recent  years,  as  also  the  leadiiiL;  "(  tin-  drum,  hut  the  spire  prupi.-r  ami  thr  tups  of 
the  pinnacles,  if  not  the  oriL^inal  wni-k.  are  dhxinusU  of  a  most  respertahle  anti(|Liit\. 
The  fmial  at  the  apex  of  ihe  spire  is  of  uml)rella  form,  not  unlike  that  on  the  lead 
tlecht-    at    the    L,i\v    Courts.      The    total    hei-ht    of  the    spire    is    52    feet    b    inches. 

The  churches  of  ,St  John  and  .St  Peter.  Duxford,  have'  little  lead  spirelets,  one 
hein^'  leaded  in  diamonds  ami  with  the  "  umhrella "  top  as  at  I^ast  Harlim;-.  The 
spin-let  of  Swaffham  is  \  er\-  interesiin-.  if  late  (h'i-.  igS).  It  was  restored  in  i  S96 
hut    so   piouslv    as    to   roh   the    wonl    "restoration"   of  its   stin- 


nistor\- 


[he     s 


pn-e 


extended  mention.  The  tower  is  of  1507-1510.  It  is  not 
known  whether  a  spire  was  huilt  then,  hut  prohahl\-  not.  It 
is  likeK'  that  the  hrst  spire  was  huilt  ahout  lOoo.  in  1777 
the   spire    was   taken    down    hecause,    as   the    \estrv    minutes   state, 


,t   of  perpe 


It     was    ohser\<-(l    to 

the  churchwardens  and  the  \  icar  emploxcd  .Mr  W.  Iv..rv,  an 
eminent  architect  of  Xorwich.  and  Mr  Rohert  Tree-ard  of 
London,  a  retired  huiMer,  to  take  a  sur\  e\  of  the  spire.  .\fter 
sur\-ey  they  reported  that  the  spire  was  dan-vrous  and  nurst 
he  la'ken  down.  A  vestrx  meetin-  then  ma.le  order  that  Mr 
h'rost,  carpenter,  "do  forthwith  I'epair  the  spire  at  an  exi>ense 
of /So."  ApparentK-  the  joint  uis.lom  of  the  eminent  architect 
and  the  relinM  huilder  was  llouted,  and  the  spire  ,mi1v  ordered 
to  he  repaired.  The  strenuous  Mr  Frost,  liowewr.  '•■  without 
further  application  to  the  wardens,  proceedeil  to  take  the  spire 
down  entirelv  and  to  rehuikl  another."  In  1778  the  w.irdens  are 
pres.MUed  with  a  hill  h  m"  ,U:,7.  Os.  5J.d..  the  5^1.  .louhlless  for 
nioi-al  ,ind  intellectual  damage  conse(|uent  on  the  origin. il  contract 
only  ha\in-  heen  for  ,{,'So.  .\fter  much  wr.ui-lin-  thev  settled 
for'  /;^S7.  OS.  ~,}^].  One  feels  thai  Mr  h'rost's  honour  was 
secure.  He  L^ave  awa\'  /,  50,  hut  he  trium|>hs  with  ^!,i.\..  alto- 
1^  L^cther  a  charminLi  i)icture  of  the  en,i..;a^in;4  wa\s  of  contractors 
n  the  ei-hteenth  century.  To  return  to  the  spire  itself.  The 
Iruni  was  not  taken  down  in  1  SgC),  though  some  of  the  decayed 
o  Hulm  \bbc-y,  iinih<'rs  were  replac.M  h\  new.  The'  open  oak  arcadin-  was 
entirely  n-newed,  th.-  old  work  iH-in-  verv  .lehased,  douhtless 
some  of  our  Irieiid  Mr  l'"rost's  work.  The  upper  p.ul  of  the 
spire  has  he<-n  rehuill  U<  preciselv  the  s,un<-  .linu-nsions  and 
d(tuls  IS  h(f)i(  I'.v  far  the  most  iiUerestin-  featun-,  howe\<-r,  is  the  ornamenta- 
li  n  f  ih,  duim.  Cross  ke\  s  and  swords  an-  surnuinded  with  a  monldin.L^.  e_o-- 
shape-  in  outline,  and  1.',  in<h  thick.  i'h.-se  .kmhtless  cnne  Innn  th<-  spin-  which 
Mr  I'Tost  pull(-d  d,.wn,  as  th.-v  w.-n-  simplv  fixed  hv  two  l,n-<-  inm  nails,  assist<-,l 
hy  two  hooks  at  the  top  to  haii-  them  in  position.  Vhry  h.u,-  lu-en  n-lixi-d  with 
e\-ery  care.  l'rol)ai>l\  such  ornamc-nts  as  i]-i(-se  wrvt-  common  fe,itur(-s  of  nu-di.e\,il 
lead  spir(-s,  and  ha\(-  disappean-il  as  th(-  spin-s  which  now  (-\ist  were  rep.u'n-d 
and    relead<-d.        .\t    .Ship.lham,    Norfolk    (JM-.    2O,0,    then-    is    a    d(-has(-d    Choline    steeple 


Norl  )lk 

■in  I       ,„        ) 


MEDLKVAL    l.l-ADED    SPIRKS. 


113 


wliich  has  even  more  parts  iliaii  a  Wren  composiiioii.  I^)ct\vc(.-n  the  ilomicul  roof, 
which  is  its  lowest  elemenl,  aixl  llic  o^'ee  spirelel  which  crowns  it.  there  are  two 
lanterns,  separated  l)\-  an  o-ec  i-oof  trinnne.l  with  ri(nci:l<ius  pinnacles.  It  is  alto_!4-ether 
a   wild   exercise   in   tiniher  and   lead. 

'Che  hand  of  the  destroyer  has  \n-ru  unhappilx  active  in  doin-'  away  with  the  leaded 
sfjires  of  parish  churches  as  well  as  of  cathedrals.  .St  .\icholas,  (ireal  Varnioulh,  until 
1803  had  a  lead  spire.  'idle  old  spin-  was  1  ,S6  feet  in 
height,  rather  loftier  than  the  pi-eseiu  one.  It  had 
been  struck  hy  lightning  in  i08j,  and,  whether  from 
that  cau.se  or  through  shrinkage  of  the  framework, 
was  crooked.  In  1807  the  tower  was  repaii-ed  and 
the  spire  .dtogelher  rel.llilt. 

'idle  spire  of  .Shakespeare's  church  ,it  .Siratford- 
on-.\von  is  of  stone  and  S3  feet  high.  'Idle  tower, 
however,  was  originalK'  crowned  Ijy  a  tind)er  spire 
covered  with  lead,  and  al>out  42  feet  in  height. 
This  was  taken  down  in  1703,  and  the  present 
spire  of  W.arwick  hewn  stone  huilt  in  the  fillowing 
\-ear. 

At  Thorpe  le  -  .Soken,  near  j-'rinton-on  Sc  i 
there  is  a  spirelet  in  a  curious  middle  state  ot  dis 
solution.  The  leatl  has  gone,  hut  the  open  timlxi 
framework  rem.iins.  The  district  was  ,ui  imp  itmt 
militar)  area  in  the  (Ireat  Rehellion,  and  local  tr  i  li 
tion  credits  Oliver  Cromwell  with  strip])ing  m  ui\ 
roofs  and  steeples  to  provide  his  men  with  1  ulli  ts 
This  may  be  true,  for  we  l"m<l  the  Lord-General 
writing  to  his  cornet  :  "  We  shall  want  some  lead — the 
.steeples  have  plenty."      It  is  fiir  to  Oliver's  memory,  Fic.  20.;.     Shipdham. 

however,    to    point    out    that    nian\-    f'romwcll    legends 

when  critically  e.xamineil  prove  to  he  attributable  to  Thomas  Cromwell  (or,  better,  Cruni- 
well),   the  compl.u'sant   V^icar-General,    who   understudied    Henry   YIII.   in  his  ruffianism. 

It  adnnts  of  little  dispute  that  much  "Cromwell"  deficement  of  England's  buildings 
should  properly  be  laid  at  the  door  of  Thomas  ami  not  of  Oliver.  Moreover,  Oliver 
destroNcd  euher  trom  military  necessity  or  from  religious  con\iction,  unhappy  in  its 
operation,  but  sincere  ;  Thomas,  from  sheer  rapacity,  th(;  less  plea.sant  from  being  covered 
by  an   ecclesiastical  posttire. 


CHAI'THR    \1. 
LEADED    STEEPLES    OF    THE    RENAISSANCE. 


Wren's  Steeples  and  the  Skyline  of  London — A  Classification — Class  (a),  The  Two  True  Spires — Class  (/'),  The 
Spire-form  Steeples — Some  Destroyed  Steeples --Scottish  Examples— The  Character  of  Wren's  Work. 

HF.  lead  .stee])les  and  domes  of  the  Rciiuissancc  period  till  an  ini])ortant 
niche  in  architectural  historx'  ;  litit  the\  do  more.  'I'hey  ha\-e  an  eminent 
place  in  any  sur\'ey  of  the  art  of  .Sir  Christopher  Wren,  and  they  are 
lar-ely  accmnitahle'  lor  the  skvdine  of  the  city  of  London.  If  Wren's 
achievements  in  this  direction  were  cut  out,  \-er\'  little  wouKl  he  left  either 
of  the  sk\   line  or  of  this  phase  of  the  history  of  leadwork  in  Kn-land. 

If  we  could  ha\e  accompanied  the  late  Mr  Samuel  Pepy.s,  M.A.,  F.  R.S.,  on  one  of 
his  many  jaunts  in  his  ^^allev  down  the  'i'haiin's  to  (ireenwich  before  1666,  we  should 
have  obser\ed  a  sk\  dine,  which,  sa\e  for  the  dome  of  .St  i'atil's,  was  not  ^reath'  different 
from  that  which  Canaletto  drew  in   1767  (h'i.^.  207). 

Wren  was  carehil  in  man\'  of  his  n(.'W  churches  to  preser\e  the  otitstandin;^  features 
of  the  l)uildin,-s  which  they  succeeded,  and  l)y  the  leaded  tlonie  of  St  Paul's  he  re-estab- 
lished the  dominance  of  the  cathedral,  which  was  to  s(jm(.'  extent  lost  with  the 
destruction  by  fire  of  the  ^reat  leaded  spire  of  (  )ld  .St  I'.uil's  in  1501.  .Splendid  as 
are  the  steeples  of  Wren's  parish  chtirches.  ('analetto's  \  iew  (Im-.  ji^7)  (taken  from  the 
,^-ardens  which  are  now  the  site  of  .Sdmei'set  Mouse)  shows  how  entirely  St  I'.iul's 
^'overned  the  sky  line  of  l.omlon.  To-d.i)  it  is  different.  .St  I'aul's  is  -.till  the  supreme 
feature  of  the  C/ity  (as  'I'tirner  said,  "The  dome  of  St  Pauls  ///id\s  London"):  but 
commerce  is  crowding"  out  the  |)arish  chtirches.  Mr  l'ep\  s'  L;alle\  Ijcim,;"  tma\  ailable. 
a  journey  on  a  steamboat  from  'Lemple  Pier  to  Cherry  CJartlens  Pier*  makes  melan- 
choly travelling-. 

.Seen  from  the  Temple.  Cannon  Street  station  is  a  hideous  incul)us  on  the  City  sk\- 
line.  It  blots  out  all  the  .Monument  except  from  the  -alier\  upwai'ds  (not  a  -reat  loss 
perhaps),  and  ever\  spire,  sav<'  the  tip  of  St  Abi-nus,'  while  the  brid-es  at  I'.lackfriars 
cut  out  the  lore-round.  The  Cit\  of  L.uidon  Sch.n.l  ,,n  the  l.'U,  with  its  le.ul  lanfrn 
of  unsatislaclorv  outline,  almost  wholK  hides  St  Paul's,  Ihe  miserable  spikes  on  the 
corncr.s  of  (.'annon  .Strei-l  station  add  insuh  t^  injur\.  fur  lhe\  ai'e,  in  outline,  \  ul^ai" 
caricatures    of   the    steeple    of    St     Ma-inis.         Ilic}     ser\  e    oiiK     lo    remind    us    of    what 


*  The  "Diary,"  13th 
works,  which  are  -real  a  do 
supper  to  hed,  my  wife,"  &•( 


June    166.1 


C.rcenwich,  and  there  saw  the  king's 
airied  some  cherries  h.Miie.  and  after 


LEADI-D    STKEITJ'S    OF   THK    RKXAISSAXCl-..  115 

a  wealth  of  stecplL-s  the  siatinn  hlots  from  sight.  Maybe  the\'  are  a  mark  of  the 
engineer's  feel)le  compinuiion.  (  )nce  past  Blackfriars  liridge,  the  ten-storied  warehouses 
of  Thames  Street  make  a  wall  ini])enetrable  save  for  glimpses  of  St  Benet's,  Paul's 
Wharf,  and  St  Xidiolas',  (Olc  Abbey.  St  Margaret  Pattens,  and  of  course  St 
Magnus,  complete  the  list  of  what  commercial  London  has  left  to  be  seen  from  the 
r'wcr.  It  is  onK  frnm  a  lofl\  vantage  ground  like  St  Paul's  or  the  Monument 
that  one  can  now  get  any  general  grasj)  of  the  groujjing  as  Wren  left  it.  The  two 
photographs  of  P'igs.  204  and  205,  taken  from  the  top  of  the  Monument,  show  how 
little  the  church  towers  and  spires  count  now  that  the  office  buildings  are  so  high. 
They  do,  however,  emphasise  the  contrast  between  the  blackened  lead  spires  and  the 
white  towers;  in  b"ig.  205,  the  lantern  of  .St  Edmund's,  Lombard  Street,  against  the 
Royal  E.xchangc,  and  .St  Peter's,  ( li-acechurch  Street  (on  the  extreme  right),  against 
the  mass  of  .St    Michael's,   Cornhill. 

To  attempt  any  classification  of  the  domes,  lanterns,  and  steeples  of  Wren's  London 
is  a  difficult  task,   for   in   nothing   did    Sir   Christopher  Wren    show   the   almost  wanton 
luxuriance   of  his   art    more   markedly.       kor   the   twcMity-eight    towers   that  are    crowned 
with  either  spire  or  lantern.  Wren   emijlo\ed  stone   for  onl\    m'ne,   and   leaded   timber  for 
nineteen.      Lead  may,  tlierefore,  claim  the  first  place   in   his  affections  as  a  spire  material. 
These  nineteen  we  ma\   dixide  into  three  classes. 
(1.     True  spires. 
/>.    .Spire-form  steeples. 
c.    Lanterns. 
This  is  a  loose  and   arbitrary  classification,  Ixit  Wren's  masK 
architectural   elements  and   combining  them   in   astonishing  wa\-; 
orderly  description.     He  created  within  the  square  mile  of  the  City  more  forms  of  steeples 
than  all  the  architects  of  the  Middle  Ages,  and  if,  as  was  inevitable,  some  pay  the  penalty 
of  rash  experiment,  others  make  an  assured  success. 

The  attempt  to  set  out  the  lines  on  which  Wren  proceeded  is  hampered  at  every 
turn  by  lack  of  e\'idence.  We  ha\c  little  clue  as  to  some  of  his  more  curious  designs, 
but  these  were  probabl\-  less  arbilrarx  in  their  creation  than  ma\-  appear  to  us  in  the 
absence  ( if  such  indications. 

That  Wren  was  a  close  student  of  his  predecessors  in  the  art  of  building  is  easily 
pro\eil,  but  his  delit  to  mediaeval  .sources  is  not  generally  realised.  Im])erfections  of 
detail  ought  not  to  obscure  an  appreciation  of  the  fact  that  his  grasj)  of  Ciothic  principles 
is  rarely  at  fault.  There  is  much  in  Wren's  work  otherwise  inexplicable  which  may  be 
traced  to  the  wide  catholicitx'  of  his  mind.  It  is  not  only  difficult  but  impo.ssible  to 
point  to  another  architect  ni  his  epoch,  who,  with  anything  approaching  his  success, 
seemed  so  nearl\-  to  ha\e  reconciled  the  opposing  ideals  of  classicism  and  romanticism. 
To  the  union  which  he  thus  achiexed  must  lie  ascribed  the  marvellous  picturesqueness 
which,  united  with  imposing  mass,  makes  St  Paul's  the  unique  masterpiece  amongst 
Renaissance  churches. 

In  connection  with  his  large  u.se  of  leaded  timber  spires  it  must  be  remembered  that 
Wren  was  an  architectural  (economist,  and  the  results  he  achie\-ed  are  the  more  notable, 
when  considered  in  relation  to  the  ver\-  limited  means  which  were  generally  at  his  disposal. 
This  is  especially  the  case  with  the  |)arish  churches  of  the  City.      The  u.se  of  leaded  spires 


li  wa\'  ot  pla\  i 

ng  with 

makes    ha\c.)c 

of   an\- 

ii6 


ENGLISH    LKADWORK. 


enabled  him    to   ^'i\c   distinctinn   aiul   character   lo  chii 
stone  si)ires  out   of  the   (luestion.       His    folldwers,    howi 


wliere  limitation   of  cost  put 
n    man\   cases  departed  from 


Ab.  lunch.         St  Lawrcme.  Jewry. 


Fu;.  204. — The  City  from  the 
(Kini;   William   Street 


l"o[)  of  the   Monument 
in   the   rii^ht.) 


LEAIJKD    STKKl'LKS    OI-"    Till-:    RKNAISSA.NXK.  117 

a  threat  masonry  olx-lisk,  such  as  wc  sec  in  Soulh-casi    London,  is  nicrel\-  an  arcliitcclural 


(;.  206. — St   Magnus  from  the  'I'op  of  the    Munumcnt. 
(Looking  across  London   Bridge.) 


View  of  London   (I'art   of). 


Amon^    thf   nincti-cn   leaded  .steeples  there   are  onI\-    two   whicli    can    be   described 
as    true    spires,    .St    Swithin's.    London    Stone,    and    .St    ^Llro•aret    Pattens,    Rood    Lane. 


ENGLISH    LEADWOI 


jg.--  St   Mar,narct    I'attcns,    KihkI    l.aiit-. 


'I'licir  peculiar   interest  lies  in  the  fact  that   in  them  Wren    is   in   debt   to   his  predecessors. 
Th<-v  ar<-,  in  their  .-ssential  lines.  C.nthic.      With  St  Swithin's  this  is  especiallv  the  case. 

'Mr  Andrew  d'.  d'avlor  in  his  a<liniral  )1.'  hook,'  siiL^^esis  that  the  tower's  which  have 
no  steeples  v\oiil<l  stand  iheiii,  and  that  those  with  steeples  could  do  without  them. 
While  this  is  true  of  the    majority,  il    is    not    wisely    saiti    in    ivspect  of  Si  Swidiin's.      Hie 


■I'owcrs  and  Steeples  (lesi,u,ned   by   Sir   C.    Wren,'   pulilish 


LKADED    STEEPLICS    OF    THK    KKXAISSA.XCK.  119 

it.  Wiiliniii  ihe  spire  the  scooped-out  splays  at  the  top  anoles  would  be  meaningless  and 
even  ahsiinl.  Wren's  problem  was  both  simple  and  old,  how  to  step  from  the  square  of 
the  lower  to  the  octagon  of  the  spire.  He  attacked  it  with  his  usual  queer  mi.xture  of 
boldness  and  compromise.  The  mediaeval  architect  ditl  not  tamper  with  his  stone  tower. 
It  began  square-  and  finish(;d  scjuarc.  The;  change  to  the  octagonal  was  effected  in  the 
limber  work,  and  in  two  main  \\a\s:  by  fniining  a  collar  {c'.£:,  Ryton),  or  by  constructing 
broarJK-s  (c.;'.,  ( iod, liming).  ISoih  of  these  methods  in\-olved  diagonal  bearers  across  the 
corners  of  the  lower.  .At  .St  .Swithin's.  Wren  look  a  characteristic  short  cut.  I)\-  trimming 
the  tow(n-  angles  to  a  splay  he  secured  solid  masonr\-  to  take  both  the  cardinal  and 
diagonal  sides  ot  his  spire,  and  so  slmplilled  its  timber  construction.  'I'hert-  is,  moreover, 
another  clenK-iU  of  compromise.  The  method  ot'  recognising  die  ste[)  from  the  sc]uare 
to  ihe  octagonal  b\-  obvious  construction  had  hiiherto  been  used  only  on  towers  without 
parapets.  Wren,  however,  emphasises  the  break  with  a  cornice  topped  by  a  balustraded 
parapet,  and  so  gels  the  best  of  both  worlds.  The  leading  of  the  spire  itself  is  purely 
(iothii  in  feeling.  The  o\  al  shape  of  the  s])iredights  alone  betrays  its  .seventeenth-century 
origin.  .Mr  A.  T.  Ta\lor  thinks  the  scooped-out  splays  of  the  tower  not  very  hapjiy,  on 
the  ground  that  the  tll.igonal  view  brings  ihem  into  p.iinhil  obtrusi\eness.  If  this  be  the 
case,  the  photograph  of  h'ig.  208  shows  the  splays  at  their  worst,  but  the  worst  does  not 
seem  ver_\-  bad.  Though  the  s|)lays  ma\  fairK  be  said  to  ol)trude,  obtrusiveness  is  one 
of  W^-en's  stroiiL^  points,  and  e\cn  then  the  delicate  frilling  of  ihe  balustrade  tones  down 
not  only  the  incideiual  coarseness  of  the  s])la\s,  but  also  the  ine\itable  lialdness  of  the 
progression  from  lower  to  spire. 

St  .Swithin's  may  be  taken  as  Wren's  e.xercise  in  lead  spires  in  the  earlier  (iothic 
manner,  which  regarded  a  spire  primarily  as  a  roof,  and,  secondarily,  as  an  architectural 
tealure.  St  Margarc't  Pattens  (Fi.g.  209)  is  of  the  later  type  of  parapetted  spire  (e.,^., 
Chesterfield),  which,  standing  well  within  the  lines  of  the  tower  walls,  abandons  the  idea 
of  a  roof  altogether.  More  significant,  however,  of  the  abandonment  of  the  Gothic  spirit 
while  retaining  the  Gothic  form  is  the  treatment  of  the  leading.  The  vertical  rolls  of 
.St  .Swithin's  are  re])laced  at  St  Margaret's  b\'  a  series  of  sunk  panels,  which  cannot  be 
regarded  as  so  suitable  a  treatment  for  lead. 

This  change  may  he  attributed  to  Wren's  tlesire  to  emphasise  horizotHal  lines  that 
would  counteract  the  verlicality  of  the  spire  proper.  .Sir  Charles  I>arr\  in  his  last  work, 
the  Halifax  Town  Hall,  proceeded  on  the  same  lines  iti  the  bold  and  \igorous  spire  that 
dominates  his  building  and  raises  it  out  of  its  sunken  valley  site. 

These  e.xamples  may  be  placed  as  Renaissance  tran.slations  of  a  Gothic  original,  and 
be  regarded  as  an  example  of  the  power  of  tradition  in  English  building,  even  with  (or 
perhaps  especially  with)  such  giants  as  Wren  atnl  Barry. 

The  splendid  stone  spire  of  St  .Antholin's,  which  was  wickedly  and  ([uite  needlessly 
destroyed  in  1S75,  was  panelletl  in  a  similar  wav  to  that  of  .St  Margaret  Pattens.  St 
Antholin's  was  fim'shed  by  Wren  in  1082  and  .St  Margaret  Pattens  in  1685,  and  it  is 
not  unreasonable  to  suppose  that  the  great  success  of  this  treatment  in  stone  tempted 
Wren  to  es,say  the  same  in  lead.  The  likeness  of  the  two  s[)ires  is  carried  out  even 
in  the  character  of  the  spire-lights,  which  have  similar  pediments,  but  the  towers  are 
quite  unlike.  At  St  Antholin's  an  intermediate  octagonal  stage  with  semicircular 
buttresses  on   the  diagonal   faces   marked  the  progression   from  the  square  of  the  tower 


KXGLISH    LEADWORl 


to  the  octai^on  of  the  si)irc.      In   the  c;ise  of  l)()th   these  cliuri-hes.  Wren  was  careful  to 
reproduce   in   general   form    the   pi-e-h'ire  churclies,    both    of  which   had   lofl\    spires. 

Mr  Reginald  Blomfield  groLips  the  steeples  of  St  Mary-le-How,  St  I'.rlile's.  and 
St  Margaret  Pattens  as  "of  their  kind  the  most  perfect  specimens  of  Renaissance 
architecture   in    England," 

While  it  ma\-  he  |)resumption  to  criticise  anylhiiiL;  that  Mr  lilomheld  may  say 
about  Renaissance  architecture,  there  seems  room  for  the  \  iew  that  the  steeple  of 
St   Margaret   Pattens  is  partly   in   intention   and   wholK    in   outline  a  Gothic  spire. 

Though  it  has  admittedK  all  the  simple  heautx  which  Mr  Blomfield  claims  for  it. 
it  can  hardl\-  be  claimed  as  l)eing  in  Wren's  h,d)itual  manner.  .Mr  lilomfield  suggests 
that  Wrens  Gothic  efforts  such  as  St  Mary  Aldermary  may 
ha\'e  been  "academical  exercises  for  the  entertainment  of 
his  (Wren's)  friends."  The  lead  spire  of  St  Swithin's, 
though  (iothic  in  feeling,  has  a  character  at  once  natural 
and  conxincing,  and  does  not  need  to  be  explained  as  an 
architecmral  humour.  It  and  Si  .Margaret  Pattens  are 
not  in  the  same  categor\"  as  tln'  seventeen  other  lead 
steeples,  which  owe  little  to  the  (".othic  spirit  and  are 
.s7//  i^rin-r/s. 

We  ne.\t  C(jme  to  Class  (/'),  the  spire-form  steeples. 
It  is  a  lame  description,  but  ma\'  serve  roughh"  to  group 
the  eight  e.\isting  steeples  which  are  neither  true  spires 
like  .St  .Swithin's,  nor  simi)l\'  lanterns  like  .St  Edmund's, 
Lombard  .Street.  They  are  essentially  hybrids,  cunning 
compositions  sometimes  brilliantl)'  successful,  e.o;,  St  Mar- 
tin's, Ludgate  ;  sometimes  more  curious  than  beautiful,  e.j^., 
St  Mary  Abchurch.  The\  can  be  classified  roughly  by 
separating  those  whose  terminal  is  an  octagonal  si)irelet 
(.St  Peter's,  Gracechurch  ;  St  Mai-tin's,  Ludgate;  St  .\ugus- 
tine's,  Watliiig  .Street  ;  .St  Lawrence,  [ewrv  :  and  .St 
Magnus,  L,,ndon  P.ridgel  from  the  three  which  have  a 
terminal  square  on  plan  (.St  M,u-y  .\bchurch  :  St  .Margaret, 
Lothbury  ;  and  St  Mildred,  P.n'ad  Street).  ( )f  the.se  the 
two  latter  have  aban.loned  the  last  llaxour  of  (Iothic 
feeling,  for  the  topmost  membei-  is  a  fi-ank  obelisk, 
ibledU  llv  fict  that  the  ama/ing  varielx  of  Wren's  sle.'pl.'s,  JH.th  of 
de,l  timber,  is  t(,  be  .ittributed  to  the  luxuri.uice  of  his  genius,  som<-  root 
in  the  past  is  to  b<-  fiund.  The  .lutstanding  difference  b,-tw  een  the  spire-torm  steeples 
and  the  true  spires  of  the  medi.exal    builder  is  in   the  com])le\  lomposition  of  the  foi'mei" 

show  that  each  spire  form  Wren  steeple  has  three  main  divisions,  which  are  usualK'    - 
Ui.)    .\    domical    or   ogee    roof; 
{/>.)    .\    lantern    (either    with    open    lights,    as   at    St    Martin's,    or   fittetl    with    luffer 

boards,    as   al    St    .Mildred's);   and, 
(f.)    A    spir.'let    or   obelisk. 


I.I'.ADl':!)   STl'-.I'.IMJ'.S    OI'     11  lie    RlCNAISSANCl':.  121 

III    carlv    mc(li,r\al    work    there    seem    to    have    been    few    ini])()rtant    compositions 
this    kind.      The    steeple    at    Huhn    AM>ey,    Norfolk,    of    two    stories,    consisting   of  a 


-St    .Martins,    l.uduatr. 


Fir..  212.— St  Mildreds.   Bread  Street. 


circular  lantern   am!  a   short   spire,  was   the   nearest  apjiroach  (  Fiu;'.  202),  and   there  were 
doulitless   nian\    more   spirelet  structures  of  timber  covered   with   either  shingles  or  lead 


ENGLISH    LEADWORl 


When    wc    conir    to    the    late    Gotliic 


which    may    he    t  ikeii    as    the    i^roLindwork    from    which    later    varieties    have    developed. 
Fire   has,    ho\ve\er,   left   but   few. 

spirelets  of  the  lifte(_-nth  centurx ,  c.i;.,  I-^ast 
Harlin^-  (  Im^;'.  ::oo),  we  are  on  more  solitl 
-round,  and  the  later  forms  of  S  waff  ham 
and    Chelmsford    point   in  Wren's  direction. 

The  \ital  difference  hetween  Wren'.s 
spii-e-f(>rm  steeples  and  the  ^reat  Gothic 
lead  spires  is  in  the  open-arcadetl  lantern, 
which  th(/  former  ha\e  antl  the  latter  haxe 
not.  The  media-\'al  s[)ires  were  L;lorihed 
roofs,  the  later  steeples  were  architectural 
eatui'cs. 

.So  much  max  he  said  hy  way  of  e.xamin- 
n^;"  the  general  features  of  Clas.s  (/;)  before 
)roceedin^  to  a  description  of  the  examples 
so  grouped. 

.St  Martin's.  Lud-ate  ilill  (hi-  211), 
is  tloul)ly  attractixe.  it  is  sin^iilarlx'  inter- 
esting' />('/■  sc  ,•  ii  "  " 
of  jiidi^ment  in 
St  Vaiil's. 

It  has  been  alreadx  pointed  out  that 
Wren  nowhere  .grapples  xvith  the  transition 
roni  s(|uare  to  ocla'^on  in  the  lowest  storx' 
.f    his    lead    steeples,    as    did     the    medi.eval 

At  St  Martins  (as  at  St  Swithin's)  the 
chaUL^e    is   effected    at    the    top    of    the    tower. 


Kierness    is   a    miracle 
lation    t.)    the    l>ulk    of 


ere   sjJrniL^s  an 


.H,f  with 


li-hts. 
The  railed  lialcony  is  a  bold  device,  but  its 
sLiccess  is  the  more  <ipparent  when  one  com- 
pares the  ste.-ple  ,,f  St  Marx  .\bcluirch. 
In  the  latter  church  the  lantern  with  (,pen 
arches  stands  direct  on  the  top  of  the  oi^ee 
roof,  and    the    effect    is   meagre  and    unliappv 

.\t    St    Martin's    the  sharper  pitch  of  the 

and    the'   fict  that  liie  openin'.^s  of  the  lantern 

aro  ,Milx    in  its  upp<-r  half  lead  th<'  eve  -eiulv 

h.'     tower    to     the     top    of    die'   '^r.icr\u\ 

the   spirelet    ad.l   a    touch  ni    delicate  'schol.u-- 


[jcADKn  si'i:i:iM.i';s  oi'  nil':  ki-.xaissan-ck. 


[_'3 


14. —St   l.awrcnce,  Jewry 


Fu;.  215. — St  Augustine's,   Watling  Street. 


124 


KNGLISH    LEAin\( 


1    less    inspiml;    indeed,    it 


St     Mil.Ircd's,     P.re.Kl    Street    (  Im-     212),    is    a    -nnd 
veri^-L's  on  the  dull.      The   tdnciuc,   |>\  rainidal   rdof  mi|)|)( 

rather  leel.le  |nu\res.  and  tile  lanl<-rn  is  en.\vne<l  with  an  nheHsL 
d'he  steeple  nj-  St  Lawrenre,  jewrv  (Im-  2  1  4  ),  sh.)\vs  Wren  i 
his  stron-e.st  m.)(Kl.  •I'iie  sharp  breaks  hetueen  the  ihre 
scjuare  sta-es  of  the  lantern,  which  are  accentuated  hy  th 
\-i^orous  cornicc-s  and  the  solid  proportions  of  the  octa-on; 
spire,  com) line  to  oi\-e  an  efic'Ct 
which  is  certain!)  coarse.  It 
only  just  escapes  beini^  o]ipres- 
si\cl\  hea\\ .  It  is  worth  noting 
that  the  gridiron  \ane  is  syniholic 
of  the  patron  s.iint.  It  is  likeK 
that  this  is  a  post-Wren  detail. 
Wn-n  was  essentialK  a  man  of 
lar-e  view.  In  d.-tail  he  con- 
stantly  faile.l.       Ind<-ed.    wh<'n    one 

,,f  huildin-s    for    which   he  was    re- 
sponsible, it  is  astonishni-  that  the 

<letails    are    so    -ood.       In    stron^^ 

contrast     to    this     \er\-    masculine 

composition    is    the    steeple   ot    .St 

Au-ustine's.  Watling   Street   (l-i-'. 

213).       d'he   outline   seems  almost 

tri\  iai.  We  ha\e  here  a  notable 
example  of  Wren's  practice  of  makiiiL;  his  tower  \ct\^  plain 
and  laxishin-  detail  on  his  steeple.  St  .\u-ustines  tower 
up   to    the   cornice    is   plain    to    the    point   of   baldness.       The  r 

piercing   of  the-  ])araput  and  the  pinnacles  are  very  ,L;ay,  and     ^H^  ^, 
the  outline   of  the   sleeide   is  as   free'   as    the   \ases    make 

.SJJOtt)  . 

The-  lantern  is  not  in  happ\  proportion.  Its  thr 
divisions  below  the  octa-onal  spirelet  seem  rather  an  effo 
and  it  is  too  loft)  for  its  bulk.  In  .'ffect  it  looks  attenuate 
It  is  \'er\  elc-^ant  and  cle\er,  but  llomer  seems  rather 
have  nodded.'  Here  a-am,  ,is  with  St  Martin's,  I.udo,, 
the  idea  was  doubtless  to  effrct  a  cuntrast  with  tin-  mass 
the  cathedral,  but  it  will  rea.lilv  br  admitted  that  St  .Vul^i 
tine's  conies  far  behind  St  .M.ulin's  in  result.  riiotwo, 
within  a  )c-ar  of  each  other  in  date.  It  is  an  unhappv  ihi 
that  the  commercial    buildin.i^s   of  the  Cit\   an-  so  insistent 

to   make  it  so  diffucilt  to  realise  their   relationship  t,,  St   i'aul's.       It  has  been  well  said  that 
St   Paul's  berc'ft  of  the  surroundin-   si,-,'ples  w,.uld  bc'  like  a  mother  berett  of  her  chilchvn. 


lu,    216  — St   Pctt 
(.iao_(hunh 


S( 

)inc 

authorlti 

!s  on 

Wn.n's 

bl 

ir\ 

iM-    _^., 

■,),  l>iit 

tor   \\1 

t 

antithesis    t( 

such 

work 

1 

old 

curves  < 

)f  the 

concciv 

la 

wh 

eh    conn 

's   ab( 

)VC    It,    t 

LEADED    STEEFLICS    OF    IlII': 
work  an-  ratlicr  scoi 


:.\AissAxc: 


125 


fill  about  the  steepk-  of  St  Margaret, 
s  (Hfficult  to  understanck  It  is  the 
\\'atlini>-  Street. 


)la,   th 


It    the 


119. — St  Michael,  (Jueenhithc 
(destroyed). 


as  in   other  cluii"ches. 
V^i.sscher's  view  shows, 


s    St    Augustine 

p\  ramidal  roof  and  of  the  square 
the  sim[)le  massive  moulding-s  of  the 
)f  the  Hglus  antl  the  obelisk  standing  on 
dl  go  to  make  up  a  "solid  masculine  and 
unattected  "  steeple.  Were  such  a 
crime  permitted  as  the  destruction 
of  St  Margaret's  (and  the  destroyer, 
as  Voltaire  said  of  Habakkuk,  is 
capable  du  tout),  we  should  lose  a 
piece  of  Wren's  work,  which,  if  it  is 
not  startling,  is  eminently  sound 
and  characteristic.  Without  being 
hysterical,  it  is  perhaps  allowable  to 
add  that  the  steeple  rising  above  the 
Bank  and  Throgmorton  Street  is  a 
witness  to  the  unseen  which  we  can 
hardly  afford  to  lose  without  more 
than  the  loss  of  a  Wren  church. 

The  leaded  steeple  of  St  Peter, 

Ciricechuich    (Fi^     216)    is  simple. 

I  h(     pi  un    dome    with     tour    small 

-    '^      lound   lights   IS   surmounted    by  an 

'""  )Ctao()nal    lantern  and   spirelet.      It 

"  is     I    believe     the    onh     spire-form 

steeple     b\      \\  icn     which     has     a 

donii    b  ISC    cuculii    on    pi  m.      The 

txcjuisitt   Imtun  ot  St  Benet,  Paul's 

Whuf    is   ils)LiKulii    It  Its  base. 

In  1  1^  206  ijipc  us  St  Magnus, 
I  md  111  ISiid^c  1  inishcd  in  1705, 
the  till  s(|uuc  tower  changes  into 
I  stone  ()eti..^onil  1  intern,  which  is 
covered  with  a  lead  cupola.  On 
this  there  stands  a  lead  lantern, 
and  above  that  a  tliminutive  spire- 
let.  Here  we  have  the  spire  ele- 
ment treated  w'ith  scant  courtesy,  in  fact,  as  little  more 
than  a  hnial    to   the  lantern   and   cupola. 

The  destroyed   steejile    of    .St     Benet,    (iracechurch 

(iMg.  217),  rose  to  the  height  of  149  feet.      Wren  here, 

naintained    the   main    feature    of  the    pre- Fire    church,    which,    as 

had  a  lofty  s|)ire.      Wren  finished   his  building  in  1685,  and  it  fell 


.  218.— St  Micliael, 
("rooked  Lane 
(destroyed). 


126  1-:\GLISH    LEADWORK. 

to  the  destroyer  in  1867,  to  the  chscreiht  of  all  concerned.  While  no  two  spires  of 
Wren's  desi^'nint;-  are  ahke,  tlie  oencral  outh'ne  of  St  llenet,  ( 'inicechurch,  and  its  com- 
position   of  dome,    lantern,    antl   olielisk,    furnisln-s   the    nearest    a{)proach    to    a    faxoiirite 

Of  Michael  one  may  fiirl\-  com[)lain  that  he  is  a  saint  of  ill  omen  in  the  m.itter  of 
lead  s|)ires.  The  churches  dedicated  to  him  in  Crooked  i.ane  and  (Hieenhilhe  have 
perished.  The  former  had  a  lead  spire  for  its  most  notahle  feature.  The  tow-r  stood  at 
the  west  end,  and  was  united  to  the  church  by  its  eastern  wall  onK  .  Mr  W.  Xi\cn,  h\.S.A., 
f  lund  a  measured  drawing,  with  plans,  section,  and  elevation,  in  the  liritish  Museum,  and 
the  ele\-ation  is  reproduced  in  ¥\<y.  218.  As  St  Michael's  was  demolished  as  carK  as 
I S ;t  I  to  form  the  apiM-oach  to  the  present  London  P)rid^e,  it  is  almost  forL;otten.  'I'he 
pre-lMre  church  had  a  steeple,  and,  as  Stow  records  that  in  iC)2i  the  whole  n.of  w.is  "with 
strong;"  and  sufficient  timlier  rehuilded,  and  with  lead  ]){'w  cist  coxered  a'^.iin,"  the  original 
spire  may  ha\e  heen  leaded.  The  h'ire  ma<le  entire  rehuililiuL:  necessarx  ,  and  Wren 
completeil  the  tower  and  s[)ire  in  1678.  The  steeple  was  of  unusual  firm.  It  rose  in 
three  stages,  circular  on  [ilan,  and  tricked  out  with  huttresses  and  x.ises.  It  finished  at 
the  ape.\  in  an  extraordinary  s[)ike,  su^^e^^tive  of  the  product  <A  ;\  ^i-.uuic  l.uhe,  altn-ether 
a  very  roLjuish  composition,  antl  reminiscent  of  some  of  the  I  )utch  steeples.  The  steeple 
of  St  Michael,  Oueenhithe  (hi-.  219),  was  very  small,  risin-  to  a  height  of  135  feet. 
The  olx-lisk  did  not  rise  S(|uarely  on  its  pedestal,  hut  on  glolu-s  at  the  four  corners,  and 
the  grc-at  gilt  shi[)  in  full  sail  which  served  as  tht-  \aiie  \\,is  hig  in  iirojiortion.  The 
church  was  altogether  an  admirable  example  of  Wren's  work,  and  was  dune  awa\  in  1876. 
St  Michael's,  Wood  Street,  had  a  timber  spire,  but  it  was  built  l.uer  th.m  Wren's 
restoration,  was  covered  with  copper,  and  of  little  charm.  h  was  an  uninteresting 
buiUling  altogether,  and  as  some  cit\-  churches  have  to  Ijc  sacrificed,  this  St  Michael's 
w.is  suitable  for  handing  oxer  to  the  tlestroxcr. 

The  details  of  the  aclii.il  le,i<Kvork  of  s..me  of  the  f>regoin-  steeples  are  given  in  the 
next  chapter  where  als,.  will  be  f.un-l  descriptions  of  Class  (,)  of  Wrens  leaded  stee|)les. 

ISy  way,  howexcr,  of  throwing  the  light  of  comparison  upon  Wi-en's  xvork,  we  mav 
here  turn  u\  the  considerate  mi  of  some  Sa'.tch  lea.led  spires. 

I'.dinbiirgh  has  ,)ne  le.id  spire  (big.  221)  on  St  .Marx  Ma-d,ilen,  the  church  of  the 
Hammermen,  to  which  guild  the  plumbers  belong.  Its  ogee  t,,p  ^ives  it  ,1  late  look,  ,and 
indeed  it  is  of  the  Seventeenth  cenlurx',  but  there  is  no  departure  from  tradilion.il  methods. 
rii<-  pi-ojection  at  the  b.ise  like  ;i  sentr\-  box  seems  ;i  somexxh.it  cumbrous  method  of 
proxidin-  a  suitable  door  to  the  r "  of  the  towc/r. 

riie  building  of  the  spire  ,,r,upie,l  from  i02n  to  1O25,  and  in  the  litter  vear  there 
appe.irs  in  the  accounts  of  the  ivlinbui-h  1  laiiim<'rmen  the  fillowin-  item: 

••Thomas  Weir  his  compt  of  the  l<-id  imployit  upon  the  theiking  ,.f  the  steipill 
extending  to  ij  iij  x-  static  xiij  lib.  (205  stones  ,S  Ifis. )  at  xxx  j  .  xiij  the  st.ine  is  iij'.  I.iiij  lil). 
(/",v=^4  Scots)." 

I'xamination  of  the  rec.n-ds  o|  the  b..linburgh  buildiu-  trades,  ,uul  particul.irly  of  the 
Hammermen,  fails  to  rexcil  either  ihexxord  plinubei-  oi-  ,uix  reference  to  plumbing  as  a 
separate  craft  during  the  sixteenth  and  sexciUeenlh  centuries.  Leadxvork  seems  to  haxa- 
been  left  to  th(;  xvrights  (carpemers)  ,ind  masons. 

At  a  l)rewerv  in    L.'ilh,  xxhicli  w.is   St    Xini.m's   Chunk,  there  remains  ,1  le.id  laiUern 


LEADED    STEEPLES    OE    TH1-:    RE.XALSSAXCE 


liini    cmpl 
person  th; 


with  the  edges  decorated  wiili  a  spotty  cresting  similar 
to  those  at  Aberdeen.  St  Ninian's  (Fig.  220)  was  built 
about  1670,  and  while  Wren  did  nothing  JList  of  this 
shape,  it  is  of  the  same  famih  as  the  London  lanterns. 
The  Bishop  Elphinstone  of  Aberdeen,  to  whom 
reference  has  already  been  made,  did  not  confine-  his 
architectural  enthusiasms  to  church  building.  lie  was 
the  founder  of  the  I' ni\'ersit\\  built  a  great  deal  of  it, 
and  roofed  his  building  wltli  lead.  The  bishop  was 
ob\-iously  bent  on  getting  the  best  men  he  could  for  his 
work.  In  1  so6  we  tind 
no  less  a 
plumber  to 
the  King  of  Lngland,  one 
John  Buruel.  Unhappilv, 
we  cannot  judge  of  ]^)uruers 
wcM'k,  lor  none  I'emains 
About  a  hundred  and  filt\ 
years  later  the  plumbi-r 
was  again  abroad  at  Kin-s 
College  Chapel.  biy.  222 
sliows  the  \er\'  beautilul 
lleche,  as  to  the  dale  of 
which  there  is  room  for 
much  doul)t.  Some  ficts 
can,  howe\-er,  be  set  tlown. 
In  June  i63<S,  a  report 
was  made  by  the  Dean  of 
(iuild  that  it  was  "  neidful 
that  .  .  .  the  litle  siipill 
lie     bothe    iheikit    with     lei 


timi) 


-St   Mary   iMagi 
Edinburgh. 


if  the  steejde  was  old  (-nough  in  1 63S  to  need 
repairs,  it  was  probably  si.\ieenth-centur\  work,  ma\  be  as 
early  as  1506,  wlien  the  chapel  was  roofed  with  lead. 
In  Cordon's  "  \'iew  ol  Aberdeen,"  done  in  1660,  the 
lleche  aj^iiears.  as  also  in  Slezer's  view  of  1693  (Fig. 
iSi).  The  initials  C.  R.  on  the  spire  make  difficulty 
l)y  theii-  "  husk\-  "  character.  They  can  hardly  be  .so 
early  as  the  repairs,  which,  presumably,  were  done  after 
the  report  of  1638.  We  may  jjerhaps  conclude  that  the 
general  form  of  the  s|)ire  was  the  same  all  through  the 
se\enteenth  century,  and  that  whate\'er  repairs  were  done 
in  163S,  it  was  again  thoroughly  redeaded  about  1680. 
when  the  C.  R.  initials  and  other  ornaments  were  added. 


P:.\GLISH    LEADWORl 


is  curiously   l)ull)()iis,    il    it   is 
ori^-inal,  wliich  is  (.l(uil)iliil. 

Tlu-    spire    of    k,,lu'rt    (". 
hriii'js  us  inU)  u.iioh  Willi  ,i  H 


'Vhv  notable  features  of  the  spire  are  in  its  he.\ai_;'onaI 
instead  of  as  usual,  octagonal  plan,  and  in  the  wc-alth 
of  surface  (irnament.  In  the  panels  are  crowns,  thistles, 
Heurs-de-lys,  ami  stars.  In  the  most  elaborate  of  the 
English  leaded  spires,  Kast  Harling,  richness  of  effect  is 
secured  by  the  pinnacles  and  living  buttresses.  The 
spire  itself  relies  for  interest  on  the  reticulation  of  the 
lead  rolls  which  pleasantly  diaper  the  surface.  The 
decoration  of  the  King's  College  fleche  was  approached 
in  a  very  different  spirit.  The  surface  was  left  plain 
and  h'ee  from  rolls,  so 
that  scoi)e  might  be  glxen 
for  the  in\-ention  of  a 
formal  design.  It  is  alto- 
gether a  work  of  scholar- 
ship rather  than  of  fanc\ , 
an  affair  frankly  of  decor- 
ation rather  than  of  con- 
struction, but  \'er\'  suc- 
cessful. In  cleverness  of 
inxention  il  is  com|)aral)le 
with  Wren's  London 
spires,  but  the  small  sur- 
face decoration  is  (]uite 
unlike    Wren. 

King's  College,  Aber- 
deen, had  other  lead  sjjire- 
lets.  Reference  to  Slezer's 
\  iew  will  show  four  be- 
sides the  chapel  (leche. 
(iordon  s.iys:  "The 
sotithe  syde  hcs  upon 
everie  corner  two  halff 
round  towers  with  leailen 
spirc's."     That  on  the  right 


r  represei 
n's  Colle. 
.1  the  bp 
hole    buil< 


of   the    building    was    the    fuher    ( 

and    practised    in    b'.dinbui-gli.      II 

lead  spire,  and   imleed    with   the   w 

what  slender.       The  ac  tual  work  is  pnn  inci.i 

and  represents,  doubtless,  the  view  of  the  .\b 

and   plumber  as   to  wh.u  Adam   ou'^ht    to   h. 


tion   of  the 

(Fig.  ..,v) 
le  ,11-chitect 
lers  .Adam, 
n    with    th<' 

T  character, 
leen  mason 


:3.      R 


LEADED    STEEPLES    OF   THE    KEXALSSAN'CE. 


It  lacks  the  refinement  one  would  ex- 
pect, and  is  probably  a  free  translation  of 
Adam's  plans.  The  house  was  finished  about 
1744,  but  was  not  occLipied  at  once  by  the 
boys  of  the  foundation.  It  served,  therefore, 
as  a  convenient  barracks  for  Cumberland's 
men  in  the  '45. 

The  rolls  on  the  spire  are  m(;rely 
decorative,  bossed  over  wooden  batons,  and 
not  honest  seam  rolls.  They  were  a  short 
cut  to  texture,  and  helped  the  belated  Gothic 
feeliu!^'  which  the  fieur-de-lys  edging-  stimu- 
lated. The  fat,  moulded  collar,  half-way  up, 
is  a  cle\er  feature.  \Vc  find  this  rc^peated 
on  the  Tolbooth  spire  in  a  niodil'icd  form 
(Fig.  224). 

Of  the  latter  Gordon  wrote  in  1661, 
"  builded  it  wes  anno  1191,  and  not  long 
since  enlarged  and  adorned  witli  a  towrc  and 
high  spire  covered  with  lead,  w  her  they  have 
ther  commone  bell  and  prissone."  It  was 
rebuilt  by  John  Smith,  architect,  about 
seventy  years  ago.  He  made  extremeh' 
careful  sketches  and  measurements  of  the 
original  work,  a  piety  for  which  we  ma)-  be 
grateful.  The  steeple  as  it  stands  re[)re- 
sents  the  original  work  very  well.  The 
point,  of  some  value  to  establish,  however, 
is  comparative  rather  than  historical.  If 
the  Gothic  trimmings  of  these  Aberdeen 
steeples  be  for  a  moment  disregarded,  they 
might  be,  both  in  their  elements  (of  ogee 
roof,  lantern,  and  concave  spire)  and  in 
their  outline,  Wren  steeples.  Wren  cannot, 
therefore,  hv  regarded  as 
of  the  type  of  Renaissance 
in  varied  forms  is  s(.'(.-n  in 
churches.  He  was  [)robably 
the  steeples  of  the  Netherlands  and  S|)ain. 
He  could  hardly  have  seen  many  during  his 
French  tour.  Even  if  he  tlid,  he  was  then 
more  occupied  with  the  works  [proceeding  at 
the  Louvre  and  other  examples  of  the  grand 
manner. 

In  his  treatment  of  the  lead  itself  Wren, 


the      in\' 
ste(.-pk'    ' 


■ntor 
hich 
nan\  City 
uenced    bv 


Fig.  224.— The  Tolbooth,  Aberdeen. 


[30 


;XGLIS1I    LEADWOKK. 


in    practically    e\XTy    case,    discankxl    the    medi.i\-,il    character   which    is    so    insistent    at 
Aberdeen.      In  no  case  does  he  make  a  pattern  on  a  steeple  with  the   rolls,  still   less  does 

he  employ  such  rollicking-  ornament  as 
~L  a    fleur-dc-lys   <'d-in--   to   the    ril)S    of  a 

spire  and  a  Ijattlemented  collar.  It  is 
amusintj,  if  not  very  profitable,  to  specu- 
ate  as  to  what  Wren  would  ha\-e  done 
i\  wa\-  of  an  academical  ext-rcise  in 
(iothic  leadwork  if  he  had  attempted 
something  on  the  same  lines  as  his 
other  ("lothic  details.  ()n<-  may.  jier- 
haps,  be  })ermitted  to  re^^ret  tliat  he 
rejected  an\-  such  temptation  if  it  came 
to  him.  That  he  liked  lead  as  a 
material  is  abundanth  clear  from  the 
;4reat  extent  to  which  he  used  it.  It 
is  equally  obxious  that  he  neither 
realised  its  decorative  possibilities  nor 
thought  of  it  otherwise  than  as  the 
most  efficient  roofing"  material,  and 
as  gi\'inL;-  a  broad  colour  contrast 
when  used  to  crown  a  white  tower. 
Wren  thought  and  designed  on  broad 
ines.  The  ciuality  of  mystery  in  archi- 
tecture and  the  sense  of  craftsman- 
shi[),  which  developed  in  the  Middle 
Ages  on  parallel  lines,  were  no 
stumbling-blocks  to  him.  Had  he 
conceived  of  the  former  as  a  neces.sary 
equipment  for  the  architect  he  would 
certainly  ha\-e  dismissed  it  as  foolish- 
ness. It  is  obvious  from  the  details 
,,f  .St  Paul's  Cathedral  that  he  took 
a  keen  delight  in  good  craftsman- 
ship, and  the  bad  detail  in  many  of 
his  parish  churclics,  ,.;■.,  [he  plaster- 
work  of  the  dome  of  .St  Stephen's. 
Walln-ook,  was  d..ublless  a  source  of 
in-itation.  lie  was,  liowe\er,  a  vii:tim 
,,f  the  times  he  lived  in.  The  Civil 
War  had  shattered  the  trades,  ,uul  the 
difficulties  in  obtaining  ,ui  .idcpiate 
number  of  skilled  workmen  must  have 
ated    by    the    Cri-.U     hire,    whiili    thrt-w 


^  Maonus . London  Dridgf. 

Fia  22^. 


I)een    immense, 
the   buildin-   tra<l( 


cullit 
con  I 


LKAUED    STi:i-;PLKS    OF    Till-;    KI-.XAISSAXCE.  131 

For  every  reason,  therefore,  it  is  idle  to  look  in  the  mass  of  Wren's  buildings  for  the 
tenderness  ami  fanc\-  in  detail  and  for  the  Ijeauty  i>f  execution  which  marked  the  leadwork 
of  Gothic  times  and  of  the  early  Renaissance.  Their  place  is  taken,  however,  l)y  a  vigour 
ot  in\ention  and  a  sanit\  of  tre.itment  which  are  characteristic  of  th(-  man  and  of  the  idea 
hehin.l  his  work. 


L    13- 


CHAPTI'R     \'II. 


LEADED     DOMES,     LANTERNS,    AND    WALLS—" 
A    LOST    FOUNTAIN. 

Curves  in  Roof-lines,  a  Slow  Development — The  Use  of  Lanterns  —  Wrens  Treatment  of  Domes  and  Lanterns — 
Class  (i)  Constructive  Details  of  their  Leadwork — Archer's  Work — The  National  Callery  -Nonsuch  and 
Cheaiiside — The  Great  Fountain  of  Windsor  Castle. 

'HI':  Iradc-tl  domes  and  lanterns  of  Wn/ii's  London  churches  arc  not  only  of 
L;reat  intrinsic  interest,  hut  ha\'e  an  ini|iort,int  place  in  the  development 
of  the  roof  idea  as  a|i|ilied  to  towers.  The  dome  of  simple  curve  i.s  a 
franl<l\  foreign  element  in  hai^iish  arcliitecture,  and  liecamc  acclimati.sed 
onl\  h\  slow  stages.  With  the  ctipola  of  o^^ee  curve  it  wa.s  different. 
The  genius  of  nalixe  huildini,;-  accepted  with  enthusiasm  the  un-eometrical  and  flowino- 
line  when  it  arrived  l.y  way  of  tin-  o-ee  in  the  first  half  of  the  fourteenth  centtiry.  For 
a  time  it  was  supreme  and  rioted  freelw  ,ind  sometimes  alistn-dl\-,  hut  still  mosth'  in  stich 
decor.itive  positions  as  were  aftordetl  1>\  niches  ,uid  tomhs.  Hopelessly  had  strticttirally, 
the  o,n'ee  arch  was  rarely  powerftil  enough  in  its  attractiveness  to  take  other  than  a 
decorati\e  place.  In  I^UL^lish  mediaeval  architecture,  at  least,  it  never  affected  external 
roofdines  imtil  l'er[)endictilar  times,  and  then  onK  in  rather  trivial  wavs.  At  Ivini^'s 
C()lle,L;e  Chapel.  CamhridLjc,  which  was  huildiuL;-  from  144b  to  1540,  the  corner  turrets 
fmish  with  o^'ee  fmials.  and  these,  an<l  others  like  them,  were  the  forerunners  of  the 
ntimerous  oL;ee-niofe(l  turrets  of  the  early  Renaissance,  such  as  those  at  Hampton  Court 
and  at  .Xl.l.oi's  Hospital,  Cuildford.  I'.ven  in  th<'  case  of  the  example  at  Kin-s  College, 
however,  th<-re  is  ohviously  no  intention  seriously  to  employ  cm-ves  in  roof  work.  .Such 
linials  are  decorative  trivialities  em])loyed  to  finish  rather  unimportant  (T-nients  such  as 
coriK'r  turrets.  We  have  still  no  evitlence  of  a  tlesire  to  introduce  curxcs  into  the  crown 
of  a  tower.  Where  a  tower  was  to  he  topped  with  a  not.ihle  fe.iture,  a  spire  composed  of 
straight  lines  in  one  tomhination  or  another  was  still  the  onlv  treatment.  (.Such  towers 
as  St  Ciles's,  Hdinl.uieh,  and  the  Cathedral,  .Xewcastle,  are  excepted,  where  curvd 
flvin--  huttresses  uphold  a  spirelet,  hut  these  from  their  raritv  can  scarcelv  he  re-ardeil 
as  traditional.) 

The  development  of  Perpendicular  tower  huiKlin-  ten. led  -reatlv  to  ih<.  eliminali.  m 
of  the    spire,  as    in    liie    Somersetshire   clunrhes,  where  the  wealth  of  piert:ed    parapet  and 

Had  the  provision  of  a  sta!_;e  ahove  the  tower  proper  remained  an  oi'Ljanit-  essential  of 
the  treatment  of  chui'ch  towers,  perhaps  something  in  the  nature  of  a  great  domed  l.uUern 
would  have  lueii  evolved  in  late  i'erpemlicular' limes  on  the  lines  of  the  lead  cupolas  on 
the   turrets  of   I  lampton    ( 'ourt. 


LK.\ni;i)    DOMES,    LAXTEKXS,    AND    WALLS 


133 


As   it   is,  we  ha\-c  to  wait   fur  the  full    tide  of  the  Renaissance  hcfore  the  dome  comes 
into  its  own,  and  to  look  to  Sir  Christo[)li(r  \\"ren  in  particular  for  its  noblest  expression. 

The    description    "  lantern,"  applied 
to    such    steeples    as    St     Il.Miet,     Paul's  ^ 

Wharf,  deserves  attention.     The  ori-inal 

li--hl.  and  the  notable  lead  l.uUern  of 
Horham  Hall,  near  Thaxted,  I'ssex 
(Im,l;-.  226),  is  the  best  possible  example 
of  this  use.  It  is,  in  fact,  a  beautihil 
ari:hitectural  expression  of  the  same  need 


_  is   served    liy   the  ran^e  of  vertical   roof  lii^hts   in   a 

rl4-'F''  'J-  3^  modern  billiard  room.  At  Horham  Hall  the  provision 
\lM^^  JSt  "'  ''•'^'^^  '■'^  ^'^*^'  '"■'^^  consideration,  and  the  craft  of  the 
Ij^^  ^BB  plumber  is  spent  on  emphasising- the  window  openintjs 
1)\  \i»;orous  vertical  and  cross  lines  rather  than  on 
beautifying-  the  roof.  Horham  Hall  was  built  at  the 
be^inniiiL;-  of  the  si.xteenth  century,  and  there  is  nothing 
in  the  tlesi^n  of  the  lantern  to  contradict  so  early 
a  date. 

At   Christ's    Hospital,   Abinodon,    Berks  {F'v^.  227).  the   lii^hts   of  the   lantern    were 
untouched  by  the   |)lun-il)er,  who  spent   his  energies  on   the  oo;ee   roof,  with  no  little  help 


Il.ispit.il,  .\hin-dr 


134 


ENGLISH    LEADWORK. 


fniin  the  smith  on  the  vane.  The  hosjjital  was  founded  in  1 553,  so  the  lantern  dated 
1707  marks  a  period  of  renewed  actix'ity.  A  [jleasant  feature  of  this  Ahin^don  lantern  is 
the  plaein-  of  lead  ornaments  on  tlie  roof  itsi-If  Ahout '  halTway  up,  -ilded  crowns  stand 
out  and  l.ireak  the  ouei;  outline,  and  arc  douhtless  examples  of  many  like  <lci()rati\-e 
gaieties  whiedi  ha\'e  gone  ti^om  other  roots  with  the  passage  ot  time  ,uid  thoughtless 
re[)air.       Abingdon    is    rich    in    lanterns,    for    the    e\(|uisite    marketdiouse    (attril)Lited    to 

Christopher      Kempster,      who     worked 
.  W  .  under  Wren   at  St    Paul's)  has  a  lantern 

of  great  delicacv  of  detail. 

The  l<-ad('d  lant.-rn  of  jiarnard's 
Inn  Hall,  now  the  Mercers'  .Schoc.l 
(Fig.  22S).  is  prohahly  as  perfect  an 
e.xample  as  can  anxwhere  he  tound  of 
the  right  a<ljustment  of  the  (dements  ui' 
light  opening  an<l  roof  d'he  point 
where  the  ti])  of  the  ogee  joins  the 
fini.d  has  keen  \cry  clumsily  repaired, 
but  e\en  with  this  blemish  the  com- 
position is  alto^edier  ,lelightful.  It  is 
complete  plund)er's  work.  There  is  no 
shirking  of  the  technicd  difficulties  in- 
\-ol\cd  in  sheeting  with  lead  the  mullions 
of  the    lights  (as  at  Abingdon  where  the 

an.l    the    stunK-    mullions    could    not    be 
b<-ttere,l. 

This  lantern,  howexcr,  is  purelv  .ui 
architectural  feature.  It  does  not  light 
the  hall,  and  may  be  regarded,  there- 
fore, as  of  the  type  of  roof  lleche  (as, 
for  e.xample,  that  of  King's  College 
Chap.-l.  Aberdeen,  b'ig.  222).  The 
ceiling  (.f  the  h.dl  is  comparati\clv 
modern,  and  it  max  be  that  th.re  was 
in  the  .H-iginal  ceiling  an  ,.penin^  below 
the  lantern,  which  w.uild  in  that  case 
have  served  to  \  .'ntilate.  Th<'  •'lantern" 
idea  is  altogether  absent  from  the  hand- 
some lead  turret  roofs  of  Hampton  Court  (  h'ig.  22g).  The  richness  of  irealmeiu  there, 
ihe  wealth  (,f  crocket  and  pinnae  le  and  the  -reat  applied  roses,  make  the  ro,,fs  worthy 
success..rs  of  the  most  decorative  of  b.n.ulish  le,id  spires,  th.it  of  j'.ast   Harling,   Norfolk. 

The    composition    is    simple   and    natural.      The   lower   octagonal    stage   takes    up   the 

iJke   the    P.arnard's    Inn    laniern,  the   feeling   is  wholKCothic,  though  tlu'  rather  non- 


LEADED    DOMES,    LANTERNS,    AND    WALLS. 


descript  shape  of  the  ei^ht  little  finials  gives  an  uncertain  touch  and  indicates  the  arrival  of 
new  motives.      The  neolect  by  Wren  of  the  decorative  possibilities  of  frankly  ornamental 


Icadwork  cannot  be  more  acutely  recoj^'nised  than 
Haniptcin  Court  turrets  with  the  sobriety  nf,  sa\, 
Imuc  detail  ihci-c   is  at    .St  Benet's,  but    it    is 
leadworkissubsi.liary  and  pro- 
tccti\e.      In  Wrrn's  most  orna- 


1j\-  comparing'  the  wealth  of  detail  in  the 
he  lantern  of  St  I^enet,  Paul's  Wharf, 
in  the  wooden  cornice  mouldin"s.      The 


men 

,■(1 

steep 

I. on 

ba 

•<1  .Str( 

urns 

wc 

reapa 

ture. 

\t   lla 

orna 

nc 

It    is 

1  (Kit 

(]c\( 
outli 

W 

lo, 

t(  1  in( 
ih  W'r 
cd     in 
of  the 

west 

•rn 

lowc 

The 

fo 

-ni    is 

still 

\ni 

tures(| 

St    l'. 


inn 


the  struc- 
(  ■om-l  the 
,  an.l  has 
,rihc  roof, 
o-ee  form 
•  'belblike 
.ofs  of  the 
St     Paul's. 


W 


don 


use   oi 

with  the  lanterns  surmounting 
church  towers,  we  take  up 
again  the  classification  begun 
in  the  last  chapter  and  dial 
with  Class  (c).  Possibly 
Wren's  finest  lantern  is  at  St 
Benet,  Paul's  Wharf  (Fig.  230). 

There  is  a  peculiar  in- 
terest attaching  to  this  church, 
as  Wren's  great  predecessor, 
Inigo  Jones,  was  buried  in  the 
pre-kdrc  church  in  1051.  Un- 
happil\-  his  monunu-nl  was 
destroyed  wlii-n  the  church  fell 
to  ihJ  llames.  The  church 
was    rebuilt    b\    W  ren    in   16S5, 

and  not  onl\-  the  excjuisite  lead  lantern  but  the  whole  building  is  a  miracle  of  sane  and 
simple  art.  The  photograph  of  F"ig.  230  is  of  happy  effect  in  showing  the  little;  lantern 
of  St  Benet  against  the  bulk  of  St  Paul's. 

It  is  impossible,  within  the  compass  of  this  book,  to  do  more  than  touch  on  .St  Paul's, 
the  greatest  of  all  HngHsh  leaded  domes.  It  is  not.  niort-over,  in  the  same  category  as 
the  lanterns  of  the  City  churches,  which  all  meet  the  same  architectural  need,  \iz..  that  ot 
f"urnishing  a  suitable  crown  to  a  square  tower.  At  St  Paul's  the  plan  below  the  dome  is 
circular,  and  the  treatment  is  altogether  su/  e'c//cr/s. 


2.79. '    Hampton  ( 'nun. 


ENGLISH    LEADWORK. 


In  earlier  chapters  stress  has  been   lai 
rolls,  which  make  the  junction  between  adjoi 

At    St    Paul's,    Wren    has    cniphasised 
dressed   over  trreat   moulded   ribs,  a  leaturt- 
In    San    Michele's   great   dome   at    IMontetia 
rexersed  arches  u'ivine  a   moulded    contour 


1   on   the  texture  value  i 
n'wv^  sheets  of  lead. 
tliis    surface    treatment 
A'hich  has  been  carried  r 
scone    tlie  dome    surface 


lead  roofing  of  the 

-  having  the  lead 
ich  hirthi'r  in  Italy, 
s  constructed   with 


ibs 


] 


2  ',0.— .St 


It    .St 


Benet's, 
It    goes, 


this  iliscrepa 
howe\er,  ti 
dome  was  to  create  an  architectural 
a  relationship  Ijetween  the  cathedral  ai 
kcturninL;-  to  the  smaller  domes  and 
church  of  Si'p.enet  Fink  Im.h'  a  mark. 
Wharf    but    with   one   notable   difference. 


lollows  all  covered  with  lead. 
In  Rome  are  several  domes 
with  highly  developed  ribbing. 
In  general  effect  of  outline  the 


aded 


Or 


cha 
the 


■v  t. 


■acter. 
Salute 
have  th(. 


,s  this 


In     the 
Church 


jrompton 
ater  tyi)e, 
of  their 
dome  of 
it    X'enice 


ipr 


.-me  exami 


of  a  plain  ribbing  which  hardly 
interferes  more  with  its  surface 
than  the  simplest  of  welts  could 
do,  so  that  if  lead  sheets  be 
used  at  all  its  characteristic 
joint  lines  could  scarcely  be 
less  emphasised. 

A  passing  reference  must 
also  be  made  to  the  great  domes 
of  .Santa  Sophia  at  Constanti- 
nople b\  way  of  comparing  the 
characters  ot  Byzantine  iind 
Renaissance  domes.  Perhaps 
the  out-standing  features  of 
Wren's  more  conscious  art 
are  the  elaborate  lanterns  sur- 
mounting   the    domes    proper, 


and     th( 
dome    i^ 


act 


that 
als( 
St 


:\    til 


hat     W 


il    li 


,g     I.or 
the    p. 


the 

the 

the 

not 

lan- 

Uin'4- 

lom'e 

aul's 

hlish 


the   d< 


St   II 


Ll'.ADKD    DOMKS,    LANTERNS,    AND    WALLS.  137 

At  St  BcMiet  iMiik  (Fil;.  231)  ihc  cupola  was  square  on  ])laii,  at  Paul's  W' harf  we 
have  a  true  dome,  circular  on  plan.  Wren  here  goes  about  his  work  in  a  straightforward 
way.  There  is  no  attempt  to  mask  the  change  from  square  to  round  by  corner  vases  or 
any  like  device  which  might  have  tempted  a  lesser  man,  and  the  steeple  is  by  .so  much 
the  gainer  in  breadth  and  simi)licity.  We  may  note  a  similar  directness  in  the  domes 
flanking  the  tower  of  .Si  (■Icmenl  Danes. 

-St  lienet  b'ink  was  rebuilt  by  Wren  in 
1673  and  demolished  In  1S44.  It  stood  on 
the  south  side  of  Threadneedle  .Street,  where 
the  late  Mr  l'eal)od\-  now  sits  in  bronze. 
The  cupola  with  lantern  was  a  fine  feature 
of  one  of  Wren's  most  ingeniously  planned 
churches.  The  site  f)rbade  a  rectangular 
])lan,  so  Wren  turned  it  into  a  decagon 
and  attached  the  tower  to  its  western  face. 
It  will  be  noted  that  this  lantern,  though 
similar  in  design  to  tliat  of  .St  Ijend,  i'aul's 
Wharf  is  smaller  in  ])roporlion  to  the 
cupola,  and  the  cupola  lights  are  less  im- 
portant. The  illustr.ition  of  b'ig.  231  shows 
what  London  has  lost  in  losing  .St  Benet 
Fink. 

The  two  Wren  lanterns,  which  tlefy 
classification  perhaps  more  vigorously  than 
any  other  of  his  church  steeples,  those  of  .St 
Nicholas,  Cole  Abbey,  and  St  Edmund, 
Lombard  Street,  may  perhaps  be  grouped 
together  on  the  ground  of  a  likeness  in  curious 
outline.  The  former  was  rebuilt  in  1677,  and 
the  latter  in  1690.  Both  are  characteristic 
work,  examples  of  Wren's  wealth  of  inven- 
tion. The  lantern  of  St  Nicholas  (Fig.  233) 
has  been  a  gooil  deal  abusetl,  ami  not  alto- 
gether without  reason.  Wren's  use  of  a  railed 
balcony  at  St  Martin,  Ludgate,  was  a  bokl 
stroke,  which  is  justified  in  the  result. 
Hardly  so  much  can  be  .said  f)r  the  lik( 
feature  at  St  Nicholas,  Ct)le  Abbe\-,  anti 
above  it  Wren  seems  to  have  lost  himself 
in  a  kind  of  architectural  marine  store. 

At    St    lulmund's,    Loml)anl    Street    (Fi 
admirable    proportion.      The    lantern    with    its 
between  the   tower  ami    the    little    concave 
of  his  steeples  ilid   Wren  break 
unfirtunate   tli; 


Kdi 


232),    the    lantern    is    coherent    and    of 
)uvred    lights   firms   a   .satisfactory  stage 
pire    surmoimting    it,    but   perhaps   in   none 
y  more  violently  from   tratlitional    treatment. 
visible.      It    is   onlv    from    St   Clement's 


little 


It 
Lane 


t38 


ENGLISH    LKADWORK 


that  it  can  lie  scc-n  at  all  satisfactoriK . 
within  si^ht,  so  narrow  is  the  street  and 
190;  the  lantern  needed  re-leading,  and  th 
flaming-  vases  which,  as  the  illustration  sh 
of  wood  covered  with  lead  ;  the  wood  had 
failure  to  rt'i)lac(.'  them 


However, 


From    Lomhard    Street    the  steeple  is  hardly 

so   lofty   the   tower.      1  )uring-  the  latter  part  of 

opportLinit}-  was  taken   to   remove   the   twelve 

\\s,  formed   so   noiahle  a   feature.      They  were 

otted  :   restoration  was  certainly  neetlful.     The 

They  were  a  characteristic  feature  of  Wren's 

desii^ii,  and  the  plea  of  lack  of  money  for  the 

work  sounds  ahsiird  in  Lombard  Street. 

A  few  notes  may  lie  added  here  as  to 
the  workmanship  of  the  leadwork  on  some  of 
Wren's  steeples,  tlescribed  in  this  and  the 
last  cha|)ters. 

In  the  ca.se  of  .St  Swithin's  (Fi-.  208), 
the  toj)  of  the  spire  is  a  rouL;h  tree  post 
sittin;.^"  on  a  stiffening  tloor.  'Idle  spire  is 
boarded  with  6-inch  battens  2  inches  apart 
on  a  framing  like  a  stud  partition,  braced  by 
8  inches  by  5  inches  angle  rafters,  and  has 
uprights  5  inches  In  2.',  inches.  The 
main  ribs  at  the  angles  ot  the  octagon, 
at     the     base     of    the    spire,    are     12    inches 


m       m 

Ijy    S   inches   and   have    a   br.icing    7    inches 

^^^^^^^ 

Ijy     5     inches     in     shape     ot      .St     Andrew's 

^^^^^^^^^^^^^k  , 

Cross,    haK'ed    together    and     held     b\"    axle 

'                 -  J 

"                   ...   ". 

pins,   with    wedges.      There  are   man\-   rotigh 

^^■F^^ 

14 

The    lead    sheeting    has    \-ertical    welts 

which     are      i .'.      inches     wide     and     [oroject 
I 'i*   inches.      In  the  top  sheet  ol  riich   face  of 

V:  .■^^^By^^p'  '^^^1 

the   spire   there   is   no   welt,    in    the   next   two 
]ow(.'r  sheets  there   is   oni-  middle  welt.       1  lie 

^^i^^i^^^^^^^H^^^^H 

next   sheet   has  a  spire  light.      The   six  next 

sheets  are  in  three  widths,  di\ided   by  welts. 
Kach    sheet    is    5    feet    4,',    inches    deep,    and 
there  are    ten    in    all.      I^ach    sheet    has    two 
clijis.        The    welts     at     the     angles    do     not 

Flc.  232.— St    ICdmund'.s,    Lombard  Street. 
(I'hdtoiiraphed  hcfcirc  the  leaded  vases  were  removed.) 

differ    from    those    on    the    fict's.       The   oxal 
lights    touch    the    spire    faces   at    the    bottom 
1      ,    .,1       , .,     ,  1;  ., ,r, ,.         Ti^. .:,.    1 1 

eoNcring    is    in    two   sheets;    the   division    e 

ami    stand    out       leipenilicul.u.          1  hi'u     u  ,ul 
,Mnes   ,a    the   middle   horizontall V.       J-he   lights 

lia\  e    at    the    back    an    o\;d    cu|)    for    weatl 

lerin^;    purposes,    which    re.iches    to    h,df    their 

height.      The\-   ha\'e   been    made   in   ship's 

cu'penler   fishion    with    cur\ed    ribs    and    open 

battening 

.\t    .^ 

elaborate 

arranged  like  the 
>t    Augustine's,    W 
kind.      .\t  the  has 

boarding  of  a 
atling    Street    ( 
,e  of  the   big   CI 

boat. 

big.    213),    tin-    plumbing    is   ol    a    much    more 

msoles   tile   face   sheet    on    each    siele    is   ttiiMU'd 

LKADI'-.D    J)()MKS,    LANTF.RXS,    AND    WALLS.  139 

I  on  lliK  Lack  of  the  console  on  Ix.lh  eclL;(!S  so  thai   the  effect  of  llutinLj 


has  angle  pilasters,  the  edges  of  which  are  formed  with  welts 
the  lead-covered  cornice  is  returned  to  form  caps  for  these  pilasters. 
\()  clips  are  used  for  the  sheets,  but  they  are  fastened  with  lead- 


o\-er  to  torm 
is  gi\en. 

'I"he   base  of  the   spi 
in  the  same  ' 
'i"he  welt  is  1  [  inrh. 
headed  nails.      'There  are  no  soldered  dots. 

The  loLi\res  are  not  covered  with  lead, 
wood    co\-ered   with   lead,   and    the  slileld   at 
the   to[)   of  the  arch   is  a    casting.      Without 
ladders    it   is   impossil)Ic'   to   i-cach   the   x'asc^s, 
l)Ut  they  are  almost  certainly  castings. 

The    mouldings   generally    are    ol    some 
comple.\it\-,    and     the     lead     has     l)een    well 


Th( 


the  arch    is  a   solid   block  of 


dressc-d  o\'er  llie 
At    both    ,S 
tine's    the    leadw 
nally  fixed. 


m 


(1  fi 


.Switl 


All 


(Fig.  .33). 
as  has  also 
)n  each  face- 
with  5 -inch 
conu'ce    is 


At  St  Nicholas,  Cok 
it  has  been  renewed  altogether, 
the  iron  railing.  The  ixuielling 
is  12  inches  by  4  feet  6J,  inches 
by  2.',-inch  mouldings,  and  ih( 
12   inches. 

The  loss  of  interest  caused  by  the  re- 
leading  of  the  steeple  is  very  marked.  It  is 
certainly  a  point  to  be  insisted  ujion,  that 
in  any  restoration  repairs  only  sliould  be 
permitted  so  that  the  original  ])lumbinn 
method  is  scrupulously  followed.  The  lead 
should  always  be  recast  in  the  .sand,  as  is 
the  practice  at  Westminster  Abbey,  and  no 
modern  milled  lead  and  wooden  rolls,  &c., 
should   be  used. 

St  Margaret  Pattens  (b"ig.  209),  is  not- 
able for  the  great  size  of  the  lead  sheets, 
which  are  cast,  and  a  full  eighth  of  an  inch 
thick.  At  the  base  of  the  spire  they  are 
nearly  8  feet  wide  and  about  6  feet  deep. 
E.xternally  there  are  five  soldered  dots  to  each  sheet,  but  inside  there  are  in  addition  a  large 
number  of  secret  tacks,  two  to  each  face  of  the  octagon,  spaced  2  feet  apart  vertically. 
The  welts  at  the  angles  are  if  inches  projecting  li^  inches.  The  moulded  stiles  of 
the  panels  are  10  inches  wide  inclusive  of  2'|  inches  moulding,  while  the  depth  of 
the  panel  on  the  face  is  ij  inches,  and  there  are  three  clips  to  each  ])anel.  The 
lead  is  dressed  over  the  pediments  of  the  spire-lights,  but  there  are  no  lead  coverings 
to  the  lou\-res.      About   two   years  ago   two   new  sheets   wtre   put   up.  and  an  inscrii)tion 


Cole  Abbcv. 


[40 


ENGLISH    LKADWORI 


sa\s  th<it  the  spire  was  re-leaded  in  1S34,  but  this  can  hardly  apply  tn  the  whole 
work,  for  some  of  it  seems  contemi)(jrary  with  the  spire.  The  timbering-  is  on  the 
same  general  lines  as  at  St  Swithin's,  but  the  central  post  only  comes  tlown  from  the 
apex  as  far  as  the  level  of  the  top  tier  ot  sjiirediyhts.  The  angle  posts  are  9  inches  by 
5^  inches  put  flat-wise  with  i^evelled  faces,  and  the  sides  are  framed  and  cross  braced,  the 
latter  being  7  inches  by  5  inches,  and  of  St  Andrew's  Cross  form.  Many  of  the  old  iron 
straps  remain,  but  some  further  cross  ties  and  braces  have  been  added  in  modern  times. 
The  boarding  is  9  inches  by  •/   inch,  spaced  3  inches  apart. 

The  obelisk  of  St    Abirgaret  Lothljury  (big.  213)  is  h-amed  on  four  g-inch  by  9-inch 
posts,  3  feet  6  inches  apart,  wliich   come  down  on  to  two   12-inch  b\^  12-inch  beams  which 

cross  the  ti_)p  of  the  tower  and 
rest  on  wall  jjlates.  Diagonal 
beams  and  braces  run  from  the 
junctions  o|  posts  and  main 
beams  to  the  corners.  The 
round  and  hollow  curves  of 
the  spire  outline  are  formed  by 
cradling  from  this  central  core. 
In  this  respect  the  construc- 
tion is  analogous  to  St  Paul's 
becatise  the  obelisk  really 
runs  on  through  the  ap- 
parent ogee  outline  which 
supports  it.  The  curved  ribs 
are  5  inches  by  3  inches,  and 
14  inches  apart,  with  close 
boarding  instead  of  open  as  at 
St  .Swithin's.  The  oval  spire- 
lights  have  3  feet  by  2  feet 
o[)enings.  The  iletails  of  the 
leatling  cannot  be  seen,  as 
there  is  no  door  to  the  outside, 
anil    coLild    be   inspected   only 

L'culiarly  interesting.  There  are 
I  give  o])enings  14  inches  wide, 
bottom  and  4  inches  at  tlie  top. 
■dg.'s  of  the  consol.'and  one  at 
nailed  with  lead-head<M|  nails, 
the  octagon  is  5  feet,  the  height 


Fin.  234.— St  Ph 


!irniinL;ham. 


The  lantern  of  St  I'.enet,  Paul's  Wharf  (Fig.  230),  is  | 
eight  posts  to  the  lantern,  9  inches  by  4  inches,  space<l  t 
anil  the  att.iched  consoles  between  ])roject  12  inches  at  tin 
Thev  are  sheathe.l  with  lead  all  round  with  welts  at  the 
the  'back,  inside  the  lantern.  The  work  has  been  freeb 
but   manv   of  these   ha\  c-  ''one.       The    inside   diameter   ol 


)f  the  I 

■onsole  to  the  entab' 

latur 

e  5  leet  9 

with   a 

projection  of   10  inc 

hes. 

The    w. 

Ihe    h 

oi-i/ontal    sheet     ]oii 

Us  a 

i"e   ai'rang 

the  top 

>  fillet  of  the  monldii 

ig. 

ihe  dom 

about 

2  inches,  with    two  ; 

u'lgk 

•  wells  gi' 

•ntablature  about  i  foot  9  inches, 
re  cover.'d  uilh  lead  throughout, 
e  a  drip  at  the  bottom  v\\'j;v  of 
ern  has  tapeiang  ribs  projecting 
■e.      between    the   ribs  are   three 


.EADKD  DOMES,  LANTI-.RXS,  AND  WALLS. 


howin^'   two    welts.      The    welts   above   the   lantern   arc  worked  in  the  same  way, 

;it  welts   are   the  ^reat  feature  of  this  steeple  and  give  its  rich  appearance.      The 

of  the  dome   is  carried  on  battening  3  inches  by  i  inch,  2  inches  apart,  the 

that   it  is  placed  diagonally.      The  eight   posts  of  the   lantern 


she. 

indeed  fat  w 

lead  sheetin 

chief  interest  of  whi(  li 


rest  on  as  man\' 
o\-er   the  top  of  tl 
cradle-  pieces  on  th 


ch   l)v  6  inch   braces  secured  at  the  feet  by  a  framed  floor 
I'he  cur\  aiure  of  the  dome   is  formed  by  2i-inch  segmental 

f  the  braces  with  a  greatest  projection  of  about  18  inches. 

nplicil\    of  these    Wren    spires    is   no   less   admirable    than    the 

these  tlelails  of  their  construction  antl   lead   covering   may  be 

\    lead   to    more   attention    lieing 

ruiarU'  when    i-ei)airs  are   uiuler- 


mrliiied    S 

he  lower. 

back 

The  strength  and  ^ 
design.  It  is  hoped  th; 
fountl  instructi\c  and  r 
given  to  the  subjt'cl,  pa 
taken. 

Fx-fore  leaving  London's  leaded  steeples  a  point  of 
colour  is  worthy  of  note.  In  the  country  the  tendency 
of  lead  is  to  weather  to  a  silvery  grey,  and  sometimes 
so  brightly  that  spires  look  as  though  thev  have  been 
whitewashed,  whereas  in  many  cases  the  stone  tower 
has  weathered  to  a  dark  hue.  In  Lonilon  the  precise 
opposite  is  the  case.  The  Portland  stone  has  remained 
white,  while  the  lead  of  the  spires  has  been  blackened 
by  smoke  and  impurities.  How  white  the  church  towers 
of  London  can  look  may  most  sensitivel\-  be  realised  in 
Westminster  on  a  November  day.  The  black  fog  will 
sometimes  hang  over  the  Thames  long  after  the  sun  has 
driven  it  from  the  north  and  west,  and  against  this  heavy 
background  the  sun-lit  western  towers  of  the  Abbey  take 
on  a  snowy  whiteness.  On  one  observer,  at  least,  the 
effect  has  been  so  to  magnify  and  ennoble  these  not  too 
beautiful  towers,  as  to  convey  somewhat  the  impression 
that  Coleridge  took  from  the  archiit'ctural  tlre.uns  of 
Piranesi. 

By  way  of  comparison  with  Wren's  treatment  of 
leaded  domes  and  lanterns,  Archer's  tower  of  .St  Philip, 
Birmingham  (P"ig.  234),  is  illustrated.      The  tower  proper 


is  certainly  the  finest  j 
achievement.  It  may 
little  attenuated,  and  il 
the  work  bears   comnar 


notal 


t    of   this    fine    composition,   but   th( 

felt  that  the  columns  supporting  the  small  cupola  are  a 
balcony  railing  rather  trivial  in  detail,  but,  taken  altogether, 
n    with   all    but    Wren's    best  work.       The    detail    of  Archer's 


leadwork  is  careful,  but  a  little  undersized  for  the  bold  rococo  character  of  the  tower. 
The  columns  supporting  the  cujiola  are  cased  in  lead,  which  is  heavily  seamed  at 
the  joints.  The  capitals  ha\e  elaborate  acanthus  lea\es  in  gilt  cast  lead,  and  the 
bases  are  cast  in  rings  and  littetl  rountl  the  columns.  St  Philip's  is  altogether 
a  notable  church  in  a  city  not  too  notal)le  for  architectural  beauty.  Archer's 
Garden    Pavilion   at   Clieftlen   has  a  k-aded   cupola   that   will  also  rejiay  study. 

The   leaded   dome   of  the    National   Ciallery  (  b'ig.  235)  is  very  different  but  distinctly 


;nglish  leadwork. 


^I'iSQ/'^^-" 


Jhr 


I  uin^)  sho\NriiL'  ChjIi 


lu    ind  Cheapside  (  ross 


nttrestiii!,;-.  lluilt  as  late  as  1839  by  Wilkins,  the  tlry  classic  detail  of  the  leacUvork  is 
ilmost  as  far  removed  from  Wren's  straightforward  rather  thoughtless  manner  as  from  the 
uxuriant  crocketting  of  the  best  mediceval  work.      It  shdws  an  appreciation  of  the  value 

of  pattern  on  bold  cur\-ed  surfaces,  even  if  it 
fails  altogether  of  an  understanding  of  the  right 
treatment  of  lead  roofs.  It  is  doubtless  inspired 
l>y  the  classic  itlea  of  a  l)ronze  scale  roof.  It  is 
hardly  necessary  to  do  more  than  mention  the 
steeples  of  .St  James,  Piccadilly,  and  of  St  Ann's, 
-Soho.  Both  are  disfigured  by  clocks.  'Wren 
was  not  responsible  for  the  first;  S.  P.  Cockerell 
was  for  the  second,  of  which  we  may  say,  with 
[ohn  Timbs,  that  it  is  a  "whimsical  and  ugly 
excrescence." 

W'e  have  so  far  dealt  with  lead  coverings 
f(ir  spires,  domes,  and  lanterns.  There  remain 
roofs  and  walls.  With  simple  roofing  it  is  not 
proposed  to  deal,  as  the  many  interesting 
points  raised  are  mainly  (jucstions  of  technical 
detail  and  not  of  ornamental  treatment.  (  )ne 
delightful  little  decoratix c  detail,  howexcr,  may 
here  l)e  noted.  The  little  mask  (big.  j;,;), 
d)out    3   inches  lon^,  is  one  of  eight   fi.\ed   at   the  ends  i^'i  piend    rolls  (of  Icid)  of  a  small 

if  about  1800. 

Mr  Lethaby  has  (luoted 
of  that  place  in  .\.\k  6;S, 


ken   Mask. 


octagonal  larder  at  Scotston  House,  .\bertleen.      It  is  prob.ib 

Of  lead  coverings  for  walls  in  lirit.iin  there  is  little  histo 

the  case  of  the  Saxon  church  at  Lindisfarne.      Eadl)erht,  bisl 


LEADED    DOMES,   LANTERNS,   AND   WALLS.  143 

took  off  the  thatch  and  covered  it,  both  roof  and  walls,  with  lead.  Mr  J.  Park  Harrison 
claims  that  this  church  is  to  be  identified  with  a  building  which  is  shown  on  an  illuminated 
MS.  in  the  library  of  Corpus  Christi  College,  Cambridge.  If  this  be  true  the  lead 
was  clearly  in  the  form  of  tiles  or  shingles  and  not  in  the  form  of  sheeting  as  in  the  case 
of  a  mediaeval  spire.  Unhappily  the  great  leaded  timber  buildings  are  in  the  limbo  of 
history,  and  there  are  gaps  and  uncertainties  in  building  records  which  make  it  difficult 
accurately  to  establish  uses.  Mr  Starkie  Gardner,  in  his  admirable  paper  on  "  Lead 
Architecture,"  sought  to  prove  that  the  chief  glory  of  Nonsuch  Palace  was  in  the  decora- 
tive leadwork,  and  rather  scoffed  at  the  idea  that  the  modelled  panels  which  appear  in 
Hoefnagel's  view  were  of  any  sort  of  plaster.  Mr  Maurice  B.  Adams,  in  a  note  in  the 
R. I. B. A.  Journal,  says  that  "  Pepys  describes  the  building  as  sheeted  \\\\.\\  lead."  That  is 
hardly  the  case.  Pepys'  own  words  are  now  set  down  in  parallel  column,  with  the 
description  of  Nonsuch  by  a  much  more  competent  observer,  John  P^velyn. 


Pei'Vs'  DiAkv. 

1665.  Sept.  21. 

"...  Walked  up  and  down  the  house 
and  park  ;  and  a  fine  i^lace  it  hath  hereto- 
fore been,  and  a  fine  prospect  about  the 
house.  .  .  .  And  all  the  house  on  the  outside 
filled  with  figures  of  stories,  and  good  paint- 
ing of  Rubens'  or  Holben's  doing.  And  one 
great  thing  is,  that  most  of  the  house  is 
covered,  I  mean  the  posts,  and  quarters  in 
the  walls,  covered  with  lead,  and  gilded. 

"  I  walked  into  the  ruined  garden  .  .  ." 


(Note. — Nonsuch  Palace,  near  Epsom, 
was  in  sufficiently  good  repair  at  this  time 
for  the  Exchequer  to  be  moved  there 
during  the  Great  Plague.  It  was  PLxchequer 
business  which  took  Pepys  to  the  I'alace. — 
L.  W.) 


Evelvn's  Di.\rv. 


1666. 


Ja 


"  I  supp'd  in  None-such  House  .  .  .  and 
tooke  an  e.xact  view  of  the  plaster  statues 
and  bass  relievos  inserted  'twixt  the  timbers 
and  punchions  of  the  outside  walles  of  the 
Court ;  which  must  needs  have  been  the 
work  of  some  celebrated  Italian.  I  much 
admired  how  it  had  lasted  so  well  and 
intire  since  the  time  of  Henry  VIII.,  ex- 
posal as  they  are  to  the  aire  :  and  pitty  it  is 
they  are  not  taken  out  and  preserv'd  in 
some  drie  place  ;  a  gallerie  would  become 
them.  There  are  some  mezzo-relievos  as 
big  as  the  life,  the  storie  is  of  the  Heathen 
gods,  emblems,  compartments,  etc.  The 
Palace  consists  of  two  courts,  of  which  the 
first  is  of  stone,  castle-like,  by  the  Lo.  Lum- 
lies,  the  other  of  timber,  a  Gothic  fabric, 
but  these  walls  incomparably  beautified.  I 
observ'd  that  the  appearing  timber  pun- 
chions, entrelices,  etc.,  were  all  so  cover'd 
with  scales  of  slate,  that  it  seem'd  carved  in 
the  wood  and  painted,  the  slate  fastened  on 
the  timber  in  pretty  figures,  that  has,  like  a 
coate  of  armour,  preserv'd  it  from  rotting." 


These  two  extracts  should  be  read  together.  Pepys  only  claims  lead-covered  posts, 
and  is  quite  silent  about  lead  panels.  There  is  no  evidence  that  his  story  of  Rubens  and 
Holbein  providing-  the  exterior  paintings  contains  a  word  of  truth  :  luit,  in  any  case,  it  is 
evidence  for  something  very  different  from  cast-lead  panels.  Evelyn  is  definite  about  the 
plaster  statues  and  reliefs,  and  his  "scales  of  slate"  abolish  lead  covering  even  for  the 
main   timbers. 


144  ENGLISH    LEADWORK. 

Where  there  is  a  conflict  of  testimoiu',  we  nnist  cDnsider  crcchhility  of  witnesses. 
Pepys  was  an  acute  obser\-er,  Init  of  men  and  manners  rather  than  of  IjuiMiiiL^s.  E\elyn's 
architectural  taste  was  lii^h.ly  trained  by  lon^-  residence  in  Ital\',  and  his  general  accuracy 
of  observation  and  his  detailed  description  of  Xonsuch  may  make  us  hesitate  to  reject 
his  evidence. 

It  would  Ije  pleasant  to  give  leadwork  the  benefit  of  any  doLilit,  but  even  if  we  accept 
the  leaded  posts  and  cjuarters  of  Pepys,  and  assume  a  slate-like,  scale-like  treatment  for 
their  leading,  we  must  reject  any  idea  of  lead  statues  and  reliefs. 

The  evidence  from  Stow  as  to  the  lead  panels  on  Goldsmith's  Row,  Cheapside,  is 
explicit.  In  the  view  reproduced  in  l'"ig.  2j,6.  the  "  Gijklsmithes  amies  and  the 
likenes  of  woodmen  in  memory  ot  his  name  (Thomas  WoolI's)  riding  on  monstrous 
beasts,  all  which  is  cast  in  lead,  richly  painted  over  and  gilt,"  are  unhap])ily  covered 
by  the  drajjeries  hung  out  for  the  ro\"al  festivities,  but  the  two  long  panels  with  scroll 
ornament  (to  the  left  of  Cheapside  Cross)  ma\-  be  taken  to  ha\e  been  of  modelled  cast 
lead.      Thomas   Wood   was   sheriff  in    14QI. 


Enclisii    Lead  Fountains — Tiik  Great  Example  at  Windsor. 

Professor  Lethaby  in  "Leadwork'"  devoted  a  chapter  (if  one  and  a  half  pages 
to  fountains,  a  measure  of  the  povert)'  (jt  I'aiglish  leadwork  in  this  direction.  In 
the  cha[)ter  on  lead  statues  gen.erally  there  are  described  \-arious  figLires  which  do 
service  as  fountains,  but  they  hail  no  characteristics  which  srcmcd  to  call  for  their 
segregation  in  a  separate  chapter,  and  it  is  best  to  inckuli-  here  (for  want  of  a 
better  place)  some  account  of  a  great  lost  example.  Llacl  any  reasonable  drawing 
remained  of  the  fountain  that  once  stood  in  the  Upper  Court  of  Windsor  Castle  it 
would  have  justified  special  treatment,  but  the  little  sketch  in  Norden's  view  of 
Windsor  Castle  in  the  reign  of  James  1.  is  obxioLisly  inade(|uate  when  compared 
with  the  descriptions  in  the  building  accounts.  Either  the  fountain  was  re-modelled 
between  1555  and  1607  (the  date  of  Norden),  or  we  must  accept  his  sketch  as  only 
a  vague   indication. 

The  particulars  gixaai  in  Tighe  and  Davies'  "Annals  of  Windsor"  are  full  enough 
to  indicate  how  serious  was  the  loss  to  the  history  of  leadwork  when  that  sjilendid 
structure   was  destro\ed. 

A  i)lan  b\'  llawthorne  makes  it  clear  that  the  base  was  octagonal  and  of 
stone.  That  the  stonework  was  an  import, uit  element  is  ob\  ious,  foi-  Roger  Amice, 
.surveyor,  was  paid  ./j;  "for  \iewing  and  appointing  stone  ,a  Reading  for  building 
of  the  fountaine."  It  was  railed  about  with  wo<id,  for  which  woik  car[)enters  were 
duly    paid. 

On  the  stone  base  was  a  great  tank,  which  nia\-  prolubly  be  i.leiuifa-d  with  "the 
great  leail  panne,"  for  the  carrjdng  of  which  from  London  to  Windsor  is.  4d.  w,is  p.iitl. 
Norden's  \iew  suggests  that  the  lead  tank  was  coxcred  in  b\  stonework  on  the  outside, 
that  the  pillars  were  also  of  stone,  and  the  lead  confined  to  the  ogee  roof  and  its 
ornaments.  The  dragon  is  shown  gilt  and  standing  in  the  tank.  There  is  no  sign 
of  tlu;  other   roval   beasts   mentioned    in    the  accounts. 


LEADED    DOMES,    LANTERNS,    AND    WALLS.  145 

It  was  on  9th  October  1555  that  the  [jipe  conveying  the  water  from  I>lackmore  Park 
was  brought  into  the  Ui)per  Court,  and  "there  the  water  plenteously  cHcl  rise  13  feet 
high."     The  fountain  was  part  of  a  reservoir  scheme,  and  "of  curious  workmanship." 

By  collating  the  fragmentary  indications  in  the  liuilding  accounts  with  Norden's 
sketch,  it  would  appear  that  the  fountain  in  general  form  resembled  that  of  Trinity 
College,  Cambridge,  which  was  built  only  forty-six  years  later,  but  its  detail  doubtless 
retained  more  of  the  Gothic  spirit.  The  making  of  wood  patterns  for  the  plumbers 
was  a  considerable  item.  The  carpenters  made  the  "  greate  mould  in  the  plombery," 
also  "  cisterne  cases  and  other  necessaries  for  ye  fountaine."  Carvers  wrought 
"  scouchions  in  wainscott  to  make  patterns  for  the  moulds  of  the  scotcheons  and  badges 
to  garnish  the  cisterne  and   topp  of  the  fontaine." 

The  chief  decorations  of  this  fine  structure  were  the  six  "beasts  royall,  viz.,  the 
eagle,  the  lyon,  the  antilop,  the  greyhound,  the  gryffith  (varying  between  5  feet  and 
6  feet  high),  and  the  dragon  with  his  base  (13  feet  4  inches  high)."  The  carvers  were 
paid  6s.  8d.  a  foot  for  carving  them  ;  and  it  would  seem  that  another  item,  "  founders 
casting  paternes  in  metall  to  garnish  the  cesterne  and  toj)  of  the  fountain,"  shows  the 
next  step,   the  casting  of  the  beasts  in  lead. 

The  harte  is  mentioned  later  in  the  painting  account,  and  is  necessary  to  complete 
the  scheme,   but   must  have  been  carved  at  some  other  time. 

There  seem  to  have  been  escutcheons  and  coats  of  arms  in  stone  on  the  lower 
part  of  the  fountain  and  in  lead  above.  Carvers  were  paid  for  "  carthowges  and 
sccKichions"  (carthowges  and  cartushes  are  both  delightful  spellings  for  cartouches),  and 
plumbers  for   "  sodcring  the  armes  about  the   fountaine." 

It  was  the  work  of  the  latter  to  "lead  the  lavatory,"  and  that  the  leadworker  was 
the  main  craftsman  on  the  work  is  clear  from  the  following  :"  To  John  Puncherdon, 
serjant  plumer,  and  Henry  Deacon,  for  finishing  and  garnishing  of  the  fountaine  in 
great,   as  it  was  agreed  between  the   Lord   Treasurer  and   them,    /,6o." 

The  painters'  accounts  give  us  the  final  touches,  and  indicate  the  gay  and  splendid 
work  that   Puncherdon  completed. 

They  painted  and  gilded  one  great  vane  with  the  King's  and  Oueen's  arms  with 
a  great  Imperial  crown,  and  did  the  same  for  the  lion  and  eagle  that  held  it  up.  They 
painted  the  gryfton  (the  gryffith  of  the  earlier  reference),  harte  (not  mentioned  in  the 
carving  accounts),  the  greyhound,  and  antilope,  holding  up  four  compartments  with  four 
badges  crowned  within  them,  and  finally  we  read  of  the  painters  working  on  the  "  top 
of  the  fountaine  with  all  cartushes,  pedestals,  armes,  beasts,  pendants,  compartments, 
pillars,   cornice,   architra\'es,   and   friezes." 

The  fountain  must  have  had  eight  pillars,  from  which  si)rang  arches,  probably 
round.  Above  the  cornice  there  was  a  roof  of  ogee  outline,  and  standing  on  the 
cornice  were  the   roval  beasts   with   their  gilded  vanes  flashing  in   the  sun. 


[      146     ] 


CHAPTER    \III. 


LEAD    PORTRAIT    STATUES. 


Fairfax — Charles  II. — William  III. — Maiilioniuyh — Prince  Eugene — Queen  Charlotte — Sir  John  Cass — George  I. 


HAD 


trait  statues  do  not  need  an  apology,  but 


thi 


ikcs    tht 


place 


connection    that    it 
^'conomical.      It   is  hoped   that   the  next  chapter  w 
ise    of   lead    for    garden    figures    of   a    mure    or    L 
lecorative  character,  but  establish   for  it  a   fitness 
atmosphere. 

In  the  case  of  the  Marlhoi-oiii^li  and 
Eiiocne  figures  ( P'igs.  2^^2  and  24;^,  though 
they  are  portrait  statues  of  a  portraiture  quite 
serious,  they  are  also,  in  their  present  home  at 
Glemham    Hall,  garden  ornaments. 

In  the  case  of  the  Queen  Square  statue 
(h"ig.  245),  it  also  stands  in  a  garden,  as  d(_) 
the  Hoghton  Tower  William  ///.  and  the 
Wrest   Park    William  III. 

When  we  come  to  the  e(|uestrian  figures 
a  defect  must  be  admitted.  The  weight  of  the 
horse's  body  and  ot  the  rider  is  a  heavy  stress 
on  the  horse's  three  lead  legs,  and  in  the 
case  of  the  Petersfield  William  III.  a  sta\- 
rod  has  been  summoned  in  aid,  <ui  addition 
frankly  disturbing.  Yet  even  here  no  worse 
has  happened  than  in  the  case  of  some  stone 
ecjuestrian  figures,  which  ha\-e  also  needed 
support. 

The  p(.)rlrait    of    the    great     Lord     Fairfax 
(the  earliest    in    order    of   date)   is    not 
fine    achievement    in    sctilpture 
strong  type,    but   is  probabh' 

It   is   in   the   Council  Cha 
it   was   l)ou''Iit   in    iSrq  at   .Sh 


t  mav  fairly  be  said  of 
if  bronze  for  reasons 
11  not  only  justify  the 
ss  tri\ial  and  purely 
peculiar  to  the  garden 


''"'-^ 


■\'\^ 


imp 


uh 


m   the 


Ch 


te)   is    not   only  a 

Fig.  23S.— Fairfax. 

•ed    likeness    of  a 

the   oldest    lead    portrait    bust 

in    I-ngl.uid. 

mi.er  of  the    York    Philos,,phi. 

;al    .SocIeiN-,  by  whic 

h  .Societ\- 

ici'ift    Hulton    near   \'ork.      It  1 

i.id   belonged   Ui   Mr 

Leonard 

;ht  the  Park  I'.state  from  the    1 

lllgl-.uns    o|      Temple 

Xewsam 

.So   |,Lr   ue  are   on   solid   groui 

id'  ,in<l    h.ive  a  gr.is] 

1  <if  fads. 

LEAD    PORTRAIT    STATUES. 


hut    the    intormatKin    is    not 
notable    bust,    for   whom    ;uu 
conjecture  and  com[)arison. 
it  is  impossible 


irtist  may  we  attribute  this  \-ery 
We  are  oblij^ed  to  fall  back  on 
jniuL;-  the  bust  has  yet  come  to  lii^ht ; 
nal  possessor  of  the  bust   was  "  Black 


very   fruitful.      To   what 
1   when   was    it  modelled : 
No  local   will   menti 
sa\-,  therefore,  whether  the  orig 
Tom"   himself  or  some   memlier  of  his   family. 

At  Leeds  Castle,  Kent,  which  once  belonged  to  the  Fairfaxes,  there  is  a  bronze  bust 
of  which  the  York  lead  bust  is  an  exact  replica.  For  the  lead  bust  there  may  .safely 
be  claimed  the  greater  chiim  to  interest.  Though  the  epithet  "unique"  is  a  dangerous 
one,  it  is  fair  to  apply  it  to  a  leatl  portrait  bust  of  the  middle  of  the  seventeenth  century, 
and  the  same  cannot  be  said  of  bron/e. 

The  questions  of  authorship  and  date 
are  bound  up  together.  There  is  no 
signature  or  other  mark  on  the  York  bust, 
and  we  turn,  therefore,  to  the  evidence  of 
its  portraiture. 

In  1644  was  fought  the  battle  of 
Marston  Moor,  out  of  which  IJlack  Tom 
came  with  a  wound  in  his  left  cheek.  This 
scar  appears  in  the  bust  as  in  most  ot  the 
portraits,  and  the  bust  cannot,  therefore, 
be  earlier  than  1644.  After  Xaseby,  in 
November  1645,  '^'''  enamelled  jewel  in- 
corporating a  portrait  of  Fairfax  and  made 
by  Bordier  was  presented  to  him  by  his 
Parliamentary  admirers,  and  he  wore  it 
round  the  neck  on  a  chain. 

This     jewel,    known    as    the    Naseby  ; 

enamel,    which   was    in    the    possession    of  ' 

Thoresby,  the  famous  Yorkshire  antiquary, 
and   at  his  death  was  bought  by   Horace 
Walpole,    appears    in    portraits    by    Bower 
and  others.      It   is  likel\-  that   the   Xaseby 
jewel   would    have    appeared    in    the   York       „..'.__ 
bust  if  Fairfax  had  possessed   it  when  the 
bust  was  modelled.      The  year    1645   may 
be  taken  as  the  most   notable  of  I-Slack  Tom's  career, 
supreme    military    position    on   the    Parliamentary    sii 
happened   to   other   successful   generals,    there    was   ; 
In  this  year  Thomas  Simon  executed  four  medals  o 
to  the  York  bust  in  armour  and  cast  of  features. 

Abraham   Simon,  the  brother  of  Thomas  Simon,  and 
John   Evelyn's  phrase,  was  a  modeller  of  large  portraits. 


he  had  won   the 

ity,    ; 

nnmortalise   his   features. 

uid  these  are  verv  similar 


"  virtuoso  fantastical  "  ot 
t  seems  very  likely  that 
towards  the  end  of  1645  Fairfax  entered  on  a  debauch  of  sitting  for  his  portrait — to 
Thomas  for  the  medals,  to  Abraham  for  the  bust,  and  to  Bordier  for  the  Naseby  jewel. 
The  attribution  to  Abr.iham  Simon  of  the  bust  is  nothing  more  than  a  guess,  but  it  seems 


148 


ENGLISH    LEADWORK 


a  reasonalilc  one.  AiK-lrcw  Karne  was  in  York  somewhere  between  1633  and  163S,  but 
we  do  not  know  of  his  bein^-  there  as  late  as  1645.  He  is  a  possilile  lint  tmUkely  author 
of  the   bust. 

In  Parliament  SiiLiare,  luhnburL^h,  is  an  e(juestrian  lead  statue  of  Charles  II.  as  a 
Roman  i_;"eneral  (bi.i;'.  -39)-  I'he  face  has  that  saturnine  lonk  (nut  inappropriate  to 
Saturn's  metal)  which  is  sharetl  by  the  "shaven"  portrait  of  th(_'  Merr\"  Monarch  liy 
Sir  ("lodlrev  Knelk/r.  The  horse  and  rider  are  about  10  feet  in  heiL;ht.  and  on  the  back 
of  the  tunic  there  is  a  winded  cherub  as  an  ornament,  a  little  inappropriate  to  the  Roman 
t;-uise.      The  leL^s  of  the  horse  are  imfortunateK'  splittini,;  somewhat  and  need  repair. 

Kini^  William  111.,  ho\\e\er,  is  the 
kini;"  of  leadw(.)rk.  At  Dublin,  in  College 
Green,  his  statue  has  been  the  sport  of 
contending  factions.  W'arburton,  White- 
law,  rind  Walsh  in  their  "  History  of 
Hublin"  inc(.irrectl\  descril)e  this  figure 
as  being  ot  l)ron7.e,  antl  the\'  go  on  to  sa\', 
"  liy  an  effusion  of  more  loyalty  than 
taste,  both  statue  and  pedestal  get  a  new 
coat  of  p.u'nt  e\cr\-  year."  The  Corpora- 
tion of  Dublin  no  longer  paint  the 
pedestal,  which  is  of  stone,  and  is  orna- 
mented with  tro|)hies  of  arms  in  the  marine 
store  st\li'  of  decoration,  but  the  tigure  is 
still  painted  brown  to  imitate  bronze.  One 
good  feature,  appropriate  to  leadwork, 
remains.  The  trappings  of  the  horse,  the 
cross  gartering  of  the  King's  Rom.ui  legs, 
his  laurel  wreath,  and  parts  of  his  timic 
are  gilt.  Being  Rom.ui,  he  abstains  (as  do 
Charles  at  lulinburgh  ,ind  William  again 
at  Petersfield)  from  using  stirrups, 

Redgraxa-  was  mistaken  in  attributing- 
the    Dublin    Jl'i/Iiaiii    111.    tcj    \an    Nost. 
The    Corporation    muniments    record    that 
I'l.i.  J.),      w  i,,i, 11,1   111.,  rcterstield.  the     commission    was    gixcn     to    C.rinling 

(_"dbl>ons,  and  he  recei\'etl  p.iymeiit  for 
the  statue,  which  was  set  up  in  1701.  A  pas(|uinatle  on  artists  who  worked  in  Ireland, 
bv  the  vitriolic  |ohn  Williams.  sa\  s  that  the  voimger  \an  Xost  was  the  son  of  the 
van  Nost  of  Piccadilly  who  made  lead  garden  figures,  and  that  he  went  to  Dublin  in 
1750.  It  is  perhaps  not  too  specul.ilive  to  suggest  that  \an  Xost  pcrc  did  the  actual 
casting  of  the  statue  for  Grinling  Gibbons,  and  th.it  the  connection  with  Ireland  so 
establishi'd  led  the  younger  \-an  Nost  to  decide  on  an  Irish  career. 

\'an  Xost /^'A  was  also  a  maker  of  lead  statues,  for  the  ("orjioration  ot  C'ork  iin  ited 
him    to    Ireland    some    time    after    1 7S0    to    make    a    statue    of   one    .\lr    l.awt 


howi 


of  hi 


liu 


ipper    N, 


itue    ol 
I    of    I)i 


Castle    th 


M.ist, 
'   lead 


LEAD    PORTRAIT    STATUES. 


t49 


figures  by   him   of  //isficc,  Pcac\  and   Mars,  which  were  put  up  in   1753.      The  figure  of 


n"s  Green,  DubUn,  he  did   in 
nd  selected  van    Xost  as  "  the  nv 
tone. 


or  the  Corporation.  They 
knowing'  and  skilful  statuary 
It  in  lead.      In  an  old  Dublin 


.rfihd 


George   1 1.  in   -St   .S 
atlvertiseil    Un-  desi^; 

in  this  kingdom,'  biit  he  elected  to  do  Geori 
newspaper  of  1765,  am(.)nL;-  the  London  in- 
telligence there  is  the  following-  note  :  "  Mr 
van  Nost,  an  eminent  statuary  from  l)u])lin, 
is  lately  come  over  to  take  a  model  nf  His 
Majesty  for  a  lead  statue  which  is  to  be 
erected  in  the  K.xchanye  about  preparin;^-  in 
that  metropolis." 

There  is  e.xtant  an  advertisement  by 
the  vouny"er  van  Xnst  of  casts  of  a  bust  ot 
KiiiL;'  William,  which  he  originally  did  in 
marble.  These  busts  were  probably  in  lead, 
and  it  would  be  most  interesting'  to  know  it 
one  of  them  sur\-ives. 

He  died  in  Mecklenljur^h  Street, 
L)ul)lin,  in  i  787. 

Of  the  authorship  of  the  eiiuestrian 
Jl'i/Ziaiii  III.  at  Petersfield,  nothing  is 
known  ( I-'ig.  240).  It  stood  originally  in 
front  of  the  house  of  the  Jolliffe  family. 
When  the  house  was  demolished  it  was 
moved  to  the  stjuare  at  Petersfield.  The 
drapery  of  the  figure  is  of  a  freer  t\pe  than 
the  Dublin  example.  The  outstretched 
arm  gives  it  more  action,  but  at  the  loss  ot 
some  dignity.  ISoth  are  interior  to  the 
splendid  brass  statue  of  William  HI.  at 
Bristol  bv  Rysbrack.  The  Bristol  horse  is 
a  particularly  fine  creature. 

It  would  be  satisfactory  to  find  some 
justification  for  labelling  a  William  lead 
statue  with  the  name  either  of  Rysbrack 
(1693- 1  770)  or  Roubiliac  (1695- 1762),  '^"-"^ 
there  is  not  a  tittle  of  e\-idence.  That 
Roubiliac  worked  in  lead  we  knciw  ;  that  he 
k-arnt  it  from  Sir  Henry  Cheere  ( i  763- 1  7.S1  ), 
to  whom  the  Queen  Charlotte  is  attributed 

later,  we  may  guess.  He  left  Cheere  on  securing  a  commission  from  Jonathan  Tyers  tor 
a  figure  of  Handel  to  stand  in  Vauxhall  Gardens.  For  this  same  Tyers  he  did  a  JMilton 
in  lead  "seated  o\\  a  rock,  in  an  attitude  listening  to  soft  music,"  and  his  Cass  is  described 
later.  It  is,  however,  to  some  competent  artist  of  the  calibre  of  Rysbrack  or  Roubiliac 
that  we  must  look  for  the  authorship  of  the  lead  fiuure  of  William  lit.  now  at  Hoghton 


ENGLISH    LEADWORK 


Tower,  Lancashire  (  Im.u-  241).  The  por- 
traiture is  strikin^K'  Li'dncl,  and  the  easy  pose 
of  the  figure  Ijespeaks  an  artist  of  no  little 
al)ility.  One  detail  is  amazint;-,  the  absence 
of  a  win'.  There  is  no  portrait  amonL^-  the 
scores  of  en!4"ra\inL:s  at  the  Hritish  Museum 
where  this  is  lacking'.  In  one  emblematic 
en.!_;Tavin^-,  where  ISritannia  offers  William 
the  scei)tre  and  an  an^el  is  crowning-  him,  he 


I'li;.  242.  —  I'nncc   Ku^cne,   Cilcmhani    Hall. 

wears  costume  in  all  respects  Roman  save 
for  the  ridiculous  addition  of  a  wIl;".  In 
otIuM-  (■iiL;"ra\inLi,-s  where  he  is  made  to  look 
somewhat  ethereal,  and  is  crowned  with 
laurel,  he  [jertinaciousb  retains  his  wi^. 
Even  as  a  little  boy  he  is  bewii^^ed. 
Everywhere  a  wi^-  luit  in  this  statue.  No 
comjjlaint  is  made  of  this  notable  absence 
as  of  somethini^'  indecent,  but  it  is  clear 
that  here  we  have  e\idences  of  a  statLiary 
who  disregarded  the  inventions.  Had 
William  been  n-presented  as  at  Dublin, 
I'e-tersfield,  and  I'.ristol  in  Rom.ui  costume, 
the  absence  of  the  wi-  Would  wriii-  no 
witlK'rs.  but  at  Ib.-hton  Towc^r  the  cuirass 
indicates  the  military  dress  of  his  time, 
and  his  arms  are  not  bare  in  the  Roman 
manner. 

There    is   a    directness   and    simpliiitv 


Fig.  243.      MarllHiniu-l 


LEAD  PORTRAIT  STATUES. 


about  this  work  which  perhaps  suggests  it  was  done  by  an  Englishman  rather  than  by  i 
foreigner. 

When  Henrw  Duke  of  Kent,  Uiid  out  the  grounds  of  Wrest  Park,  an  avenue  wa: 
planted  in  honour  of  the  Revolution  of  i6S8,  and  a  lead  statue  of  William  III.  set  up  ii 
front  of  the  Pavilion.  It  faces  up  the  lake  towards  the  house,  and  the  })edestal  i: 
inscribed  to  the  King's  "(doridus  and 
immortell  memory."  The  sword  which  is 
seen  in  Fig.  244  resting  against  the  pedestal 
is  ordinarily  carried  under  His  Majesty's 
right  arm.  As,  however,  it  has  obviously 
nothing  to  do  with  the  statue,  the  author 
removed  it  Ijefore  photograijhing.  The 
treatment  of  the  mantle,  &c.,  is  closely 
akin  to  that  of  ("irinling  Gibbons'  bronze 
statue  of  lames  II.,  which,  after  much 
travel,  is  now  in  front  of  the  west  elevation 
of  the  new  Admiralty  block.  The  detail  is, 
as  becomes  lead,  somewhat  coarser.  The 
name  of  the  sculptiM-  is  lacking,  but  the 
statue  is  clearlv  from  a  verv  competent 
hand. 

At  Glemham  Hall,  Suffolk,  are  two 
delightful  lead  figures  of  Prince  luigene 
and  of  John  Churchill,  first  Duke  of  Marl- 
borough. The  /f//;'v;/(-  shows  him  with 
drawn  sword,  in  a  slighth"  theatrical  atti- 
tude, wearing  a  bulky  wig  and  the  collar  ot 
a  Knight  of  the  Golden  Fleece.  He  lived 
from  1663  to  1736.  The  best  way  to  date 
Eugene  is  by  the  fatness  of  his  face.  There 
is  an  engraved  portrait  of  1701  (when  he 
would  be  thirty-eight  years  old)  which  re- 
sembles our  statue.  A  portrait  ot  171 2 
shows  him  with  his  face  longer  and  thinner, 
and  in  another  of  1735  this  development  of 
gauntness  is  \'ery  marked  indeed.  Most  of 
his  portraits,  notalily  that  by  Sir  Godfrey 
Kneller,  shows  him  with  his  marshal's  baton 
in  his  hand.  There  seems  to  be  none  with 
a  drawn  sword. 

The  A/ai-Iborouo/i  is  a  splendid  figure  of  great  ease  and  nobility  of  j)ose.  The 
wig  is  lu.xuriant,  and  while  the  duke  carries  his  baton  he  wears  no  order.  He  looks 
rather  younger  in  the  statue  than  in  the  Kneller  portrait  of  1705,  but  otherwise  the  statue 
as  a  portrait  is  e.xcellent.  It  is  perhaps  not  impertinent  to  remark  the  continuing 
faithfulness  to  ty[ie  of  the  Churchill  family. 


144. —Statue  of  William  III.  at  Wrest  Park. 


ENGLISH    LEADWORK. 


As  to  the  ;uith()rshi[)  of  the  ( "ilfniliain  Hall  fimin-s  thrre  are  no  facts  to  give. 
R\sbrack  did  the  monument  lA  MarlLnrdu^h  at  lUenheim,  Imt  these  statues  are  probably 
earlier,  and  it  seems  sate  to  date  tlieni  as  c.   1700  it  the\'  were  mudelled  from  the  lite. 

The  lead  statue  of  a  ([ueen  in  Oueen  Sqiiare,  Bl<.)iimsliLir\\  has  been  vari(.)usly 
described  as  of  Oueen  Anne,  antl  of  the  consort  of  George  1  ,  Oueen  Charlotte.  It 
presents  some  difficulties,  but  the  evidence  seems  to  be  in  favour  of  Queen  Charlotte. 
Mr  Henry  B.  \\'heatle\-  in  his  "London  Past  and  Present"  is  on  the  side  of  Oueen 
Charlotte,  and  says  that  the  statue  was  presented  Ijy  Ceneral  .Strode.  Strode  does  not 
appear  in  any  Ijiographical  dictionary,  Ijut  he  seems  to  have  been  a  kind  of  Carnegie  of 
|Hiblic   monLiments.       The  e(]uestritUi   statue   of   the    Dukt-   of  Cumberland,   modelled   by 

Cheere  (of  whom  more  hereafter)  and  set 
up  in  Cavendish  Square  in  1770,  was  given 
by  Lieutenant-C.eneral  William  Strode.  It 
is  not  recorded  whether  this  was  of  bronze 
or  of  lead.  It  was  taken  down  to  be  repaired 
in  1868,  and  incontinently  disappeared. 
The  need  of  repair  and  the  subsequent 
vanishing  point  to  l<-ad  rather  than  to 
bronze.  Strode  also  set  up  in  StrattVirtl 
Place  a  pillar,  which  made  haste  to  fall 
down  a  few  xc.irs  later.  Assuming,  there- 
fore, that  Strode  gave  the  statue  in  Oueen 
Square,  it  is  more  likcl\-  to  ha\-e  been  of 
CharMtte,  who  was  pursuing  her  dull  and 
decorous  course  as  consort  in  1770,  the  date 
of  the  Cuiiibcrland.  Strotle  was  a[iparently 
a  courtier,  and  would  ha\e  been  less  inter- 
ested in  .\nne,  who  was  e\-en  then  un- 
questionabU  dead.  The  gixing  of  the 
Cniiibcr/aiid  statue  is  strong  e\i<_Ience  in 
fa\our  of  Charlotte.  Sir  Henry  Cheere 
was  the  most  notable  modeller  of  lead 
statues  tlien  flourishing.  As  Strode  was 
his  customt/r  tor  the  Ciiuibcy/and,  what 
more  natural  than  that  he  shoukl  go  to 
him    lor   the    Cliarlottc  ? 

iu/zling,  but  the  balance  is  in  tav'oLU"  of 
;ht  hand,  we.u's  a  crown,  and  carries  no 
)n  tNue,  and  she  wears  no  orders.      All  this 


The    evidence    of   the    figure    itself    is 
Charlotte.      She    carries   a    sceptre    in    her    ri 
orb.      Her  robes  are  of  the  ortlinary  coronat 
suggests  Charlotte. 

PA-ery  engraved  portrait  of  Oueen  Anne  wearim;  a  crow 
(except  one),  shows  her  also  with  the  collar  and  star  of  the  Car 
one  e.xception  is  a  fanciful  sketch,  from  which  a  formal  orii.u 
not  unnaturally  be  omitted.  The  [>iirtrait  statues  of  Anne  i 
Blenheim,  and   in    St    Paul's   Cluu-chyard,    not  only   have   the   ( 


nd  the  Ceorge.  The 
like  the  collar  might 
leeii  Aime's  ('.ale,  at 
r  ornaments   but   also 


LKAD    PORTRAIT    STATUES. 


153 


the   orl).      Were  the   (jueen    Square  figure  of  Anne,  it   would   certainly  h:i\-e  the  orb  and 

the   collar  and   star   of   the    Garter.      The   portrait   of  Charlotte    1)\-    Reynolds    shows  her 

seated  in  coronation   robes   similar   in    general   character  to  those  of  the  Queen   Square 

statue  in  respect  of  the  corsage  and  sleeves,  and   there  is  a  sceptre  on  a  cushion.      Here 

again    we   find    no   orb    anil    no    Garter   ornaments.        The  chief    difficulty  of    the    statue 

is  in    the    hair.        It    is    arranged    in    heavy  curls    hanging    down    o\er    the    neck,   and   is 

very  similar  to  that  of  the   .bine  in   Oueen   Anne's  Gate.      In   the   Reynolds  picture  of 

Charlotte  the  hair  is  done  Lip  in  the  usual   late   eighteenth-centur\'   manner,  and  only  one 

curl  strays  on  to  the  neck.     In  this  the  engraved  portraits  of  Charlotte  agree,  save  for  one 

at  the  age  of  twenty-three,  which   shows  as 

many  curls  as  the  statue  does.    It  is  possible, 

however,  that  h'rancis  liird's  statue  of  .\nne, 

set    up    in    1712    in    .St    Paul's    Churclnard, 

may  have  crystallised   the   long  curls  into  a 

queenly  convention,  which  the  later  statuarv, 

who  did  the  Charlotte  figure,  thought   well 

to  follow.     The  features  tell  little.    Charlotte 

was    very   plain,    and   in    life   her   nose    was 

markedly  snub.      The  (Jueen  .Square  statLie 

has   a   non-committal    sort    of   nose,    neither 

Roman     like     liird's    figure    of   Anm-,     nor 

honestly  snub  like  Charlotte's  less  fiattcring 

portraits.       Accurate    portraiture,    however. 

was    not    universal    in   the  statues   of  those 

days,  e.o.,  the  .liiiic  of   Oueen   Anne's   Ciate 

has  a  nose  not  at  all  Roman. 

This  last  statue  and  also  the  George  1 1, 
in  Golden  Square  have  been  included  in 
lists  of  lead  statues,  but  incorrectly.  P)Oth 
are  of  stone — the  .4inic  of  Portland  stone, 
the  George  II.  of  some  more  friable  and 
coarsely  grained  stone,  which  now  shows 
ominous  cracks  and  is  like  to  perish  before 
long. 

The     most     satisfactory     lead     portrait 
statue  e.xtant,  as  far  as  tletailed  knowledge  of 
high    up    in    a   niche    on    the    new  building   o: 
Street.  E.G.  (Fig.  247). 

In  1710  Cass  established  a  school,  in  171S  he  died, 
charity  "  resolved  that  it  be  referred  to  the  Treasurer  to  prepare  a  statue  of  .Sir  John  Cass 
to  be  made  by  a  skilfull  Artist  in  such  manner  as  he  shall  be  advi.sed,  and  that  the  same 
be  erected  in  the  Niche  for  that  purpose  in  the  Front  of  the  sd.  schoole." 

Sixteen   months  later   Mr  Treasurer  wrote,  "acquainting  the   Board  he  had  agreed 
-with  Mr  Roubilliac,  statuary,  for  making  Sir  John  Cass's  effigies." 

The  sculptor  borrowed  Sir  John's  picture   "to   fform   the  effigies  by,"  and  a  month 


(de^,troy^;d). 

t  goes,  is  that  of  Sir  |ohn  Cass. 

It  stands 

the   Cass    P^)undation     Institute 

in    JewTy 

io  the  trustees  of  the 


134 


ENGLISH    LKADWORK 


later    "attended    with    a    niDdelle,"    and    such    of    the    Trustees    present    as    remembered 

Sir    John    Cass   in   his   Hfetime   gave    Mr    Roubilliac    the    best    descri|)ti(jn    they  could   of 

"  Sir  John's  persoiie." 

In    Xovember    1751    the  statue   was   n;ady  to   be  set   up,  and   the   treasurer  "was   of 

the  opinion  it  woLikl  be  proper  tor  some 
of  the  Trustees  to  l^o  and  see  the  Statue 
at  i\Ir  Roubilliac's,  in  St  Martin's  Lane." 
.^f,^  On     the     9th     January      1752     it     was 

"resolved  that  the  Treasurer  do  pay 
Mr  Rouliilliac  the  sLim  of  one  hundred 
pounds." 

The  minutes  of  the  trustees  from  which 
the  above  extracts  are  taken  are  full  oi 
detail  with  one  <idd  omission,  the  material 
of  which  the  hL;Lire  is  made. 

With  tile  single  exception  of  the  lost 
Mi/lou  made  for  X'auxhall  Gardens  no 
other  lead  fi-ure  can  be  attributed  to 
Roubilliac.  The  en-ravin-  (.if  which  [lart 
is  reproduced  in  1ml;.  240).  dated  iSio, 
shows  the  liL;'ure  in  its  oriL^inal  place.  l  he 
hL^aire  is  too  hi;_;h  in  its  new  position,  and 
should  be  mo\ed  into  the  board  room  of 
tlie  ( lovernors.  This  statue  does  not 
suffer  from  the  fantastic  artihciality  which 
is  characteristic  of  so  much  ot  Roubilliac's 
work,  iiotabK"  of  the  Niohfiuc^alc  monu- 
ment in  Westminster  Abliey.  .Sir  John 
Cass  is  i^i\en  a  cilm  and  di^nitn-d  pose, 
\ery  different  from  the  buoyant  triviality 
of  the  Shakespeare  at  the  ISritish  Museum. 
The  detail  of  the  robes  is  e.xquisitely 
clean  but  does  not  suggest  undue  effort. 
There  is  none  of  that  restless  straming-  after 
characterisation  which  appears  in  the  heads 
that  Roubilliac  modelled  from  the  life. 
Anion-  lead  portrait  statues  the  Cass  has  no 
•'-  e.iual   except   the    //^Wirw  ///.  at  Ho-hton 

Fig.  247._Sir  John  Cass.  Tow.-r,  and   that   it  was   modelled  ad  hoe  for 

architectural  use  -ives  it  an  ailded  interest. 
J.  T.  Smith   records   that   the  Cass   was  at  one   time  painted  \arious  colours  to  o-ive 

it    a    lifedikc    appearance,    in    the    manner  of  the   w;ix    fi-iires    at    Westminster.      Garden 

fi-ures   were   often    tricked    out    in    the   saiiK'   fashion. 

In    Leicester   S.juare   there   stood   a   -ilt   lead   statue  of  Geor-c  1.      1 1  was  ori-in.ally 

matle   by   v,m    Nost   for  Canons    Mouse,    lul-ware.      It   was   set   up   in    Leicester    S(|uare 


lp:ad  portrait  statues.  155 

by   Frederick,    Prince  of  Wales,   to  annoy  his  father,  (ieorye    II.      ISein^"   in    1S72   much 
damaged,    it   was   sold   for  /,  16. 

In  Grosvenor  Square  there  was  erected  in  1726  an  equestri m  statue  of  Georuje  I., 
said  to  have  been  by  van  Nost,  and,  if  so,  doubtless  a  replica  of  the  Canons  statue. 
In  1727  this  figure,  which  was  "doubly  gilt,"  was  defaced  by  a  partisan  of  the  Pretender, 
and  it  has  since  disappeared.  Malcolm  speaks  of  V'ancost  of  Hvde  Park  Corner  (doubtless 
John  van  Nost)  as  modelling  a  statue  of  George  I.  from  that  of  Charles  I.  in  1721,  so 
presumably  van  Nost  thought  it  safer  to  follow  Hubert  le  S(L-ur  than  trust  to  his  own 
unaided   ideas. 

.-Is  this  chapter  loas  goiuo-  to  press,  nezvs  came  of  the  sale  of  some  of  the  Gleviham 
Hall  fionirs,  among  them  the  Marlborough  and  Prince  Eugene. 


[   156 


CHAPTER    IX. 
LEAD    FIGURES    GENERALLY. 

The  Cross  of  Chcapside  —  Nc|itune  at  Bristol  —  Karnc  —  Mt'lhourne,  Derbyshire  —  Giovanni  de  Bologna  — 
Harrowden  Hall— Wrest  I'ark — Wilton— Xun  Monkton — Methods  of  Casting — Hamilton  Court — Syon — 
Castle  Hill — Deceitful  Figures  -Forgers  of  "Antique"  Leadwork — Studley  Royal — The  Water  Note  in 
Leadwork — Eighteenth-Century  References  to  Statues — Hardwick  Hall — Glemham  Hall — Enfield  Old  Park 
—  Norfolk  Market  Crosses — The  London  Apprentice. 

iui(iti,ii'\  ma\'  Ik-  parcloiietl  ;i  imt  uniiatiir.il  dcsiri-  to  ])rovL'  early  dates, 
and  lead  statues  would  lose  some  of  their  iin|)iirtance  if  no  record  of  tliem 
in  I^HL^land  could  he  found  earlier  than  the  se\enteenth  century.  i\Ir 
Edmund  Gosse  has  complained  of  the  scantiness  of  the  records  of  sculpture 
even  in  the  eighteenth  century,  and  one  mioht  despair  of  finding  anything 
in  the  way  of  medi;eval  lead  statues  were  it  not  for  the  records  of  the 
Cheapside  Cross. 

In  J.  T.  Smith's  "  Anticjuities  of  London,"  there  is  a  rough  picture  of  the  destruction 
of  the  Cross  by  the  Puritans,  and  under  it  the  legend  :  — 

"The  2d  of  May  1643  the  Cross  of  Cheapside  was  [JuH'd  down.  A  I'roop  of  Horse 
and  2  Companies  of  P^iot  waite(l  to  guard  it,  and  at  the  fill  of  the  top  Cross,  Drums  beat, 
Trum[)ets  blew,  and  multitudes  of  Caps  were  thrown  in  the  Air,  and  a  great  shout  of 
peo|ilc  with  joy.  The  2d  of  May  the  Almanack  sa}eth  was  the  Inxi-ntion  of  the  Cross 
and  the  (>\.h  day  at  Night  was  the  leaden  Popes  burnt  in  the  place  where  it  stood,  with 
ringing  of  Bells,  and  a  great  acclamation  and  no  hurt  done  in  all  these  actions." 

"Leaden  Popes,"  a  very  stimulating  reference.  X<iw  the  history  of  the  crosses  in 
Cheapside  is  shortlv  as  follows  : — 

The  first  was  a  statelv  cross  of  stone,  l)uilt  by  lulward  I,  in  '.290  in  memory  of 
Queen  Eleanor.  This  fell  into  disre|)air,  and  was  rebuilt  in  1441  at  the  expense  of  the 
City  of  London.  Henry  \T.,  in  connection  with  this  secoiul  cross,  granted  to  John 
Hatherley,  Mayor,  licence  "  to  re-edif\-  the  same  in  more  beautiful  manner."  llatherley 
"had  licence  also  to  take  up  two  hun.lred  fodder  of  lea.l  f.r  the  buiKling  thereof  and  of 
certain  conduits  and  a  common  gi-anar\ ."  Two  hundred  f)tlder  represent  roughl)'  200 
tons,  and  ])ossibly  some  of  this  lead  went  to  the  making  of  the  "  leaden  popes"  that  were 
burnt  in  1643  in  the  place  where  the  Cross  had  stood.  It  was  building  from  1441  to  i486, 
and  Stow  mentions  th.it  it  was  "at  the  charge  of  tlixcrs  citizens  (iiot.ibly  John  P'isher, 
mercer)  curiouslv  wrought."  l!)'  1581  people  had  come  to  be  irritated  by  emblematical 
figures,  and  the  Cross  was  almost  tiemolished,  and  the  images  ilelaced,  but  it  was  repaired. 
Incidentally  the  Philistines  of  that  day  wantecl  to  mo\e  it  to  make  a  street  improvement. 

In  1599  the  timber  of  the  Cross  at  the  toj)  "being  rotteil  within  the  lead,"  the  top 
was  taken  down,  but  the  Pri\-\   Coimcil  (nxleretl  repairs. 


LEAD    FIGURES    GENERALLY.  157 

After  a  year's  delay,  and  more  commands  from  Queen  Elizabeth,  a  cross  of  timber 
was  framed  and  set  up  (in  1600),  co\ered  with  lead  and  14'ilded,  but  the  image  of  Our  Lady 
was  again  defaced.  On  the  accession  ot  James  I.  it  was  railed  in,  re[jaired,  and  beautified. 
Its  final  downfall  has  already  been  described,  a  destruction  which  Evelyn  witnessed,  "  I 
saw  the  furious  and  zelous  people  demolish  that  stately  Crosse  in  Cheapside." 

Several  illustrations  of  the  Cross  remain.  It  was  of  a  purely  monumental  type,  not 
practically  a  building,  as  was  Paul's  Cross.  Among  the  Thomason  Tracts  at  the  Briti.sh 
Museum  is  one  entitled  "  The  Downe-fall  of  Dagon,"  which  was  doubtless  published  in  or 
soon  after  1643.  ^^  •■'^  ''^  delightful  publication,  and  purports  to  be  not  only  a  description 
of  the  Cross,  but  also  its  last  will  and  testament  dictated  by  itself,  and  its  epitaph,  "  Dagon," 
being  a  puritanical  pet  name  for  it.  In  the  will  we  find,  "  Item,  I  give  to  the  Red-Coate 
souldiers  all  the  lead  which  is  about  me  to  make  bullets  if  occasion  be  ;  if  not,  I  give  it  to 
the  Company  of  Plummers  to  make  cisterns  and  pumps  with." 

The  illustration  shows  three  of  the  figures  bearing  pastoral  staves,  and  though  it  may 
be  claimed  that  these  would  be  bishops  not  popes,  there  is  other  evidence.  In  the  Crace 
Collection  of  prints  is  one  of  Cheapside  Cross  as  it  appeared  in  1547,  with  part  of  the 
procession  of  Edward  VI.  on  his  way  to  his  coronation  at  Westminster.  This  print  shows, 
in  the  lowest  tier  of  figures,  one  with  a  triple  crown.  In  another  print,  a  RepTCseyitation  of 
the  Deviolishing  of  the  Cross,  one  figure  wears  a  mitre,  l)ut  there  is  none  with  a  triple 
crown.  In  the  Pepysian  Library,  Cambridge,  there  is  a  picture  of  the  third  Cross  built  of 
leaded  timber  in  iboo,  and  in  the  Crace  Collection  a  copy  of  the  drawing  as  well  as  an 
engraving  after  it.  Here  again  in  the  lowest  tier  of  figures  is  one  with  a  head-dress  which 
is  certainly  not  a  mitre,  and  though  it  is  not  an  accurately  drawn  tiara,  it  is  differentiated 
from  the  ne.\t  figure,  which  wears  an  obvious  mitre,  and  may  fairl\-  be  claimed  as  the 
triple  crown.  .Stow  says,  "  The  lowest  Images  .  .  .  being  of  Christ,  his  resurrection,  of 
the  Virgin  JMary,  King  Ed.  the  Confessor,  and  such  like."  "Such  like"  is  not  very 
definite.  So  much  for  the  "popes."  Now  as  to  the  "leaden."  We  ha\-e  established 
the  very  large  use  of  lead  by  John  Hatherley.  To  quote  again  from  "  The  Downe-fall  of 
Dagon,"  "  Some  report  divers  of  the  Crownes  and  scepters  are  silver."  Now  silver 
ornaments  are  much  more  likely  to  have  been  applied  to  lead  than  to  stone  statues. 
There  is  also  the  evidence  of  the  frequent  regilding  of  the  Cross  on  the  occasion  of  royal 
progresses,  &c.  Lead  statues  are  much  more  likely  objects  so  to  be  gilt  than  stone 
figures.  F"rom  the  somewhat  rude  sketches  of  the  Cross  which  remain,  the  figures  which 
decorated  it  seem  to  have  been  about  twenty  in  number.  The  evidence  suggests  that 
John  Hatherley  adorned  the  second  Cross  with  these  figures,  in  lead,  and  that  the  statues 
were  of  popes  and  .saints.  The  date  1600  is  a  very  unlikely  one  for  the  production  of 
ecclesiastical  figures  of  this  character.  Probably  the  rebuilding  of  1600  consisted  merely 
of  placing  (_)n  the  leaded  timl)er  framework  the  "leaden  popes"  that  came  to  so  untimelv 
an  end  in  1043.  ^^'l'  'ii'^y  turn  now  to  the  later  work,  where  we  are  on  more  solid 
grounil. 

It  is  an  unhap|)y  thing  that,  with  t]:e  e.\cei)tion  of  the  Neptune  of  Pdizabeth's  reign 
at  Bristol,  there  is  no  English  lead  statue  of  the  sixteenth  centur\-  or  earlier,  at  least  none 
has  been  recorded.  Of  mediaeval  lead  statues  there  must  ha\e  been  plenty,  but  in 
England  they  have  not  survived. 

The  Xcptune  of  iMg.  24S  stands  in  the  street  at   Bristol,  in  the  shadow  of  the  leaning 


158 


ENGLISH    LEADWORK. 


towt-r  (jf  the  Temple  Church.  The  figure  (if  a  lucal  tradition  recited  on  the  pedestal  has 
any  value)  has  an  histurical  interest  which  qives  it  an  important  place  amon^'  English  lead 
statues.  The  story  has  it  that  tlie  pumps  from  captured  ships  of  the  Spanish  Armada 
provided  the  materi.il,  nnd  that  it  was  given  by  a  Bristol  plumber  to  celebrate  the  great 
defeat.  Even  if  this  story  is  not  triie,  the  figure  is  certainly  old,  as  lead  statues  go,  and 
it  may  be  accepted  as  sixteenth-century  work.  Mr  Lethaby  thinks  "  the  limbs  are  con- 
torted with  too  much  life,"'  and  it  is  certainly  a  coarse  piece  of  m(_)delling,  hut  it  is  the 
most  interesting  figure  in  Bristol. 

We   come   next    to   the   leadw<_irk   done    by   Andrew    Karne    (or    Ke.irne),   variously 
described  as  a  Dutchman  and  a  German. 

Horace  Walpole  relates  of  him  that  he  was  brother- 
in-law  of  the  sculptor  Nicholas  Stone  the  Elder,  for  whom 
he  worked.  At  Somerset  Stairs  he  carved  the  river-god 
which  answered  to  the  Nile,  car\ed  by  .Stone,  and  a 
lioness  on  the  water  gate  ot  \'()rk  Stairs.  He  died  in 
iMigland,  and  left  a  S(.)n  who  was  li\ing  after  1700.  The 
date  of  his  birth  seems  unknown.  The  most  definite  and 
interesting  fact  about  him  is  contained  in  Sir  Henry 
Slingsby's  Diary.  About  1625  Slingsby  began  to  build 
the  Red  House,  Marston  Moor,  and  writing  in  1638  of 
the  oak  staircase  (which  in  1S61  w<is  remo\"ed  to  the 
chapel),  he  says:  "  "\'e  staircase  \t  leads  to  the  painted 
chamlier  was  furnished  ye  last  year  by  John  Gowland. 
Ye  stair  is  about  five  feet  within  the  sides  in  wideness  ; 
ye  posts  eight  inches  s<|uare  ;  upon  e\-ery  post  is  a  crest 
set  of  my  especial  friends  and  m\-  brother-in-law,  and 
upon  that  post  yt  liears  u[)  the  half  i)ace  .  .  .  \t  leade 
_^^  to  the  painted  chamber,  there  sits  a   blackamore  cast   in 

^■■^■|MH  led    by   Andrew    Karne,   a    Dutchman,    wiio   also   cut    in 

^^V^H  stone  ve  statue  of  ye  horse   in   ve  g.u-deii.      The  blacka- 


Fiii.   248.— Neptune  at  Hr: 

The  majority  of  le 
seventeenth  centurv  s,i\ 
which  they  chiefi\"  (loui-i 

C.  G.  Gibber  was  1 
dramatist,  had  a  son  m^ 
the  son  of  Nicholas  .Stoi 

Peter  Ctmnin''fiam 


more    sits   holding   in   either   he 
candle  in  to  give  light  to  ye  staircase." 

The  "blackamore  in  led  "  sits  there  st 
and  is  the  earliest  lead  statue  in  haiglaml 
exact  date  can  fie  gi\en,  for  there'  is  no  documental 
evidence  as  to  the  Nepttme  at  Ih-istol.  The  black  boy 
cane" 


(Fi,^--  -M9). 
which  an 


Uicks    hav 


mha 


du 


It  bo\, 

of  (';. 


tht 


establisheel   in   the   pst'udc 


'lensbu 


.f  him  that 


■item, 
f      1: 


.-ch 

issic  a 

tinos[)he 

,  ii 

1    Colle 

A-  Cil)be 

lly 

empio; 

vrd   by  . 

rind 

1    the  .. 

eneral  1; 

LEAD   FIGURES   GENERALLY. 


159 


extended  to  classic  subjects  .  .  .  induced  Ciblier  to  carve  allegories  and  ;4ods.  He  per- 
formed for  the  vista  and  the  grove  what  Thornhill  and  La  Guerre  did  for  the  ceilings  and 
the  walls.  Neptune  with  his  Tritons  appeared  in  the  midst  of  the  pond,  Diana  and  her 
nynii)hs  in  the  recesses  of  the  grove,  Venus  adorned  some  shady  arbour,  and  Minerva  or 
Apollo  watched  by  the  portico."  From  this  one  would  suppose  that  Gibber  was  the  first 
to  use  gods  in  the  garden,  but  Nicholas  Stone  the  Elder  (1586-1647),  the  father  of  Gibber's 
employer,  was  engaged  in  1632  on  statues  of  Gupid,  Venus,  Geres,  Hercules,  and  Mercury 
for  the  Paston  family,  and  one  may  assume  some  of  these  were  for  the  gardens  of  Oxnead. 
Mr  A.  E.  Bullock,  who  has  written  so  fully  of  Nicholas  Stone,  has  found  no  reference  to 
his  having  worked  in  lead. 

Gareful  search  has  also  failed  to  identify  Gibber  with  any  lead  figures.  He  delighted 
in  freestone,  for  it  is  easily  worked,  and  god 
after  god  could  be  turned  out  rapidly  to  satisfy 
the  urgent  demands  of  the  iLio-nosicii/i  of  his 
day.  A  few  years  of  rain  and  frost,  and  the 
insidious  creeping  of  lichen,  produce  in  a  free- 
stone statue  an  air  of  desolation  and  decay. 
Hence  the  recourse  to  lead  for 


Homer,  Cresar,  and  Nt 
All  standin"  naked  in  t 


bucadnezar, 
le  open  air," 


^plit  a  stone  figure,  leaves 


note  that  Pepys  had 
i\L-n  statues,  as  indeed 
nister  to  the  pleasures 


for  frost,  which  wi 
lead  unhurt. 

It  is  interesting  to 
a  word  to  say  about  gar 
about  most  things  that  m 
and  graciousness  of  life. 

He  spent  a  Sunday  afternoon  at  White- 
hall  with  Hugh  May,  who  was  near  to  getting 
the  post  of  surveyor  to  Gharles  II.,  but  happily 
lost  it.  It  was  given  to  Sir  Ghristopher  (then 
Dr)  Wren. 

Hugh  May  was  doubtless,  as  Pefjys  says, 
"a  very  ingenious  man,"  liut  one  trembles  to 
think  what  we  should  ha\e  lost  if  he  had  been 
the  architect  of  St  Paul's  and  the  Gity  churches. 

About  gardens  May  seems  to  have  been  sound,  and  told  the  diarist  that  "  we  have  the 
best  walks  of  gravel  in  the  world,  bVance  having  none,  nor  Italy,  and  our  green  of 
our  bowling  alleys  is  better  than  an\"  they  have.  So  our  business  here  being  Ayre, 
this  is  the  best  way,  only  with  a  little  mixture  of  statues  or  pots,  which  may  be 
handsome,  and  so  filled  with  another  [)ot  of  such  or  such  a  flower  or  greene  as  the 
season  of  the  year  will  bear." 

While  "  a  little  mixture  of  statues  "  is  here  admitted  as  being  part  of  the  "  best  way," 
Hugh  May  unfortunately  did  not  enlarge  on  the  question  of  material,  or  refer  to  the 
subjects  he  thought   fit   for  such   figures.      However,    "our  business  here  being  Ayre  "  is 


Fir,.   249.— At  the  Red  House,   ^Llrston   Moor. 


i6o 


ENGLISH    LEADWOR] 


a  (Iclij^htful  Eni^-lish  touch,  for  whicli  we  miy  well  he  Li'ratcfLil,  ami  fori^'ive  him  for 
oniitliiiL;  to  i-li-scaiit  on  the  charms  of  statues  and  [)ots  when  of  l(,-ail,  or  the  statues  which 
came  up  to  his  slamlanl  <>(  "handsome." 

Most  of  our  knowledu;e  uf  the  makers  of  lead  statues  comes  from  the  antiriuarian 
writing's  of  [.  T.  Smith.  lie  has  lieen  (juoted  at  large  li\-  Mr  Lethahy,  so  the  l)are  facts 
only  need  be  here  set  <io\\n. 

John  van  Nost,  a  scul[)tor  who  came  to  England  with  William  111.,  started  the 
first  lead  yard  for  the   regular  sujjply  of  garden   figures   in    I'iccadilK.      We   are   told  that 


150.— Afncan  Slaw,    ML-lhuurn 


Fig.   2^1. — Indian  .^lave,   Melbourne. 


-  rexerse  only, 
trace  his  work 


there  was  a  sale  of  his  effects   in    1711,  luii   this  was  doubtless  a  lem 

for  John  Cheere  did  not  take  oxer  the  v,ui   \,,st  yard  until   i;;.g.      Wi 

as    fu-   as   we    may,    in    hue    of   the   difficultv   that    there    are    lew    suhjects   so   dei)loral)ly 

lacking   in    documents  as   the    history    of  sculptors   and    scul[)ture   of    the    seventeenth    and 

eighteenth  centuries,  or  one  which  would  hetter  repa\   cu-eful  research. 

The  gardens  of  M<-ll,ourne,   1  )erli\  shire,  which  wen'   remodelled  li\    Henry  Wi.se,  are 
a  mine  of  leadwork.        I'he  ligures,  oi-  manv  of  th(/m,  came  from    lohn  \-an    Xost  earl\-  in 

Triton    with   brass   pipe   in   middle,    /,'o.    9s.    od."       Perhaps   this    is   the   delightful    bo\    oi 


LEAD    FIGURES    GENERALEY.  i6i 

V\'^.  253,  though  Triton  seems  hardly  a  proper  description.  However,  there  is  no  Triton 
of  the  fishy  sort,  and  the  brass  pipe  which  makes  him  a  fountain  is  possibly  enough  to 
identify  him. 

There  are  two  Kneeling  Slaves  in  the  upper  garden,  bigs.  250  and  251.  They  were 
until  lately  painted  black  with  white  waist  cloths,  but  when  recently  mended  the  paint 
was  fortunately  removed. 

These  slaves  are  the  most  common  ot  lead  garden  statues.  (  )ne  is  markedly  negro 
in  hair  and  lips,  and  has  alwavs  been   called   "the    Black-a-Moor,"  the   other  is  a  turbaned 


i2.  —Melbourne. 


Fig.   253. — Melliourncj 


figure  of  Indian   type.      Both  are  about  3  feet  6  inches  in  height  to  the  toj)  of  the   tray. 
They  cost  ;/,30  the  pair. 

At  Melbourne  they  carr\-  stone  trays,  and  on  them  lead  vases.  .Sometimes  the\- 
carry  sundials.  The  pose  is  admirable.  The  tracing  of  the  supplv  of  the.se  figures 
is  not  without  interest.  There  is  a  pair  at  Glemham  Hall,  Suftolk,  which  came 
from  Campsey  Ash,  when  it  belonged  to  the  Shepherds.  The  best  known  example 
is  the  liIack-aAboor  in  the  gardens  o{  the  Inner  Temjile.  It  is  dated  1731,  and 
its  former  home  was  Clement's  Inn,  where  once  the  following  verses  were  found 
attached  to   it  : — 

L 


i62  ENGLISH    LEADWORK. 

"  In  vain,  poor  sable  son  of  woe, 
J  Thou  seek'st  the  tender  tear ;  .      .• 

From  thee  in  vain  with  pangs  they  flow, 
For  mercy  dwells  not  here. 
•    ■  From  cannibals  thou  fledst  in  vain.  ' 

■     -  ...  Lawyers  less  quarter  give  ; 

The^rsf  won't  eat  you  till  you're  dead, 
The  /as/  will  do't  alive." 

Lord  Alucrniin  Percy  hiis  annther  slave  at  Guy'.s  Cliffe.  There  was  one  in  the 
gardens  of  Sandywell,  Gloucestershire,  now  laid  waste.  There  are  others  at  Know.sley, 
Arley,  Aldenham  House,  Herts;  Norton  Conyers.  Yorkshire;  Slindon  Park,  .Sussex; 
Parley  Hall,  near  Pangbourne  ;  Ockham  Hall,  Surrey;  and  .Mr  Philipson-Stow  has  one 
which  came  from  Cowdrax.  Reference  will  be  made  later  to  a  \ariant  in  which  the 
Black-a-Moor's  face  is  that  of  a  ])o\-,  btit  the  figure  and  jjose  the   same. 

It  has  been  suggested  that  this  figure  is  after  one  by  Pietro  Tacca,  who  modelled 
the  wonderful  grou[)  of  galley  sla\'es  at  Leghorn.  Xo  evidence  of  this  is,  however,  to 
be  found. 

Van  Nost  must  have  fotind  the  lead  slave  trade  brisk  and  remunerati\'e,  for  the  list 
is  doubtless  far  from  complete.  Replicas  must  ha\-e  perished  in  scores  when  formal 
garciens  were  abandoned  for  what  Mr  Lethaby  delightfully  calls  "  mean  productions  in 
the  cemetery  style,  an  affair  of  wriggling  paths,  little  humps  ami  nursery  specimens." 
In  such  futile  parodies  of  gardens  the  lead  statue  was  an  offence  and  a  hissing. 

The  Melbourne  aniorini  'AXit  chubbily  pretty,  and  the  story  of  ijuarrel  and  reconcilia- 
tion, told  in  the  tour  groups  of  two,  gi\es  a  dramatic  touch  which  is  pleasant.  Pigs.  254- 
256  show  the  [)r()gress  of  the  (juarrel,  which  arose  out  of  a  struggle  for  a  garland.  The 
fourth  group  shows  them  healing  their  (piarrel  with  kisses.  These  groups  were  modelled 
by  van  Nost  in  1699,  and  wert-  su[)|)lied  in   1  ;oo  for  ,^{,"42  the  four. 

The  single  figures  are  perhaps  more  admirable.  The  artist  had  no  story  to  attend 
to,  and  the  modelling  has  benefited.  It  would  be  difficult  to  find  figures  of  a  happier 
grace    than   those  of  I^'gs.    252   and    253.       The   pose   of  the   boy  of  big.  252  is  very  like 

that  of  a  bronze  Ctipid  of  the  school  of  Andrea  del   \'errocchio   in   the   South  Kensington 

Museum,  while  the  other  is  a  little  reminiscent  of  the  Boethos  figtire  of  a  Boy  xvitli  a  Goose. 

Both  stand  on  pedestals  in  the   middle  (tf  large   sunk   basins   of  masonry,  and  gaily  s[)out 

up   water  through   brass   tubes.      Their   brothers    of   P'igs.    25S    and    250   were    Inisy   with 

archery.      Th.nigh   the    bous    have   perish. 

mark,  the  look  of  mischievous  intent  renia 

these  gardens  in  anacreontic  fashion,  //or,,r 

leg  of' the  boy  of  Fig.  259  is  diu;  to  the  pa 
The  tendency  of  sculptured  aiiioriiii 

is  of  less  happy  effect  in  lead  than  in   bron 

makes  them  rank  high   in   their  race.       1" 

the  whole  series,  and  not    without   suHiciei 

in  the  hollow  of  a  tree  stump,  and   the\   at 

his  right  hand,  another  on   his   fice,   and 

ferencc-.       His  features   are   screwed    into   ; 


and   the  arr. 

i\\  s   ha\c   long  since   tounel  their 

s,  and   they  d( 

lubtless   smote  soim-  lingerers  in 

:,.,,    ,:„.^,i,  „„r.,,„. 

,.      The  crushed  look  of  the  right 

ial  collapse  of 

the  lead. 

to    a  (not    un 

natural)  liveliness   of  limb  which 

■,  but    the   <|ui 

et   .iction    of  some   of  these  box  s 

\()UiiL;sler   0 

f    iMg.    237    is    the    most  li\el\   t)f 

reason.      lb- 

has  <listiirlird   a   nest  of  hornets 

working   theii 

-   \cii!4e,mcc   on  him.      One  is  on 

s   fat   liltlf   pe 

rson    is   ]>a\iiig   the  toll    ot    inter- 

ecstasy   of  ,: 

lain.  but   the   sense  ol    artiticialit) 

nuine  a  symp 

atln. 

LEAD    FIGURES    GENERALLY. 


■63 


Amori.nm,   Mkli'.ourne,   Derbyshire. 


i64 


ENGLISH    LEAUWORK. 


If  these  Melljourne  anioriiii  are  compared  with  such  figures  as  Andrea  del  X'errocchio's 
bronze  Cupid  -Lvitli  Dolphi}i,  it  will  be  seen  that  the  sense  of  merry  elfish  agility  which 
Verrocchio's  figure  suggests  is  not  only  absent  from  the  Melbourne  figures,  but  would  be 
mis[jlaced  in  lead. 

The  question  of  muffled  detail  is  [jarticularly  noticeable  in  the  wings.  In  Verrocchio's 
figure  the  feathers  are  distinct,  at  Melbourne  they  are  little  more  than  suggested.  There 
is,  ot  course,  the  inferiority  of  the  artists  in  lead  as  modellers.  It  would  seem,  howev^er, 
that  in  many  cases  the  figures  have  been  modelled  with  an  intentional  roughness,  appro- 
priate to  lead,  which  W(iuld  be  coarse  in  bronze.      Compare,  for  example,  the  bronze  Cupid 


by  Donatello  which  is  in  the  Nat 
Melbourne.  The  fine  lines  and  d( 
Even  if  attempted,  tliey  would  so( 
by  lichens.  Impossible,  too,  in  le, 
gave  to  his  bronze,  the  impish 
Melbourne  auioriiii  are  from  2  f 
At  the  bottom  of  the  Mellx 
e.xquisite  gardendiouse  of  open 
fish    pond.       They   have  been   pai 


onal  Museum  at  Florence,  with  the  lead  aniorini  at 
(•tail  of  the  Donatello  woukl  lose  if  rcproducetl  in  lead, 
in  be  blurred  by  the  battery  of  time  and  gently  effaced 
ail,  that  exquisite  delicacy  of  expression  which  Donatello 
gaiet\-  which  a  surface  defect  would  d(.'stro\'.  The 
cct  ,:;  inches  to  2  feet  6  inches  high. 
)urne  gardens,  one  on  each  side  of  the  "  IWnlcage,"  .an 
ironwork,  stantl  Perseus  and  Audiwiieda,  facing  the 
nted   white,   and   have   a   ghostly   look   against  the' back- 


LEAD    FIGURES    GENICRAI 


.65 


Tijund  of  yew.  Perseus  F\'^.) 
60)  is  holdint^-  out  an  affVij^htin^' 
tLirns    away 


Medus; 
with 


head,    and 

rather  unconcerned 
manntM',  not  devoid  of  swai_;L;er. 
His  clothing  is  soniewliat  nonde- 
script, and  looks  Roman  rathei- 
than  Argive,  but  the  artist  has 
been  careful  to  ,i_;i\e  him  the 
winged  sandals  and  the  helmet 
of  Hades.  He  is  a  heavy  figure 
compared  with  such  a  Perseus  as 
the  Canova  in  the  Vatican,  or  the 
Benvenuto  Cellini.  Andromeda 
is  rather  more  interesting  (Fig. 
261).     She  is  chained  to  the  rock 


There  is 
Bologna 


in  orthodo.x  fashion,  and  the  [)ose  of  persecuted 
maidenhood  waiting  and  cr\ing  for  deli\'erance  is 
tolerably  convincing.  The  accounts  show  them  as 
costing  ^25  for  Perseus,  and  /,  20  for  Andromeda. 

These  two,  after  all  is  said,  are  merely  classic 
j)ersonages  as  the  eighteenth  century  understood 
them.  They  are  ornamental,  and  give  a  pleasant 
academic  tlaxour  to  a  garden  which  is  reminiscent 
of  courtly  manners  and  a  sedate,  if  not  very 
intelligent,  affection   for  the  arts  of  life. 

When   we  turn   to   Fig.  262   we   have  a   figure 

which   we    recognise    as   properly   a   bronze    figure. 

another  at  Holme  Lacy,  and  its  photograph  forms  the  frontispiece.     Giovanni  de 

was   a    prime    favourite    with    the   lead   founders   of  Piccadilly.       As    he  was  a 


261. -Andromeda,   Melbo 


1 66 


ENGLISH    LEAD  WORK. 

te   liis    Italiiin   namL-,    the    Dutchman    van    Nost,   who  copied 
)c-  drawn  to  his  work  as  that  of  a  iVllow  Low  Countryman. 

'eratrv -Ai  Melhournc,  but  the  Rape  of  the  Sabiiics 
inal  is  in  marl)]c  in  the  L().L;;.;"ia  dt-i  Lanzi).  The 
l-irasenose  Quadrangle  was  after  Bologna's  Samson 
jp    in  1827,  and  removed  and  destroyed   in    1881. 


Fleming,  from  Douai, 
his  figures,  W(.)iild  doubtless  be  draw- 
Not  only  is  there  this  Flyim^ 
in  lead  at  Painshill,  Surrey  (the  or 
C'lin  and  Abel  which  used  to  staiul  i 
slaying  a  Phi  list  iue.  It  was  set 
The  origin;il  was  presented  to  Charles  I.  at  Madrid,  and  is  now  in  the  possession  of 
.Sir  William  Wor.sley  at  Hovingham  Hall.  Other  replicas  of  this  remain  at  Wimpole, 
at  Harrowden  Hall,  at  Chiswick  House,  and  at  Drayton  House,  Northamptonshire. 

L'ig.  263  shows  the  Samson  at  Harrow- 
den   Hall,  and    L'ig.  264  another  pair  in  the 
same    gardens.      Originally  there   were   four 
^    ■  groups,  l)ut  one  pedestal  now  stands  emjUy. 

The  ]]'rcs/li-rs  of  L'ig.  264  are  after  the  .same 
original  as  those  at  Studley,  illustrated  in 
Fig.  303,  but  with  enough  small  differences 
to  make  it  possible  that  they  came  from 
different  lead  yards.  The  Samson  at  Dray- 
ton Park  was  cast  by  Peter  Scheemakers 
(1691-1769),  an  important  sculptor,  from 
whom  Sir  llenr\-  Cheere  learnt  his  luisiness. 
The  other  Samsons  doubtless  came  from  him, 
and  he  must  have  been  the  modeller  of  many 
other  of  the  statLies  now  illustrated,  but  the 
building  accounts  of  the  great  Hnglish  houses 
need  to  be  examinetl  before  attributions  can 
be  made  with  an\  certaint}'. 

There  was  a  leatl  Mfirnrv  at  Christ 
Church,  Oxford;  but,  by  a  curious  conjunc- 
tion of  metals,  the  head  was  of  bronze,  and 
is  now  preserved  in  the  liljrary.  The  late 
Mr  \'ere  liavne  rescued  the  head  from  a 
stonemason's  yard.  The  figure  was  pre- 
sented about  iO()5  b\-  (."anon  Radcliffe,  and 
remo\-etl  from  the  fountain  (it  is  said  during 
a  "rag")  some  seventy  years  ago. 

The  only  excuse  for  the  Melbourne 
Afcirniy  being  in  lead,  apart  from  its  cheapness  (for  it  and  a  figure  of  "  S\c,i,"  now 
disappeared,  cost  only  ,{,'50  the  paii'),  is  the  ex(iuisite  patina  which  lead  takes  on  when  It 
weathers.  This  is  a  ch.u-m  peculi.u"  to  lea<lwork,  and  it  is  of  a  simple  graciousness  which 
makes  the  figures  harmonise  with  the  domestic  ilignity  of  I'.nglish  formal  gardens  in  a  way 
that  stone  never  does. 

'i'hcrc  ;u-c  c<Mnparati\clv  \vw  large  groups  in  lead,  but  four  at  Wrest  Park  make  an 
imposing  scries.  The  subjects  are  not  altog(;ther  clear,  but  that  of  b'ig.  20c)  mav  satVly 
be  <les(rlbed  as  .  Hiicas  /\cscniu>'  Anc/iiscs,  of  I'ig.  2O7  as  another  tableau   from    the   story 


262.— Koloun.i's   Mercury  at    Melbourne 


lp:ad  figures  generally.  167 

of  Troy,  and  of  V\g.  266  as  the  J?a/>c  of  t lie  Sabines.  The  last  is  markedly  less  heroic  in 
treatment  than  Giovanni  de  Bologna's  work.  The  four  groups  stand  well  in  front  of  the 
early  nineteenth-century  house,  which  replaced,  but  on  higher  ground,  the  original  building, 
and  help  to  realise  the  description  which  has  been  given  to  Wrest  Park  of  a  "  miniature 
Versailles."  They  certainly  accord  better  with  the  spirit  of  English  gardens  than  the 
chilly  white  marble  figures  which  have  been  added  of  late  years.  One  group  is  illus- 
trated as  it  stands  on  its  pedestal  to  show  the  general  setting,  though  at  the  expense  of 
the  figures  appearing  to  a  smaller  scale  (Fig.  269). 


Fig.   263. — Samson  Slayiny;  the  Philistine, 
Harrowden   Hall. 


Fig.   264.— The  Wrestlers,   Harrowden   Hall. 


The  gardens  at  Temple  Dinsley  have  some  agreeable  little  boys  in  lead,  but  the  best 
figure  is  Old  Time  (b'ig.  268).      The  scythe  is  not  of  lead. 

The  sky-line  of  Wren's  Hamjjton  Court  has  been  alteretl  not  a  little  by  the 
loss  of  four  colossal  lead  figures  which  once  adorned  the  south  front.  Many  years 
ago  thev  were  taken  down  and  deported  to  Winilsor.  Two  were  brought  back 
,ind  now  stand  behind  the  railings  on  the  south  front,  but  are  deceptively  painted 
brown,  and  look  more  like  terra-cotta  than  lead.  One  is  a  Roman  Soldier,  the  other 
a  Hercules. 


ENGLISH    LEADWOl 


Fig.   265.— At  Wrest   I'ark. 


Fig.   266.  — Rapt-  of  the  Sabines  (?),  Wast  Paik. 


SaRSiT         >, 


.—  At  Wrt-st  Park. 


Fig.  208. — FatlKM    1  ime  at   iLiiiple  Dmsley. 


LEAD   FIGURES   GEXERALLY 


169 


John  Thomas  Smith,  when  referi-in;^-  to  the  "  tlespicable  manufactory  "  of  lead  fi.tjures, 
says  "they  consisted  of  Punch,  Harlequin,  Columbine,  and  other  pantomimical  characters, 
mowers  whetting-  their  scythes  (Fig.  278),  gamekeepers  shooting  {F"ig.  291),  and  Roman 
soldiers  with  firelocks  ;  but,  above  all,  an  African  kneeling  with  a  sundial  upon  his  head 
found  the  most  extensive  sale."  The  African  we  know  well,  and  two  others,  to  the 
illustrations  of  which  references  are  given 
above.  The  author  has  not  met  Harlequins, 
but  there  is  a  memorial  of  their  presence  in 
the  name  of  some  semicircular  arbours  at 
Wrest  Park  once  called  "  My  Lady's 
Alcoves"  and  also  the  "Harlequin's  Half- 
houses."  The  latter  odd  title  they  got  from 
once  having  sheltered  leaden  Harlequins,  liut 
unha])i)ily  the  figures  have  disappeared. 

J.  T.  .Smith  calls  the  products  of  the 
Piccadilly  \ards,  "  these  imaginations  in 
lead,"  and  mentions  Dickenson  as  a  maker 
as  well  as  van  Nost,  Cheere,  Carpenter,  and 
Manning.  Of  the  productions  of  the  four 
last  we  have  traced  examples,  but  so  far 
Dickenson  has  eluded  search. 

P'rom  the  fact  that  the  Cupid  making,  liis 
Bow  at  Wilton  (Pig.  271)  is  cast  from  the 
same  pattern  as  one  at  Melbourne,  it  is 
reasonable  to  assume  that  the  Wilton  lead- 
work  came  from  the  )-ard  of  van  Kost  or  his 
successors.  The  right  hand  boy  of  the  pair 
in  Fig.  270  has  so  bene\-olent  a  forehead  that 
he  looks  unduly  elderly,  and  his  brother  with 
the  bowl-shaped  hat  is  a  little  half-hearted  in 
his  gesture.  The  Wilton  aiuorini  alternate 
with  delightful  lead  vases  (illustrated  in  a 
later  chapter)  round  the  formal  garden.  The 
most  important  leadwork  at  Wilton  is,  how- 
ever, the  equestrian  statue  of  Marcus  .  hire- 
/iiis  on  the  arch  designed  by  Chambers.  It 
is  very  similar  in  general  character  to  the 
William  III.  at  Petersfield. 

On  the  front  of  the  house  which  looks 
towards  the  river  and  the  Palladian   Bridge, 

and  sitting  high  on  the  parapet,  is  a  lead  figure  of  a  woman  (Pig.  272),  which  was  certainly 
added  well  after  the  time  of  Inigo  Jones,  and  is  frankly  a  somewhat  disturbing  element. 

Of  Charpentiere  (or  Carpenter),  who  died   in    1737,  being  then  over  sixty,  we  have 
rather  more  information  than  of  John  van  Nost. 

He  had  been  his  assistant  before  setting  up  in  business  for  himself      He  supplied  in 


Kii;.  269. — -.^Mieas  and  .^nchises,  \\'rest  Park. 


170 


ENGLISH    LEADWORK. 


diff( 


Fig.    27o.^\Vilton. 

•rent  fii^ure.    and   the  late   Mr  1'".  Warre 

a  small  Fame  },  teet  2  inch(/s  hi^h. 

In     1702    Carpenter    must    ha\i'     liceii 

kndwn,  for  we   find  Thorcshy  writing-  in 

tliar\-  :    "  Sat  up  too  late  with  a  parcel  of 

^ts   .   .   .   Mr  Carpenter,  the  statuary,  and 

luty,    the    painter,   with    whose   father, 

luty,     sen.,     the     architect,     the     most 

l)ratcd     Crinliny-     (iibhons    wrought     at 

k." 

In  1714  (nth  May)  Thoreshv  a-ain 
liked  to  Piccadilly  to  .Mr  Carpenter's, 
car\'er's,"  ami  saw  "curious  workman- 
.  of  his  in  marl.le  and  lead.'' 


1722  and  1723  to  Ditchley,  O.xfonlshirc, 
the  seat  of  X'iscount  1  )illon,  the  lead 
figures  of  Fame  (  h'i.i;-.  2-] i)  and  a  Roman 
Soldier,  which  stand  on  the  parapet.  The 
bills  for  them  amounted  to  £t^z,  and  ;{,20, 
and  the  figures  are  7  feet  3  inches  hi^h. 
Fame  is  trumpetinL;'  lustily,  and  has  a 
spare  instrument  in  her  left  hand  for 
emergencies.  The  Roman  Soldier  might 
easily  have  been  deadly.  His  uplifted 
arm  became  loose,  and  was  recently  for 
safety's  .sake  removed  and  replaced  by  a 
wooden  arm.  As  the  lead  arm  weighed 
40  lbs  the  precaution  was  wise.  Fame 
stems  to  hi\(  b(  (  n  a  ta\ourite  subject 
with  Gtoi^iui  st.itu  iries  for  the  Fame 
m     the     ^.udens    at    Nun    Monkton    is    a 


LEAD    FIGURES   GENERALLY. 


Walpole  tells  us  that  Carpentt-r  was 
much  employed  by  tlie  1  )uke  of  Chandos 
at  Canons,  anil  apparently  shared  the 
Duke's  work  with  his  old  chief,  for  van 
Nost  certainly  did  the  statue  of  George  I. 

The  presence  of  Fames  and  Roman 
Soldiers,  though  not  from  the  same 
models,  both  at  Ditchley  and  at  Nun 
Monkton,  makes  it  appropriate  to  illus- 
trate the  latter  figures  at  this  point,  though 
nothing  is  known  of  their  origin. 

The  Xun  Monklon  collection  of 
figures  is  particularly  fine,  and  is  of 
especial  interest  as  nearly  all  the  types  of 
eighteenth-century  garden  sculpture  are 
represented.  In  addition  to  Fame,  plump 
and  trumpeting,  already  mentioned  (Fig. 
274),  there  is  a  graceful  young  woman 
masquerading  as  a  soldier  (Fig.  276),  and 
affecting  a  most  unmilitary  pose.  There 
is  also  a  real  male  Roman  soldier. 


Fig.    272.— On   the   Parapet,   \\'iIton. 

Another  figure  is  a  rustic  maiden  (Fig. 
275)  regarding  some  fruit  with  a  languid  air, 
and,  best  of  all,  a  really  vigorous  gentleman  of 
buccaneering  aspect  (I'ig.  ^~~)  pledging  the 
garden  world  with  the  contents  of  his  little 
Ijarrel.  He  is  rather  Mutch  than  English, 
whicli  is  hardly  astonishing  when  it  is  remem- 
bered how  many  sculptors  from  the  Low- 
Countries  settled  in  England. 

At  Bicton,  Budleigh,  are  four  figures  of 
the  same  character  as  those  at  Nun  Monkton. 
There  is  a  girl  very  like  the  rustic  lady  of 
Fig.  275,  but  cast  from  a  different  model,  a 
vigorous  figure  of  a  Moiccr  (Fig.  278),  the 
pretty  shephenless  of  P'ig.  279,  and  an  elegant 
\-oung  man  in  knee  breeches,  most  elegantly 
laving  his  hand  on  his  heart,  doulftless   for  the 


ENGLISH    LEADWORK, 


'.U.-Fa 


Nun    iMoiikton. 


benefit  eif  the  shepherdess.  At  the  Bridg-e 
House,  \Ve\'l)rido-e,  are  a  Cymbal  Player  and 
an  ^  I  polio. 

The  statues  of  Xun  Mnnkton  stand  on 
both  sides  of  a  shad}-  walk,  and  look  alto- 
gether  charm  iiiL^.  I"  he  right  placing-  of 
figures  in  a  g,u-diMi  is  their  justification. 

In  the  .  Innual  Register  of  1764  William 
.Shenstone,  the  poet,  unburdened  himself  of 
some  "  Unconnected  Thoughts  on  Garden- 
ing," which  are  marked  by  excellent  sense. 
These  thoughts  arc  reprinted  in  \'(jlume  II. 
of  his  works  publislied  in  1777.  They  were 
doubtless  the  outcome  of  musings  in  his 
garden  at  Leasowes. 

P^)r  lead  statues  the  jxiet  pleads  with 
judgment,  and,  amongst  much  that  is  delight- 


ful, writes:   "  By  the  wa\-,  I  wonder  tha 
statues  are  not  more;  in  \ogue  in  our  m 
gardens.      Though  the\-  mav  not  e.\pre 
finer  lines  of  an   human  l)ody,  \et  the\' 
perfectly  well  calculated,  on  account   of 
duration,   to    embellish    landskips    |.wV|, 
they  some  degrees  inferior  to  what  we  g 
ally  behold.    " A  .statue   in   ,1    nM,m  chalk 
e.xruinination,  and  is  to  be  examined   I'rit 
as  a   statLie.       A    statue    in   a   g,u-den 
considered    as    one   part  of  a  scene  or 
skip  ;     the     minuter    touches    are     no 
essential  to  it   than   a  good   landskip   p; 
would  esteem   them    wei'e  he    to   repri'si. 
statue   in   his  picture."      This   excellent 
sense   is   the   more  notable   when    it    is  1 


.\t    Nun    .Menkton. 


LEAD  figurp:s  genkrallv. 


in  mind  that  l)y  1764  lead  garden  statues   had   fallen    into  some  disrepute,  and   the  palmy 
days  of  the  Ficcatlilly  lead  founders  had  gone  for  ever. 

Of  the  making  of  lead  statues  a  word  may  here  lie  added.  All  the  Engli.sh  examples 
seem  to  have  been  cast.  For  cast  figures  one  (jf  two  methods  would  he  employed  :  for 
figures  of  which  one  only  was  wanted,  the  lost-wax  process;  for  stock  patterns  like  the 
Kneclmg  Slaves,  a  set  of  casting 
patterns  and  core  stocks.  There 
are  no  modern  methods  of  making 
a  lead  statue  to  supplant  the  old. 
When  one  turns  to  Ijronze  and 
copper,  there  is  the  elasticity  of 
electrotyping  in  copper  as  an  alter- 
native to  casting  in  bronze. 

It  is  not  perhaps  generally 
known  that  some  large  statues 
which  appear  to  be  bronze  are,  in 
fact,  built  up  from  thin  copper 
electrotypes  on  an  iron  skeleton 
framing.  This  is  analogous  to  the 
building  up  of  lead  figures  from 
hammered  sheet  lead.  This  method 
was  employed  in  media;val  France. 
The  lead  was  beaten  out  on  a 
model  of  carved  wood,  and  the 
edges  of  the  adjacent  pieces  either 
soldered  or  lapped.  An  internal 
framing  of  a  main  rod  with  struts 
ensured  rigidity.  For  such  figures 
as  angels  with  wings  outstretched, 
the  repousse  method  is  obviously 
the  best,  as  it  makes  for  a  con- 
vincing lightness  of  appearance, 
while  strength  need  not  be  sacri- 
ficed. In  England  it  ne\-er  found 
favour.      Nor   is  the  omission   con- 


fined   to    statues.       Oi 


l)e-he;i 


176.-  -Tl 


Military  (lirl,   Xun   .\[onkt 


repousse     work     was     but     slight!)- 
employed.      The  beating-up  of  pat- 
terns in   relief  seems  to  have  been  l'" 
avoided,    except    on    some    of    the 
•eighteenth-century  vases  where  the  type  of  dec( 
work. 

Giacomo  Leoni,  an  architect  imported  by  Lord  Burlington  (and  employed  as  the 
"ghost"  of  that  ingenious  nobleman),  showed  some  forty  statues  ^^\■\  the  elevations  of  the 
palace    which    he    designed    for    Thomas    Scawen     at     Carshalton     Park,    but,    perhaps 


ition  olten  called  particularly  for  rej)Ousse 


174 


KXGLISH    LKADWORK. 


fortunately,  never  built.  It  is  evident  that  one  of  the  figures  was  to  ha\-e  been  the  same 
Gladiator  that  we  find  at  Burton  Agnes  (Fig.  280).  The  entrance  gates  and  a  little 
bridge  are  the  only  features  of  this  pretentious  sclieme  that  ever  took  shape.  As  the 
two  statLies  (MI  the  stone  piers  that  llanU  the  gates  are  of  lead,  it  is  not  unreasonable 
to  suppose  that  the  other  fortv  would  ha\-e  been  of  the  same  material.  One  may  regret 
the  lead  statues,  l)ut  the  house  was  l)est  unbuilt,  as  it  was  a  ponderous  and  not  very 
successful  e.\ercis(_'   in   a  vcr\-    bulk\'    niannc-r.      The  two  statLies  on   the  gate  piers  are  of 

Diana  ( I'ig.  281)  and  Actccon,  and 
give  an  atlded  interest  to  a  range 
of  admirable  wrought  ironwork, 
rhe  car\ing  (T  the  \'ery  fine  stone 
piers  has  been  attributed  to  Cata- 
lini,  and  the  statues  to  van  Nost. 

Fhere  is  perhaps  no  more 
dcliglnful  use  (jf  lead  figures  than 
in  the  mitldle  world  where  garden 
craft  antl  architecture  meet,  the 
entrance  of  a  great  park. 

The  groups  of  three  charm- 
ing boys  upholding  trophies  of 
fruits  gi\c  its  name  to  the  Flowcr- 
Pvt  (,alc  at  Hampton  Court  (Fig. 
2N2),  and  are  perhaps  the  most 
completely  successful  terminals 
e\'er  dc\-ised  for  gate  piers.  This 
gate  was  part  of  the  improve- 
mi-uts  carried  out  b\'  Lontlon  and 
Wise  aboui  1700,  un'der  the  super- 
visi.Mi  of  William  III.  himself. 
Probabb'  of  the  same  peri(xi  are 
th(j  /./(';/  and  (  i/uorn  antl  T rapines 
of  .  Inns  in  lead  that  crown  the 
[liers  at  the  m.iin  entrance  which 
leails  to  the  Wolsey  part  of  the 
Palace  (P'igs.  2S,:;  and  2S4).  These 
gates,  ,nid  their  orn.uiients,  appear, 
lhon;^h  ver\-  iiiinuteK',  in  Kiji's 
\iew,  which  was  [)ublished  between 
)[)hies  were  there  in  i  ;oo,  but  the  shield  of  arms 
of  (ieorge    II.,  and  was   perhaps  sulistituted  for  an 


706    am 
.upportec 


Tht 


1710.       1  ne    piers 
li\-    the    royal   beast 
earlier  shield  of  William   III. 

Till-  I  lampton  Court  lion 
the  Par  Gate,  .Southampton.  \' 
are  a  pleasant  example  of  th 
Coihic  trlmniin-'s  for  old  buihJ 


conxincmt. 


re  sittniL 
n-e  efiV 


i<-    p,iir   of  lead    li 
pose  (Fig.  280).^ 
c:entur\'  to   de\is( 


I'hev 


LEAD    FIGURES    GENERALLY 


175 


The  great  lead  lion,  weighing  three  tons,  which 
once  stood  on  the  summit  of  the  street  front  of  North- 
umberland House,  at  Charing  Cross,  now  occupies 
a  similar  position  at  Syon  House,  whither  it  was 
removed  by  the  sixth  Duke  of  Northumberland  in 
1874.  The  lion  is  after  a  model  by  Michael  Angelo, 
and  stands  on  a  Chapcau  d'/ionne?ir.  Redgrave  says 
that  it  was  modelled  by  Laurent  Delvaux,  an  assistant 
of  Bird  and  a  partner  of  Scheemakers,  l)ut  erroneously 
states  that  it  is  of  bronze.  It  has  also  been  attributed 
to  Thomas  Carter  of  Knightsbridge. 

At  Syon  House  there  was  also  a  statue  of  Flora, 
about  double  life  size.  It  unfortunately  fell  with  fatal 
results.  The  lead  was  only  about  three-sixteenths  ot 
an  inch  thick  (a  significant  commentary  on  the 
economic  tendencies  of  the  eighteenth-century  lead 
yards),  and  the  statue  was  filled  with  brick  rubbish, 
&c.,  held  together  by  cement.  The  bust,  however, 
survives,  also  an  arm  and  hand  holding  a  wreath. 
The  arm  was  strengthened  by  an  iron  bar,  and  the 
wreath  is  covered  with  repousse  leaves.  The  figure 
had  not  been  painted,  and  what  remains  bears  patches 
of  silvery  patina. 

The  smaller  lead  lion  at  .Syon  is  the  one  that 
Robert  Adam  set  up  on  the  Lace  Gateway  (Fig.  285). 
The  best  feature  of  the  gateway  is,  however,  the  pair 
of  Sphinxes  (Fig.  28S).  They  are  admiral^ly  modelled. 
The  Stasis  (Fig.  287)  at  Albert  Gate,  are  also  in  lead, 
and  have  this  in  common  with  the  .Syon  sphinxes,  that 
they    came    from    an    Adam    building,    the     Rangers 

Lodge  in  the  Green   Park,   which  was  built  in    1768. 

Syon  was  in  Adam's  hands  in  1761-62.      It  is  possible 

that   John  Cheere  was  the   maker   of    these,    for    the 

"despicable  manufactory"  (as  J.  T.  .Smith  calls  it)  ot 

lead    figures   was    rather   on    the    wane    by    1 768,    and 

some    of  the    lead    yards    were    closing.       In    1778   he 

made  the  lead    sphinxes    which  are  high    up    on    the 

back  of  the  .Strand  front  of  .Somerset   House,  and  got 

^,'31    each   for   them.      They   arc    markedly   inferior  to 

the  Syon  sphinxes,  as  are  those  on   the  gate  piers  of 

Devonshire   House,  Piccadilly,  which   came  from  the   Ikirlington  X'illa  at  Chiswick.  where 

there  remains  another  pair  of  replicas,  of  which  one  is  in  stone.      At  Chiswick   there   is  a 

stone  goat  signed  Rysbrack,  but  it  is  hardly  possible  that  this  able  sculptor  can  have  done 

the  very  poor  Devonshire  House  sphinxes.      The  Chiswick  villa  was  built  in  1729,  and  as 

we  again  meet  the  same  sphinx   (Fig.  298)  in  lead  at  Castle  Hill,  it  seems  reasonable  to 


iG.   279.— Shepherdess,   Bicton. 


176 


ENGLISH    LEADWORK. 


.i:ad  figures  generally 


177 


suppose  either  that  all  the  Castlt  Hill  figures  are 
of  early  in  the  eighteenth  century,  or,  if  they  were 
set  up  when  Chambers  was  working  there  in 
1770,  the  Sp/iiiix  which  Kent  used  at  Chiswick. 
and  the  Cymbal  Player  which  he  used  at  Rous- 
ham,  were  poptilar  over  a  period  of  forty  years. 

Amongst  the  many  figures  at  Castle  Hill, 
Devonshire,  the  residence  of  the  P3arl  of  For- 
tescue,  there  is  a  bust  of  Pan  (Fig.  293)  of  quite 
extraordinary  interest.  It  stands  on  a  stone  pillar 
which  slopes  down  to  its  base,  and  against  a 
background  of  trees  is  a  \ery  incarnation  of  the 
wood.s.      Grapes  are   in  his  hair,  and  abo\e  his 


On  the  Flower-Pot  (Kite,  Hampton  Court. 


Fig.  281. — Diana,  ("ar-jhalton. 

wicked  ears  the  horns  are  seen.  His  appear- 
ance in  the  wood  would  scarcely  bring  panic 
fear  to  the  wayfarer.  He  may  not  be  bene- 
volent, Ijut  he  is  not  alarming,  and  there  is 
much  subtlety  in  the  look  of  smiling,  quiet 
lust  on  his  lips.  It  is  a  hypnotising  face, 
libidinous  and  cynical,  and  one  may  well 
hope  that  the  authorship  of  this  fine  work 
mav  later  be  estalilisheil.  It  was  a  fantastic 
wit  that  put  him  in  the  same  garden  with  the 
sphinx  (Fig.  298).  She  is  cold,  unamusing, 
and  one  is  convinced,  little  friendly  to  the 
bust  of  Pan  ;  chastely  glad,  perhaps,  that 
the  artist  gave  him  no  goat's  feet  to  set  him 
dancing,  as  statues  will  of  nights,  in  any 
wisely  peopled  gardens.  The  sphinx  has  a 
wonderful  headdress  ;  even  Pan  would  take 
no  liberties  with  such  severity. 

The  Cymbal  Player  is  also  at  Rousham, 
but  the  Castle   Hill   ]'euiis  (Fig.  290)  is  very 

M 


XGLISH    LEADWORK. 


;S3.— Entrance  (Kntes,   HampiDn  Court. 


Fig.  285.— Lion    l.ace  Gate,  Syon  He 


Fig.    284.— On   Fntrance  Gate,    Hampton   Court. 


Fig.   28(1. -Lions  at  Southampton. 


(liffri-cnt   tV.nn   the    Rotisham    I'l-Ji/is,  which  is  the  MetUci   fi-iire.      The  Ciistle  Hill  statue 
has    thr    |)use    of    a    cluins\-    hal/criua,    and    iiuist    he;    an    altogether   eighteenlh-centmy 


nultiGt.      It 


i|)lc  of  how  had  art  makes  the  ntide  nak( 


Also  at   Castle    Hill   are   to   he   found  ./  Lioii,  a  lioness,  ,?//,/.?  ;';ri'//<w;/./ (  hi-s.  296. 


!9;,    299).     The   h 


)t    reniarkal.le,    but   th<'    li 


pow. 


LEAD   FIGURES   GExNERALLY 


179 


vigorously  modelled.  The  ^reyhouiKl  is  a 
quite  convincino-  hound,  and  the  artist  has 
managed  to  gi\-e  him  the  look  of  wistfulness 
which  is  so  attractive  in  life. 

'I'here  is  a  formality  about  these  beasts 
lyiuL;-  on  their  stone  pedestals  which  one  does 
not  always  find  in  the  lead  fauna  of  gardens. 
Sometimes  the  base  of  the  casting  is  let  into 
the  lawn.  In  one  case  of  a  Fox  stealing 
away  with  a  fowl,  at  Weald  Hall,  Brent- 
wood, the  figure  ceases  to  have  anything  to 
do  with  art,  and  becomes  an  illusion  in  lead,  a 
theatrical  trick  far  removed  from  the  spirit  of 
the  formal  garden.  Perhaps  the  most  amus- 
ing example  of  this  type  is  the  lead  Coia  at 
Biel  House,  Haddingtonshire  (Fig.  292). 
Could  an\-  landscape  produce  a  more  con- 
vincing cow  ?  At  Biel,  too,  is  a  lead  Gaiuc- 
keeper  standing  on  the  grass,  and  leaning 
forward  to  aim  with  a  long  fowling-piece  (I'ig. 
291).  Mr  Hamilton  Ogilvy  also  possesses  ai 
Winton  Castle,  in  the  same  county,  a  Knee/ijn^ 
Hercules  supporting  a  SLindlal  on  his  head.  It 
seems  a  plagiarism  of  the  A'/zcr/mx  S/az't\  and 
is  far  inferior  in  modelling.  It  was  taken 
to  Winton  from   Bloxham   Hall,  Lincolnshire. 


Pi\t,   Albert   Oati 


ENGLISH    LEADWORK. 

The  Coze  at  Biel  is  said  to  have  come  from  Holland, 
hut  it  is  more  likely  to  he  the  work  of  a  Dutchman 
workin,!^-  in  London,  perhajxs  of  van  Nost.  The  /-'ox  at 
Weald  Hall  has  an  appropriate  neighlxxir  in  the  same 
CamckccpLi-  that  we  find  at  Biel. 

Among  the  greater  houses  of  England,  Rousham, 
near  Oxford,  is  very  little  known,  far  less  than  it  de- 
serves, both  for  its  gardens  and  pictures.  Kent  took 
the  former  in  hand,  and  there  is  a  good  deal  of  garden 
architecture  in  his  solemn  classical  manner.  To  him, 
too,  may  j^rohably  be  attributed  the  niches  in  that  Gothic 
manner'  of  his,  \vhich  Mr  Reginald  I'.lomficld  justly  calls 
barbarous.  The  niches  are  provided  with  lead  statues, 
and  one  is  tlie  Venus  de  Medici,  a  chilly  monument. 

MlicIi  more  satisfactory,  indeed  altogether  delight- 
ful, are  the  two  Ciipids  on  Sicans  (Fig.  294).  One  is 
unhapi)ily  much  battered.  The  other  figures  include  a 
Lyiuhal  Player,  as  at  C'astle  Hill,  a  Jhy  loith  Dog,  as 
at  .Studley,  a  Flying 
Mci-Liii )',  and  five  others 
of  a  classic  sort  holding 
rather  dreary  revels 
beneath  overshatlowing 


trees. 

Purely  architec- 
tural in  its  use  is  the 
bust  of  Fig.  295,  which 
is  built  into  the  wall  at  Castle  11  ill  in  the  same  way 
that  the  long  series  of  classical  busts  is  employed  on  the 
front  (jf  Ham  House,  Petersham,  which  was  built  in 
1610.  This  fashion  was  set  by  Wolsey  at  Hampton 
Court,    but   his    Italian   artists   worked   in   terra-cotta. 

At  Castle  Hill  the  designer  of  the  gardens  had 
more  than  a  fondness  for  leadwork.  It  amounted  almost 
to  obsession.  The  seat  illuslr.Ued  as  tailpiece  to  Chapter 
X.  is  of  lead,  antl  of  a  riotous  ugliness.  The  swag  has  a 
fat  amorphous  lonely  lonk  which  is  jiositively  grotesque. 
White  marble  seats  in  an  b^nglish  garden  are  inappro- 
priate enough,  for  the\-  gro 
dank  look;  but  this  lead  obji 
(if  how   not  to  make  a  garden  seat. 

In  Fig.  300  the  figure  of  Pafis  adjudging  the  a[) 
(.South    Kensington    Museum) 


;reen  and  have  a  cold  ant 
is  an  equally  good  cxamplt 


t.n.d, 


tyi.e    ot 
in   lead. 


stati 
Th( 


1  as  a  good  e.x- 
not  suitable  for 
in   marble  at   the 


-Venus  .It  Castl 


LEAD    FIGURPvS    (IKXICRALLV 


Louvre,  and  was  l)y  Nicolas  Francois  ("lillc-t 
{1709- 1  791).  There  is  no  record  as  to  the  date 
of  this  lead  reproduction,  but,  judging  froin  the 
terra-cotta  pedestal  on  which  it  stands,  it  is 
probably  of  late  in  the  eighteenth  century.  It 
is  a  little  figure  2  feet  10  inches  high,  and  the 
subject  seems  altogether  too  delicate  for  lead. 
It  the  original  material  (marble)  were  abandoned 
for  metal,  the  smooth  feeling  of  the  hgure  seems 
to  call  for  bronze  ;  lead  has  too  much  texture  ; 
but  whatever  the  material,  the  figure  is  graceful 
and  charming. 

Another  Cupid  is  illustrated  in  b'ig.  301. 
Life  is  more  serious  to  him  than  to  them  of 
Melbourne.  He  carries  a  sundial,  and  has  no 
time  for  archery.  He  differs  markedly  from  the 
Melbourne  family  in  his  wings,  which  are  folded,  but  are  large  and  practical  for  (lying. 

The  modelling  is  ]X)or,  and  one  does  not  see  why  this  figure  has  been  more  exten- 
sively chosen  than  any  other  for  copying  and  sale  as  "antique."  It  crops  up  incessantly 
in  sales  of  garden  ornaments  with  such  labels  as  "from  an  old  garden  near  Bath."  The 
last  indignity  was  reached  when  it  appeared  among  the  weeping  angels  of  white  marble 
in  a  tombstone  yard  in  the  Euston  Road.  Poor  Cupid,  to  have  fallen  among  such 
dismal  company  I 

The  methods  of  the  makers  of  "  anti([ue  "  lead  figures  and  \ases  are  not  without 
interest.  The  great  purpose  is  to  achieve  the  silvery  patina,  which  is  so  delightful  a 
feature  of  the  old  work  that  has  honestly  weathered.  The  commonest  method  is  as 
follows  : — The  lead  figure  is  first  heated  and  washed  o\er  with  hydrochloric  acid.  It  is 
then,  while  still  hot,  brushed  with  water  and  dried.      The  patina  sd  obtained  can,  however, 


be  rubbed  off  with   the  finger, 
the  raised  surfaces.      This  mt 


Fig.  292. — Lead  Cow 


l)pears   in   the  crevices,  whereas  true  patina  comes  on 
s   so  quick   that  a   statue   has  been   cast,  treated,  and 
sold  as  an  "anticjue"'  in   one 
da\'.      Cai'ca/  cniptof. 
^;  Another  method  is  more 

efficient  and  difficult  to  de- 
tect.  The  work  is  buried  in 
'**"'  ■%  ..  -^  ;■.-,  wet  lime  long  enough  for  the 
■^  ■'-•'T'--  "  ""  surface  of  the  lead  to  be 
eaten  away  somewhat.  After 
washing  it  is  buried  in  old 
tea  lea\es  or  other  wet  herb 
stuffs  that  will  give  the  brown 
tinge  that  is  often  found  on 
the  old  work.  A  third  trick 
is  to  paint  the  figure  with  a 
thin  oil  colour,  and  after  with 


:x(;lish  lkadwoi 


a  solution  of  copperas.  The  lead  is  then  scorched,  painted  ai^ain  with  one  or  more  coats 
of  dirt)-  colour,  and  scraped  and  scratched.  As  most  of  the  genuine  work  has  at  some 
time  been  painted,  the  deception  is  often  more  complete  than  attempted  patina. 

As  to  the  casting  itself,  the  cheapest   method   is  to  cast  in  sand,  without  the  use  of 

cores,  the  ])atterns  being- 
handled  much  as  in  the 
practice  of  brass  casting. 
After  pouring,  the  lead  is 
allowed  a  few-  seconds  to 
cool,  ,uid  the  casting  frames 
tiijped,  which  releases  the 
molten  lead  through  the 
pouring  hole. 

Sometimes  a  "  chill '"  is 
made,  for  which  castings  can 
be     turned     out    in    dozens. 
For  single  copies  the  "lost- 
wax  "   process    is    used,   clay 
sometimes     being     used    in- 
stead of  wax,  and  the  mould 
is  generally  made   in   a  mix- 
ture of  plaster  and  sand.      It 
is  a  melancholy  fact  that  the 
Kiicc/ino-  Slave  has  been  re- 
protluced,    and   in    one    case 
known    to     the    author,    the 
first      casting      methotl      de- 
scribetl  abo\e  was  employed, 
(ienerallv,  however,  the 
"antiques"    are 
High     to    use    bad 
A     conimon      ex- 
a     (fir/    icith     a 
Rabbit,   but   other  worthless 
stucco     futilities    have    been 
employed,  and  they  ought  to 
deceive  neither  the  elect  nor 

1-1. ,,     MjV     -I'.in,    I   ,istic    iiiii,  •       ,       • 

the  coniparatively  ignorant. 
Reference  will  l)e  made  later  to  the  Ncptuiic  at  .Studley  Royal,  the  \'orkshire 
seat  of  the  Marquess  of  Ripon.  Close  by  the  moon  and  half-moon  poiuls  are  several 
statues,  all  in  the  classic  manner,  and  among  then-i  two  p;iirs  ot  //  rcsi/crs,  ot  which  one 
is  shown  in  Fig.  303.  The  other  is  the  famous  group  at  Florence,  which  has  so  important 
a  place  in  the  histor)-  of  scul])ture.  Another  is  a  Faun  with  a  Do^.  He  carries  a  trophy 
of  fruit,  and  is  strongly  stayed  with  iron  bars,  another  example  of  a  subject  unsuitable  for 
execution  in  lead.      Awav  froni  the  watt-rand  near  the  church  is  a   /'an.      lie  was  making 


l(_)rgers 
foolish 
models. 
aiii[ile 


LEAD    FIGURES    GENERALLY 


■«3 


Fir,.    291. — Cupid  and   Swan,    Roushani. 


Fig.  295.— ]!u.st  at  Castle  Hill. 


^i^^^^m^ 


:g].      Lions  at   Castle  H 


music,  but  his  pipes  have  gone.      One  figure  the  author  tbuntl  lying  battered  in  the  brake  ; 
the  lead  was  only  three-sixteenths  of  an  inch  thick. 

The  modelling  of  these  figures,  which  group  so  charmingly  with  the  lake  and  woods, 
<int!  with   the   stately   Temple   of  Piety,  is  partly  veiled  by  successive  coats  of  paint  which 


]-;.\GLISII    LKADWC 


■  (if  decay.      WliL-rc  the  paint  has   ^oiic  tile  natural  siK'ery 
ly    hope  that   some   (la\    this   unpleasant    shroud    may    Ijc 

used  in  ciinnec- 
-nat  impetus  when  Dutch 
artists  and  i_;ardeners  came  to 
I-'. n- land  in  .^reat  numliers  at 
the  Rexdlution,  and  stimu- 
lated the  Dutch  note  in  h:n--- 
lish  -ardencrafi.  A  tyi)ical 
Dutih,  le.i.l  rnlon  in  the 
State  Museum  at  Amsterdam 
is  shown  in  I'd-".  304.  It  was 
e\ddently  at  one  time  a  point 
of  h-eshness  in  a  formal 
garden.  With  this  before  us 
it  is  eas\  to  see  the  .source 
ol  inspiration  of  man\"  of  the 
figures  turned  out  hv  the 
I'iccadilK    lead    foimder's. 

Husson's      -[.a 

'f/uoi-ic    li    la    J'l-atiqiic    du 

/ardiiuri^c,"  inihlished  at  The 

la^^ue     in      1711,    lea\'es    no 

douht  as  to  the  Dutcli  attitude 

towai'ds  water  in   the   garden. 

He    tells    us    that    "fountains 

are    the    soul    of 

the\      make     their 

nenl    and    enlixen 

them.      1  low  olten 


f.n-ment  des  jets,  des  -erhes,  des  houillons  dVaux."  1I( 
linin-  hasins  with  lead,  hut  warns  his  reailers  that  folks  ; 
the  fiL^ures  which  adorn  the  fumtains  he  recomnuMuls  1 
hron/ed.       i'.ronzetl    lead    is   a    pu/zliuL;    su^^estion. 

Wdien    all    is    said    of    fountain    statues,    however,    we    must 
which,  douhtless,  e.xercised    a    L^reater    inlluence   on    I{nL;lish    ,uid 


arden,  heautiful 

will    .seem    sad 

\'    aiul     lacking'     in 

ts      most      gracious 

it  has  no  water." 
>n   is  ,dl   lor  "  eau.\ 
s,celles(|uis'elevent 

milieu  .l.'s  l.assins, 
i.il  instructions  for 
■al  the  metal.  I'.-r 
<■,  and    le.id    -ilt    or 

h.ick    to    X'ersailles, 
■ed    all    -ardencraft 


l.E.M)    FIGL'RKS    GEXI'IRALLV. 

than  all  the  Dutch  i^-anleners  to- 
gethiT.  In  those  supreme  gardens 
lead  more  than  won  its  share  of  the 
honoLirs,  and  chietly  in  the  water 
schemes.  The  A'e/y/niic  at  Studley 
rather  shrinks  when  compared  with 
Sigisbert  Adams'  group  at  Versailles 
in  the  Nepiune  Fountain  (1740).  In 
h'ngland  there  is  nothing  one  can 
compare  with  th(_-  lazy  grace  of  the 
Tritons  and  Sircm  after  Tuhi  and 
I.e  ilongre.  Still  less  can  one  hntl 
ainthing  like  (iirardon's  "  Fountain 
of  the  Pyramid  "  (1672). 

In  1889  M.  Toni  Noel  recon- 
stituted from  old  views  the  restless 
group  of  the  h'onntain  of  Dragons. 
This  subject  has  not  always  been 
so  \ioIentl\-  treated.  At  La  (".ranja, 
the  Draoons  fiuntain  is  a  single 
composition,  but  among  the  twcnty- 
hve  other  fountains  with  which  Phili]) 
\'.  of  .S[jain  beautified  the  Palace 
of  .San  Ildefonso  are  man\-  of  the 
Dnioons    type    at    \'ersailles,    notably 


Fii;.  302. —  RivL-r  God,   Parham,  Sussex. 


I'.XGLISH    LEADWORl 


3o3.-\V,estl 


Ijcrfuct    adaiitiibility    of    lead    for 
varxin^;"  Ivpes  of  garden  and   foui 

The  point  which  it  is  inipoi 
to  emphasise  is  the  use  nl  l(a( 
the  greatest  sculptors  of  the  (i 
Monarch  for  the  supreme  decora 
of  his  gardens.  We  may  be  sure 
Andre  le  Notre  would  not  have 
milled  the  use  of  lead  If  he 
regarded  it  simply  as  a  cheap  n 
as  a  makeshift  for  bronze.  M,  I' 
de  Nolhac  writes  of  one  of 
fountains:  "The  work  was  once 
as  was  all  the  lead  at  Versailles 
time,  which  has  effaced  the  goKl 
made  the  lead  more  beautiful,  ant 
left     it     with     tones    whose     ''ra 


that 
per- 
had 


the 
Uill, 
;   but 


the  b'ountain  of  ih^ 
I'hilip  followed  \'ers; 
he  perhaps  e.xcelled 
of  his  schemes,  this  w 
At    X'ersailles,   h 


//or.sr    /^arr.       Whether 
es   in   his   use  of  lead,  as 
in  the  wild  magnificence 
ler  knows  not. 
1    was   not    Lised   onlv   for 


those  figures  which  pla\ed  in  the  waters,  Ijut 
also  for  such  grave  sculpture  as  Tulji's  l-'oiDitain 
of  France  Triumphant  {\(^'i>}„  restored  in  18S3). 
Le  (iros  ditl  a  half  grotes(iue  .lisop  in  lead, 
and  Tubi  a  Cupid {\^^a\\  in  ib;^).  Bouchardon's 
lish\  creatures,  Lenioyne's  old  goil,  Hardy's  gay 
children  sporting  on  their  islet,  (iaspard  Marsy's 
\ast  and  horrii)le  Titan,  ,ind  Tulji's  team  of  the 
Sun-' 'Oil  all   "o  to  foriu  a  splenditl  iriliute  to  the 


IM,;.  ;,o4. 


LEAD    FIGL'RKS    (iEXKRALLY 


187 


harmony  wc  must  at  all  costs  prcsLT\-e.''  It  is  probable  that  Jean  Jacques  Keller,  the 
King-'s  l""oLmder,  who  looks  so  imposini;"  in  Riband's  portrait,  was  responsible  for  the 
casting  of  the  lead  statues  as  he  was  for  the  bronze. 

But  return  must  be  made  to  the  less  ambitious  efforts  in  our  b^nglish  gardens. 
An  admirable  example  of  the  water  note   in    lead  figures  is  the  River  God  -At  Parham, 
Sussex  (Fig.  30 j),  in  the  Roman  manner. 

J.  T.  .Smith  in  his  "  Life  of  Nollekens  "   tells  of  a  visit  he  paid   with   Nollekens  and 


Fig.  305. — Shepherdess. 


Fig.  306. — Shepherd. 


his  wife  to  an  old  huly,  "quite  of  the  old  school,"  who  lived  near  Hampstead  Heath. 
"'  Her  evergreens  were  cut  into  the  shapes  of  various  birds,  and  Cheere's  leaden  painted 
figures  of  a  Shepherd  and  Shepherdess  were  objects  of  as  much  admiration  with  her 
neighbours  as  they  were  with  my  Lord  Ogleby,  who  thus  accosts  his  friend  in  the  second 
^cene  of  the  'Clandestine  Marriage':  'Great  improvements,  indeed,  Mr  Stirling,  wonder- 
ful improvements !  The  four  Seasons  in  lead,  the  Hying  Mercury,  and  the  basin  with 
Neptune  in  the  middle  are  in  the  very  epitome  of  fine  taste  ;  you  have  as  many  figures  as 
the  man  at  Hvde  Park  Corner.'" 


KX(;LI.SH    LEADWOl 


''-> 


John  ChcLTc  was  the  man  at  Ihde  Park 
Corner.  About  his  work  ni\-  Lcird  Oglehy 
in  the  play  is  \er_\-  informing;".  The  Flying 
Mercury  we  lia\e  n-,et  at  Mell)ourne.  The 
L;reat  \ase  at  Melbourne  Ijears  emljlems  of 
the  tour  Seasons,  Init  hnir  charming  Ijoy 
figures  in  a  i4<irden  at  Bishopthorpe,  York, 
seem  lietter  to  fit  the  reference.  They 
are  eml)lematieally  clothed  (as  fir  as  their 
scanty  clnihiiiL^  .-oes)  tn  represent  The 
Four  Seasous,  and  are  said  to  have  come 
from  the  gardens  of  Xun  Api)!eton,  York. 
L)oul.)t]ess  tlicy  arc  from  the  same  models- 
as  those  to  which  m\  I.ortl  Ot^leby  referred, 
and  one  is  illustrated  in  Im!.^-.  308.  It  is 
perhaps    worth    notin;,;'    that    Evelyn    in    his 


-V  f 


(  )ctol3er    1644  mentions  77it 


Four  Seasous  in   wni 
Florence. 

As  to  the  item  of  "The  basin  with 
Xeptune  in  the  middle,"  .Studle\-  Park  perhaps 
provides  the  answer. 

In  the  middle  of  the  bi^'  ornamental  water 
a  lead  Neptuue  i-em,iins  and  carries  on  a 
tradition  much  older  than  the  ei^htt'cnth  cen- 
tLn-\'  and  Mr  Cheere,  f)r  PAeKn  notes  in  1O43, 
■•the  Pont  St  Anne  (Paris)  is  built  of  wood, 
havin--  likewise  a  water-housi-  in  the  midst  of 
it,  and  a  statLie  of  Xeptune  casting;"  water  out  of 
a  whale's  mouth,  of  lead." 

"'Idle  Ckuulestine  Abu-ria-e "  (Colman 
and  darrick.  1 7'>'>)  is  a  mine  of  information 
on  some  of  the  more  f)olish  g.irdens  of  the 
middle  ot  the  eighteenth  centtiry,  when  lead 
figures  had  very  undesirable  neighbours  in 
Chinese  bridges,  C.othic  dairies,  an<l  i)aths  ".ill 


loS.  —  One  ot  the    I'oiir 


LEAD    FIGURES    GEXl-.RALLY. 


(1    out, 


■ht 


to   an<l 


nd 


taste,    /.i.L;zag,    cnnkuiii    craiiKiini, 
turning;"  like  a  worm,  my  InvA." 

The  S/u-/y/u'n/  and  S/ic/'/n-rdcss  of  the  old  lady  at    Hami)stead   we  have  no  difficulty 
in  identifying^-  with  tlic  liL^urcs  illu.strated  in  Figs.  305  and  306. 

Replicas  exist  of  both  at  Enfield  Old  Park,  and  in  the  S(iuth   Kensington   Museum. 
Others  turn  up  in  the  hands  of  dealers  from  time  to  time. 

On  the  question  of  subjects  for  garden  statues  these  .Arcatlian  people  make  one  reflect. 
It  is  unreasonable  to   demaiul    loo  much  of  a  garden    statue.       In   the  garden  one  can  be 


Fig.  309. —Sculpture,   Hardwirk 


Hardwick   Hal 


tolerant,  and  does  not  look  for  masterpieces.  To  quote  Mr  Lethaby  again  (and  indeed  who 
in  writing  of  leadwork  can  resist  doing  so?),  "lead  is  homely  and  ordinary,  and  not  too 
good  to  receive  the  graffiti  of  lovers'  knots,  red-letter  dates,  and  initials."  One  cannot, 
for  example,  regard  seriously  these  Watteau-like  productions.  They  are  merely  witticisms 
in  lead,  and  erect  the  inappropriateness  of  material  to  subject  almost  into  an  e.xact  science. 
Shepherdesses  and  their  swains  are  so  essentially  the  subjects  for  the  delicacy  of  Dresden 
china,  that  to  transpose  them  into  the  coarseness  of  lead  and  make  them  4  ft.  high  compels 
amusement.  Ccinsidering  the  unfitness  of  the  material,  it  is  noteworthy  that  the  feeling 
■of  the  figure  and  the  light  hang  o\  the  she[)herd's  clothes  are  so  well  conveyed. 


1 90 


IXGLISH    LKADWORK. 

It  is  the  sort  iif  statue  that  would  !j.ain  l)y  some 
touches  of  -ilt.  In  clays  past  the\-  often  went  further, 
and  painted  the  figures  all  the  coloLirs  o{  the  rain- 
how.  That  seems  to  be  a  superlluit}'  of  naughtniess. 
There  is  a  fitness  in  the  .L^ildin^  of  a  lead  statue. 
It  is  a  metallic  decoration  on  a  metallic  ground. 
It  throws  up  the  natur.d  colour  of  the  lead,  while 
paintiuL;'  in  other  colours  (unless  the\-  are  transparent 
which  illuminate  without  veiling  the  metallic  feeling) 
is  almost  necessarily  a  mistake. 

id  return  to  John  Cheere.  He  died  in  17S7, 
and  it  has  always  l.)een  said  that  with  him  the  last  of 
the    lead     vards    was    closed.        This    seems    inaccurate 


Fig.  311.- Music,   Hardwick   HalL 

in  the  light  of  the  three  female 
figures  in  lead  on  the  jjediment 
over  the  portico  of  Avington 
House,  near  Winchester.  It  was 
built  in  17S9  by  James,  third  Duke 
of  Chandos.  One  of  the  figures 
is  a  Flora.  That  the  use  of  lead 
figures  never  altogether  ceased 
is  clear  when  the  pair  on  the  steps 
leading  to  the  portico  of  University 
College,  London,  is  remembered. 
John  Cheere  had  a  long  career,  for 
he  took  over  in  1739  the  business 
of  the  first  van  Xost.  Probabh 
he  was  more  carver  antl  foumler 
than  artist,  and  relied  on  the  stock 
models  of  \an  Xost  and  the  de- 
si''ns  of  his  better  known    brother. 


LKAD    I'IGL'RES    GKXERALIA'. 


191 


Sir  Henry  Cheere.  In  tlie  library  of  South  Kc-nsini^ton  Museum  is  a  volume  of  sketches, 
of  marble  monuments  and  sculpture  generally.  It  bears  no  name,  Init  one  of  the 
monuments  can  be  identified  as  b\- John  Cheere.  There  are  also  coloured  sketches  of  a 
pair  of  charity  children,  ami  a  pair  of  old  people,  evidently  designed  for  an  almshouse. 
These  were  obviously  to  be  cast  in  lead,  and  are  likely  to  have  been  made  by  J.  Cheere. 


^-  ':.^W-' 


'^  '^^ 


Fk-,.   313.- Winter,   (ilcmham   Hall. 


y  ^ 


Fig.  314. — Pan,  Glcnihani  iiall. 


Robert  Lloyd  in  the  "  Cit's  Country  Box"  also  refers  to  him  : 

'■  And  now  from  H)dc  Park  Corner  come 
The  gods  of  Athens  and  of  Rome. 
Here  squabby  Cupids  take  their  places 
With  Venus  and  the  clumsy  Graces. 
Apollo  there  with  aim  so  clever 
Stretches  his  leaden  bow  for  ever  ; 
And  there,  without  the  pow'r  to  fly, 
Stands  fixed  a  tip-toe  Mercury." 

At  Aislaby  Hall,  near  Pickering,  are  four  lead  figures,  Apollo  (though  without  a  bow). 


192 


ENGLISH    LKADWORK 


Mars,  Ihitiia,  and  a  winded  lad\'  who  may 
Ik-  Fame.  All  have  thrir  arms  'raised,  and 
pcrliaps  were  comijelled  to  resign  their  dixine 
kmiiiiins  in  favour  of  holding-  torches,  tor 
their  hands  are  closed  round  sockets.  They 
ha\'e  heen  hadK  used,  and  are  now  painted 
dark  green.  A  Captain  Hayes  took  them  to 
Aislahy  llall  al)out  1770,  but  the  |)resent 
owiK'r  is  aliroad  while  this  is  written,  so  no 
further  information  is  axailahle. 

We  can  only  connect  John  Michael 
Ryshrack  ( i  (39;,- 1 770)  vaguely  with  lead 
statues.      It    is    on    record,    however,    that   he 

modelled   a   l)ig   statue    of    Hercules,    compiled    from    the    Farnese     Hercules,    and    from 

stuilies   of  pugilists   and    athletes   of  his   own    time. 

Very  jjossibly  the  Hercules  at   Shrewsljur\    (I'ig.    307),    in   the   (jtuu-ry  Avenue,  is  a 


Mviltlflton  Hciusc 


lun.   316.  -Oslriih,   .Myd.kltun   ll.-u 


Bacchus,  I'.nficld  Oh 


AU    FIGURES    GENERALLY. 

llcycitles. 


'93 

Fhe  rains  ami  airs 


n-plica  of  Kysbrack's  figure,  an  adaptation   of  the    Farn 

of  the  Severn  Valley  have  dealt  very  kindly  with   the  lead,  and  have  shaded   the  brawn 

and  muscle  of  the  god  to  the  great  enrichment  of  the  modelling. 

At  Hardwick  Hall,  Derbyshire,  there  are  si.x  lead  figures,  but  they  are  not  native  to 
the  place.  The  gardens  were  laid  out  in  the  formal  manner  by  the  father  of  the  last  Duke 
of  Devonshire,  and  the  figures  were  then  imported  from  Chatsworth.  It  has  been 
-suggested    that   thev   may   be   the    work   of  C.   G.   Gibber.      The   records   remain    of  his 


.— .d 

CT 

f^f^j/fSSf^  .«IH| 

Kb^V  Cyrz 

^ 

fc^. 

:.       ^-.._..J 

^'^m'-^'^mrmmP 

■^^'^'^'^%-r  . 

mW^ 

'-''mff 

■  ''im- 

''lo.  _^iS. — ICnceling  Boy  Slavt-,   Enfield. 


-At   Ijificld  Old  Park. 


employment  by  the  first  duke  at  Chatsworth,  to  adorn  with  statues  and  a  fountain  the 
lawn  facing  the  south  front.  The  lead  figures  now  at  Hardwick  are,  however,  certainly 
later  than  Gibber,  and  it  is  proljable  that  they  stood  by  the  south  front,  and  were  removed 
when  the  sixth  duke  replaced  them  by  copies  from  the  antique. 

Of  the  six  figures  four  are  illustrated.  The  ladies  have  a  .solid  Teutonic  air,  and 
while  there  is  a  certain  cleverness  in  the  draping  of  Sculpture  (big.  309},  there  is  a  lady 
{not   illustrated)  with  a  \iolin   whose  clothing  is  an   exercise  in  drapery  instinct  with  the 

N 


194  ENGLISH    LEADVVORK. 

spirit  of  compromise.  It  suggests  tlie  effort  of  ;ui  liilelligent  l*a])uan  to  aljsorb  the 
researches  of  Professor  Baldwin  Brown  into  ancient  (ircek  drc'ss,  and  to  applv  the  know- 
ledge to  native  needs.  The  goddesses  who  look  after  trumpets  and  painting  (I'igs.  31  i 
and  310)  are  not  \-ery  notable.  Of  the  \ouths,  one  is  Bacchanalian  with  uplitted  cup,  ani^l 
owing  to  the  leail  ha\-ing  given,  is  now  leaning  o\'er  in  a  way  that  befits  a  ISacchanal. 
The  other  is  of  somewhat  ]asci\ious  as])ect  with  a  flute  (Fig.  312).  it  will  Ije  noted  how 
cleverly  the  stability  of  the  figure  of  this  piping  god  is  assured  b\  making  it  lean  against 
a  tree  trunk.  The  Hardwick  Hall  figures  are  average  examples  of  eighteenth-century 
type.  The  ladies  have  a  look  of  massive  complacency,  which  would  induce  boredom  in 
a  gallery,  but  is  not  without  merit  in  the  restful  atmosphere  of  a  formal  garden. 

The  leaden  treasures  at  ("demham  Hall  are  not  confined  to  portrait  statues.  While 
the  head  of  the  Pan  (F"ig.  314)  lacks  the  subtle  characterisation  of  the  Castle  Hill  bust, 
the  figure  is  a  notable  one,  and  it  is  unforlLinate  that  the  god  has  lost  his  pipes.  The  tree 
trLink  with  its  goat's  skin  is  a  thoroughly  practical  accessor}'  as  it  helps  to  stiffen  the  figure. 
The    hooded    figure    of    ]\lntcr   with    arms   akimbo,    and    lean    thighs,    is    also    admirable 

(Fig.  313). 

At  C'.odinton,  Kent,  is  a  charming  pair  of  dancing  figures,  one  at  each  end  of  the 
fish  pond  ;  the  boy  has  cymbals,  the  girl  holds  what  a[)parentl\-  was  once  a  l)ranch  in  one 
hand,  and  in  the  other  a  bunch  of  flowers.  There  is  also  a  Cupid  w'wV  sundial  from  the 
same  pattern  as  the  example  illustrated  in  Fig'.  301. 

The  lead  fauna  of  gardens  have  no  more  notable  I'ejjre.sentatives  thaii  the  Ostriclws 
(Fig.  316)  and  the  J^oar  at  Myddelton  House,  W'althani  Cross.  Originally  they  all 
adorned  Gough  Park.  The  birds  stood  on  the  top  of  the  house,  and  the  pair  of  boars 
(one  has  since  been  stolen)  on  the  gate  piers.  Mr  John  I-'ord,  P'.S.A.,  of  Enfield  Old 
Park,  has  happily  got  copies  of  the  invoices,  so  we  know  the  proveiiance  of  these 
delightful  creatures. 

To  Captn.  Goff.      Bot.  of  Jno.  Nest,  Sept.  2r,  1724.     {Note. — ''Nest''  is  possibly  John  van  Nost.) 
2  Estridges  6  ft.  high    -------      ^"20     o     o 

2  Cockftresse.s  -  -  -  -  -  -  -  -700 

Carridg  -  -  -  -  -  -  -  0140 


paid  Nov.  6,  i  724. 
of  T.  Mailing. 
1720       Aug.  23.   Neptune  ------      ^'21 

Mercury  and  Fame    -  -  -  -  12 

Nov.  17.   2  Ijoares        ------  ,s 

2  large  va.se.s  -  _  .  - 

Waggon  and  Car        -  -  -  - 


pd.  ^ov.  2i,  1720 

This  "Goff"  was  Captain  GoLigh  of  the  Merchant  .Service  of  ll 
and  a  director  of  the  Conipan\-.  I  le  was  also  father  of  Richard  G( 
of  the  -Societ)'  of  Antiquaries,  who  wrote  the  earliest  pa[)er  which 
published  in  An//a-o/ooia  in   i  789.      I  )oublless  his  fuller's  "  cocketrt'sse 


-^5     0 

0 

1    17 

° 

£h^  .7 

0 

Fast  h 

idi,, 

1  Con 

ip.tny 

.;h,  som. 

-tir 

nc  di, 

reitor 

l<-alt    wi 

th 

le.HJ 

tonts. 

es"(wo 

ul<l 

th.lt 

these 

LKAD    FIGURES    GENERALLY. 


195 


charmini^'  creatures  had  not  (lowii  to  limbo)  stimulated  his  interest  in  leadwork  ;  anyhow 
he  is  the  father  of  its  histor\'.  Perhajjs  his  greatest  monument  is  the  persistence  with 
which  the  mistakes  he  made  in  his  paper  have  l:)een  copied  and  recopied  in  succeeding 
papers  on  the  subject. 

The  Boar,  shown  in  I'"iL;'.  315,  was  the  Goui^h  crest.  The  ostriches  now  stand  on 
either  side  of  a  bridge  over  the  Xew  River,  where  it  runs  thniuL;h  the  gardens  of  Mr 
Henry  Bowles'  house.  I  am  told 
that  these  fine  birds  are  not  cor- 
rectly modelled,  as  they  should 
not  have  "  fiight  feathers."  Cap- 
tain Cough  must  have  had  them 
made  from  sketches  which  his 
sea-faring  acquaintances  or  he 
himself  had  secured,  and  either 
draughtsman  or  sculi)tor  went 
wrong  over  the  feathers.  The 
skin  of  the  legs  is,  however,  well 
shown,  and  altogether  they  are 
notable  work. 

Not  only  is  Mr  John  Ford 
the  possessor  ot  much  leadwork, 
but  of  a  collection  of  the  disjecta 
membra  of  demolished  historical 
buildings  which  may  safely  be 
called  unique.  The  two  carved 
stones  which  form  the  base  for 
the  Kneeling  Slai'c  of  b^ig.  318 
once  supported  the  chancel  arch 
(one  on  either  side)  of  St  Mar\- 
Somerset  in  Lower  Thames 
Street,  the  first  of  Wren's 
churches  to  tall  to  the  destro\"er. 

The  arcading  in  the  back- 
ground of  the  photograph  came 
from  the  top  of  the  tower  of 
St  Dionis  Backchurch,  also  a 
Wren  building,  when  it  was 
destroyed  in  1878  under  the 
Union  of  Benefices  Act.      These 

two  examples  are  given  because  they  come  into  the  leadwork  picture,  but  they  are  merely 
representative  of  dozens  equally  interesting. 

Of  the  Kneeling  Slave  himself  it  is  to  be  noted  that  he  is  markedly  younger  in 
countenance  than  the  elder  African  slave  at  Melbourne  and  elsewhere,  and  his  history 
is  known.  He  stood  since  about  1730  in  the  gardens  of  Bush  Hill  Park,  and  was  bought 
originally  by  John  Core,  who  li\ed  there  and  died  in    1763,   the  last  surviving  director  of 


Fig.   320. — At    Devonshire   Hou 


idilly. 


196 


ENGLISH    LKAUWORK. 


I'M.  32  I. --Butter  Cross,  Swaffhani. 

('l"lie  l.jail  Spirelet  in  liackground   is  dealt    uilh 
earlier  Chapter. ) 


the  South  Sc-;i  Compuny.  lli.L:h  up  on  ;i 
parapet  is  a  lead  litiio.  In  tlic  L;ai'tlen  is  a 
fine  Bacchus  (Fit;-.  317).  and  a  dancin;^-  mounte- 
l)ankdike  figure  of  \ery  delicate  modelling-, 
which  is  C.erman  or  I'demish,  certainly  not 
En-lish. 

The  fiueer  apparition  of  hi-.  319  is  illus- 
trated rather  for  the  arcadcd  Jardiniere  than 
for  the  bust.  The  latter  is  all  that  remains  of 
a  complete  statue,  and  in  its  mutilated  state 
has  found  a  ix'sting  place  in  the  tlower-pot, 
which  from  its  arcading  has  an  earl\-  fontdike 
look.  The  top  mouldings,  however,  betray 
it  for  a  seventeenth  or  ei!_;hteenlh  century 
jardiniere,  but  a  pleasant  one  withal.  There 
are  also  a  Shepherd  and  Shepherdess  in  lead 
at  Knheld  Old  Park,  replicas  of  those  of  Figs. 
305  and  30b. 

When  Lord  Ikn-lington  uttered  his  dictum 
against   lead   statues,  on    the  groiuKl    that  they 


tend  to  fall  out  of  shape,  anil  that  arms 
became  like  "crooked  billets,"  he  doubtless 
had  in  mind  such  figtires  ;is  that  of  Fig. 
320.  Despite  that  no])lc  <niialcur's  scorn,  he 
filled  the  gardens  of  the  \'illa  that  he  de- 
signed (not  imalded)  at  C'hiswick  with  lead 
statues,  and  this  one  was  renioxcd  to  1  )evon- 
.shire  House  bv  the  latr  I  )tike,  when  he 
dismantled  the  '  Villa.  It  is  obvious  that  a 
material  which  neetls  to  be  sia\  eti  with  iron 
rods  is  profoundly  unsuited  to  a  figtn-e  which 
does  not  st.uul  well  over  its  base.  The  Earl 
of  Burlington  had  the  sense  to  complain  of 
the  behaviotir  of  tinsuitable  lead  figures,  btit 
apparentlv  not  to  choose  those  which  were  not 
liable  to  collapse. 

At  1  )e\-onshire  House  there  are  also  a 
replica  of  the  (iladiator  at  iitirton  Agnes 
(Fig.  2,So),  and  a  youth  bearin-  ,1  l.imb  on  his 
should.T 

In  Norfolk  there  are  two  delightful  market 
crosses,  at  .Sw.iffham  and  Ihingay.  Though 
not  exactK  alike  the\  are  similar,  and  consist 
of  a  circular  clonnade  with  donu'd  lead  roof 
stirmount<-d  bv  a  lead  statue. 


Fig.  ,32  2.--Ceres  ,nt  SwalTliain. 


Li:.\I)    IMGURKS    GKNERALLY. 


197 


At  Swaffham  the  figure  is  Ceres  bearing  the  h(irn  of  plenty  [Vv^.  322).  It  is  said  to 
have  been  executed  by  a  French  artist,  and  cost  /, 200,  an  amazinuiy  l)i^'  sum.  The 
cross  was  built  by  the  Earl  of  Orford  in  1783.  Butter  was  sold  by  the  yard  at  markets 
held  under  the  dome  of  this  cross  (so  called  doubtless  because  there  is  no  cross).  Let  us 
mourn  a  decayed  industry. 

The  similar  cross  at  Bun^'ay  bears  a  lead  fit^'ure  o^  Astra-a.  It  was  set  up  in  1690,  and 
was  also  a  butter  cross.  Amongst 
other  pleasant  uses  to  which  it 
was  put  were  as  a  cell  for 
prisoners,  a  whipping  post,  and 
a  place  for  the  stocks.  Lhuler 
the  dome  a  hook  remains,  from 
which  hung  a  cage  in  which 
prisoners  were  e.xhibiteel. 

Altogether  ^Is/rtca  has  seen 
life  during  her  218  years  on  the 
dome. 

The  figure  of  Chanty  in 
lead  is  a  not  unusual  ornamciu 
of  almshouses  and  the  like.  At 
Great  Yarmouth  she  appears  at 
the  Fishermen's  Hospital,  and 
bears  an  infant  in  her  arms,  while 
a  young  child  clings  to  her  knee. 
The  hospital  was  built  in  1702. 
A  similar  idea  is  expressed  by  a 
group  on  the  pediment  of  the 
main  front  at  Wimpole,  where 
Charity,  a  girl,  ministers  the  cup 
of  cold  water  to  Poverty,  an  old 
man. 

Fiy-  0-0  shows  a  compara- 
tively modern  e.xample.  On  a 
balcony  of  a  house  in  Park  Lane 
are  lead  Caryatides,  and  very 
graceful  they  are  with  their  wind- 
swept draperies. 

They     were    erected     about 
eighty  years  ago,  and  their  great 
weight    nearly    pulled    down   the 
whole  balcony.      When  repairs  were   being  done,    the   figures   were   found   to    be    full   of 
large  chips  of  white  marble,  obviously  the  waste  product  of  some  statuary's  yard. 

The  last  illustration  of  this  chapter  is  not  the  latest  in  date,  but  a  long  chapter 
may  be  forgiven  for  disarranging  a  date,  that  it  may  carry  the  sting  of  a  moral  in 
its  tail. 


irk   Lane. 


198  i-:nglish  lkadwokk. 

In  1903,  Newcastle  Street,  W.C,  was  destroyed,  and  with  it  the  workshop  of 
Messrs  Dent  &  Hellyer,  a  firm  of  plumbers  established  there  in  1730.  In  a  verandah 
of  "Ye  Olde  Plumbers  Shop"  stood  the  lead   fioure  of  a  London  Apprentice  (Fig.  324). 

It  is  believed  to  have  been  modelled  for 
Lancelott  Burton,  a  predecessor,  in  1769, 
of  Mr  S.  Stcpliens  Hellyer  in  the 
freedom  of  the  Worshipful  Company 
of  Plumbers.  Unsuccessful  search  was 
made  at  the  old  workshop  for  patterns 
of  the  Apprentice,  and  also  of  four 
other  lead  figures,  now  perished,  that 
stood  licside  it.  This  suggests  that 
the  lead  figure  trade  of  the  eighteenth 
century  was  confined  to  the  stattiaries  of 
the  Pi'ccadilK-  Irad  xards  and  that  the 
plumber  proper  confined  himself  so  far 
as  decorative  work  was  concerned,  to 
cisterns  and  other  domestic  objects. 
Perhaps,  howe\cr,  the  Apprentice,  a 
lively  and  admirable  figure,  was  cast  in 
Lancelott  lUirton's  sho|)s  and  the  mould 
f)rthwith  destroyed.  In  1906  the 
Plumbers'  Com[)any  presented,  in  the 
hall  of  the  (  )ld  Charterhouse,  George 
Peale's  pageant  "The  Mas(]ue  of  Lovely 
London  "  w  hich  had  lain  dormant  since 
its  first  perf)rmaiice  to  Lord  Mayor 
Wolstane  Dixie  in  1585.  In  the  hall 
stood  the  leaden  Apprentice,  and  the 
living  apprentice  in  the  pageant  was  clad 
like  him  as  he  spoke  the  plea-  - 


That  lovely  l.oiuloii  may 
The  puwLi  that  iKuv  lies 


enjoy 
m  the 


The  Worshipfiil  Company  of  Plum- 
bers is  to-day  honourabl\-  distinguished 
by  the  zeal  with  which  it  fosters  the 
practice  of  apprenticeship. 

that    apprenticeship    must    be    addeil    to 

the  technical  training  in   schools   if  right 

craftsmanshi])    is    to    be    restored.         The    leaden    Apprentice    stands    tlierefore,    not    onl\- 

as   a    fragment    of    London's    hisiorv,    but   as    one    of  the    ideals    in    which  are   l)ound   tip 

the  present  aims  ,iiul   fiittire   hopes  of  the   Art  of  I^nglish    Leadwork. 


99  1 


CHAPTER  X. 
VASES  AND  FLOWER  POTS. 

on  Urns  — Mclbminic      r.irli.ini  H(.)usl- —Hampton  (.'ourt  -Windsor — Wilton — Castle  Hill. 

KFERENCE  was  made  in  the  last  chapter  to  Shenstoiie's  views  about 
lead  statues.  Hear  him  on  the  question  of  vases  :  "  Urns  are  more 
solemn  if  lar^e  and  plain  ;  more  beautiful  if  less  ornamented.  Solemnity  is 
perhaps  their  point,  and  the  situation  of  them  should  still  co-operate  with  it." 
In  Shenstonc's  famous  garden  at  the  Leasowes  in  .Shropshire,  there 
stood  in  the  Lovers'  Walk  an  urn,  "inscribed  to  Miss  Dolman,"  hut  it  is  not  stated 
w  lictlier  it,  or  the  statues  which  are  mentioned,  were  of  lead. 

It  mav  be  doubted  whether  the  eighteenth  century  took  very  heartily  to  Mr  .Shenstone's 
claim  for  solemn  urns,  but  some  at  least  are  a  kind  of  tragic  trappings  in  great  gardens. 
At  the  Burlington  Villa  at  Chiswick,  one  comes  u|)on  a  charming  vase  in  a  shady  walk 
near  the  bio-  pool  and  garden  house.  It  is  solemn  in  the  best  manner.  The  great  vase 
at  Melbourne,  Derbyshire  (Fig.  325),  is  elaborately  ornamented,  but  from  its  situation  at 
the  "crow's  foot"  in  that  fine  garden  may  claim  a  deserved  reputation  for  solemnity. 
.Standin"-,  as  it  does,  where  long  grass  walks  meet,  it  pulls  the  design  of  the  garden 
too-ether  in  a  notalile  fashion.  It  was  cast  in  1706  by  John  van  Nost,  who  also  supplied 
the  lead  fio-ures.  The  cost  of  it  does  not  appear,  but  in  1705  a  l'"renchman  estimated  that 
the  carving  on  the  stone  pedestal  would  cost  £(i  e.xclusive  of  the  stone.  The  lower  part 
of  the  vase  has  four  monkey-like  creatures  by  way  of  supporters.  Unfortunately,  their 
support  is  more  apparent  than  real,  and  has  not  prevented  the  vase  from  taking  a  marked 
list  to  one  side.  This  is  a  technical  fault  that  would  have  been  avoided  by  a  stout  iron 
core  in  the  stem.  The  upper  part  bears  four  heads,  emblematical  of  the  seasons.  Spring, 
summer,  and  autumn  range  from  girlish  to  womanly,  and  are  wreathed  with  spring  flowers, 
grapes  and  corn.  Winter  is  a  bearded,  hooded  man.  The  middle  of  the  vase  is  covered 
with  a  delicately  modelled  masque  of  children  playing  and  swinging,  while  in  panels, 
above  the  swags  that  connect  the  seasons,  are  little  scenes  in  the  classical  manner.  The 
basket  which  surmounts  all  is  rich  with  trophies  of  fruits,  and  altogether  the  composition 
is  verv  handsome  of  its  florid  sort. 

At  Pain's  Hill  is  a  vase  made  from  some  of  the  same  patterns,  but  smaller.  The 
heads  of  the  seasons  are  there,  but  no  swags,  and  the  basket  is  less  plentifully  supplied 
with  fruits.      On  the  top,  however,  sits  a  fo.K  (!),  and  the  same  monkeys  do  duty  at  the  base. 

One  of  the  finest  of  all  garden  vases  is  at  Parham  House,  West  Sussex  (Fig.  326). 
This,  with  its  flame  top,  is  based  in  idea  on  the  cinerary  urn,  and  is  a  very  sumptuous 
piece  of  modelling  It  is  free  from  the  reproach  of  overloading  which  the  Melbourne 
vase  cannot  fairly  escape,  and  the  relief  Is  distinct  without  being  insistent.  The  leaf  work 
on  the  lid  is  particularly  well  done. 


200  ]<:XGLISH    LlCADWOkK. 

At  Compton  Place,  Eastbourne,  is  a  pair  of  handsonir  lead  vases  (Vig.  327)  standini^- 
on  the  piers  of  the  entrance  gates.  They  are  spoil  from  the  Duke  of  Devonshire's  dis- 
mantled villa  at  Chiswick,  now  s^iven  over  to  the  unhappy  use^  of  a  private  asylum. 

At  Myddelton  House,  near  Waltham  Cross,  Mr  Bowles  has  several  lead  vases.  In 
Fi^-.  32S  one  of  a  g-raceful  classical  sort,  with  snake  handles,  is  illustrated.  There  is  a 
re[)lica  (.)f  this  vase  in  Kew  Cardeiis,  and  there  are  many  more  about.      A  pair  was  bouL;ht 


some  little  time  ai_;o  on  Ijehalf  of  an  exalted  persona^-e.  The  fact  ;i 
it  has  been  turned  out  in  such  considerable  numliers  in  the  last  lew  \ 
while  to  make  an  iron  casting"  i)atlern  !  It  is  a  re|)lica  of  a  (in-ek 
in  the  Louvre.  The  original  has  swan  handles,  as  ha\e  some  of 
The  example  illustrated  has  snake  handles,  which  suit  it  well  enouL 
taste  of  the  modern  fashioner  ol  "antiques." 


lout  this  \ase  is,  that 
•ars  that  it  was  worth 
■as,'  of  black  marble 
he  modern  rt'plicas. 
1,  but  are  merely  the 


VASl'.S    WD    FI.OWER-I'OTS. 


Fig.  327, 


There  are  also  at  MydLlelton  House  (Fi^- 
in  the  Adam  manner.  They  accord  \-er\-  well 
formal  balustradiny  on  which  they  stand,  and  with  the 
general  air  of  trimness  which  is  heightened  by  the 
orderly  passing  of  the  New  River  through  the  gardens. 
A  similar  vase,  but  with  large  swags,  is  also  being 
turneci  out  in  large  numbers  in  a  London  suburb. 

Reference  has  already  been  made  to  Wren's  use 
of  vases  on  his  lead  steeples,  as  at  St  lulmund's, 
Lombard  .Street,  and  St  Augustine's,  Watling  .Street. 
Certainly  at  the  former,  and  probalilv  at  the  latter, 
these  were  of  wood  cox'ered  with  lead,  and  not  of  cast 
lead  made  like  the  l1ower-pots. 

At  Hogarth's  House,  Chiswick,  there  used  to 
stand  on  the  gate  posts  a  pair  of  lead  vases,  wdiich 
are  said  to  have  been  given  to  the  artist  by  his  friend 
Garrick.  They  are  now  to  be  seen  in  the  dining-room 
by  any  one  who  takes  advantage  of  Colonel  Shipway's 
munificence  in  giving  the  house  and  its  contents  to 
the  nation.  Illustrations  of  them  appear  in  the  tle- 
scriptive  broc/uirc,  which  can  be  bought  at  the  house. 

The  vases  of  Fig.  330  at  Temple  Dinsley  have 
boldly  modelled  mouldings  and  delicate  reliefs,  from 
which  much  evil  paint  has  lately  been  removed.  They 
are  cast  in  four  pieces  and  soldered  together  with  a 
lapped  joint,  very  neatly  done. 


29)  some  delicately  ornamented  lead  urns 
th  the 


ENGLISH    LEADWORK 


-At  Wrest  Park. 


Fig.  332.— At  Wrest  Park. 


There  are  several  vases  at  Wrest  Park,  but  the  point  of  a  penknife  jtidiciously  used 
will  prove  more  than  one  to  be  of  cast  iron.  The  author  can,  however,  vouch  tor  the  two 
here  illustrated,  and  both  indeed  confess  their  material  to  be  lead,  lor  tln-y  ha\'e  taken 
a  slight  list  to  one  side.  That  of  ¥v^.  331  is  one  of  a  pair  that  llank  the  colonnade  of 
the  Bowling  Green  House.  This  delightful  garden  banciueting  hall  was  built  by  the 
Duke  of  Kent  in  1735,  and  doubtless  the  admirable  vases  are  contemporary.  .More 
tlclicatc  in  its  modelling  antl,  on  the  wliole,  less  successful  is  the  vase  of  I'ig.  332,  in  the 
main  [)art  of  the  gardens. 

Lead  garden  ornaments  of  the  \ase  type  naturally  fall  into  twn  main  classes,  those 
which  are  urns  of  the  solcnni  sort  and  make  an  appeal  only  to  the  eye,  and  those  which 
add  the  practical  value  of  being  llower-pots.  The  variety  n\  the  latter  is  considerable. 
For  sheer  success  both  in  |)roporlion  and  ornament,  the  pair  at  Hampton  Cotn-t  (Fig.  7,^^^) 
are  almost  bevond  criticism.      .\s    Mr    Lethabv  savs,  "The   little   sitting   hgures,  slight  as 


VASES    AXU    FLOWER-POTS. 


Fig.  333. — Hampton  Court. 


Fig.' 334. — Studley  I'aik. 


335-     \\indsor  Cast 


Fig.  336. — Charlton,   Kent. 


they  are,  are  charming  in  their  pose  ;  the  folded  arms  and  prettllv  arranged  hair  give  us 
a  suggestion  of  Hfe  which  most  of  these  things  supposed  to  be  in  the  classic  taste  lack." 

A  few  old  replicas  e.xist,  and  also  some  modern  copies,  so  well  done  that  thev  would 


-04 


ENGLISH    LF.ADWORK. 


deccix'e  in  sale-rooms  the  \'ery  elect.      At    Ham])ton   Coiirl   these   pots  are  sometimes  the 

home  of  fuchsias,   and   the   (lowers    nod    in   a    charming-   fishion    o\cr   the   handles.      The 

fuchsia    is    a    wonderful])    .ulaptahle    llower,   and    looks    as 

appropriate   in   this   refined   and   artificial    atmospliere  as   it 

d^;^!^  V  does    when    growing    in    i_;reat     hedges     in     the    wilds     of 

■■■""'  Conneniara.  ' 

y\t  Studle\'  Park,  Ripon,  there  are  four  ])ots  (k"ig.  334) 

standing   on   a   halustrade   that   oxcrlooks   the   water.      The 

haiulles  are  of  the  arali(.'S(|ue  grlffm   sort,  and  are  common 

on  [)ots  of  this  shape,      d'he  realms  of  classical   nntli   have 

been    ransackctl  to  suppK   suhjrcts   for  the   low  reliefs   that 

decorate   the  howls,  and  'thes('   reliefs  are  often   continuous 

round   the  howl,  stopping  onl\   for   the   handles.      In   some, 

however,   as    at    Windsor   (the    ph<itograph    of   Fig.    335    is 

reproduced  by  permission  of  il.M.  the  King),  tlie  classical 

figure  or  scene   is  enclosed   in  a  little  panel,  rather   in   the 

hdaxman   manner.      The  base  of  the   Windsor  pot  is  rather 

small,  and  in  this  way  not  so  practical  as    the    Studle\    Park 

example,  in  which   the   stem   element   has   been   eliminated. 

Fic.  "-.— \asL-  and  Bu^t.  '^'''^  '*-"'^  '''^*^''''''   there   is   to  a   pot   of  this  S(jrt  the  better,  for 

lead  \-ases  are  very  apt  to  take  a  tottering  pose. 

The  e.\ami)les  so  far  tlealt  with   have  in   common  a  general  appropriateness  to  their 

material.      It  would  be  impossible,  indeed,  to  make   some  of  them    in   an\  thing   but   lead, 

the  idea  of  bronze  being  rejected  as  unstiitable  for  Ivnglish  gardens. 


I- 1...   ',;8.      Wilton    House,    W 
Of  the  Charlton    House   i.. 


■WlllMl,         11 

.e  said. 


,     Wills. 

is  ob\' 


uid  |>robably  a  simple  cop\   of  a   terr.i-cotta  \ase.       Tlu 


VASI'-.S    AND    FLOWICR-POTS.  205 

Roman.      There  is  a  replica  of  this  at  W'ootton  W'awen  Hall,  ami  there  are  smaller  vases 
of  the  same  type,  which  seems  most  unsuitable  for  lead. 

Fig.  TiT,"]  shows  a  very  queer  hybrid  of  vase  and  bust.  I'he  vase  is  ot  a  usual 
pattern,  with  acanthus  handles  and  decoration  round  the  base,  and  aniorini  in  relief  on 
the  body  of  the  bowl.  It  is  in  the  possession  of  Mrs  Frederick  Leney,  and  was  bought 
in  1794  by  the  grandfather  of  the  last  owner.  How  the  bust  came  to  be  fixed  in  the  pot, 
and  what  the  mental  attitude  of  the  man  who  thought  a  bust  a  suitable  alternative  to  a 
flowering  plant,  it  is  impossible  to  say.  It  is  said  that  the  bust  represents  Henri  Ouatre, 
but  as  the  likeness  is  not  striking  and  there  is  no  royal  emblem  or  badge  to  indicate  that 
we  have  to  do  with  a  king,  the  attribution  must  be  received  with  grave  doubt.  That  it  is 
a  jjortrait  bust,  and  iM'cnch,  is  very  likely,  but  in  default  of  some  evidence  it  would  be 
unwise   to  be   more    definite.       The   total    height   of  vase   and    bust    is    26    inches.       The 


.■nri    Ouatre,    now   among   the    1< 
■\  way  infinitely  finer. 


jects   at   the    -South 


splendid   gilt   lead   bust   of   H( 
Kensington  Museum,  is  in  e\f 

At  Wilton  House,  Wiltshire,  is  a  series  of  flower-pots  which  are  more  of  the  vase 
than  the  pot  type  (Figs.  33S  and  339).  There  are  four  patterns  in  all,  varying  in  the 
flowers  and  fruits  which  form  the  swags.  Very  delightful  they  l(jok,  alternating  with 
amorini  o\\  the  piers  of  the  balustrading  which  surrounds  the  Italian  garden.  From  the 
fact  that  some  of  the  amorini  are  cast  from  the  same  patterns  as  those  at  Melbourne,  it  is 
reasonable  to  guess  that  here  we  have  more  of  van  Nost's  work. 

At  Castle  Hill,  Devonshire,  there  are  lead  fiower-pots  of  two  patterns.  That  of 
Fig.  341  stands  well  on  a  tall  stone  pedestal  not  far  from  the  fine  bust  of  Pan,  and  the 
mouldings  are  neat  if  not  striking.  The  other  (Fig.  340)  is  a  fair  e.xample  of  the  less 
attractive  work  of  the  eighteenth  century.  The  mouldings  are  rather  coarse,  but  the 
amorini  cling  to  the  bowl  and  support  tlie  coronet  in  a  pleasant  fashion. 


ENGLISH    LEADWORK. 


The    \ase   of  T'ii;-.    343   has  a  cherub  which   niii^ht   have   Ijeen  cast  from   the   same 
pattern    that    decorates    the    Castle    Mill    example,    and    the    mouldings   are   simple   and 


34..-Er 


Fig.  343-      M}' 


effective, 
acanthus 


^Wff^f*^ 


At  Enfield  Old  Park   Mr    fohn   Ford  has  a  tine   pot  liberally  decorated  with 
ornament  and  figure  reliefs  (iMg.  342). 

At  Drayton  House,  Northants,  are  many 
beautiful  vases.  One  is  an  urn,  rather  in  the 
Parham  manner,  Init  the  majoritx'  are  tlowcr-pots 
with  acanthLis  or  griffin  handles  like  those  at 
Windsor  and  Studley  l*ark.  One,  hov\e\er,  has 
lions'  heads  for  handles,  and  in  all  the  reliefs  are 
unusually  bold  and  elaborate. 

At    i\'nshursl  is  a  \-asc   that  came  from  Old 
lA'icester  House  in  Lnn.lon.      It  Is  of  the  Studley 
type  with  acanthus  handles  tt'rminating  in  horses' 
heads,   and  has  a   lid   with    pineapple   top,   which 
Fk;.  j44.-Lead  Scat,  Castle  Hill.  puts  it  in  the  urn  category. 


[    207    ] 


CHAPTER    X 


SEPULCHRAL    LEADWORK. 


Romano  British  Coffins  and  Ossuaries 


Ak-di.t 
Tonil 


Coffins  and  Heart  Ci 


I'^l'ULCHRAL  Icadwork  is  not  a  wildly  attractive  subject,  but  it  has  a 
jjcculiarly  important  place  in  the  development  of  the  decorative  treatment 
of  lead  in  England,  because  it  is  in  coffins  almost  exclusively  that  we  see 
Romano- British  design.  The  subject  cannot,  therefore,  be  passed  over, 
but  notes  on  the  various  coffins  found  have  been  relegated  to  the  Biblio- 
graphy, and  details  are  there  given  of  the  range  of  ornaments  used.  The  example  of 
Fig-  345  from  the  Maidstone  Museum  was  found  in  1869  at  Milton-next-Sittingbourne, 
and  is  highly  characteristic  of  RomanoT-iritish   work.     The  cross-ornaments  were  made 


Fig.  345. — Romano-British  Coffin,   Maidstone  Museiiiii. 


by  pressing  into  the  sand  bed,  before  the  lead  sheet  was  cast,  turned  wooden  rods  of  bead 
and  reel  design. 

The  same  rod  treatment,  and  also  the  rings,  occur  on  Romano-British  coffins  at  the 
British  Museum,  the  latter  now  unfortunately  in  the  basement,  and  inaccessible  for 
inspection. 

It  is  also  seen  on  the  Romano-British  ossuaries  at  the  British  Museum  (Eigs.  346 
and  347).  Sol  in  his  quadriga,  on  the  example  of  Fig.  346,  is  the  ancestor  of  the  lively 
friezes  of  the  Devonshire  cisterns,  just  as  the  bead  and  real  rod  decoration  led  the  way 
to  the  more  sophisticated  ornaments  of  the  London  cisterns.      The  ossuaries  are  technicallv 


208 


ENGLISH    LEADWOKK. 


iulmiral.)lc.      'l"he   joints  aw  Inirnt,  not  soldered,  ;nul   the   be;id   and   reel   rnds,  cast  liollow 
to  save  metal,  effectually  lirace  the  vessel. 

A  similar  ossuary,  but  undecorated,  is  to  he  seen  in  CiuiKlrada's  CliaiJel.  This 
brings  us  to  the  coffin  of  William  de  Warenne,  at  .Southoxer  Church,  Lewes.  it 
is  one  of  the  simplest  of  the  media'\-al  tNpes  (I'i.i;".  .H'*^)'  •^''"'  i"  :4<"'neral  treatment 
is    more    akin    to     the     Roman    coffins    than    to     the    examples    with    elaborate    tracery 

that  exist  (but  unhappily  out  of  slight)  at  the 
Temple  Church,  London. 

It  is  fortunate  that  careful  drawings  of 
the  Lemple  coffins  were  made  by  Richardson, 
and  these  are  reproduced  in  Fio's.  349  to 
^-,^2.  The  cliaracter  of  the  ornament  is 
\-er\'  like  that  of  the  Lon^'  W'ittenham  and 
Warljorousrh  fonts  (>/.::).  and  Richardson 
attriliLites  the  work  to  the  be^jinnini^"  of  the 
thirteenth  centurx'. 

'Lhc   burial  of  tlie  coffins,  and  the  sanc- 
tity of  the  fonts,  have  preserved  to  us  these 
verv   beautiful   and  characteristic  studies  in 
Vu...  346  AM,  347.-Ossuarics  .t  Uristul  ^h■s.un,.       ^i,,;,,^^,,,,,^;,.,.  ,„ .ssibilities  of  leadwork,  and 

there  is  little  doubt  that  in  the  more  ordinary 
phimbin-  works  tlie  craftsman  indulL;cd  a  like  fancy,  Imt  its  products  ha\e  disappeared. 
It  will  be  noted  that  while  the  li-catmrnt  of  the  Temple  coffins  is  far  in  advance  of  the 
Romano- Lritish,  the  mpc  moulding-  is  retained  to  enclost-  some  of  tlie  tracery  panels, 
and  for  crosses,  &c.  in  most  cases  the  pattern  was  doubtless  a  piece  of  rope  pressed 
into  the  sand. 

The  coffin  of  Fi^-.  340  is  so  much  more  elaborate  than  the  others  th.it  it  doubtless 
held  the  remains  of  an  important  personage. 
Coffins  of  this  shape  that  followed  the  head  outline 
arc  less  usual  than  the  box  form.  Proliably  the 
Tcmpk-  coffins  are  among  tlv  e.irliest  o|  mediceval 
times,  as  the  Romano-lSritish  practice  died  out,  and 
did  not  come  in  again  until  about  the  nnddle  of 
the  twelfth  centurw  b'rom  then  until  late  in  the 
se\-enteenth  centur\-  lead  coffins  were  largeh"  used, 
and  were  buried  eith<.'r  with  an  outer  wood  or  stone 
coHin  or  without. 

Reference  has  alread)-  been  made  to  the    Reli-  '■'^ 

<|uar\     at     L'olkestone    (L'ig.    IJ4).      ,\kin    to    such 

objects  are   the    heart    caskets    now    illustrated.        In    the    //-('sor   of   R 
preserved    lh<-    plain    box    which    held    the    h.-art    of    Richard    C(eur-d. 
inner    of   two    cases,    the   outer    being    imdecorated   and    nnich    damai;e( 
inner    box   (L'ig.    353)   is  engravetl    "  t^    me   t.vckt  cor 
heart     itself    was     found    "withered     to     the     semblanc 


348. --('nffin   or  William   do  Waa-iine, 


■n    Catl 


h 


;ed.  d'he  lid  ai  the 
IS  .\m;i.ok\m."  The 
ed     U-af"     and     was 


llv    the    b 


were    enc 


SEFULCIIRAL    Ll•:.\D\^'ORK. 


209 


'W^      *v  {""■■■ -^--^-ISf?-^'- 


-<3"-i-'»-.-      -5.-- 


'-mf^^: 


Figs.  349  to  352.— Lead  Coffins  Found  at  thk  Tkmpi.e  Church,  London,  and  Re  buried. 


ENGLISH    LKADWORK. 


1 

^Htf'^'i 

1 

1 

»i 

ut  Caskt 
It   RoUL-r 


Ma 


Tht 


.r  k 


)jects  liavc  sr 
k'ttei-ffl.  A 
-(Kul  cxainple  is  that  of  Thcd- 
liakl,  the  immediate  predecessor 
of  St  Thomas  a  Becket  as  Arch- 
bishop of  Canterbury. 

One  of  the  most  decorative 
but  rather  rare  uses  ot  k-ad 
was  as  a  filliuL;'  for  incised  in- 
scriptions, a  use  revived  to  meet 
the  modern  tlemand  for  an  im- 
perishable writing  on  white 
marble  tombstones.  At  .St  Mar\- 
Redcliffe,  l'.ristol,  there  is  a 
tomb  slal)  which  has  a  douljle 
l)order  line,  and  lietwcen  the 
lines  a  Latin  inscription  in 
common  form,  which  seems  to 
commemorate  (fi.xed  pews  pre- 
vent a  full  reatling)  Johannes 
]51ecker  and  Ricardus  Coke.  A 
cross  extends  the  whole  length 
of  the  slab,  and  borders,  text, 
and  cross  are  incised  in  the 
stone,  and    hlled    Hush    witli    lead. 


a  sumptuous  gold  and  siKer  casket,  which  was 
sold  in  1250  to  raise  money  for  the  ransom  of 
St  Louis. 

A  later  but  very  interesting  exam[)le  is  that  of 
Fig.  354-  On  the  lid  is  a  spear-head  enclosed  by  a 
garter,  and  engra\'ed  on  the  bowl  are  the  words: 
"  Here  lith  the  Harte  of  Sir  Henrye  .Sydney.  Anno 
Domini  15S6." 

Lead  was  largeh'  used  for  objects  enclosed  in 
coffins  with  the  dead.  The  paten  and  chalice  buried 
with  a  priest  were  usually  of  pewter,  not  lead,  but 
lead  was  used  sometimes.  The  absolution  crosses 
laid  on  the  breast  of  the  deceased  were  very  frequently 
of  lead,  and  the  llibliograpln'  gi\i's  many  references. 
One  is  said  to  ha\e  been  found  in  King  Arthur's 
grave,  antl  Mr  Lethaby  reproduces  Camden's  drawing 
of  it  and  its  inscription.  A  judgment  as  to  its  authen- 
ticity may  well  be  left  to  experts  in  the  Arthurian 
legentl.  Another  found  at  Southampton  commemo- 
rates one  Udelina,  and  is  engra\-ed  with  the  "Ave 
ill    decorative    interest.      .Sometimes    the    coffin   plates 


Fk;.  354.      Heart   Casket   ul   Sir    Ikiin    SidiKV,    I'.rllisli    Museum. 


SEPULCHRAL    LEADWORK.  211 

There  is  also  an  eighteenth-century  inscription  to  one  Lucas  Stritch,  incised,  and 
without  lead  filling. 

Lead  grave  slabs  were  used  too  in  the  eighteenth  century.  There  is 
one  at  Wilmington,  22  inches  by  15  inches,  dated  1757,  to  the  memory  of  one 
Thomas  Ade  and  his  family.  It  has  a  long  inscription,  and  is  a  plain  casting  with 
raised  letters. 

Brass  as  a  material  for  mural  memorial  tablets  was  sometimes  set  aside  for  lead.  In 
the  family  pew  at  Dorney  Church  near  Windsor,  are  the  plates  which  have  been  described 
as  memorial  tablets.  They  are,  however,  coffin  plates  taken  from  a  vault,  and  bear  dates 
1768  antl  1774.  Mr  Lethaby  mentions  a  lead  wall  talilet  to  Lady  Corbett  in  Burford 
Church,  Salop,  dated  1516,  but  there  are  difficulties  attached  to  getting  a  photograph 
of  it. 


As  this  chapter  goes  to  press  Mr  Philip  M.  Johnston,  b'.S.A.,  reports  a  very  notable 
find  of  three  mediceval  lead  coffins  at  Tortington  Priory,  .Susse.x.  The  ornaments  include 
\arious  fioral  and  star-shaped  devices  within  a  diamond  lattice-frame,  a  cross  in  rope 
moulding,  and  a  variant  of  the  Greek  honeysuckle.  The  latter  is  a  singularlv  interesting- 
ornament,  as  will  be  seen  li\-  iMg.  334A,  while  the  four-lea\ed  pattern  of  P'ig.  3541;  com- 
pares in  beauty  with  the  decoralinn  *)(  tlie  best  fonts  of  the  same  period.  Two  of  the 
coffins  will  find  a  home  in  the  museum  of  the  Sussex  Archaeological  Society  at  Lewes, 
and  the  lid  of  one,  it  is  hoped,  in  the  British  Museum.  Mr  Johnston  is  to  be  con- 
'iratulated  on  a  material  addition  to  our  knowledge  of  late  twelfth-centurv  leadwork. 


Fig.  354A.— Honeysuckle  Ornament.  Fic.  354i;.^Four-leaved  Ornament. 

Ornaments  from  Lead  Coffin  found  at  Tortixcton  Triory.  .Sussex. 


[  -^I-^  ] 


CHAPTER    XII. 

VARIOUS    OBJECTS    AND    DECORATIVE    APPLICATIONS 
OF    LEAD. 


Pipe.'- 


Signs — I'aixil  JUilhii — Ornaments  on  Woodwork — Charms — Tobacco   Box 
Ventilating  Quarries. 


chapter 


vcr\'  .satisfactor\-  \\ti\  of  providinn'  a  place  for 


thi.s  ch; 
In 


11  111   items  which  are  difficult  of  cla.ssification,   but   it   is  perhaps  a  better 

levice  than  tn  smuyirle  them  into  the  introductory  chapter  as  is  sometimes 

L'.       In    this    book,    moreover,    there    has    been    a    steady   purpose    to 

emphasi.se   those   uses   of  lead    which   are   ])ractical  and  capable  of  more 

e.xtended  re\-i\al.      With  one  or  two  exceptions,  the  objects  dealt  with   in 

pter  belong  solely  to  history. 

the  pig  of  lead  found  at  Chester  (Pig.  355)  we  have  lead  in  its  simplest  form  as  a. 


■J 


manufactured  article.  This  example  was  a  stray  from  a  consignment  of  pigs  paid  to  the 
Roman  occu|Mers  of  Chester  by  the  Deceangi,  a  Flintshire  tribe  that  busied  itself  with  lead 
mining.      It  bears,  as  do  most  of  the  Roman  pigs,  the  name  of  the  reigning  emperor. 

The  pipe  shown  in  Fig.  356  is  particularly  interesting,  as  the  inscription  tells  a  long 
stor\        RouL;hl\    translated,  it   runs,  "These   pi|)es   were   Lu'd   when    W  spasian  cUid   Titus 


.>mim;k>k^uM.umiu^ 


were  Consuls  tor  the  eighth  and  ninth  times  res[)ect 
governed  the  Pro\-ince  of  ISritain."  The  date  is 
showing  that  the  elaborate  water  supply  of  Ror 
colonies   in    Britain.       Of  this   there    is   further   pr( 


.elv,  and 

when  Cna^'us  juli 

us  .\gricola 

i.\K  ;q,  a 

.nd   the   pipe   is  ot 

mterest  as 

f    found 

Its    mutatoi-s    m 

the    Roman 

if   amou'j 

'■    tile    .Silchester    f 

mils,    which 

VARIOUS    OBJECTS    AND    DKCORATIVK    APPLICATIONS    OF    LEAD. 


iliameter,   and   fraLiinents 


both   shown 


The 


vonian   Methods  of  Jointing. 


include  a   flanged   pipe  about    i6   inches  long  and   2   i 

of  .sheet  lead  with  edges  snipped  to  a  rough  fringe. 

The  jointing'  of  the  Chester  pipes  is  of  two   kint 

upper  was  formed  by  pouring 

molten  lead   uUo  a  mould   of 

earth  round   the   ends    to   be 

joined  ;  the  lower  has  the  sur- 
face    comparatively     smooth, 

and    appears    to    ha\e    been 

made    like    a    modern    wiped 

joint.       The    Silchester    pipe 

referred  to  above  has  a  keeled 

longitudinal      seam.        Other 

pipes  have  a  longitudinal  butt 

joint,     which     was     probably 

soldered,   but   the   solder   has 

perished. 

There  are   no  decorated 

lead     objects    at     .Silchester, 

but  several  steelyard  weights 

with   iron   eyes  cast  in.      Mr 

Lethaby  has  figured  a  Roman 

jewelled  lead  cup  in  the  British 

Museum,  but  it  was  probably  made  abroad.      In  general  decorative  efft)rt  seems  to  ha\e 

been  reserved  for  the  sepulchral  objects  described  in  the  last  chapter. 

When  we  come  to  mediaeval  times,  the  wealth  of  small  objects  is  almost  bewildering. 

The  most  interesting  of  these  are  the  Pilgrims'  Tokens. 

Erasmus  in  his  "  Pilgrimage"  represents  one  of  his  interlocutors  as  meeting  a  pilgrim 

and  addressing  him  thus:  "Thou  art  .  .  . 
laden  on  every  side  with  images  oi  tin  and 
lead."  The  custodians  of  shrines  did  a  thriving 
trade  in  these  small  memorials  of  pilgrimages, 
which  most  commonly  took  the  form  of  round, 
^  -wm.^^^^^*      °^'^''  square,  or  lozenge  shaped  plaques  hav- 

^KiU^      O^^i^^^flX   ^^^^^5^r         '"§  either  a  loop  for  sewing  to  the  dress  or 

pins   for  use 
represented  c 

which  a  good  idea  can  be  formed  by  reference 
to  the  catalogue  of  the  London  (iuildhall 
Museum.  Most  of  the  ("luildhall  tokens  have 
been  found  in  the  Thames.  An  enormous 
quantity  has  also  been  dredged  from  the  Seine. 
The  anipulkc  sold  at  Canterbury  were  among  the  most  popular.      They  have  been 

variously  said  to  have  held  a  solution  (one  would  suppose  dilute)  in  water  of  the  blood  of 

St    Thomas    a    Becket,    dust   gathered   round   the  saint's  shrine,    or  oil    from   the   lamps 


'i---: 


Fig.  35S.— 
Small  Am- 
pulla, York 
Museum. 


iG.  359.— Draw- 
ing of  Reverse 
of  the  Canter- 
bury Ampulla, 
York  Museum. 


G.  360. — Canter- 
bury Ampulla, 
York  Museum. 


brooches.      These  signacula 
infinite  variety  of  subjects,  of 


214 

Inirnino-   there. 


ENGLISH    LKADWORK. 


Whatever  they   held,    they  are 
\>m<j;.  ami  were  Ininc^'  nnind  the  neck.      On  one  s 
mitre  ami  staff'.     On  the  narrow  fascia  round  the 
nicdictis  Jit  Toiiia  /loiioniiu  "    -The  best  physician 
reverse  {¥'v^.  359)  is  a  reijresentation   of  the  rite 
ministered  to  the  sick  man  by  two  priests.     Fi^-. 
shows  five  e.xamples   from   a  private  collection, 
J  'iroiii  and  Chi/d,  and  a  Crucifixion. 
of  Walsini^'ham,  scallops  for  St  Jamc 


1  effect  little 
■  (Fi-  300)  i 
ipulla  is  the  1( 


eaden 


)ttles  3:|;  inches 
ishop  in  robes  with 
"  Opt  I  nuts  eg  r  or  u  VI 
s  Thomas.  On  the 
which  is  bein^'  ad- 
ampulla.  Vv^.  361 
rd  the  Confessor,  a 
rozviicd  for  St  Mary 
■t.  The  legend  on 
the  Cantcrburx-  .iiiipiilla  indicates  the  popular 
belief  in  the  curati\e  jjroperties  of  some  at 
least  of  the  tokens.  Sufferers  from  ague 
would  put  their  trust   in   .Sir   [ohn   Schorne, 


)1  e.Ktremc   unction, 

S  also  shows  a  smal 

cludin-  a   .SV  Jidzoc 

Other  common  forms  are  a  ]]' i 

and  a  T  for  St  ■Jdiom.is  ;i  llcrk 


a  s 

lint  ( 

\h\- 

h  rei 

>Ut( 

1  that 

connection 

On 

an 

emei 

gency  (tl 

m\ 

tl< 

ss   in 

the 

interv 

ds  of 

CLU-inL;-    ; 

igue 

he 

\i 

ired 

h(_- 

Irvil    into    a 

bo( 

t,  an 

d   is 

repi 

eSL 

nt 

■d   on 

his 

token 

with 

the 

enemy 

thu^ 

C 

01 

\enientlv 

restri 

ined. 

od 

ler  s 

gns 

wer 

■    tl 

K- 

/  'en 

iclc. 

or  lik 

eness 

of 

Our 

'Lor 

1,    a 

id 

th 

e    I/c 

ad 

0/  St 

John 

jkcns  (actual  size). 


about  t\ 


Jniptist. 

A  curious  classical  parallel  to  these 
medi:e\'al  objects  is  to  be  found  in  the 
lead  figurines  of  the  si.xth  century  i;.c.,  found 
at  Sparta  on  the  site  of  the  sanctuary  of 
Artemis  Orthia.  The  types  represented 
include  heraklic  animals,  goddesses,  and 
warriors.  The\  were  cast  from  moulds  on 
one  side  only,  and  from  their  rough  tech- 
nique it  would  seem  that  the  .same  methods 
were  employed  as  for  the  niediceval  signa- 
cula.  Their  pur|)ose  was  \diive,  and  save 
for  the  fact  that  the  Spcunan  offered  them 
at  the  shrine,  whereas  the  media-val  English- 
man took  them  a\\a\-  b\-  way  of  remem- 
■ies  means  liut  a  small  difference  in  intention 


brance,  the 
and  e.xecution. 

A  considerable  number  of  the  medi<i-\al  ^tone  motilds  in  which  the 
r(jmain.  .Shrines  were  not  responsible,  hovve\cr,  tor  all  these  tokens, 
in  abbeys  as  vouchers  for  attendance  in  choir,  like  the  timekeeper's  bn 
modern  factory.  Lead  medals,  too,  were  struck  for  the  I'estivals  of  I'~o 
Ages,  and  mock  coinage  was  struck  in  lead  by  the  Hoy  Bishops,  who 
commemorate  the  Murder  of  the  Innocents.  Altogether  the  out|)ut  ot 
lead  objects  in  media.'\'al  times  was  great,  and  collectors  have 
Demand  en 


,upp 


all 


lut    1S57  t\\( 


and    collectors    h; 
ingenious  workme 


okens  were  cast 
rhe\-  were  used 
;s  numliers  in  a 
Is  in  the  Middle 
were  elected  to 
>mall  decorative 

^ht    them    eagerly. 

1   (  )'l-lana''an,  also 


VARIOUS   OBJECTS    AND    DECORATIVE    APPLICATIONS   OF   LEAD.         215 

known  to  fame  as  Billy  and  Charley,  conceived  the  brilliant  idea  of  forcing-  them   in  iL^reat 
numbers,  and  "discovering"  them  during  excavations.      Archa;ologists  either  believed  or 


ind    liottum   of  the    B(_ 


-The  Hox  witli  the  Lid  on. 


disbelieved  in  the  discoveries,  and  many  hard  words  were  said,  and  legal  proceedings  even 
were  taken.  It  was  sufficiently  proved  that  the  output  of  Billy  and  Charley  ran  into  many 
thousands,  and  at  the  Guildhall  Museum  the  .so-called 
"  Dock  "  forgeries  are  set  apart  and  frankly  labelled.  The 
mock  tomb  of  Figs.  362  and  363,  consisting  of  a  bo.\  with 
four  feet  and  a  lid,  is  obviously  a  forgery  of  this  period,  and 
probably  the  most  ambitious  that  was  achieved.  Other 
examples  are  spear-heads,  daggers,  seals  and  rings.  Manx- 
are  decorated  with  dates  of  the  eleventh  century  in  Arabic 
numerals  ! 

Papal  seals  or  bulL-c,  whence  the  document  itself  got  the 
name  of  bull,  form  an  important  .series  of  small  lead  objects, 
of  considerable  historical  interest.  In  1878  Pope  Leo  XIII. 
ordained  that  papers  of  minor  importance  should  have  wa.\ 
seals,  lead  being  reserved  for  the  more  solemn  documents. 
The  earliest  bulla  in  the  British  Museum  is  one  of  John  V. 
(685-686),  and  from  his  pontificate  until  thirty  years  ago, 
every  papal  document  had  its  lead  seal  appended.  When 
the  communication  was  a  plea.sant  one,  it  was  attached  by 
threads  of  red  and  \-ellow  silk  ;  if  in  forma  rij^orosa  tin- 
thread  was  of  hemp,   a  grim   suggestion. 

Fig.  364  shows  a  series  of  four  bullre  found  in  .Sussex. 
The  obverses  bear  the  name  of  the  Pope,  and  the  reverses 
conventional  heads  of  St  Peter  and  St  Paul  with  the  labels 
over  them,  .SPA  (for  .Sanctus  PAulus),  and  SPE  (for 
Sanctus  PEtrus).     Three  of  the  popes  figure  in  the  "  Divina 


MG.  364. 


lU  V.  (1305-1314I. 

-Papal  Bulls  found 
n   Sussex. 


2l6 


ENGLISH    LKADWOl 


amongst   the  simonists  ; 
while  Martin   1\'.  had  the 


Commedia."  Nicholas  III.  was  in  H 
Dante,  was  "  licked  by  ruddier  llames 
Purgatory  to  purge  his  sin  of  gluttony. 

There  are  lead  impressions  of  seals  in   various  museums 
They  (or  some  of  them)   have  the  appearance  of  antiijuities, 

examples  at   \'urk 


Clement  V.,  who  exiled 
easy  fate  of  fasting  in 


1" 


Fir,.  365. 


(Ir 


Fig.  366. 
York   Museum.) 


tickets  for   eighteenth-century  dances, 

script  of   Alfric's  homilies.      It  may  be  hoped  that  no  enthusiastic 

either  of  these  as  suitable  precedents 

Among  its  less  usual  architecturtd   uses  max    be   mtntioiud   it 
carving  in  the  ornamentation  of  rood  screens  cUid   the   like 
screen   panels    have   figures   painted    on    a   oesso   i^round     . 
beneath  the  figures  and  the  spandrels  abo\  e 
them  are  (or  were,  for  the  churcli  was  n  s/ond 
a  few  years  ago)  of  V-m\  iiaintcd  mm\  L;ilt 

In  Mr  Francis  jJoiid'sljook  on  "Sen  (  ns 
there   is  a   note  by    Mr  W.  Davidson  on  the 
gilt  U-ad  ornaments  of  the   Ranworth  scicen 
ami  tlic   liurlingham  pulpit.      The   Ranworth 
ornament  is  "a  close  imitation  of  a  stai-tish 

It  is  doubtful  whether  much  justihcitioii 
may  be  found  for  the  use  of  Ir.id  on  the  celling 
of  Wolsey's  Closet  at    Hampton   Court.      It 


which   are  apt  to  mi.slead. 
Figs.   365  and  367  show 

hich  have  l:)een  taken  for 
(&c.  They  are  simply  modern 
casts  of  conventual  seals.  The  little  medallion 
of  b'ig.  306  is  probably  foreign,  and  was 
apparenlK-  used  as  a  seal  on  a  cord  like  the 
many  examples  of  lead  seals  used  by  cloth  and 
other  merchants  for  sealing  bales  of  cloth  in 
bygone  days.  The  Post  Office  of  to-day  u.ses 
similar  seals,  but  does  not  waste  ornament  on 
them. 

Lead  has  been  used  for  every  sort  of 
unlikely  purpose,  f>r  things  as  diverse  as 
1    the    book    cover   of  an    .\nglo-.Saxon    manu- 


regard 


^ubstituti 


lor  wood 
\t  \\'._.rsted,  Norfolk,  the 
the    liands    of   ornament 


dearb 


usurps 
,le  r.-a^ 


the 


lor 


d<es 

lUSt 


m 


ht 


e   of    plast.T, 
ibtless  the  w. 
an  Italian  hand,  and  while  its  richnes 
it  an  interesting  study  (see  I'ig.  3(38) 
be  regarded  as  technicalh'  a  freak,  .ii 

of  the  ceiling  are  of  wood  and   the  panels  of  papier  nun 
sections  are  of  lead,  as  are  also  the  letters  of  Wolsey's  mot 

Round  the  beautiful   painted  chest  in  the  parvise  of 
;i  gill  lead  traceried  band  n'i 
from  some  scraps  of  the  orig 

'Idle  use  of  lead  for  such  pur| 


369. 


;th. 


ril)s 
iter- 


liscusscLi  ; 

,•;  but   the  leaves  at  tin 

1  on  the  frieze. 

Newport  Church,  Essex,  runs 
\c|uisite  delicacy.  The  existing  work  is  a  careful  restoration 
i;il,  which  are  to  be  seen  at  the  .South  Kensington  Musemn. 


oses  as  the  decorati 


)pen  to  some 


<]U 


VARIOUS    OBJECTS    AND    DECORATIVIC    APl'LICA  IIOXS    OF    LEAD.  217 

Lit   in   the  case  of  the   Newport  chest  the  end  fully  justifies  the  means,  for  the 

1,1     .,,,»    1,..,,..    K, ^,K»..:„,.,1     K,.     tUa    ^x-r\r\A^',,-^,i:^r- 


-same  effect  of  delicate  richness  could  not  have  been  ol)tained  by  the  woodcarver. 

Mr  Harold  Braksjjear,  F.S.A.,  has  drawn  attention  to  (and  has  fii^ured  in  ArcIucoloi:,ia 


Fig.  368. — Ceiling,  with  Lead  Enrichments,  Hampton  Court. 


;x(; 


;H    LI'lADWORI 


vol.  Ix.,  |)art  2)  some  litllc  lead  |),iiiels  of  hftecnth-cenlury  open  tracer},  found  at  Stanley 
Abbey,  similar  in  form  to  those  of  l-'ii,;-.  ;,73.  Me  points  out  that  ihouL;h  they  are  generally 
supposed  to  be  ventilators,  the  tact  that  rivets  were  found  attaching  a  small  piece  of  sheet 
iron  to  which  the  leadvvork  was  originally  fixed,  goes  against  this  supposition.  Obviously 
rivets  and  sheet  iron  have  nothing  to  do  with  lead  glazing,  and  it  seems  likely  that  we 
ha\e  here  a  case  of  lead  tracery  being  tised  to  decorate  an  iron  l^ox  or  other  object  of 
domestic  use.  and  that  so  far  it  is  analogous  to  the  decoration  of  the  Newport  chest. 

Cognate  in  character,  though  widely 
separate  in  date,  is  the  inlaying  of  the  west 
doors  of  St  I'ancras  Church  by  Inwood  with 
lead  mouldings.  In  this  case,  however,  lead 
is  simply  a  cheap  sLibstitute  for  wood. 
Robert  Adam  used  lead  for  the  enrichments 
of  mantelpieces  and  the  like,  as  caytoii  pierre 
would  be  em|)lo 
century    mantelpi 

depicting  some  conventional  classical  scene 
were  sometimes  cast  in  lead.  Doubtless  the 
patterns  used  for  garden  vases  thus  served 
a  double  purpose. 

There   is   something   to   be   said    for  the 

if  making   the   ornaments   of  wrought-iron   staircase  railings 

■holarly  example  of  this,  but  the  lead  is  here  stiffened  by  tin 

'  le  hardness.      Pure  lead   woul 


In   some   eighteenth- 
panels    in     low    relief 


Fig.  370.— Tobacco  Box,   Maid^tc 

eighteenth-century  practice 

in  lead.      Fig.  369  shows  a 

or   antimony  into   an    alloy 

been    too   soft.      Here   leac 

Speaking  generally  it  seems   fair  to  employ  lead  for 

number  are  required  of  the 

used    on    Gothic   ceilings,   ano    ] 

pendants   of  the   ceiling  of   llampt 

Chapel.       It    is,    however,    diffic 

suitable   commentary   on    the    1 

church  near  Oxford,  wh  1 

screen  with  a  cresting  ca 

old  wooden  model,  and  gn 

As   lead    is    the    met 
Saturn,  an   often   untric 
veyors  of  magic  and  spells  did 
when  the  agreeable  business  of  curs^ 
was    afoot.        .Some    \i-ars    ,igo    an 
discovered  at   Bath.      It  is  doubtful 
suspected  of  stealing  a  tableclot 
of  copper  coin  for  washing  a 
to  have  cost  them  more.       A 
found  in  a  Corni.sh  gardcMi,  deposits 

Mr  W.    Paley'lSaiklon,    F.S.A 


obviouslv  have 


VARIOUS    OHJl-XTS    AND    DECORATIVE    APPLICATIONS    OE    LEAD. 


described  a  lead  plate  eiiL^'nixed  with  eii^hty-one  s(iuare.s 
on  one  side,  antl,  on  the  other,  "  That  Nothinge  maye 
prosper  Nor  goe  forwarde  that  |  Raf  cfased^^  Raufe 
Scrope  take  in  hand,"  and  underneath  this  pious  wish 
are  the  names  "  Hasniodai,  Schedbarschemoth,  and 
Schartatan,  with  three  astrological  symbols.  These 
pleasant  names  belong  to  the  sjjirits  of  the  moon,  who 
are  thus  invoked  against  the  unhapjjy  Scrope. 

For  coinage  lead,  owing  both  to  its  softness  and 
the  ease  of  forgery,  is  obviously  unsuitable,  but  owing 
to  the  small  supply  of  royal  coinage  at  various  periods 
local  issues  of  lead  tokens  were  made  to  supply  the 
pressing  need  of  currency.  They  were  used  chiefly 
in  the  sixteenth  and  se\enteenth  centuries,  and  in 
Ireland  largely  at  the  end  of  the  eighteenth. 

The  British  Museum  contains  many  examples  of 
foreign  medallions  in  lead*  excjuisitely  and  delicately 
modelled.  Many  of  these  were  doubtless  struck  or 
cast  to  test  the  perfections  of  die  or  model,  and  though 
in  original  intention  fugitive,  have  survived  by 
accident. 

The  distinctive  colour  and  texture  of  lead  make 
it  more  appropriate  for  some  subjects,  even  if  finely 
detailed,  than  bronze,  and  the  admirable  condition  of 
the  many  remaining  small  lead  medallions  and  delicate 
reliefs  is  sufficient  answer  to  the  objection  that  they 
have  undue  liability  to  damage. 

Lead   was    used    considerably    in    the   eighteenth 


CM 


■ad  Candlestick,  Maidstone 
Museum. 


and   early   p 


century  for  tobacco 
scenes  in  low  relief 


F'f"'-  373- — Quarries,  York  Museum 


f  the    nineteenth 

-loxes.  A  common  form  is  a  square  box  on  small  feet  with  hunting 
n  the  sides.  In  the  Maidstone  Museum  is  a  lead  box  (P^ig.  370), 
said  to  have  been  dug  up  at  Tel  el-Kebir  in 
1882  by  a  soldier,  who  found  it  full  of  wheat. 
There  is  a  rosette  on  each  side,  and  the 
handle  of  the  lid  is  a  negro  head.  The 
soldier  was  probably  a  relation  of  "Billy" 
or  "  Charley  "  aforementioned.  Negrohead 
is  an  historic  brand  of  tobacco,  and  if  the  pot 
was  found  at  Tel-ebKebir,  it  was  certainly 
taken  there  from  England.  The  finding  of 
wheat  in  it  was  an  artistic  touch,  worthy 
of  the  land  of  mummy  wheat.  Tobacco 
stoppers  of  quite  elaborate  patterns  were 
also  made  of  lead  as  early  as  the  seven- 
teenth century. 

The  delightful  dogs  of  Fig.  371  take  us 


220  EXCLISH    LKADWORK. 

further  back.  They  arc  prol)al)ly  of  (Jucen  Anne's  time,  and  well  represent  tlie  spaniel 
type,  that  was  popular  then.  'rhe\-  are  in  the  possession  of  Colonel  G.  l).  Croft  Lyons, 
F..S.A. 

It   must   be  admitted   that    for   most   domestic  ol)jects   lead   is   unsuiied.      Pewter,   by 
reason  ol  its  fine  te.xture  and  hardness,  is  in  e\'er_\'  way  more  suital>le   tor  such   things  as 


>$V         >^ 


f/S-f 


:4  V  y^: 


mm 


^A^- 


'■/'jm 


^m! 


A-ad   Ventilatiiii^ 


candlesticks.  There  is,  howe\er,  in  the  Maidstone  Museum  a  lead  candlestick  which 
is  shown  in  1m^,  372.  'I'he  commonest  kind  of  pewter  is  that  which  h.is  a  ^real  pro- 
portion of  lead,  and  this  candlestick  is  probably  of  such  bad  pewter  rather  than  of  '^ood 
lead.  AmonL;-  the  most  important  of  all  the  uses  of  lead  is  In  ^la/in^.  but  anv  dctailetl 
study  of  this  beloni^'s  more  properly  to  a  historx'  of  i_;lass,  as  the  lead  is  cU-arlv  the 
subordinate  material.       There  is  one  class  of  ol)iects.   howe\er,  leatl   ventilalinLi"  quarries, 


VARIOUS    OBJECTS    AND    UECORATIX'K    APPLICATIONS    OF    LEAD.         221 

which  perhaps  may  here  be  described,  as  their  beauty  dei)ends  wholly  on  the  modelling 
of  the  lead  itself.  There  are  two  examples  in  the  York  Museum  (iMg.  37 2,),  and 
Fig.  374  shows  a  series  got  together  by  Mr  J.  Starkie  Gardner,  F.S.A.  The  square 
example  with  Gothic  tracery  is  particularly  delightful.  At  .South  Kensington  is  one 
that  bears  the  name  of  the  plumber  who  made  it.  There  are  many  at  Hampton  Court. 
They  are  used,  one  or  two  in  each  window,  in  place  of  glass  quarries,  as  air  inlets,  and 
are  perhaps  the  only  contrivance  for  ventilating  which  is  not  markedly  ugly. 

The  glazing  of  fanlights  over  eighteenth-century  front  doors  was  frequently  done 
with  leading  of  delightful  outlines,  and  with  rosettes  and  other  enrichments.  Illustrations 
of  these  are  omitted,  as  they  belong  rather  to  the  history  of  leaded  glazing,  which  is 
another  story.  In  the  early  days  of  fire  insurance,  when  one's  house  needed  to  be 
labelled  to  secure  the  kindly  attentions  of  the  firemen,  the  labels  were  frequently  of  lead. 
The  author  has  a  very  pleasant  example  in  a  Royal  Exchange  tablet,  which  was  coloured 
and  gilt.  There  is  a  good  collection  at  the  London  Guildhall,  including  signs  of  the 
Hand-in-Hand,  the  London,  and  the  Sun  Offices.  Parish  boundary  marks  were  often 
cast  in  lead.  The  City  of  London  made  lead  shields-of-arms  as  ownership  marks,  and  at 
the  Guildhall  is  a  well-modelled  lion,  with  "  M  C  1693"  beneath,  the  mark  of  Morden 
College.  The  dexice  vulgarly  known  as  the  .Southwark  Arms,  which  is  the  ownership 
mark  of  the  Bridge  House  estates,  was  frequently  cast  in  lead. 

It  is  hoped  that  the  Bibliography  of  this  volume  will  not  be  altogether  neglected. 
The  notes  give  references  to  many  odd  uses  of  lead  which  are  not  of  enough  importance 
to  be  incorporated  in  the  main  text. 


[  ^^2 


CHAPTER    XIII. 
MODERN    LEADWORK. 


Fonts  — Rain-water   Heads— Cisterns— The   larger  architeetural   Uses     I'lguKs   on    liuildings  and  m   (".ardens- 
Fountains— Vases— Clock-faces — Sundials  — ( .asfittnig  — I nsdipticjn. 


ite  Mr  J.  Lewis  Aiidre 
II  iSSS  ;i  jiaper  on 
(  )riiamcnt;il  Leadwork, 
;  "  I  am  compelled  to 
come  to  the  conclusion  that 
most  of  the  applications  of  ornament  to 
leadwork  belonj;'  to  bygone  times,  and  that  a 
revival  at  the  present  day  is  hardly  to  be 
expected."  Twenty  years  have  ^one  l)y,  and 
happily  Mr  Andre  is  proved  to  have  been 
no  prophet.  The  revival  is  real,  active,  and 
increasing-.  Its  products  will  now  be  illustrated 
in  the  .same  order,  rouL^hly,  as  in  the  chapters 
dealino-  with  the  old  work. 

Fonts. 

Amoni;-  modern  fonts  there  seem  to  be 
none  that  rival,  or  indeed  endeavour  to  imitate 
the  splendid  fioure  treatment  of  Norman  times, 
when  apostles  and  saints  ,sat  beneath  elaborate 
arcading.  The  font  of  Fig.  376  is,  however, 
very  fully  treated,  and  has  much  unpretentious 
charm.  The  relief  is  soft  and  flat,  and  the 
symbolism  interesting.  Ihe  lish  in  the  wide 
middle      band     are     the     tommon     s\inbol      of 


Christianity,      antl 

their      nat 

iiral      swimming 

motion   suggests   the 

living   wa 

ters   ol    baptism. 

( )n   the   upper  l)and 

appear   toi 

iir   ]),uie]s    which 

represciu  the  elemei 

Its,  a   s\  inl 

Mil   which   seems 

natiii'al  rather  than  s| 

)iritual,  and 

the  lowest  band 

is  made  up  of  lilies,  ; 

ilso  a  sxinl 

)ol  of  l)ai)tism. 

lu;.  ,^70       loni  .11  i;dinl 


MODERN    LEADWORK. 
The  inscription  round  the  top  reads  : — 


223 


"NISI     (,)UIS     RENATUS     FUERIT     EX     AnVA     ET     SPIRITU     SANCTO     NON      POTEST     INTROIRE    IN 

REGNUM    DEI." 

One  of  the  most  interesting-  features  of  this  font  is  its  practical  arrangement. 
Reference  to  the  illustration  (¥v^.  375)  will  show  that  there  is  a  small  hasin  jmjvided  at 
one  side. 

The  main   part  of  the   font   is  filled   with   water  which   is    blessed  by  the  archbishop 


Fir,.  377. — St  Alban's,  Leicester. 


Fic.  378. — St  Allian's,  Leicester. 

(Bolton,  of  BoNvl.) 


Fig  380. — Saucer  Top  of  Font. 


once  every  year.  The  infant  to  be  baptized  is  held  over  the  small  basin,  from  which 
the  water  used  in  the  rite  runs  to  earth.  The  font  is  an  unusual  but  interesting  shape  on 
plan.  The  addition  of  the  small  oval  basin  indicated  an  octagon  with  two  cardinal  faces 
longer  than  the  others.  By  making  the  cardinal  faces  rather  convex,  and  the  diagonal 
faces  a  little  concave,  a  vague  cruciform  suggestion  is  given,  and  the  outlines  lake  on  the 
easy  Howing  feeling  that   is  so  appropriate  to  the  nature  of  the  material.      The  font  is 


ENGLISH    Li:.\D\\()KK 


3  feet  6  inches  h\'j;h.  and  stands  on   a   stone   plinth,  which   hdllnvvs  as   it  meets  the  floor  to 


\er\    ])ractical  thought. 


allow  room  for  the  toes  of  the  officiating-  prie 

The  font  was  made  by  Mr  I'.ankart  for  Mr  R.  S.  Lorimer,  R.S.A.,  for  a  Roman 
Catholic  church  in  Edinhur^h,  and  its  whole  treatment  is  original  without  being  strained 
or  precious. 

The  fonts  of  I-'ig.  7,yj  and  Fig.  7,yq  are  also  by  Mr  Ivmkart.  The  former  is  at  .St 
Alban's  Church,  Leicester,  and  was  made  for  .Mr  Howard  Thompson,  architect.  An 
interesting  fealin-e  is  the  tlecoration  of  the  bottom  of  the  bowl.  It  is  a  fresh  and  good 
idea  t(.i  mitigate  the  usual  bareness  of  the  inside  by  ornament,  and  the  crown  of  thorns 
ami  the  crown  celestial  are  added  as  emi)lematic  of  the  difficulties  and  rewards  of  the 
Christian  life  entered  by  the  gate  of  I.iaptism.  The  vine  is  less  appropriate,  as  beino- 
identified  with  the  other  of  the  two  great  sacr.iments,  and,  however  pleasant  a  treatment 
decorativeh',  is  a  confusing  emblem  on  a  font. 

In    the   example  shown    in    b'ig.    379    the   lily   is  again   used   as    on    the    Edinburgh 

font,   and   though  the  a.d.  and  the  date  are  a 
_  -  somewhat  aggressive  size,  the  design   is   more 

satisfying  than  that  of  Fig.  Tiyy.  A  most  in- 
teresting feature  of  both  these  smaller  bowls 
is  in  the  saucer-shaped  tof),  which  is  shown 
placed  on  the  bowl  in  the  case  of  F'ig.  T,yy,  and 
separately  in  b'ig.  380.  With  bowls  of  con- 
siderable water  capacity,  such  as  these,  there  is 
a  practical  difficulty  in  filling  them,  and  this  is 
often  overcome  in  an  odious  way  by  the  placing 
in  the  font  ot  a  small  jug  and  basin,  as  though 
the  font  were  a  kind  of  spiritual  lavatory.  The 
saucer  top  is  a  practical  way  out  of  the  diffi- 
culty, as  it  holds  but  little  water.  Dr  Yeatman- 
ISiggs,  Ilishop  of  Worcester,  was  consulted  as 
to  the  liturgical  propriety  of  the  saucer,  and  he 
^  'd  that  it  were  made  rcailily  remo\  able. 

The  rLil)ric  of  the  Church  of  F.ngland  proxides,  "if  the  child  ma\-  well  endure  it, 
the  priest  s//ci//  dip  il  in  the  water  discreeth'  and  warily,"  and  this  use  obtains  in  a  few- 
parishes.  Were  the  saucer  top  fi.\ed  to  the  bowl  this  would  be  impossible  ;  by  its  being 
made  loose  the  font  is  sLiitable  for  both  immersion  and  sprinkling. 

Mr  Arthur  (".rove  modelletl  the  font  shown  in  F'ig.  381  to  the  design  of  Mr  H.  Wilson. 
and  it  was  cast  l)\  .Mr  Dodds  f)r  .St  Mark's  Church,  Brithdir,  Wales.  The  decoration  is 
of  that  soft  anti  simple  kind  so  entirely  suitable  to  leadwork,  and  the  l)road  horizontal 
margin  round  the  top  of  the  IjowI  enijjhasises  a  hea\\  material.  It  is  a  most  admirable 
thiiT'. 


agreed  to  its  u^ 


The  revived  interest  in  the  u 
with  some  rather  e\  il  inlluc-nces. 


Rain  water  Pipe  heads. 

lead  for  [lipe  heads 


r.  has  h 


Fir,.  3S2.  —  Intermediate  Head  instead  of  Swan-neck. 


Fig.  3S3.— Welbeck  Abbey. 


ENGLISH    LEADWORK. 


Since  the  end  of  the  eii^hteenth  centLir\',  when  the  traditional  treatnu-nts  of  lead  died 
out,  cast  iron  has  held  almost  undisputed  s\va\-.  It  is  triie  that  the  conditions  of  modern 
Ijuildinn"  usually  put  lead  pipes  and  heads  oliI  of  the  ([uestion  on  the  simple  score  of  cost. 
Moreover,  cast  iron,  if  reasonal)l\-  hi.-avv,  is  a  quite  satisfactor\-  material  ;   it  onlv  !)ecomes 


MODERN    I.EADWORK.  227 

ridiculous  when  historical  Icadwork  is  used  as  a  slavish  basis  for  its  desii^n.  There  is, 
hap[)ily,  a  i^Tuwing  perception  that  cast  iron  has  a  character  of  its  own,  and  that  it  can  be 
treated  to  look  like  itself.  When,  however,  lead  as  a  decorative  material  was  rediscovered, 
the  ideas  of  leadwork  design  were  quite  incoherent.  Some  astonishino-  results  followed, 
notably  the  transfer  to  leadwork  of  the  sense  of  sharpness,  which  is  proper  to  iron,  but 
distressingly  comic  in  lead.  The  happy  mean  in  leadwork  is  to  secure  easy,  gracious 
lines  without  degenerating  into  amorphous  sloppiness. 

One  of  the  difficulties  involved  in  the  use  of  the  eaves  gutter  is  the  swan-neck  from 
the  gutter  to  the  pipe-head.  It  is  a  practical  necessity,  but  generallv  an  ugly  one. 
Two  efforts  to  get  away  from  the  ordinary  type  are  illustrated.  Mr  liankrU't,  in  the 
e.xample  of  Fig.  382,  has  effected  a  rather  cumbersome  alternative  by  interposing  between 
the  gutter  and  the  pipe-head  an  intermediate  head  of  large  projection.      The  result  is  not 


390 


Fig.  392, 


in  any  way  so  successful  as  a  method  adopted  in  1S95  by  .Mr  H.  Wilson  at  Welbeck 
Abbey  (Fig.  S'^t,).  Here  the  swan-neck  is  recognised  as  a  practical  need,  and,  so 
recognised,  has  been  decoratively  treated.  This  treatment  is  as  original  as  it  is  successful, 
and  gives  an  idea  which  may  well  be  repeated,  viz.,  of  regarding  the  swan-neck  and  head 
<is  two  parts  of  a  whole.  The  projecting  lip  on  the  front  of  the  head  not  only  prevents 
an  awkward  break  in  the  line  of  the  swan-neck,  but  pulls  the  two  parts  together  in  a  verv 
ha|)pv  wav.  The  least  usual  feature  is  the  little  superstructure  of  slim  lead  balusters. 
It  is  simply  ornamental,  as  it  does  not  suspend  the  head,  which  is  supported  beneath  bv 
stout  iron  staples,  and  does  not  seem  a  very  useful  addition.  The  decorative  treatment 
of  the  head  is  admirable,  both  in  the  soft  modelling  on  the  projecting  lip  and  swan-neck 
done  bv  Mr  H.  W.  F"inch,  and  in  the  simple  piercing  of  the  ears. 

The  head  of  I'ig.  3S4,  designed  by  .Mr  Arthur  Cirove,  is  a  successful   translation,  as 


;nglish  lkauwork. 


serni  to  have  stu 
IS  clone   in  some 
hilt   with    entire    siicct 
1  shade  weary  at 


V.  S.  Chesterton  woul 

type,  as   Mr   Lutyens 

is    dehghtfully   archait 

lie  excused   if  they  ,L;e 

times  of  rope  mouldings.    The  horizontal 

bands  in  this  case  are  of  lead  strip, 
twisted  and  soldered  on.  In  this  the\ 
recall  a  Romano-British  coffin  at  York. 
a  far  cry  for  a  precedent.  The  head  of 
Fio-.  387  is  on  the  coloured  house  in 
.•\ddi.son  Road,  designed  by  Mr  Halsey 
Ricardo.  and  is  vigorously  coloured  and 
gilt.  The  shaped  outline  of  the  l)ack 
continued  below  the  bo-\  of  the  head 
is  unusual.  The  ears  of  the  old  heads 
have  generally  square  outlines.  I  he 
.shaping,  however,  is  a  legitimate  oppor- 
tunity for  variety. 

Messrs    Wimiieris     &     Best     have 


to  treatment,  of  the  pierced  heads  which  we  find 
at  Knole  and  Haddon  Hall,  but  it  is  entirely 
modern  in  feeling.  The  little  shell-form  orna- 
ments beneath  the  roi)e-moulding  give  an  agree- 
alile  spottin(.'ss,  and  the  increased  projection  ot 
the  left-hand  end  and  its  funnel  outlet  jireserve 
the  character  of  pi[)e-head.  Long  heads  are  apt 
to  degenerate  into  simple  gutters,  and  so  lose 
their  character. 

.\t  Charwelton  Church,  the  late  Mr  Chris- 
topher Carter  designed  an  admirable  system  of 
water  leadwork  (Fig.  385).  The  parapet  gutter 
guides  all  the  water  from  the  low-jjitched  roof  to 
the  break  over  the  trough  gutter,  which  in  turn 
discharges  into  a  funnel-shaped  pipe-head.  The 
stone  corbels  on  which  the  trough  rests  give  an 
easy  .sense  of  stability.  The  pierced  valance 
which  hangs  from  the  lead  parapet  is  in  pleasing- 
alignment  with  the  trough,  and  reverts  (no  doubt 
unconsciously)  to  an  early  Aberdeen  use  of  such 
decorative  lead  valances.  The  arrangement  is 
altogether  well  conceived,  and  the  ornament 
thoroughly  suited  to  the  material,  and  yet 
modern   in    teelmg. 

The   two  heads  of  Figs.  386  and    T,Sy   tend 
more   to   the  feeling  of  historical  leadwork.      Mr 
d   the   Knole   heads  in  deciding  on  a  turreted 
his   leadwork.       In   one  detail    Mr  Chesterton 
llartlened   students  of   leadwork   mav 


Fig.  394- 


slcy  H 


modI':rx  leadwor k. 


229 


succeeded  (in  the  head  of  Fig.  388)  in  a  design  showing  some  originality  of  form  witliDut 
any  ill-treatment  of  the  material,  by  no  means  an  easy  task.  The  moulding  of  the  to])  is 
gay  without  being  tri\i:il.      This  licad  is  from  the  works  of  Messrs  Singer  of  Fromc. 

The  majority  of  such  modern  pij)e-heads  as  are  designed  and  made  on  right  lines, 
arc  built  uj)  of  cast  sheet  metal.  Messrs  Singer  use  both  this  method,  which  is  slm|)le 
l)lumbing,  and  also  box  patterns  such  as  are  employed  by  ironfounders.  There  is  much 
to  be  said  for  the  latter  method,  particularly  where  several  heads  are  to  be  made  of  one 

design  and  size,  but  it  is  an  objection  that 
he  surface  of  the  lead  is  always  a  sand 
iirface.  The  method  of  building  up  from 
ast  sheets  gives  the  alternatives  of  using 
ithe-rthe  sand  surface  or  the  coolint>"  surface. 


Fig.  396.--By  Mr  Bankart. 


Fig.  397 


Furthermore,  with  box  patterns  there  is  more  temptation  to  depart  from  a  natural  treat- 
ment of  the  metal,  and  indeed  entirely  to  forget  it. 

Of  the  many  heads  made  by  Mr  Bankart,  illustrated  in  Figs.  389  to  392  and  396, 
it  may  be  said  that  they  show  originality,  while  they  preserve  the  right  traditional  feeling. 
Fig.  389  is  one  of  a  series  fixed  at  Manchester  Cathedral.  The  lily,  .St  George  and  the 
Dragon,  and  the  fleur-de-lis  are  the  chief  tinned  ornaments,  and  are  appropriate  enough,  for 
the  cathedral  is  dedicated  to  the  Blessed  X'irgin,  St  Ceorge.  rmd  St  Denxs.  The  St  George 
ornament  needs  special 
comment.     It  is  almost  -    , 

pictorial,  and  though 
there  is  ample  historical 
authority  for  masks  antl 
small  figures  in  cast 
relief,     I     know    of    no  Fig.  39S.- Lead  Clutter. 

similar    use  of   tinning 

for  figure  work.  The  treatment  is,  however,  purely  conventional,  and  seems  perfectly 
justified.  The  long  plain  funnel  of  Fig.  390  is  a  happy  examjole  of  the  pipe-head 
reduced  to  its  simplest  and  most  practical  form.  The  floral  ornament  redeems  it 
from  baldness,  and  the  head  is  a  pleasant  change  from  the  sometimes  distorted  and 
troubled  outlines  which  derive  from  wild  searches  after  originality.  The  character  of  the 
flower  ornament  is  sound.  .Some  of  Mr  Bankart's  early  work  showed  an  undue  delicacy 
in  its  surface  ornament,  and  suggested  embroidery  rather  than  leadwork,  but  his  later 
work  is  masculine  and   unaffected.      The  head  of  I-'ig.  392  is  good,  but  the  "embroidery" 


230 


ENGLISH    LEAUWORK. 


The  surface  decorati 


if  th 


pipe 


criticism   may  be  levelled  against  it  to  a  small  extent 
is  Httracti\e. 

The  barber's  pole  and  chevron  decorations  of  the  head  of  Pig 
l)right  tinning,  and  the  design  generally  is  simple  and  appropriate 
turreted  fancies  of  the  seventeenth  century,  but  with  enough  difference  to  make  the 
feeling  frankly  modern,  'i'he  shajiing  of  the  top  etlge  gives  it  an  architectural  character, 
yet  without  affectation. 

The  early  seventeenth  century  inspired  the  e> 
is  simple  and  appropriate. 

The  head  of  Fig.  393,  designed  by  Mr  i 
Mr  Dodds,  has  good  simple  outlines,  and  the 
pleasant. 

Messrs  George  W'ragge  Ltd.  have  carried  out  many 
important  jiipe-heads  to  the  designs  of  various  architects. 
The  e.xample  of  Fig.  394  was  made  for  the  restoration  of 
Horsley  Hall,  Hexham,  to  the  design  of  the  architect,  Mr 
G.  H.  Kitchen.  It  is  a  sober  thing,  in  strict  subordination, 
as  heads  should  always  be,  to  its  architectural  surroundings. 
The  head  of  Fig.  395,  also  made  by  Messrs  Wragge,  is  one 
of  the  simple  sort  welcome  on  an\    building,  and  markedly 


391    are  clone    m 
It  is  based  on   the 


miple  of  Fig.  396,  and  the   decoration 

,    W.   Trou[),  and    made    by    the    late 
uierced    ornament    is    unaffected    and 


Fii;.  399. — Designed  l)y  Mr  Ernest  Newton 


400       \  ( 

Mr  liank.irt. 


better  than  a  head  full  of  tlesign,  unless  the  design  is  rt-strained  and  a[)propriate. 
The  gutter  of  Fig.  398,  made  b\-  Messrs  Henry  Hope  &  Co..  has  decoration  of  an 
excellent  sim])licity. 

Earlier  than  pii^e-heads  were  gargoyles,  and  on  Hardwick  Hall  is  an  cxamijle, 
which  has  been  copied  by  Mr  Bankart  for  anotht'r  purpose-  (big.  397).  It  is  tixeil  on 
an  external  church  wall  to  discharge  water  from  a  piscina  into  an  earth  drain,  an  open-air 
arrangement  which  seems  open  to  some  liturgical  objection. 

The  same  treatment  of  bulging  and  piercing  appears  on  the  stem  of  a  pewter 
sepulchral  chalice  of  the  thirteenth  century,  which  is  in  the  possession  of  the  .Society 
of  Anti(|Liaries. 


MODERN    LEADWORK. 


231 


Cisterns. 

Leaving-  rain-water  heads  for  cisterns,  one  welcomes  the  many  admirable  things  which 
have  been  done  for  the  beautifying  of  formal  gardens.  Figs.  402  and  403  show  examples 
based  on  the  traditional  lines  of  dividing  the  surface  into  small  compartments,  and  putting 


a  little  ornament  in   each.      They  arc  decoratetl  with   the  same  subject,  Noah's  .Ark,  and 
show  the  widely  differing  treatments  which  can  be  employed  with  propriety  in  such  work. 

In  Fig.  402  the  models  are  of  the  simplest.  The  wooden  creatures  of  the  child's 
Noah's  Ark  were  impressed  in  the  sand,  and  show  the  grain  of  the  wood  quite  unaffectedly. 
In  Fig.  403  the  animals,  Noah,  and  his  ark  are  freshly  and  vivaciously  modelled,  and  the 
camel  swings  after  the  hasty  elephant  in  most  convincing  fashion.  The  donkey  is 
peculiarly  delightful,  and  the  creatures  altogether  are  very  engaging. 


ENGLISH    LKADWORK. 


Decorative  humour  is  ordinarily  a  dangerous  trade,  but  hci 

Both  these  cisterns  were  made  b)   Mr  Dodds,  as  also  ih 

desi''-n  by  Mr  Ernest  \i  wtmi       In  th(    old  cisterns  the  \arictics 


It  is  successtul. 
(it    1  i'^    3Qq,   a  di'^nitied 
if  shape  were  lew        1  hey 


Fr 


ridge  by  Mr  J.  Starkie  Gardnn 


were    circular  and  segmental,    rectangular   or  rey-ularly  po]y;^-()nal. 
interest,   however,  and  a  moderate  divergence  from  the  more  obxio 
departure  from  traditional  methods.      The  frieze  of  the  cistern   of  F 
fornial,  but  has  a  slight  sense  of  sharpness  not  cjuite  satisfactory. 


oular    ] 

.lans    add 

;hapes 

is    a   safe 

;99    IS 

pleasantly 

MODERN    LEADWORK. 


233 


The  disposition  of 
the  bands  of  ornament 
on  the  tank  of  l'\'^.  401 
is  Luiusual  and  attractive. 
The  height  of  the  tul) 
made  originally  by  ^Ir 
BanUart  for  his  own 
garden  (Fig.  400)  is  a 
notable  feature.  There 
is  no  old  cistern  of  any- 
thing like  these  propor- 
tions ;  that  at  Lincoln 
Cathedral  is  the  nearest 
to  it.  The  bunches  of 
flowers  and  the  little 
creatures — a  newly- 
hatched  chicken,  a 
squirrel, &c. — are  appro- 
priate garden  decora- 
tion. The  informality 
of  the  thing  is  a  feature 
that  one  likes,  as  a 
change,  in  a  craft  which 
usually  relies  for  safety 
on  a  stiff  conventional  it) . 

Larger  Con- 
structional   Uses. 

When  one  turns  to 
spires  there  is  little  to 
record.  Many  modern 
leaded  spires  have  been 
built,  and  some  spirelets 
of  a  very  elaborate  char- 
acter, c'.o.,  by  Street  on 
the  Law  Courts,  but 
traditional  methods  have 
been  closely  followed  in 
most  cases.  The  spires 
of  Gothic  style  have 
generally  been  built 
without  large  spirelights, 
the  absence  of  which 
is   characteristic   of   the 


Fk;.  406.  — Die  Bleiern  Kirche,  Strelsau.     (Sir  CharlL'S  Xicholson,  !/iv.  et  dd.) 


234 


ENGLISH    LEADWORK. 


mcdi;L-\-ul  examples.  It  was,  perhaps,  Sir  (iilbert  Scott's  failure  to  ,141'asp  this  uutstanclin^' 
character  of  the  great  early  leaded  spires  that  accounts  for  the  i.mlo\eliness  of  the  leaded 
spire  he  built  on  St  Nicholas,  Lynn.  It  consists  of  a  lower,  straight-sided,  octagonal 
stage,  with  great  mullioned  windows  on  four  faces  and  liroaches  on  the  other  four,  and 
for  the  upper  stage,  an  ordinary  octagonal  spire.  The  broach  is  one  of  the  earliest,  as 
the  big  s[)irelight  is  one  of  the  latest  features  in  the  development  of  leaded  spires,  and  the 
attempt  to  mer^e  conflictin''-  traditions  breeds  a  sense  of  anachronism  as  well  as  ugliness. 


Fig.  40S.— Iiisinancc  Buildin-,  I'.ill  M.ill 


MODERN    LICAIAVOKK. 


235 


"d  architecture  of  the 


Something-  by  way  of  constructive  su^oestion  for  the  future  may  perhaps  be  made. 
Mr  Lethaby  when  deahnt;-  with  lead  as  a  roofing-  material  points  out  that  metal  architecture 
was  in  early  days  the  architecture  of  the  poets.  That  is  hardly  its  character  to-day.  It 
is  unquestionable,  however,  that  much  thought  has  been  ^iven  to  the  use  of  iron  con- 
struction, if  haply  it  might  be  made  as  beautiful  as  it  is  often  useful.  Critics  of  architecture 
have  laid  down  with  dogmatic  impressiveness  that,  concealed  in  the  womb  of  time,  there 
must  be  an  adequate  steel  architecture  which  shall  be  a.'stheticall\-  .satisfying,  but  its  arrival 
lingers. 

The  illustrations  of  Chapter  V.  show  how  beautiful  lead  spires  can  be  and  are.  They 
certainly  held  a  high  place  in  the  affections  of  the  medieval  architect.  The  lead  gave 
him  no  trouble  ;  he  gained  infinite  variety  of  surface  by  different  arrangements  of  the 
rolls  ;  he  outlined  great  cartoons  on  the  faces  of  his  spires  (as  at  Chalons-sur-Marne), 
and  blazoned  them  with  gold  and  colours  ;  he  wanted  the  met; 
poets,  and  he  got  it  ;  his  diffi- 
culty was  that  he  could  not  I  I  V^'^''^ 
keep  it.  His  timber  framini'  ■  '^^ 
was  in  danger  of  fire  fron 
above  and  fire  from  below 
Lightning  conductors  havi 
minimised  if  they  have  no 
rendered  impossible  the  forme 
di.saster,  but  there  is  alway 
the  danger  to  a  timbe 
from  fire  arising  in  the 
stage  or  in  the  body 
church. 

There  is,  however,  a 
sound  alternative.  Spires  can 
be  built  in  steel  and  sheathed 
in  lead,  and  will  defy  the 
fiames.  Here  there  is  room 
for  effort,  and  the  possiljility 
of  notable  achievement.  The  construction 
has  but  to  carry  itself  Here  is  a  field,  : 
steelwork  ma\'  come  into  its  own  ;  may  come  faithtull 
bones  of  a  metal  architecture.  It  preserves  the  initial  idea  of 
roof ;  and  the  lead  surface  gives  opportunities  for  colour  treatment  that  a  stone  spire 
cannot  give.  Had  the  mediaeval  architect  found  the  material  to  his  hand,  it  seems 
reasonable  to  suppose  that  we  should  be  jiointing  to-day  to  his  leaded  steel  spires  as 
notable  e.xamples  of  the  Gothic  spirit.  Fig.  406  shows  a  design  for  a  leaded  steel 
tower  which  .Sir  Charles  Nicholson  has  done  to  illustrate  this  suggestion,  and  it  will  not 
lie  attributed  to  the  author's  friendship  if  this  Bleiern  Kirche  is  described  as  being  instinct 
with  the  poetry  and  mystery  which  are  the  characteristics  of  great  architecture.  It  may 
be  hoped  that  some  ecclesiastical  Maecenas  will  be  found,  for  whom  can  be  materialised 
this  dream  church  encrowned   with   lead.      So  far  it  has  onlv  been  Iniilt  in  Strelsau,  and 


s|)in- 
belfrx 
.f  th'e 


409. — Sanclroyd  School,  Col)hani. 


hould  present  no  difficulties.  Th 
t  unimportant  even  if  it  be  small, 
y  and  gracefully  ;  may  be  th 
pire  that  it  is  a  g 


e  spire 
where 

;  metal 
orified 


236 


i-:nglish  lkadwork. 


rchitectural   tourists,  but  when   it 


its  date  is  February  1906.      Strclsau  is  little  visited 

is  visited  the  natives  speak  of  the  Prisoner  ol  Zt-n<la. 

People  have  oibed,  and  justl\-,  at  the  papering  of  steel  skeletons  with  stone,  of  which 

the  Tower  Bridi^-e  is  one  of  the  most  dismal  examples.      Had   the  bridge  lieen  treated  as 

was  the  little  leaded  bridge  o\-er  Northumberland  Street,  Strand  (JMg.  405),  what  a  magnifi- 
cent and  honest  structure  it  would  ha\e  lieen  !  Mr  Starkie 
Gardner,  who  built  this  bridge  connecting  the  Grand  Hotel 
with  its  annexe,  for  Mr  William  Woodward,  has  pleaded 
the  merits  of  this  admirable  fireproof  construction  for  streets 
of  shops.  The  fronts  could  then  be  almost  entirely  of  lead 
aiul  glass,  but  so  sane  and  practical  a  method  of  building 
l)rcsupposes  a  drastic  modification  of  tlic  building  ])ydaws. 
The  IcU-gc  flat  surfaces  which  are  the  natm-al  outcome  of 
ferroconcrete  construction  also  lend  themselves  to  decora- 
ti\e  treatment  with  lead  panelling. 

One  modern  use  of  lead  for  co\cring  buildings  has  so 
little  root  in  the  past  that  it  ma\-  be  regarded  almost  as  an 
in\cntion,  vi/.,  the  sheeting  of  brickwork. 

Mr  Ernest  Newton  has  been  active  in  this,  and  his 
happ\  example  has  been  somewhat  widely  followed. 

The  charm  and  \alue  of  ^Tr  Newton's  handling  of 
the  lead  sheeting  at  Martin's  Bank,  l^)romle\ ,  and  at  Red- 
coLirl,  Haslemere  (b'ig.  407),  are  greatl\-  increased  by  the 
skill  with  which  he  has  brought  this  unusual  treatment  into 
rel.uion  with  the  normal  uses  of  lead  fi)r  gutters,  heads, 
and  down^pipes.  Tarticularly  is  this  the  case  at  Haslemere, 
where  the  sheeting  of  the  circular  ba\  beneath  the  gutter 
has  an  effect  entireh"  natural  and  e\en  ine\itable. 

The  decorations  on  the  gutters  are  of  that  simple 
unaffectetl  sort  which  accords  best  with  any  extensive  use 

,)flead. 

One  is  ordinarily  a  little  tiretl  of  heart-shaped  orna- 
ment, but  it  should  be  rememberc'd  that  Mr  Newton  was 
emplo\ing  it  before  the  drear\-  \agaries  of  New  Art  had 
made  this  natural  outline  wearisome.  The  heart  outline 
was,  moreover,  consistenth  funured  by  plumbers  in  the 
seventeenth  and  eighteenth  ceiuui-ies,  and  nia\  be  regarded 
as  traditional  in  leadwork.  'i'he  work  was  tlone  by  Messrs 
W'enham  cK:  Waters. 

The  main  ornament  on  the  1  iash'mere  bay  has  been 
orwar.l  medium  nf  oil 
sp.uvnl  cok.urs.  The 
I'erhaps  a  belter  way 
.    medium   anil   painted 


vigorouslv  coloured 

.      Mr  N( 

■Wl( 

)n  has  I 

employed 

the    .,u, 

lie  strai- 

paiiU,    and    has    thi' 

rein    depa 

I'lei 

J    from 

the    i.lder 

■    meth' 

od     of    t> 

objection    to   oil    pai 

int    is   tha 

t    it 

.    veils 

the   textun 

■    of  th 

,.■    metal. 

is   to   have   trans|)ai 

-ent  colon 

rs. 

such    a- 

i   matlders, 

gi-ouni 

d    in    a    \ 

direct  on   the  lead. 

the    whol 

e    1 

leing  al 

Iterwartls   t 

;reated 

with    p, 

l!i 


MODERN    LKADWOK 


is  incrtasfd   if  the   lead    be  tinned  or  ^ilt  before  the  colour 
will  add   to   the  effect,  even   if  the   colour  to   be  used   is   soli 


237 

:'d,  and  initial  -ildin- 
\erniilion.      T'or  anv 


•■.  411. — The  Dragon  of  Wales,  Cardiff  Law  Courts. 


colour  treatment  except  i^ildinL;-,  which  is  always  satisfactory,  a  reasonably  clean  country 
air  is  needful  ;  in  a  smoky  town  the  colour,  however  applied,  will  mock  the  effort  in  a  few 
months. 


338 


ENGLISH    LEADWORK. 


^Piifti  Upholding  Globe. 


factory.      For  svich   work   the 


led   sheet  lead   of 


commerce  is  a  hopeless,  te.xtureless,  pasty  material 
to  be  avoided.  Cast  sheet  should  always  be  used. 
.\mongst  the  laroer  e.xterior  uses  of  lead  nia\" 
be  mentioned  some  of  the  late  Mr  Hentley's  work. 
He  was  an  enthusiast  in  leadwork,  and  as  far  back 
as  the  sixties  built  the  little  chapel  of  the  Convent 
of  the  Nuns  of  the  Perpetual  Adoration  at  Tauntnn. 
1  he  lleche  is  surmounted  Ijv  a  leaden  hoiire  ot  an 
anoel    in    the    manner   of  the    "Teat    French    roof- 


Mr  Guy  Dawber  has  heavily 
oilt  the  delio'htful  leaded  parapets 
to  the  bays  of  his  Insurance  Build- 
\\v^  in  Pall  Mall  (  Fi,o-.  40S),  and  the 
brilliance  of  the  interlaced  orna- 
ment is  of  \"er\"  happy  effect.  Here 
the  learl  is  fi.xed  on  a  concrete 
backing-  4  in.  thick.  This  work 
was  done  by  Mr  Bankart,  as  was 
also  that  at  .Sandroyd  .School, 
Cobham  (F'ii,;-.  409).  An  added 
delicac)  is  given  by  the  slight 
pierced  valance  on  the  other  side 
of  the  gutter.  This  piercing  is 
taken  up  on  a  more  elaborate  scale 
for  the  rain-water  head  adjoining. 
In  the  ordinary  way  the  restrained 
use  of  ornament,  such  as  the  latter 
example  indicates,  is  the  best  treat- 
ment, but  the  general  richness  of 
detail  of  the  Pall  Mall  building- 
demanded  a  greater  elaboration, 
and    the  result   is   eminently   satis- 


bui 


'rs,  l)ut  the   tleche  itself 


ihingU 


instead  of 


Fig.  413. 


MODERN    LEADWOl 


239 


l)eing  leaded.  The  pipe- 
heads  and  roof-work  at 
Westminster  Cathedral, 
executed  by  Messrs 
Matthew  Hall  &  Co.,  are 
full  of  interest.  The  dome 
of  the  campanile  is  a  most 
refined  piece  of  leadwork 
design,  and  the  headcross 
on  the  choir  roof  (Fig. 
410)  repays  study. 

There  is  a  lead  s|m re- 
let on  the  church  at  Wat 
ford  which  Mr  Bentley 
designed,  slender,  and  in 
delightful  contrast  to  the 
massive  flinty  tower. 

Figures. 

When  we  turn  to  lead 
figures,  their  principal  use         Fi'-  414.  -1  mi.il  on  .'^i 


in  motlern  work  has  been 
in  gardens,  but  the  biggest 
decorative  work  in  cast 
lead  ever  done  in  this 
country  is  the  great  dragon 
on  the  New  Law  Courts 
at  Cardiff  It  is  8  feet 
high  and  weighs  4  tons. 
The  model  was  made  in 
clay  by  Mr  H.  C.  Fehr 
for  Messrs  Lanchester  & 
Rickards,  and  the  plaster 
cast  of  this  model  was  used 
by  Messrs  .Singer  of 
hrome  as  a  pattern  for 
reproduction  in  lead.  It 
was  cast  in  ten  pieces  and 
soldered  together.  It  is 
a  lively  piece  of  modelling 
and  a  bold  es.say  in  mas- 
sive heraldry.  It  seems, 
however,  rather  too  livelv 


1 

.1 

1 

i 

^^HHHH^^4^*  \' ,'  1^HIHH||H 

BBBBM  v^?^MBBBM 

1  "s 

Bh^h^^^I^^               ^^I^^h^^^^K 

i 

^y.     -^^^^"^ 

Fig.  416. — At  Barnet  Court. 


240 


EXGLISH    LEADWORK. 


Iv^ 


Ma^Jiii, 


By  the  Bronisgrove  (luild. 


for  SO  y'rave  and  admirable  a  building-,  and  one  coultl  wish  that  tlic  national  as])irations  of 
the  Principahty  had  been  satisfied  by  some  less  disturbini^-  [ireseiitnu-nt  of  the  Drat^on  of 
Wales.  As  to  the  fitness  of  casting"  such  a  detail  in  lead,  theri'  is,  h()\ve\-er,  no  doubt. 
The  character  of  the  subject  forbids  stone,  bronze  would  be  a  wastetull}"  costly  material 
for  work  so  far  removed  from  close  view,  and  the  architects  are  to  be  congratulated  on 
reviving-  a  good  tradition  by  employing  lead. 

A  trio  of />///// u[)holding  a  burden   is  an   old  enough,   but  always  attracti\e  device. 
The  group  shown    in    l'~ig.  412  has  strong  characteristics.      It  was  designed  and  executed 


MODERN    LEAD  WORK 


by  the  Bromsgro\e  (j 
architect.  A  pleasant 
hy  a  l.)an<l  (h'coratcd  \vi 
frcshlv  and  anreeahK   n 


Fig.  419. — Terminal — 

•'  Pan  "  for 

Ardross  Castle. 

fliience,  and  a  \ery  prdj 
formal  gardens  owes  to 
The  cupid  of  the 
rather     miildle-aoed. 


Id    from    rough   sketch   suggestions   math;    l)y    Mr    [.    J.    Burnet, 

feature  of  the  scheme  is  the  encircling  of  the  openwork  globe 
ith  the  signs  of  the  zodiac.  These,  and  indeed  all  the  details,  are 
lodelled,  anil  with  the  softness  appropriate  to  leadwork. 

The    Bromsgrove    Guild    was    also    employed    for    the    two 

delightful  figures   at    Barnet  Court  (Mr 

Arnold     Mitchell,    architect)    shown    in 

higs.  415  and  416,  and  for  the  angel  for 

a  lych-gate  (Mr  W.  E.  Webb,  architect) 

of  Fig.  420. 

The  little  pe(jple   at    Barnet   Court 

are  tenderly  done.     The  sportsman  with 

his  acute  hound  is  evidently  bent  on  very 

moderate     bloodshed,    while     his     little 

sister  is  actively  concerned  for  the  com- 
fort of  her  frog.  They  are  both  admir- 
able,   and   look    the    better   f(jr   being   in 

their  brick  niches. 

The   British  climate  is  more  appro- 

[jriate  for  draped  figures,  such  as  those 

at  Barnet  Court,  than  for  the  nude,  like 

the  Bromsgrove  Guild's  statue,  shown  in 

I'i.U-  4'7-      It   'ii'iy  be   doubted   whether 

till-    posed    arm    is   a    wise    feature    in    a 

lead   statue,   as   it   is  apt  to   become   the 

"crooked    billet"    of    Lord    Burlington's 

criticism,    but   the    figure    is   a   charming 

conception,  ami   on   a   sunn\'  da\'   woukl 

be  an  excjuisite  touch  of  life  in  a  garden. 

One  can  imagine  it  posed  in  the  midst 

of  an   ornamental  water,  surrounded   bv 

some    such    watery   figures    as    the    boy 

riding   the   sea-horse   (Fig.   413).      This 

is  a  peculiarly  happy  piece  of  modelling. 

also  by  the  Bromsgrove  Guild.      It  is  as 

impossible  as  it  is  unwise  to  make  rules, 

but  in  a  general  way  it  may  be  said  that 

nude  figures  for  the  garden   are  better 

used    in    connection     with     ornamental 

waters.        These      Bromsgrove     figures 

seem   to   owe   something   to    French   in- 
)er  inrtuence  it   is,  when   it  is  rememberetl  how 
the  great  F'rench  gardeners  of  the  past. 

heavy  legs  (Fig.  414)  is  a  pleasant  archer,  though  he  looks 
He     serves    as    a    finial    on    a    reed-thatched     summer-house    at 


l-ic.   420. — Angel 
on   I.ych  Gate. 


:h   the 


of 


242 


ENGLISH    LP:AD\V0RK. 


Kinfauns  Ca 

by    Ml-    Cha 

l.ur-h  for  Ml 

When  a 


.tic,  Pertli,  ami  was  made 
•les     Fienshaw    uf    Edin- 
1-'.  W.  Dcas. 
1  is  said,  there  is  no  fieure 


Fic.  421. — Hamburg-America  Steamship  Offices. 


versally  feminist.  F'i^ures  of 
outstretched  arms  to   run   the 

Mr  Arthur  T.  ISolton  has 
America  .Steamship  (  )ffices  in 

Por  the  co\'erin'''  ot   the 


th 


more  absoliiteh-  appn.jpriate  to  the 
garden  than  Pan,  and  the  terminal 
figure  at  Ardross  Castle  (I-'ig'.  419) 
is  a  worthy  successor  to  the  Pan  at 
(demham  I  lall,  if  it  lacks  the  fine 
dignity  of  the  Castle  Hill  bust.  It  is 
a  far  cry  from  the  Piping  God  to  the 
Lady  (jf  the  Lych  Gate  (Fig.  420), 
which  is  hardl\-  so  successful  as  the 
garden  figures  from  the  I5romsgrove 
studios.  Perhaps  it  is  a  fad  to  ca\-i] 
at  lady-like  angels,  Init  if  the  unseen 
ministers  are  to  be  represented  as 
markedly  of  one  se.v  or  the  other, 
there  seems  more  justification  for  a 
male  tendenc}'.  It  must  be  admitted, 
thoLigh,  that  the  artist  in  this  case  is 
on  the  side  ot  the  big  battalions,  as 
the  modellers  and  limners  of  angels 
are,  for  artistic  purposes,  almost  uni- 
)eculiarlv  suited    to   lead,    as   there   are   no 


type 

■isk  of  damage  or  collapse. 

made  very  effective  use  of  leadvvork  at  the  new  Hamburg 
'all  Mall  (Fig.  421). 
lome  and  obelisk  sheetdead,  cast 


8  lbs.  per 


It   the  back  of  the  big 
Ihe   joint   between   the 


foot,  has  been  used,  and  this  part  of  the  work  has  been  done  by  Messrs  Dent  &  Hellyer. 

The  smaller  gussets  between   the  main   ribs  are   in  one  piece,  antl  in  the  larger  gussets 

there   is  a  central  welt  uniting  two  sheets.      The  welt  is  recessei 

boss,    which    is   of  beech,    with    the   lead   sheet   lieaten   over  it. 

dome   and  the  boss  is  wiped.       The 

base  of  the  obelisk   is  a  large  collar 

wrought  in  one  piece.     This  reciuired 

very  careful  work  in   contracting  the 

lead    to    form    the    neck   between   the 

circular    llange    bossetl    o\-er    the    ribs 

and    the  square   base  of  the  obelisk. 

There   is   one   vertical    seam   only  to 

the    obelisk,    and    the    raised    Ixuuls 

cover     the     horizontal     joints.        The 

vane      is      in      cast       bronze.        The 

Tritons    were    modelled    bv     Mr   W. 


MODERN    I.I-:AD\V0RK. 


Fa^an,  and  cast  in  lead  by  Sionor  Petrctti.  The  whole  composition  is  successful.  There 
is  enough  life  in  the  Tritons  to  make  them  interesting,  Init  the\"  are  sufficientK'  subordinated 
to  the  whole  to  prevent  any  sense  of  restlessness. 

The  figure  of  Apollo  at  Ingram  House,  Stockwell  ( I'ig.  422),  is  another  e.xcursion 
into  architectural  leadwork  by  Mr  Bolton.  The  sun-god  and  liis  attendant  eagle 
and  owl  are  cast  in  one  i)iece,  which  measures  about  6  feet  in  width,  a  considerable 
casting.  It  is  stiffened  at  the  back  b\'  iron  bars,  which  are  sunk  partK"  in  the 
lead  and  partly  in  a  cement  backing.  The  niml)us  was  cast  separately,  antl  its  rays 
were  ridged  to  secure  the  needed  stiffness. 


Fountains. 


m; 


.  \  m  on 
modern    garden 
are     none     more 


ny  charming 
rnaments  there 
attractive     than 


those  modelled  by  Lady  Chance. 
Neptune  s  Horse  (Fig.  424)  spouts 
water  from  the  mouth,  and  has 
been  successfully  usetl  in  fountain 
composition.  The  Dolphin  (big. 
425)  also  emphasises  the  water 
note  in  gardens.  Mr  Bankart 
made  the  fountain  of  b"ig.  427,  a 
very  pleasant  work,  which  now 
stands  in  the  midtlle  ol  a  fine 
<^ctagonal  lead  tank.  Its  design 
was    ob\iouslv    "reatlv    influenced 


Fig.  424. — Nejitune's  Horse. 


ENGLISH    I.EADWORK. 


)iitch 
uh  K( 


cxamiMC 
nsiiv'ton 


Fig.  425. — For  an  Italian  Garden 


inlhc; 
Mus.Mim. 

(  )f  i|ullc  another 
characlLT  is  the  very 
hue  fountain  modehefl 
t,)i-  Mr  John  lielcher, 
R.A.  hv  Mr  Alfred 
Drury,  A.  R.A.  (Fi- 
4 JO).  'I'hc  stron;^  model- 
ling of  the//////,  and  the 
fat,  easy  lines  of  the  bowl 
are  entirely  admirable. 

In  all  that  concerns 


Fig.  426. — Lead  Fountain,  by  Mr  Drury. 


MODERN    LEADWORK. 


the  leadwork  of  the  ^'arclen,  the  activities  of  the  artists  who 
compose  the  P.romsyrove  Guild  have  been  various  and 
lionourahlc,  and  their  fountains  are  not  tlie  least  pleasant 
of  their  output.  For  a  garden  in  tin-  West  of  Scotland 
the  Guild  made  to  Mr  R.  S.  Lorimer's  design  the  charming- 
mermaid  fountain  of  F"ig.  423.  This  lady  of  the  waters 
is  grasping  an  unwilling  fish,  and  the  mutlelling  is  full  ot 
vigorous  grace.  We  have  the  same  nmlive  of  the  fish  in 
the  attractive  fountain  of  Fig.  41S.  p.  240,  also  made  by  the 
Guild.  Cupid  holds  his  dolphin,  ready  to  spout  into  the 
vase,  and  his  p(_)se  is  li\cly  without  being  unrestrained. 

Vases,  Sundials,  &c. 

For  garden  \-ases  no  material  ec[uals  lead,  for  stone 
and  terra-cotta  are  markedly  perishable.  The  e.xample  of 
Fig.  429  was  designed  by  Messrs  Wimperis  &  Best  ;  that 
of  Fig.  428  by  Mr  John  P.elcher,  R.A.  Both  were 
cast  by  Messrs  Singer  &  Son.  The  former  owes  some- 
thing in  idea  to  the  pair  of  magnificent  vases  at  Hampton 
Court  Palace,  where  nude  female  figures  form  the  handles, 
but  the  design  of  the  vase  itself  is  quite  different.  The 
treatment   errs   perhaps    rather  on    the    side    of  sharpness, 


Fig.  42S.— Flower  Pot  at  Instow  Park. 


Fig.  427.-  fountain  by  Mr  Pankart. 

I  nit  it  is  a  successful  composi- 
tion. The  squatness  of  Mr 
Belcher's  vase  is  peculiarly 
,ip[)roi)riate  to  the  material, 
,uid  seems  to  demand  growing 
plants. 

The  Bromsgrove  Guild 
has  made  vases  of  many 
diversified  types,  as  is  shown 
bv    Figs.   430    to   432.      The 


246 


ENGLISH    LEADWORK 


Fig.  429.  — Designed  by  Messrs  Wimperis  &  Be 


Fii;.  430. — A  Simple  Design. 


Fn;.  431.  \-;isLS   by  the   Hromsgrove  C.ui 


MODERN    LEADWORK. 


247 


first  is  very  simple,  with  bold  mouldings. 
The  second  seems  to  err  on  the  side  of  too 
naturalistic  a  treatment  of  foliage,  but  the 
third  (Fig.  432),  with  its  little  cal)le-moulded 
panels,  is  quite  delightful,  and  is  as  perfect  an 
ornament  for  a  modern  garden  as  the  severer 
example  of  Fig.  430  would  be  if  added  to  an 
old  garden  of  the  eighteenth  century. 

Professor  Lethaby  has  been  so  often 
quoted  in  these  pages  that  it  is  a  [)articular 
pleasure  to  illustrate  the  very  attractixe  and 
rightly  treated  pot  of  Fig.  436. 

The  flower-pot  of  Fig.  433  is  illustrated, 
not  for  any  beauty  or  fitness  of  design,  l)ut 
rather  as  a  technical  tojir  de  force.  No  [jart 
of  it  is  cast.      It   is  entirely  beaten   u| 


433--i^y   Mr  A. 


.aidler. 


Fig.  434.~IncN 


and,  with  the  exception  of  the  horns,  out  of  a 
single  sheet  of  lo-lb.  lead,  6  feet  6  inches  by 
6  feet  6  inches.  There  are  eighteenth-century 
vases  with  the  same  ram's  horn  treatment. 
The  maker,  Mr  A.  B.  Laidler,  is  a  capable 
worker  in  cast  lead  as  well  as  wi-oughi,  but 
it  is  refreshing  to  fuul  technical  skill  in  the 
working  of  sheet  k-ad  |)Ut  to  some  other  uses 
than  mere  sanitary  plumbing. 

He  has  since  done  work  of  more  artistic 
value,  e.i^.,  the  memorial  tablet  of  Fig.  441, 
and  the  sundial  of  Fig.  434,  designed  by 
Mr  I).  W.  Kennedy.  It  is  a  pleasant  ex- 
ample of  the  simplest  and  cheapest  treatment 
proving  effective.  The  i)illar  of  the  dial 
consists  merely  of  four  lead  pipes  with  bead 
and  reel  mouldings  in  the  hollows  l)etween. 
The  top  is  decoratetl  with  Old  Time  and  his 
scythe,  the  hour-glass,  and  cherubs"  heads. 
It  is  altogether  a  masculine  bit  ot  work. 

The  art  of  modern  leadwork  owes  a  great 
deljt  to  Mr  F.  W.  Troup,  and  his  own  designs 
always  strike  the  right  note.  The  sundial  of 
Figs.  435  and  437  is  a  pleasant  object,  suitably 
decorated,  and  the  blank  clock-face  of  Fig.  439, 
is  an  example  of  an  unusual  but  entirely  suitable 
use  of  lead.  Messrs  Henry  Hope  &  Sons 
have  recently  made  a  clock  dial  with  cable 
edging,  which  is  simple  and  successful. 

The  sundial  of  I-^ig.   440,   by    Mr  James 


en(;lish  lkadwork. 


Fig.  436.-  Pot  designed  by  Professor 
W.  R.  Lethaby. 


% 


437.  —  Sundial   with 
Tinned  Face. 


•](;.  438.  -   (las   I'lttini;,   witli   Ornament 
of   Lead    Panel   (I. It. 


MODERN    LKADWOKK. 


249 


Fig.  439.  —  likink  Clock  Face. 


Cromar  Watt,  is  likr   ^olilsniith's   work    in   lar^e.      He  has  c 
dull    red    and    i;reyis]i-^reen    alternately,   and    the   ornament 
^ildin^-.      The  whole  effect   is   rich   and    interesting'. 

L'nusual    amongst    ecclesiastical    leadwork    are    the    yas 
Charles   Nicholson   for   the   Catholic    Apostolic    Church,   Cor 
Lockerbie    &    Wilkin- 
son,    of     Tipton,     made 

them    (Fi--.    43S).       The  ..i— i.-^— ^— i— i^^ 

whole  of  the  work, 
except  the  piping  and 
stays,  is  in  cast  lead 
parcel  gilt.  For  bowls 
such  as  that  from  which 
the  burners  issue,  cast 
lead  seems  as  reason- 
able a  material  as  re- 
pousse brass  or  copper 
(which  are  ordinariK' 
used  for  such  work), 
for  these  latter,  when 
pierced,  have  a  thin  ami 
papery  look. 

The  unusual  bend- 
ing of  the  standard  is 
a      practical      de\ice      to 


Sundi 
llr.l 


nl  with  Jasper  Di.scs. 

n   aid   discs  of  jasper, 
ood    deal   relieved    bv 


Fig.  441.— At  All  .Saints',   Belclare. 


standards  designed  by  Sir 
.Ion  .Square,  W.C.  Messrs 
a\-oid  a  stall.  In  the 
beautiful  little  chapel  of 
All  Saints',  Helclare, 
County  Mayo,  is  the 
lead  memorial  tablet  of 
Fig.  441.  Some  parts 
of  the  background  are 
painted  a  strong  blue, 
and  the  lettering  and 
ornaments  are  gilt. 
The  tablet  has  a  quiet 
charm  which  has  dis- 
tinguished few  me- 
morials of  the  war.  Sir 
Charles  Nicholson  was 
architect  for  chapel  and 
tablet,  and  the  latter 
was  modelled  and  cast 
to  his  design  by  Mr 
Laidler. 


A     I'IRST    ATTEMPT    AT 

A    BIBLIOGRAPHY    OF    PUBLICATIONS 


,I,ATIX(,     TO 


THE   HISTORY  OF   ENGLISH    LEADWORK 


BOOKS    AND    ARTICLES     IN     TRANSACTIONS    OF    SOCIETIES,    &C. 


SOURCES  OF  LEAD,   ROMAN   PIGS,  &c. 

THE     EARLY     METALLURGY     OF     SILVER     AND 

LEAD  :  PART  L  LEAD.     By  William  Gow- 

land.     Archaologia,  vol.  Ivii. 
A  valuable  and  learned  paper.     Describes  early  pro- 
cesses and  development  of  smelting.     Illustrates  many 
Roman  pigs,  and  a  few  early  objects,  coffins,  i!v:c. 

SOME     ROMANO-BRITISH     SOURCES     OK     I, HAD. 

By  Charles  Perks.     Birm.  and  Mid.  Ins/., 

xiii.  I-I2. 
RELICS   OF  ENUMERATION  OF  BLOCKS  OR  PIGS 

OF  LEAD  AND  TIN   DISCOVERED  IN  GREAT 

BRITAIN.      By  Albert  Way.     Arch.  Jour., 
xvi.  22-40. 

NOTICES  OF  ROMAN  PIGS  OF  LEAD  FOUND 
.\T  BRISTOL,  AND  OF  METALLURGICAL 
RELICS  IN  CORNWALL,  IN  OTHER  PARTS 
OF  ENGLAND  AND  WALES,  AND  ALSO  ON 
THE  CONTINENT.  By  Albert  Way.  Arc/i. 
Jour.,  xxiii.  277-290. 

PIGS     OF     LEAD     OF    THE     ROMAN    PERIOD    IN 

BRITAIN.     By  J.  D.  Leader.     Bni.  Arch. 

Assoc.  Jour.,  N.S.,  iv.  267-271. 
ROMAN  PIGS.    By  J.  Roach  Smith.     Collectanea 

Antiqua,  vol.  iii. 
ON    ROMAN    INSCRIBED    PIGS   OF    LEAD    FOUND 

IN    BRITAIN.       By    W.    de    Gray    Birch. 

Rrit.   Arch.    Assoc.    Jour.,    N.S.,    iv.    272- 

275. 
.\CCOUNT  OF  TWO  PIGS  OF   LEAD  FOUND  NEAR 

RIPLEV,  WITH  THIS  INSCRIPTION  ON  THEM  : 

"imp.  caes.  domitiano  aug.  cos."     By 
Rev.   Sam.   Kirkshaw.     Phil.    Trans.    Roy. 
.S'ot-.,  xli.  560. 
remarks    on    an    ancient    pig    of     lead 

lately  discovered  in  DERBYSHIRE.       By 

Rev.  Samuel  Pegge.     Arch.,  v.  369-37S. 


l>L>t  kll'l  II  IN  I  >l  A  second  ROMAN  PIG  OF  LEAD 
FOUND  IN  DERBYSHIRE;  NOW  IN  POSSES- 
SION OF  .MR  ADAM  WOLI.EV,  OF  MATLOCK, 
IN    THAT    COUNTY,    WITH     REMARKS.       By 

Rev.  Samuel  Pegge.     Arch.,  vii.  170-174. 

DESCRIPTION  OF  ANOTHER  ROMAN  PIG  OF 
LEAD  FOUND  IN  DERBYSHIRE.  By  Rev. 
Samuel  Pegge.     Arch.,  ix.  45-48. 

ON  THE  DISCOVERY  OF  A  ROMAN  PIG  OF  LE.\D 
FOUND  ON    M.\TLOCK   MOOR,  DERBYSHIRE. 

By  Rev.  J.  C.  Cox;  and  ON  ITS  inscrip- 
tion, by  F.  J.  Haverfield.  Proc.  Soc. 
Antiq.,  2iid  S.,  xv.  185-189. 
the  ROMAN  name  OF  M.\TLOCK,  WITH  SO.ME 
NOTES  ON  THE  ANCIENT  LEAD  MINES  AND 
THEIR  RELICS  IN  DERBYSHIRE.      By  W.  de 

Gray  Birch.     Brit.  Arch.  Assoc,  N.S.,  vi. 
33-46,  1 13-122. 

ON  THE  EARLY  HISTORY  OF  WIRKSWORTH  .YND 

ITS    LEAD    MINING.      By   William   Webb, 

M.D.    Jour.  Derbyshire  Archceol.  and  N. 

H.  Soc,  vol.  vii.,  p.  63. 
Illustrates  two  pigs.     Gives  references  to  working  in 
Romano-British   and   Saxon   times  and   later.     Wirks- 
worth  provided  the  lead  coffin  in  A.I>.  714,  for  the  body 
of  St  Guthlac  of  Croyland. 

Illustrates  dish  for  measuring  lead  ore. 
ON   THE   DISCOVERY  OF  A    FOURTH    INSCRIBED 

PIG     OF     ROMAN     LEAD     IN     DERBYSHIRE. 

By  the  Rev.  J.  Charles  Cox,  LL.D.  ;  Prof. 

F.   Haverfield,  F.S.A.  ;  and  Prof.  Hubner. 

The  Antiquary,  vol.  xxix., 
Gives  illustrations  of  pig  found  ar 
LE.\D    MINING.      VICTORIA   COUNTY    HISTORIES 

OF  ENGLAND  :    VOL.    II.,    DERBYSHIRE,   pp. 

323-349.     By  Mrs  J.  H.  Lander  and  C.  H. 

Vellacott. 
A  full  historv  of  the  most  important  industry  of  Derby- 
shire in  bve-gone  davs.     It  deals  fully  with  all  evidences 
from  earlv  documents  as  to  the  customs  and  regulations 


I  of  two  others 


BIBLIOGRAPHY. 


THE  TRAFFIC  BETWEEN  IlEVA  AN'I)  THE  COAST 
OF  NORTH  WALES    IN    ROMAN    TIMES.      By 

George  W.  Shrubsole.     Chester  and  North 
II-,i/fs  Arch,  and  Hist.  Soc,  vol.  i.  (N.S.). 
;  of  thn-L-  pies. 


THE  ROMAN   PIGS  OF   LEAD   DISCOVERED  NEAR 

CHESTER.      By    Rev.     Rupert     H.    Morris. 

Chester  Arch,    and    IliU.    S,k.,    N.S.,    Iv. 

68-79- 
PIi;     OF     LEAD      IN     CHESTER     .MCSEUM.        By 

Egerton    Phillimore,    M.A.      Anh.    Cain- 

brensis.,  5th  S.,  viii.  137. 

THE  CHESTER  PIGS  OF  LEAD.  By  I'rofesSOr  J. 
Rhys.  Arch.  Caiiibroisis,  5th  S.,  i.\.  165- 
166. 

THE    ROMAN    PIGS  OF  LEAD    DISCOVERED  NEAR 

CHESTER.      With   a    Letter    by   Professor 
|ohn  Rhys  of  Oxford.    Jour.  Chester  Arch, 
'and  Hist,  .'ioc,  N..S.,  iv.  68-79. 
EARLY     LEAD     MINERS     BROUGHT     FROM     THE 
HIGH   PEAK  TO  WORK  IN  FLINTSHIRE.       By 

Henry    Taylor.       Chester    and    N.    Wales 
Arch,  and  Hist.  Soc,  N.S.,  viii.  112-114. 
Notes  on  an  entry  in  the  Patent  Roll  of  4  Richanl  1 1. 

INCIDENTS     IN     THE      BUILDING      TRADES     OF 

LONDON       IN       THE       FOURTEENTH       AND 

FIFTEENTH    CENTURIES.      By    W.    Culling 

Gaze.     Builders^  Journal,  26th  June  1907. 

Included   are   some   interesting  records  of  medireval 

plumbers. 

ON  THE  PRICE  OF  LEAD  IN  THE  REIGN  OF 
HENRY  VIII.  (ORIGINAL   DOCUMENTS).      By 

W.    H.    Black.     Jour.   Arch.   Assoc,   vii. 
304-306. 

A  fother  equalled    iq.^   cwt.     Lead  cost  a  halfpenny 
per  lb. 


ON   LEADWORK  GENERALLY. 


:.E\D\VORR   OLD    \ND   ORN\MFNTM      \N1)    FOR 
FHF     MdSl      I  \KT     I  N(    I  ISH  Bj      W      R. 


S   in    by 
iSy3 


ni  th 


LEADWORK.      By   W.   R.    Lethaby.      .A    paper 
read     before    the    Society    of    Arts,     and 
printed  in  their _/(^?/;7w/ of  9th  April  1897. 
.V  footnote  to  Mr  Lethabv's  book. 

ORNAMENTAL    LEADWORK.      W.    Burges.       The 

Ecclcsiologist,  iJecember  1856. 

This  .iilmir.ibli-  |i.[|i.T  li.is  b.rn  used  largely  by  .Mr 
Lethaby  in  Ins  book  but  ,is  it  .1,  als  chiefly  With  French 
work  It  li.is  bi/.;ii  little  clia\iii  ti[ion  for  the  purposes  of 

LEADWORK.       Bv     F.    W.     Troup,     F.R.LB.A. 

Jour.  Roy.   Inst.    Jirit.    Architects,    3rd  S., 

vol.  .xiii.,  No.  10. 
Chiefly  practical  notes  on  working  in  lead. 
ORNAMENTAL       LEAD       AND        LEAD-CASTING. 

By  F.   W.  Troup,  F.R.LB.A.     Jour.   Rov. 

Inst.  Brit.  Architects,  3rd  S.,  vol.  vii.,  No. 


A   ftill 


EXTERNAL  LEADWORK.  By  F.  W.  Troup.  .A 
Chapter  in  The  Arts  connected  with  Build- 
ing.    Published  by  B.  T.  Batsford,  1909. 

LEADWORK,      ANCIENT       AND      MODERN.        By 

Charles    Hadfield,    F.R.LB..A.      A   lecture 
before  the  Sheffield  Art  Crafts  Guild.      The 
liritish  Architect,  1904. 
HlmL    with    U-adwork  generally,    and    prints  extracts 
from  building-roll  of  \"ork  Minster  dealing  with  plumb- 
ing work. 

ENGLISH  ORNAMENTAL   LEADWORK.   By  J. 

Lewis  Andre.     Airh.Jour.,x\v.  109-119. 

This  paper  ranges  over  the  whole  subject. 

THE   REVIVAL    OF    THE    HANDICRAFTS  :    LEAD- 
WORKING.      By  J.   Starkie    Gardner.      The 
Mat^azine  of  Art,  ?vlay  1900. 
A  general  article  with  illustrations  of  the  Melbourne 

leatlwork,    ol    \-entilating   quarries,    and    of    a   modern 

dragon  in  lead  on  a  wrotight-iron  terrace  screen. 

LEAD  ARCHITECTURE.  By  J.  Starkie  Gardner. 
Jour.RJ.n.A.,^^.  141 -157. 

"ng  Ak 


the  his 


for 


the 


1    LEADWORK    IN    EXETER   AND   THE   NEIGH- 

iiouRHOOD.     By  Harbottle  Reed.     E.xeter 
Diocesan  Arch,  and  Arch,   .^oc,  3rd  S.,  i. 


pipchcadi 

are  illustrated. 

ON     DERBYSHIRE    PLUMBERY  ;    OR    WORKINGS 

IN    LEAD.      By    J.    Charles    Co.x,    LL.D. 
Derbyshire  Arch,  and  N.H.  Soc,  vol.  ix. 
.■\   good   general    review    of    the    county    leadwork. 
List  of  fonts  incorrect.     Illustration  of  very  early  gutter 
at  Derby. 

OF       GARDEN       ORNAMENT  :       THE       USE       OF 
LEAli\vri|.:k     IN     i,\kDENS.       Anonymous. 
Coun/rv  1:1.,   i;il,    |ulv  1899. 
Illusti-.it -11,   !:.!.    e•^.    ■    I  ■., in  and  Abel,"  a  fox  with 


fo« 


vellil 


the  ■ 


gun 


OF  LEADEN  GARGOYLES,  MAGDALEN  COLLEGE, 
OXFORD.  By  Richard  Davey.  Country 
I   t     -•-til  '  >   tnbci  1900 


lead  n  . 


,  ol 


mdlu 


full 


proc 


OF      GARDEN      ORNAMENT  LEADWORK      AS 

GARDEN  DECOR  X'fKiN.    By  Richard  Davey. 

Country  I.ife.  141I1  Aiuil.  _':-:ih  .'Xpril  1900. 
In  .i.Mithih  t.i  sr\,  I    '     ,   ,  I  .    ■  ,1  the  Melbourne 

lr,Ml«,i,L  .irr  ■■   111,-   !■    :  ■    .  I  :  ,     -       ihs'  at  Painshlll, 

the  1, is.-s.it  Di-.iv ..  -  ■  at  IVover  Hall, 

.iiid  ■•Flora  ■•  .it'Or.iM.iii 

FOR.MAL  GARDENS  IN  KXtW.ANIi  .\ND  SCdlLAXH. 

By  Inigo  Triggs.     I'tiblished  by  B.  T.  Bats- 
ford. 

LeadwDrk  illustrated  includes  the  following  : — 
Longford  Castle:   "Flora,"  by  Sir  Henry  Checre,  in 
garden  temple.     Helcombi-  Hr....k  ;  "  Perseus"  in  garden 
temple    (not    the    san:-      i       il     M. '!  -   in  ne).     .Stoneleigh 


.\bl 


i  -  ir,'    Hute.       Nun 

.11.  I  I-    I  -  .iih.rini.    Chiswick 

1,.  ,.l    iMd  I '.irk:    vase.     Pens- 

ur.  %a.se.  Victoria  and  Albert 

Cisterns.  Drayton     House, 

noted  above  as  they  are  illus- 


15IRLIOGRAPHY 


253 


THE    DECORATIVE    TREATMENT    OF    METAL    IN 

ARCHITECTURE.      By    George    H.    Birch. 

Snrir/v  of  Arf^,  Cantor  Lecture,  April  1883. 

C'cmi  I  ,      M         i!  |.l.a  for  leadwork  and  a  number 

ofnffi'i  ! -      Also  states  that  the  statue  of 

SliaUe-i"  K      I    :         ..nil  of  Urury  Lane  Theatre  is  of 


FONTS. 

OB,sERVATlONS  ON  FONTS.     By  Richard  (iough, 

Dir.S.A.,   1789.     Archceolooia,  vol.  x.   183- 

209. 

This  appears  to  be  the  first  reference  to   lead  fonts. 

Gough    mentions    four    only— lirookland,    Dorchester, 

Wareham,  and  Walmsford.     The  last  is  not  of  lead  now, 

but  perhaps  since  1789  the  font  Gough  refers  to  has  been 

destroyed. 

The  Brookland  font  Gough  attributes  to  the  time  of 
Birinus.     .^s  he  died  in  650  a.d.  we  must  reject  this  date. 
Ashover  is  mentioned  as  having  lead  figures  on  a  stone 
font. 

LEADEN     FONTS.      Alfred     C.    Fryer,    Ph.D., 
F.S.A.     Arch.  Jour.,  Ivii.  40-51. 
.An  altogether  admirable  and  exhaustive  pajier  which 
has  been  drawn  upon  freely  in  the  foregoing  chapter  on 
fonts. 

NOTES    ON    FONTS.     Alfred    C.    Fryer,    Ph.D., 
F.S.A.      Arch.  Jour.,  vol.  Ixiii.,    No.    250, 
97-105. 
On    Penn,    Greatham,   and    Buryhill    fouls,    .ind    tin- 
vessels  at  Gloucester,  Maidstone,  and  I.rurs.ill  iIim  rilicd 


BROOKLAND,  KENT,  DESCRIPTION    OF   CURIOUS 
LEADEN      FONT      IN      THE      CHURCH       OF. 

Arch.  Jour.,  vi.  159-164. 

SOME    OBSERVATIONS    OF    THE    LEADEN     FONT 
OF  BROOKLAND  CHURCH,  ROMNEY  MARSH. 

By  Herbert  L.  Smith.     Arch.  Cant.,  iv.  87- 
96. 

THE  LEADEN  FONT  AT  BROOKLAND.   By  Kev. 

Grevile  M.  Livett.     Arcli.   Ca/itiana,  xxvii. 

255-261. 
LEADEN    VESSEL,    PROBABLY    THE    LINING    OF 

A     FONT     NOW     XT     GREATHAM.        By     R. 

Garraway  Rice.     Proc.  .Soc.  Antiq.,  2nd  S., 

xviii.  294-303. 
Dealt  with  in  "Fonts"  chapter.     Mr  (jarraway  Rice 
rejects  idea  of  the  vessel  being  a  font  in  favour  of  theory 
that  it  is  a  lining. 
AN   ANCIENT   LEAD   COFFER    FOUND    AT    WILL- 

INGDON.     By  M.  A.   Lower.     .Suss.   Arch. 

Coll.,  i.  160. 
The  object  now  in  Lewes  Castle,  dealt  with  m  chapter 
on  Fonts.      It  was  found  in  a  cutting  in  1847.      This 
paper  claims  it  as  .\nglo-Saxon  of  tenth  century. 
FONTS  AND  FONT  COVERS.     By  Francis  Bond. 

1908.     Henry   Frowde,   Oxford   University 

Press. 
This  admirable  book  illustrates  fourteen  nf  the  lead 
fonts,  and  the  classification  follows  that  of  the  present 
author. 


SEPULCHRAL    LEADWORK. 

REMARKS  ON  THE  ORNAMENTATION  OF  RO.MAN 
COFFINS     WITH     ESCALLOP     SHELLS.        By 

Henry  Charles  Coote.     Land,  and  Middl. 
Arch.  Soc,  ii.  268. 
Escallops  symbolise  the  sacrifice  made  to  the  maiu-s 
of  the  buried. 


ROMAN  LEAD  COFFIN  DISCOVERED  AT  CANTER- 
BURY.    By  Charles   Roach   Smith.     Arch. 
Cant.,  xiv.  35,  36. 
Roman  ;    the  coffin  had  two  diagonal  lines  of  cord 
moulding  on  the  top,  with  well-modelled  rose  at  inter- 
section and  four  simpler  circular  ornaments   half-way 
between  intersection  and  corners. 
LEADEN   COFFIN,    RHYDDGAER.      By  W.   VVynn 

Williams.    Arch.  Camb.,  4th  S.,  ix.  136-140. 
Remains  of  a  Roman  coffin.    Has  lettering  CAMVLO- 
RIS    HOI  cast  in  relief;    lettering  is  nio.st  unusual  on 
coffins,  indeed  this  is  perhaps  a  unic|ue  example. 

NOTES  ON  SOME  LEADEN  COFFINS  DISCOVERED 

ATCOLCHEsn  I  .     I'\  ("liailes  Roach  Smith. 

lirit.  Arch.  ./-.      ,  n     "):   -,",5- 
Roman:  ornaniLiii    v..  I     1.  :  n.l  rods,  escallops 

and  rings.     C.  K.  S     il  ■■  l     ■       1  .itii  of  coffin  found 
in    1794,   with  attraclue  design   of  .scallops  and    rope 
moulding. 
ROMAN      LEADEN      COFFINS      DLSCOVERED      AT 

COLCHESTER.      By    Henry    Laver.     Essex 

Arch.  Soc,  N.S.,  iii.  273-277. 
Roman :    beaded  rim   and   beaded   crosses  ;    a  queer 
z-inch  pipe  issued  from  lid  above  where  face  of  corpse 
would  be.     .\lso  child's  coffin  with  beaded  crosses. 

LEAD  COFFIN    FOUND    IN  THE  MINORIES,  1853. 

By  J.  Y.  Akerman.    Proc.  Soc.  Antiq.    First 
Series,  iii.  17. 

Romano-British  with  escallops  and  beaded  rods.    Now 
in  British  Museum. 
NOTICE     OF     A     LEADEN     COFFIN,     OF     EARLY 

FABRIC,  DISCOVERED  AT  BOW.     By  Charles 
Roach  Smith.     Arch.,  xxxi.  308-31 1. 

Roman  ;  with  cable  moulding. 
COLLECTANEA  ANTKJUA.      By  J.  Koach   Smith. 
For  Roman  Coffins  and  Ossuaries,  see  vols, 
iii.  and  vii. 
Some   subjects  dealt  with  in   the  Colh-daiiea  are  re- 
statements of  finds  that  had  alreaily  been  described  in 
.•\rchEeological  Proceedings. 

ROMAN    COFFINS    OF    LEAD    FROM    BEX    HILL, 
MILTON,  NEXT  SITTINGBOURNE.    By  George 

Payne.     Arch.  Cant.,  ix.  164-173. 
Roman  :  three  found.     One  is  in  Maidstone  Museum, 
with  crosses  of  bead  and  reel  rods  and  Medusa  heads  ; 
another  bad,  in  addition,  lions,  jug-like  ornaments,  and 
a  sworil  blade. 
The  lions  are  unique  as  coffin  ornaments. 
Note   infrequency   of    use    of    escallops    on    Kentish 
Roman  coffins. 

ROMAN   LEADEN   COFFINS  AND   OTHER    INTER- 
MENTS       DISCOVERED        NEAR        SITTING- 
BOURNE,  KENT.    By  George  Payne.    Arch. 
Cant.,  xvi.  9-1 1. 
Roman  :  rope  moulding,  rings,  oxen  yokes.     A  lead 
ossuary  was  found  near  by. 

ROMAN  LEADEN  COFFIN  DISCOVERED  AT  PLUM- 
STEAD.      By  George    Payne.     Arch.   Cant., 
xvii.  10-11. 
Roman  :    bead  and   reel  ornament  all  rotmd  the  lid 
near  the  edge. 

LEAD  COFFIN  FOUND  .\T  CHATHAM.   By  George 
Payne.     Proc.  Soc  Antiq.,  vii.  41 5- 
Romano-British  :  escallops  and  billet  ornaments. 
ROMAN  COFFIN  OF  LEAD  .\T  CH.\THAM.      By  .■\. 

A.  .Arnold.     Arch.  Cant.,  xii.  430-43I- 
Found  between  Crayford  and  Bexley. 
Roman :    beaded   ornament   on   seams    and   escallop 
shells. 


BIBLIOGRAPHY 


NOTICE  OF   A  LEADEN  COFFIN  DISCOVERED  AT 
HEIGHAM.     By  Robert  Fitch.    Norfolk  and 
Norwich  Arch.  Soc,  vi.  213-216. 
I'nornamented;  probably  Roni.in. 

THE      DISCOVERY      OF      LEADEN      COFFINS     IN 

LEICESTER.     By  G.  C.  Bellairs.     Leicester 
Architect  and  Arch.  Soc,  iv.  246-249. 
Roman:  three,  one  with  sliglit   striated  pattern,  two 
without  ornament. 

DISCOVERY  OF  A  RO.MAN  LEADEN  COFFIN  NEAR 

BISHOPSTOKE,  HANTS.     By  Francis  Joseph 
Baigent.     Proc.  Soc.  Antiq.,  2nci  S.,  ii.  327- 


WEEVER'S  "funeral  MONUMENTS."      Ed.  I63I, 

p-  30- 

Reference  to  Roman  coffin  of  about  239   A.  11.,   witli 
escallop  shell  ornaments— found  at  Stepney. 

ACCOUNT  OF  A  LEADEN  COFFIN  TAKEN  OUT 
OF  A  ROMAN  KURVINC.  -  PLACE  NEAR 
YORK.  By  Ralph  Thoresby.  /'////.  Trans. 
Roy.  Soc,  xxiv.  1 864- 1 865. 

A  ROMAN  COFFIN    FOUND   AT    BRAINTREE.      By 

G.    F.   Beaumont.     Essex  Arch.   .sVv.,  vii. 
401-402. 

SOMERSETSHIRE  ROMAN  LEAD  COFFINS.     NotCS 

by    H.    St   George   Gray.       Somerset  and 

Dorset  Notes  and  Queries,  vol.  ix.  S,  58,  230. 

At  Taunton  C  astl.-  Museum  is  a  small  piece  of  a  coffin, 

with  plaited-work  design,  found  near   Ilchester.      Lead 

coffins  are  scarce  in  Somersetshire. 

LEAD     COFFIN     AND     TWO     OSSUARIES     FOUND 

AT  ENFIELD.     By  R.  A.  Smith.     Proc.  Soc. 

Antiq.,  xix.  206. 
Romano-British  :   coffin  has  rope  mouldings  in  saltire 
and  star  arrangements  with  scallop  shells.      Ossuaries 
plain.     See  for  notes  on  inhumation  and  urn  burials. 

ACCOUNT  OF  TWO  LEADEN  CHESTS,  CONTAIN- 
ING THE  BONES,  AND  INSCRIBED  WITH 
THE  NAMES,  OF  WILLIAM  DE  WARREN 
AND  HIS  WIFE  GUNDRAD,  FOUNDERS  OF 
LEWES  PRIORY,  SUSSEX,  DI.SCOVEREll  IN 
OCTOBER  1845,  WITHIN  THE  PRIORY  PRE- 
CINCT. By  W.  H.  Blaauw.  Arch.,  xxxi. 
438-442. 
Blaauw  suggests  that  the  bodies  were  put  into  the  lead 

coffins  about  sixty  years  after  Gundrada  and  William 

died  (1085  and  1088  respectively),  making  date  of  coffins 

about  1150. 

ON  THE  DISCOVERY  OF  THE  REMAINS  OF 
WILLIAM  DE  WARENNE  -AND  HIS  WIFE 
GUNDRADA,  AT  LEWES.  By  C.  L.  J'rince. 
Sussex  Arch.  Coll.,  xl.  170-172. 

THE  ANCIENT  STONE  AND  LEADEN  COFFINS, 
&C.,      IN      THE      TEMPLE      CHURCH.  By 

Edward  Richardson.     Published  1S45. 
IX-als  fully  with  the  media-val  lead  coffins  and  illus- 
tr.ites    them.         Richardson     attributes     them    to    the 
beginning  of  the  thirteenth  century. 

DISCOVERY  OF  STONE  COFFINS,  LEADEN  SEPUL- 
CHRAL CHEST,  SKELETONS,  AND  INCISED 
SLAB   OF   THE  THIRTEENTH    CENTURY    AT 

DR.VYTON.     By  J.  Wodderspoon.     Norfolk- 

and  N. •!-:,■:  i:  A 1 .  J:    S.u:,  vi.  132-141. 


mmy 


kffi(;y  of   king  richard,  cceur  de   lion, 

IN      THE      C.\THEDRAL     AT     ROUEN.        By 
Albert  Way.     .-irchteoloi^ia,  xxix.  202-216. 

In  aiMii  -11  :■■  111'  i  iti'^i  iIm  i  ,mI  heart  casket  is  de- 
scribed. I  '  .  ,1  .  1  i,  ,  -  i.iie  within  the  other. 
Tile  k-u<  I     -  niier  box  has  V)een  re- 

producid  \<\  \l:  I'liil'v  .!:  /.uncork.  The  heart 
was  fouiul  ■■  withi/rrd  tu  the  semblance  of  a  faded  leaf." 
The  lead  casket  was  enclosed  in  a  sumptuous  gold  and 
silver  casket,  which  was  sold  towards  the  ransom  ot  St 

ST    EANSWITH'S    RELIQUARY    IN     FOLKESTONE 

CHURCH.      By    W.    A.    Scott    Robertson. 
Arch.  Cant.,  xvi.  322-326. 
This    is     illustrated     and     described    in    "Cisterns" 

chapter.     W.  .\.  S.  R.  gives  details  of  its  finding. 

LEAD     RELIQUARY     OF     .ST    WITA     AT     WHITE- 
CHURCH  CANONICORUM.     By   C.  Druitt. 

With  early  thirteenth-century  inscription,  otherwise  plain. 

LEAD   COFFINS   AT  WEST   THURROCK   CHURCH, 
ESSEX.     The  Antiquary,  1906,  p.  326. 
Thirteen  were  found  of  uuunmy  case  shape,  one  being 

dated  1607. 

WOOLLEN    CAP   AND    SHROUD    DISCOVERED    IN 
A      LEAD      COFFIN      AT       WINDSOR.  By 

Charles  H.  Read.     Proc.  Soc.  Antiq.,  xvii. 


ind 


The  . 


LEAD  CUfH.N  kh.MnVED  l-Ku.M  ^^f  .MILDREDS, 

BREAD    STREET.      The    Antiquary,    1906, 
p.  402. 
Of  Sir  Nicholas  Crispe,  1665.    Of  mummy  case  shape, 
"with  the  form  of  the  body,  head,  and  neck  roughly 
followed— the  arms  crossed  in  half  relief,  the  nose  repre- 
sented by  a  sharply-cut  and  raised  triangle,  the  eyes, 
brows,  and  wide  smiling  lips  by  incised  lines." 
OBSERVATIONS       ON        THE       MONUMENT        IN 
CANTERBURY     CATHEDRAL     CALLED     THE 
TOMB    OF    THEOBALD,    AND    AN    ACCOUNT 
OF    I  \V(i   wriFXr   INSCRIPTIONS  ON    LEAD 
Dls(  ,,\l  II  |i  I\  (  AXTERBURY  CATHEDRAL. 
r>yllini\    i;i.\,       .iriV/.,  XV.  291-299. 
The  ins,  i,,,in.„  ,,„  I.  H i  sheet  found  in  the  lead  coffin 
of  .\rchbishop  'rht.-oIjald,  the  immediate  predecessor  of 
St  Thomas  a  Becket,  is  in  a  good  Roman  lettering. 
LEAD     LETTERING     IN     GRAVE     SLAB.       By    C. 
Hodgson  Fowler.    Proc. Soc. Antiq.,\\\.^\\. 
1 1.\\>-  ,il...ut  1300. 
CAMUE.n's     BKITAXMA.         Folio,     vol.     i.,    p.     59, 

edition  1789. 
An   illustration    is  given  of  the  inscribed  lead  cross 
which  was  refiuted  to  ha\e  been  found  in  .Arthur's  (ii/so 
rfpnfed)  grave  at  (ilastonbury. 

LEADEN    BOX   AND   CROSSES    FROM    RICHMOND. 

By  Ed.  Charlton.     Arch.  .£liana,  N.S.,  ii. 

46-50. 
Box  contained  earth  and  four  rude  crucifixes  in  lead. 
Origin,  date,  and  purpose  doubtful. 
NOTES    UPON   THE  DISCOVERY   OF    A    NUMBER 

OF     LEADEN     GRAVE    CROSSES    NEAR    THE 

GREY       friars'      MONA.STERY,       NEWGATE 

STREET,  LONDON.     By  F.  G.  Hilton  Price. 
Proc.  .'<oc.  Antiq.,  N.S.,  xxi.  12-20. 


BIBLIOGRAPHY. 


255 


OBSERVATIONS       ON       CERTAIN       SEPULCHRAL 
USAGES    OF    EARLY     TIMES.         By    \V.     M. 

Wylie.  Archaologia,  vol.  x.kxv. 
Deals  with  absolution  crosses  found  near  Dieppe. 
They  were  rudely  cut  out  of  sheet  lead.  Long  absolu- 
tions were  scratched  on.  The  crosses  were  laid  on  the 
breast  of  the  buried.  There  are  interesting  references 
to  Abelard  and  Heloise  and  to  similar  crosses  found  at 
Lincoln  and  Chichester,  and  illustrations. 
SEPULTURES     CHR^-.TIENNES     DE    LA    PiRIODE 

ANGLO  -  NORMANDE,      &C.         By       L'Abbe 

Cochet.     Archceologia,  vol.  x.xxvi.  258-266, 

and  xxxvii.  37-38. 
These  two  papers  deal  with  the  same  subject  of  lead 
absolution  crosses  as  Wylie's  paper,  but  more  fully. 
LEAD  CROSSES  FOUND  AT   BURY   .ST    EDMUNDS. 

By  Samuel  Tymms.      Proc.    Soc.   Antig., 
iii.  165-167. 

Three  absolution  crosses,  two  inscribed. 
A      LEADEN      CROSS      FOUND      AT      BURY      ST 

EDMUNDS,   &c.      By    Edmund   Waterton. 
Proc.  Soc.  Antig.,  2nd  S.,  ii.  301. 
.\n  absolution  cross,  inscribed,  and  a  lead  matrix  of  .1 

A    LEAD    CROSS.     By   J.    Y.   Akerman.     Proc. 
Soc.  Antig.,  iv.  212-213. 
.All  absolution  cross  inscribed,  also  bearing  dale  1136. 
EXCAV.\TIONS  AT  ST  AUSTIN'S    ABBEY,  CANTER- 
BURY.    By  W.   H.  St  John  Hope.     Arc/i. 
Cantiana,  xxv.  237. 
Mr    Hope    here    illustrates    and     describes    •\    lead 
memorial  plate  and  an  absolution  cross. 

AN   INSCRIBED   LEADEN   GRAVE   CROSS    FOUND 

AT    SOUTHAMPTON.      By   W.    Dale.      Proc. 

Soc.  Antig.,  2nd  S.,  xx.  169. 

Found  at  a  considerable  depth  when  excavating.      It 

commemorates  one  Udelina,  and  is  thirteenth  century  or 

■earlier.     On  the  reverse  side  is  engraved  "  .\ve  Maria 

.  .  .  mulieribus."     Illustrations  of  both  sides  given. 

AN   ACCOUNT  OF  HUMAN    BONES    FILLED   WITH 

LEAD.     By  J.  Worth.     Arch.,  iv.  69-72. 
.\n  odd  account  written  in  1774  offering  no  intelligent 
■explanation  of  a  queer  find. 


LE.-\D   SE.VL.S,    I5ULL.E,   AND    TOKENS. 

ON  ROMAN  LICADKN  SEALS.  By  Charles  Roach 
Smith.  Loiid.  and  Middt.  Arch.  Soc,  v. 
433  435- 

ON  ROMAN  LEADEN  SEALS.     By  Robert  Blair. 
Arch,  ^liana,  N.S.,  viii.  57-59- 
.\ctually  of  pewter.     Used  on  strings  like  papal  Inill.t. 

LEADEN    SLABS    FOUND    AT     BROUGH    CASTLE. 

By  B.  Williams.     Proc.  Soc.  Antig.,  First 

Series,  iii.  222. 
Seals  for  letters  or  for  marking  clothes  of  Roman 
soldiers. 
ON     PAPAL     BULL.*;     FOUND     IN    SUSSEX.      By 

Ambrose  P.  Boyson.     Sussex  Arch.  Coll., 

xlviii.  99-103. 
The  author  is  particularly  indebted  to  Mr  Boyson  for 
kind  permission  to  draw  on  this  admirable  and  lucid 
paper.     See  ante. 
ILLUSTRATION     OF     PAIR     TONGS     WITH     DIES 

FOR    FORGING    BULL.*    OF    PIUS    II.     Jour. 

Arch.  Assoc,  vol.  ii.  97. 


NOTES  ON  PONTIFICAL  BULL.E,  WITH  REFER- 
ENCE TO  THAT  RECENTLY  DISCOVERED 
IN    CUETWODE   CHURCHYARD.        By   E.    P. 

Loftus  Brock.      liuchs  Records,  v.  7 1  -73. 

Of  Innocent  VI.  (1352-1362). 

ON  A  LEADEN  BULLA   FOUND  AT  WARMINSTER. 

By  Rev.  John   Baron.     IVills.  Arch.  .Soc, 
xvii.  44-45. 
On    obverse:    "  Honifatius  P.   P.   VIM."  (date,  1389- 
1404). 

On  1  evcrse :  SPA  (St  Paul),  SPE  (St  I'eter),  and  the 
two  heads  with  Ijeading  round  each. 
This  is  common  type  of  bulla. 


DISCOVERY    OF    A   LEADEN   BULLA   AT    HAUGH- 

MOND  ABBEY.     By  Rev.  W.  G.  D.  Fletcher. 
Shropshire  Arch.  Soc,  3rd  S.,  i.  283-284. 
Of  Pope  Urban  VI.  (1378-1389). 

Refer  also  to  Brit.  Mus.  Catalogue  of  Seals,  vol.  vi., 
plate  vii..    No.    21889.      -\lso    pp.    286,    287  of    same 

NOTES  ON  THE  LEADEN  BULL;*:  OK  THE  ROMAN 

PONTIFFS.      By   Edmund    Bishop.      Proc. 
Soc.  Antig.,  2nd  S.,  xi.  260-270. 
.\  learned  review  of  the  whole  history  of  papal  bullx-, 
with  special  reference  to  examples  in  British  Museum. 

ON   A    LEADEN   SEAL  OF   HENRY  IV.,  FOUND  AT 
CATCHEURN,     NEAR     MORPETH.        By     W. 
Woodman.     Arch.  .,-Eliana,  x.  191-192. 
The  seal  of  the  Chancery  of  Berwick. 
PiLGRlM.s'  SIGNS.    By  Cecil  Brent    Arch.  Cant., 
xiii.  111-115. 
.-VnipulKt  here  stated    to    have  contained   blood    of 
Thomas  k  Bccket  mixed  with  water. 
The  religious  guilds  sold  the  tokens. 
I'aper  includes  a  descriptive  schedule  of  various  signs. 

brent's  "CANTERBURY   IN  THE  OLUEN  TIME." 

2nd  edition,  p.  51. 

Moulds  for  casting  lead  tokens. 
NOTES  ON   A  COLLECTION   OF   PILGRIMS'  SIGNS 
OF  THE  THIRTEENTH,  FOURTEENTH,  AND 
FIFTEENTH  CENTURIES.     By  Rev.  T.  Hugo. 
Arch.,  xxxviii.  128-134. 
Two  good  plates  illustrating  examples  are  given. 
T.  H.  says  ampulla  were  lacryniatories  (v/Vf  other 
theories). 

Quotes  the  Colloquy  of  Erasnms.  which  crops  up  in 
nearly  every  piiper  on  Pilgrims'  Signs. 

pilgrims'    SIGNS    AND    LEADEN    TOKEN.S.      By 

Charles  Roach  Smith.     Brit.  Arch.  Assoc, 


.\niong  the  signs  are  described  "Vemicles,"  or  like- 
nesses of  our  Lord,  and  the  head  of  St  John  Baptist. 
Home  such  signs  were  used  as  "medals  of  presence  " 
(nuich  as  modern  factory  hands  use  numbered  discs)  in 
great  churches  by  those  whose  duty  it  was  to  attend 
choir. 

Tokens  were  issued  by  tradesmen  for  local  circulation. 

NOTES  ON  PILGRIMS'  SIGNS  OF  THE  MIDDLE 
AGES,  AND  A  STONE  MOULD  FOR  CAS  11 NG 
LEADEN  TOKENS,  FOUND  .VI'  DUNDRKNN AN 

ABBEY.     By   Dr  Joseph  Anderson.     Proc. 
.Soc.  Antig.  Scot.,  xi.  62-80. 


was  often  vested 
Mary  Magdalen  at  St  Maximin,' Provence.  The  plant 
at  Walsingham  greatly  mystified  one  of  Thomas  Crom- 
well's Visitors. 

The  Dundrennan  mould  cast  six  signs  at  once,  an 
indication  of  their  ( 


BIBLIOGRAPHY 


REMARKS    ON    A    LEADEN     AMPUI.I.A     IN    THK 
YORK  MUSEUM.     By  Charles  liaily.    Joiir. 
Arch.  Assoc,  vi.  125-126. 
Part  of  the  substance  of  tliis  paper  is  iiicjrp'.r.iteil  111 

tlie  te.xt,  ante. 

PILCRIMS'  BADGE.     By  A.   W.   Franks.     Proc. 
Soc.  Anfig.,  iti.  242. 

Of  St  Thomas  of  (/.interbin  v. 
.MOULDS  FOR  CASTIN<;    PU.CRLMS'  SKINS  FOUND 
AT    WALSINCHAM    AND    LYNN.       By  Rev.  C. 

R.     Manning.       Norfolk    Arch.    Snc.    i.x. 
20-24. 
Afade  of  \\hite  lias  stone.     The  signs  were  st.irs.  iii- 
elu(hng  representation   of  the  .Vnnunciatiun,    &c. .    and 

^L\THRAVAL,     MOUIJ)      FOR      CASTING     TOKENS 

FOUND  .\T.     Powyshind  Club,  vi.  217-220. 
COLLECTION    DE   PLOMBS    HISTORIES,  TROUVES 

DANS    LA    SEINE.      Par   Arthur    Forgeais. 

Paris,  54  Quai  des  Orfevres  (published  in 

1865). 
Only  the  third  volume  of  this  monumental  worl;  lias 
come  into  the  author's  hands.      It  deals  uith  /magtiir 
Religictnc,  and  illustrates  and  identifies  a  large  series  of 
pilgrims'  tokens. 

pilgrims'  liADGES.     By  A.  W.   Franks.     Proc. 

Soc.  Antiq.,  iii.  302. 
Byzantine:  very  similar  to  Knglish  badges. 
FORGERIES    AND    COUNTERFEIT    ANTIQUITIES. 

By  T.  Sheppard.      The  Antiquary,  vol.  xliv. 

209. 
Illustrates    several    "  I'.illys    .md    Charlies"    of    the 
pilgrims'  sign  variety. 
LEADEN    TOKENS.       By    Rev.     I).    H.    Maigh. 

Num.  Chron.,  vi.  82-90. 
Deals   largely   with    the   mock   coiii.ige   of  tin-    l-ioy 
Bishops. 
LEADEN     TOKENS.        By    (i.     C.     ^'ates,     F.S.A. 

Trans.    Lane,    an,/  Chcsh.    Aniiq.   Soc,   x. 

111-121. 


CATALOGUE   OF   LEADEN  AND  PEWTER  TOKENS 
ISSUED   IN   IRELAND.     By  Aquilla   Smith. 
Kilkenny  Arch.  Soc,  N.S.,  ii.  215-221. 
Earliest  of  1578,  with  beautiful  cable  edging.     M.ijo- 
rity  of  end  of  eighteenth  century. 

Tradesmen's   tokens:    many   illustrated.      One    Cork 
e.vaniple  cast  in  brass  mould. 

COLLECTANEA  ANTIQUA.   By  J.  Roach  Smith  : — 
Lead  Tokens  in  vols,  i.,  ii.,  iv.,  vi..  vii. 
„     Bullae  in  vol.  i. 
,,     Medals  in  vol.  i. 
,,     Seals  (Roman)  in  vols.  iii.  ami  1.. 
,,     Lawsuit    in    1857,    arising    out    of    forgery   of 
Pilgrims'  Signs,  in  vol.  v. 


LEAD    CELT    FOUND    AT    ANWICK.        By    E.    K. 

Clark.     Proc.  Soc.  Aniiq.,  xx.  258. 
Xo\s'  in   Leeds  Museum.     Appears  to  have  been  an 
experimental  casting  used  in  making  of  bronze  celts. 

LEAD  COIN  BROOCH  FROM  BOXMOOR.  By  R. 
A.  Smith.     Proc.  Soc.  Antiq.,  xi.x.  211. 

ON  THE  USE  OF  THE  SLING  AS  A  WARLIKE 
WEAPON  AMONG  THE  ANCIENTS,  ACCOM- 
PANYING A  PRH:SENT  TO  THE  SOCIETY  OF 
A  LEADEN  PELLET,  OR  SLING-HULLET, 
FOUND  LODGED  IN  THE  CYCLOPIAN 
WALLS  OF  SAME  IN  CEPHALONIA.  By 
Walter  Hawkins.  Arch.,  xxxii.  96-107. 
.\  learned  and  dreary  treatise  on  sling-bullets. 

A  SLINGER'S  LEADEN  BULLET  FROM  NAUPOR- 
TUS.  By  J.  B.  Pearson.  The  Antiquary, 
vol.  xliv.  69. 

LEAD  LAMP,  SAUCEPAN,  ETC.    By  H.  M.  Scarth. 
Proc.  Soc  Antiq.,  vi.  190. 
Romano-British  objects  found  in  Somersetshire. 

ROMAN    AND    OTHER    OBJECTS    FROM   VARIOUS 

.SITES  IN  CHESTER.  By  R.  Newstead. 
Chester  and  North  Wales  Arch,  and  Hist. 
Soc,  vol.  viii.  (N.S.). 

Illustrations  of  Roman  water  pipes. 
REMAINS    OF    LEAD    QUADRANGULAR    VESSEL. 

By  A.  W.  Franks.    Proc.  Soc.  Antiq.,  iii.  93. 

Decorated  with  scrolls,  a  human  figure  and  inscription, 

CVNOBAKRVS    FICCIT  VIVA.S. 


ON 


A       ROMAN      PATELLA      AND     A     LEADEN 
VESSEL     FOUND     IN    REDESDALE.        By    T. 

Stephens.      Berwickshire    Nat.    Club,    xi. 


•  EAD  CKLI'. 

xvi.  329. 


SUNDRY. 
!y  C.  H.  Read.    Pro 


ON     A     LEADEN     MEHALLION     OF     DIOCLETIAN 

AND  MAXIMIAN.     By  Mdiiie.  La  Saussaye. 
Num.  Chron.,  N.S.,  iii.  107-11 1. 
Trial    piece  of  a  medallion  evidently  intended  to  be 
struck  in  a  precious  metal. 

NOTES  ON  FOUR  LEADEN  WEIGHTS,  OF 
SUPPOSED  ROMAN  ORIGIN,  IN  THE 
GROSVENOR        MUSEUM,       CHESTER.         By 

Thomas    May.      Chester    and   N.    Wales 
Arch,  and  Hist.  Soc,  N.S.,  ix.  129-131. 

SOME  CONSIDER.ATIONS  ON  TWO  PIECES  OF 
LEAD  WITH  ROMAN  INSCRIPTIONS  UPON 
THE.M,    FOUND   SEVERAL   YEARS    SINCE    IN 

YORKSHIRE.        By     John     Ward.       Phil. 
Trans.  Roy.  Soc,  xlix.  686-700. 

LEAD    OBJECTS    FROM    THE   SEINE.      By  A.   W. 

Franks.     Proc.  Soc.  Antiq.,  iv.  75. 
h'ace  of  a  Gaul  and  kneeling  female  figure. 
METALLIC     ORNAMENTS     AND      ATTACHMENTS 
TO  LEATHER.     By  Rev.  A.  Huine.      Lane, 
ami  Chesh.  Hist  Soc,  N.S.,  ii.  129-166. 
.Some  lead  tags  or  pendants  attached  to  ends  of  straps 
are  illustrated. 

NOTICE  OF  SOME  REMARKABLE  INSCRIPTIONS 
ON  LEAVES  OF  LEAD,  PRESERVED  IN  THE 
MS.        IIEPARTMENT        OF       THE        BRITISH 

Ml'sKU.M.     By  W.  de  (irav  Birch.     Arch., 
xliv.  123-136. 
rhe  inscriptions  arc  in  Cireek  and  Latin,  and  of  doubt- 
ful date  from  the  eighth  to  thirteenth  centuries. 

LEAD  AS  A  COVERING  FOR  SAXON  CHURCHES. 
J.  Park  Harrison.     Arch.  Oxon.,  part  4. 


BIISLIOGRAIMIY 


;    INSCKIRF.D     LEADEN     TABLE' 

BATH.     By  W.  de  Clray  Birch. 
Assoc,  .\lii.  410-412. 


fifth 


ON  A  LEADEN  TABLET  OR  BOOK  COVER,  WLfH 
AN      ANGLO-SAXON       INSCRIPTION.  By 

Thomas  Wright.     Arch.,  xxxiv.  438-440. 
The  lettering  is  an  inscription  f)y  way  of  preface  to  the 

manuscript  of  .Alfric's  homilies  which  the  cover  nrijjinally 

encased.     Date  probably  about  A. D.  1000. 

DECORATED     LOZENGE     OK     LEAD.      ]>y    ;\lbert 
Way.     Proc.  Soc.  An/iq.,  v.  475. 
An»lo-.Saxon  :     a    curious    object,     use    conjectural  : 

illustrated. 

LEAD    M.\TRIX   FOR   IMPRESSING  CONSECRATED 
WAFER.      By    W.    D.   Bruce.      Proc.    Soc. 
Antig.,  First  Series,  i.  179. 
Unfortunately  merely  noted,  not  illustrated. 
COLLECTANEA  ANTIQUA.     By  J.  Roach  Smith. 
Lead  cover  of  bo.x  or  cup,  decorated  with  the  Visit  ol 
the  .Magi,  &c.,  found  in  Thames  in  1846,  vol.  i. 

Lead  cover  of  Reliquary  found  in  the  .Somme,  vol.  ii. 

LEADEN    VESSEL,    POSSIBLY     A    CHKISMATOKV, 

FOUND    AT    EVESHAM.      By    J.    A.    Johnes. 

Proc.  Soc.  Antiq.,  First  Series,  ii.  186. 

An    illustration    is    given ;     vessel    nmch    damaged. 

Ornament  apparently  represents  murder  of  St  Thomas  a 

Becket. 

LEAD  WEIGHTS  OF  THE  FOURTEENTH  CEN- 
TURY. By  C.  V.  CoUier.  Proc.  Soc.  Antiq., 
XX.  13. 

LEAD    HERALDIC     PLAQUE.       By    Archdeacoii 
i'ownall.     Proc.  Soc.  Antiq.,  .xi.  112. 
German  :  a  fine  decorative  work  :  illustrated. 

THE  PARISH  AND  CHURCH  OF  GODALMING.     By 

S.    Welman.       Ptiblished    1900    by    Elliot 

Stock. 
Mr  Welman  conjectures  that  in  the  fourteenth  century 
the  present  spire  was  built,  replacing  a  collar-type  spire 
of  about  1220.  Hisex.unuiitHHi  'A\\v  evidence  afforded 
by  the  existing  timbers  1.  d  Imn  1.^  In  h.  \,-  that  originally 
the  spire  was  parapettid,  and  ih.it  ilh-  broaches  were 
added  about  1716,  and  ,Trc  UinrtMrc  comparatively 
modern.  The  fact  (referred  to  aiil,:  m  the  text)  that  the 
lead  does  not  "drip"  the  wall,  gives  colour  to  this 
theory,  which  need  not,  however,  be  too  readily  accepted. 
T  do  not  regard  it  as  proven. — L.  W. 


'.      A      K1LTER1N(;     CISIEKN     OF     THE     FOUR- 
lEENIH        CENTURY        AT      WESTMINSTER 

AliBKY.      By  J.  T.    Micklethwaite,   F.S.A. 

.IrchcEologia,  liii.  161-170. 
I'he  cistern  was  of  lead,  but  was  havocked  in  1544, 
1    it  does   not    appear    that   it  had   any    decorative 


ON     ANCIENT     MOULDS     FOR     CA.STING     METAL 
HORN     ROOKS     FOR     CHILDREN.        By    Sir 

(".corge  Musgrave.     Arch.,  xxxiv.  449-450. 
Moulds  made  of  hone-stone  for  lead  casting. 
A     LEADEN     CHARM     MADE     UNDER     THE     IN- 
FLUENCE OF   SATURN.     By  E.  J.  Pitcher. 
Hibl.  Arch.  Soc,  xxviii.  284-285. 
Disc  '2i'\  in.  in  diameter,  incised  with  symbols  of  Saturn. 
If  engraved  under  an  unlucky  aspect  of  the  planet  the 
charm  would  inevitably  cause  the  ruin  of  buildings. 

A      SIXTEENTH      CENTURY      LEADEN      CHARM 
FOUND     AT     LINCOLN'S     INN.        W.     Paley 

Baildon.     Proc  Soc.  Antiq.,  2nd  S.,  xviii. 

141-147. 

.See  text  of  bor>k. 
INSCRIllED  LEADEN  TABLET  FOUND  AT  DV.MOCK, 

(;loucf;stershire.     By  E.  S.    Hanland. 
Kcliquary,  1897,  140. 
.\n  imprecation  on  one  Sarah  Elli.s.     There  is  also 
described  a  similar  plate  from  Galherley  Moor. 

LEAD     INKPOT     FROM    WILSFORD.        By    J.     E. 

Nightingale.     Proc.  Soc.  Antiq.,  xiii.  240. 
Illustrated. 

ON   A    LEADEN    TOBACCO    STOPPl;R     FOlNli    AT 
CASTLE  EDEN.     By  R.  M.  -Midtlleton,  jiin. 
Arch.  /Kliana,  N.S.,  vol.  x. 
Of  the   seventeenth   century.     Shaped   like  a    Runic 
cross  with  an  included  ring.      Foot  of  cross  used  for 
pressing  the  tobacco  into  the  pipe. 
Other  examples  in  Guildhall  Museum. 

THREE   LEAD    TICKETS    OF    THE    EIGHTEENTH 

CENTURY.     By  F.  Willson  Yeates.     \uni. 
Chron.,  4th  S.,  ii.  74-77- 
.Admission  Tickets — 

1732    for    the    Glasgow     .Assemblies     (public 


dances). 

2.  Of   1772  for  the  Pantheon  Gardens  in  S]); 
Clerkenwell. 

3.  Of  1773-1774  for  Cox  s  Museum. 


Field 


ANNALS      OF 

WINDSOR.       Tighe 

and    Davis. 

\'oU:     T 
biblio"r,ipli 

165-166. 

1             tributions  t 

Extracts   from 

building   accounts    dea 

ling    with    th,- 

the  Auth.ii 

gieat  lea.l  founta 

nthat  stood  once  at  \Vi 

of  p.-,-n,.,n. 

the  Upper  Court 

gomg  p,^.^'c 

ni  1905  to  1909,  by 
,.t  sc'.-me<l  likely  to  be 
Lurpcjrated  in  the  fore- 


INDEX. 


NoTK. — /;/  this  Index  tlie  ordinary  fii^iii-es  are  for  references  to  the  Text,  and  those  in  heavier  type  denote 
I//nitra/i(ins,  -a'hiih  arc  referred  to  under  their  figure  numbers.  Only  the  sub-headings  of  the 
/li/diogra/'hy  have  I'een  indexed,  as  detailed  references  would  have  swollen  (his  Index  to  unwieldy 
dimensions. 


Abbot's    Hospital,    (kiildford,   pipe-heads,   y),  69-73, 

78,  45  ;  turret,  132 
Aberdeen — 

King's  College,  fleche,  127,  128,  222,  134 

Pipe-heads,  23,  63,  121,  123 

Robert  Gordon's  College,  spire,  128,  223 

St  Machar's  spire,  100 

St  Nicholas,  panel  on  roof,  99,  177;  spire,  86, 
94,  175.  96,  97 

Scotston  House,  mask,  142,  237 

Spires  on  seal  of,  i)(),  176 

Tolbooth,  spire,  121),  224 

University,  lead  rnof,  127 

View  of,  Slezer's,  100,  181 
Abingdon,  Christ's  Hospital,  lantern,  133,  227 
Absolution  crosses,  210  and  Bibliography 
Acticon,  statue,  1  74 

Adam  enrichment,  64;  on  vase,  201,  329,  2 '8 
Adam,  Robert,  work  at  Syon,  175 
Adams,  Maurice  B.,  quoted,  143 
Addison  Road,  pipe-head,  387,  228 
^■Eneas  rescuing  Anchises,  r66,  269 
African  Slave,  see  Kneeling  Slave 
Aislaby  Hall,  statues,  191 
Albert  Gate,  Stags  at,  175,  287 
Aldenham  House,  statue  of  Slave  at,  162 
Almondsbury,  spire,  86,  161,  go,  93 
Anwrini,   162  et  se,/.,  252-259,  270,  271,  282,  294,  301, 

413,  414,  418 
Ampulke,  213,  358360 
Amsterdam  Museum,  statue  at,  184,  304 
Andre,  J.  Lewis,  quoted,  222 
Andromeda  at  Melbourne,  164,  261 
Angel,  statue  on  lychgate,  242,  420  ;  statue  at  Taunton, 

238 
Angels,  making  of  statues  of,  173 


Anglo-Saxon  patterns,  6 

Anne,  Queen,  statue,  153 

Annual  Register,  77/f,  ([uoted,  172 

"  Antique  "  leadwork,  181 

Apollo,  statue,  172,  191,  422,  243 

Aprons,  lead,  34,  36,  58 

Archer's  leadwork,  141 

x-\rchitectural  Museum,  the,  59 

Arley,  statue  of  Slave  at,  162 

Art  Nouveau,  6,  31,  236 

Ash,  Kent,  spirelet,  87,  197,  no 

Ashover,  font,  3,  9,  9 

Aston  Ingham,  font,  3,  25,  20 

Astrcea  at  Bungay,  197 

Austrian  Eagle  on  cistern,  85 

Avebury,  font,  3 

.-Vvington  House,  statues  at,  190 

Ayscoughfee  Hall,  cistern,  71,  133 

B 

Bacchanal,  194 

Baccfms  at  Enfield  Old  Park,  317,  196 

Baildon,  W.  Paley,  F.S.A.,  quoted,  218 

Bakers'  Company,  cistern,  80 

Bankart,  Geo.  P.,  22,  224  et  seq. 

Barnard's  Inn,  lantern,  134,  228 

Barnet  Court,  modern  statues,  415.  416,  241 

Barnetby-le-Wold,  font,  3,  9,  23,  19 

Barnstaple,  gutter,  108,  58  :  spire,  86,  171,  93 

Barry,  Sir  Charles,  119 

Bays  sheeted  with  lead,  236 

Bedford  Row,  cistern,  154,  84 

Belcher,  John,  R.A.,  244,  245 

Belgian  pipe-head,  24 

Bell-metal,  16 

Benedictional  of  Ethelwood,  96 

Bentley,  the  late  Francis,  238 

Bicton,  Budleigh,  statues  at,  [71,  278,  279 


26o 


XDEX. 


Bideford,  pipe-head,  57,  106 

pjiel  House,  Co7i'  at,  1 79,  292  :  Ganicka'pcr  at,  i  79,  291 

"Billy  and  Charley,"  forgeries  by,  215 

Bird,  Francis,  statue  by,  153,  175 

Birmingham,  St  Philip's,  dome,  234,  141 

Blickamopr.  The,  161,  250,318,  195  ;  see  also  A wtZ/V/? 

Slave 
Blenheim,  statue  of  Marllwnmgh  at.  152 
Blomfield,  Reginald,  A.R.A.,  quoted,  25,  41,  120,  tSo 
Bloxham  Hall,  statue  once  at,  179 
Boar,  at  Myddelton  House,  194,  315 
Bodleian  Library,  pipe-head,  40 
Bologna,  Giovanni  de,  165 

Bolton  Hall,  pipe-heads,  &c.,  30,  52,  96-99.  134,  71 
Bolton,  Arthur  T.,  designs  by,  242,  421.  422 
Bond,  Francis,  quoted,  86,  96,  216 
Book  cover,  of  lead.  2  1 6 
Bordier,  147 

Boston,  pipe-head,  58,  107 
Boundary  marks,  221 
Bovey  Tracey,  cistern,  67,  73.  141.  75 
Bowles,  Henry,  leadwork  belonging  to,  195 
Boy  with  Dog,  at  Rousham,  180 
Brakespear,  Harold,  F.S.A.,  quoted,  217 
Bramford,  spirelet,  no 
Bramhall,  pipe-head  and  gutter,  36,  62-64 
Brandon,  spiielet,  no 
Brattishing,  39 

Braunton,  spire,  86,  166,  90,  93 
Brewers'  Company,  cistern,  78 
Bridge,  leaded,  405,  236 
Bridge  House,  Weybridge,  statues.  172 
Bristol,  statue  at,  157,  248 
Brithdir,  modern  font  at.  224.  381 
British   Museum,  objects  in.  06.   125.   207211.354, 

213,  219 
Broach  spires,  86  et  seq.,  234 
Bromley,  Martin's  Bank,  leadwork  at,  236 
Brompton  Oratory,  leaded  dome.  136 
Bromsgrove  Guild,  leadwork  by.  Chapter  X HI.  passim 
Bronze  statues  compared  with  lead,  164 
Brookland,  font,  3,  10-12,  9-12 
Brundall,  font,  3,  17,  16 
Biiaaiieer  %\M.\x^,  171,277 
Bucklebury,  pipe-heads  from,  102  104.  55 
Builder,  flic,  quoted,  67 
Bulla:,  Pa])al,  215,  364,  and  Bibliography 
Bungay,  Market  Cross,  196 
Burford  Church,  lead  tablet,  21  i 
Burges,  23 
Burghill,  font,  3,  5,  7 
Burlingham  pulpit,  lead  ornaments,  216 
Burlington,  Lord,  quoted,  173,  196,  241 
Burlington  \'illa,  leadwork  at,  166,  175,  196,  199 


Burnham  Deepdale,  font,  1 2 

Burton  Agnes,  Gladiator,  174,280:  pipe-head,  28 
Burton,  Lancelott,  198 
Buruel,  John,  96,  127 

Bush  Hill  Park,  Kneeling  Slave  once  at,  195 
Busts,  lead,  at  Castle  Hill.  iSo.  295  ;  at  Ham  Hou 
180;  at  York,  146.  238:   in  vase.  204,  337 


Cain  and  Abel,  166,263 
Cambridge — 

King's  College  Chapel,  132 
St  John's  College,  pipe-head,  40 
Campsey  Ash,  statues  once  at,  161 
Canaletto,  engraving  by,  114,  207 
Cannon  Street  Station,  114 

Canon's  House,  Edgware,  statues  once  at,  154,  171 
Canons  Ashby,  pipe-head,  109.  1 10,  59 
Canterbury  Cathedral,  gutter,  104  :  spire,  172,  94 
Cardiff,  see  St  Fagan's 

Cardiff  Law  Courts,  The  Dragon  of  Wales,  239,  41 
Carpenter  or  Charpentiere,  a  statuary.  169,  170.  17 
Carshalton  Park  gates,  statues  on,  173.  281 
Carter,  Christopher,  design  by,  228 
Carter,  Thomas,  of  Knightsbridge,  statuary,  175 
Carton  pierre,  218 
Caryatides,  Park  Lane,  197,  323 
Cass  School,  the  old,  153,  246 
Cass,  Sir  John,  85,  153,  247 
Castings  of  lead,  41,  53,  173,  229 
Castle  Hill,  busts,  177,  293,  180,  295  :  lead  seat,  i 

344:    statues,    175    et   seq..    289,    290,   296  2( 

vases,  205,  340,  341 
Catalini,  carving  by,  i  74 
Ceiling  ornaments  of  lead,  216,  368 
Celts,  leaden.  Bibliography 
Ceres,  Swaffham,  196,  322 
Chalices,  sepulchral,  210,  230 
Chalons-sur-Marne,  spire,  235 
Chambers,  Sir  \Villi.im,  169,  177 
Chance,  Lady,  modelling  by,  243,  424,  425 
Chandos,  Duke  of,  employer  of  van  Nost,  171 
Chard,  pipe-head,  28 
Charity,  statues,  197 
Charity  Children,  statues,  191 
Charles  L,  bust  of,  on  cistern,  80,  144 
Charles  H.,  statue  of,  239,  148 
Charlton  House,  Kent,  pipe-heads,  \c.,  4(1.  83,  i 

jardiniere,  66,  151,  152,  84  ;  vases,  336.  204 
Charwelton  Church,  modern  leadwork  at,  385,  228 
Cheapside — 

Cross,  236,  144,  156 
Goldsmith's  Row.  144,  236 
Cheere,  John,  t6o,  175.  18S,  189,  tgo 


INDEX. 


261 


Cheere,  Sir  Henry,  149,  r52,  191 

Chelmsford,  spirelet,  122 

(,'herrington,  font,  3 

Chertsey  Abbey,  spire,  91 

Chest  with  lead  tracery,  2 1 6 

Chester,  pigs  of  lead,  212,  355,  and  Bihliogrdpliy 

Chesterfield,  spire,  87,  93,  loi,  194,  106,  108 

Chesterton,  F"rank  S.,  pipe-head  designed  by,  228,  388 

Childrey,  font,  3,  13,  20,  16 

Child's  Bank,  cisterns,  144,  145,  80 

Chilham,  font,  2 

Chirton,  font,  3 

Chiswick — 

Burlington  Villa,  175,  196,  199:   Samson  'iX:\Xx\t 

at,  166 
Hogarth's  House,  vase,  201 
Chobham,  font,  22 

Christ  Church,  Oxford,  Mercury  M.,  166 
Christ's  Hospital,  pipe-head,  64 
Cibber,  G.  C,  sculptor,  158,  193 
Cisterns,  Chapters  IV.  and  XHI. 
"Cit's  Country  Box,"  quoted,  191 
City  of  London  School,  114 
"Clandestine  Marriage,"  quoted,  187 
Clarke,  Max,  cistern,  property  of.  Si,  148 
Classifications,  cisterns,  65  ;  fonts,  3  :  spires,   Cothic, 

86-87  ;  spires.  Wren's,  115 
Clement's  Inn,  Slave  statue  once  at,  161 
Cleobury  Mortimer,  shingled  spire,  86 
Clewer,  font,  2 
Cliefden,  cupola,  141 
Clifton  Hampden,  font,  2 
Clunbridge,  font,  3 
Cluny  Museum,  67 

Cobham,  Sandroyd  School,  leadwork  at,  235,  409 
Cockerell,  S.  P.,  142 
Cocketixsses,  194 
Coffin  plates,  210,  211 
Coffins,    Romano-British,    37,   66,   and   Chapter  XL, 

345,  228,  and  Bibliography 
Coinage,  mock,  214;  emergency,  219 
Collar-type  spires,  86  et  seq. 
Colour  of  spires,  141 
Compton  Place,  vases,  199,  327 
Condover  Hall,  pipe-he.id,  40,  116,  63 
Constabulary  Office,  Shrewsbury,  pipe-head,  62,  I16 
Cotman,  2 

Coventry,  pipe-heads,  &c.,  30,  36,  61,  80,  81,  45. 
Co'cv,  at  Biel  House,  179,  292 
Cowdray,  engraving  of  picture  at,  loi  ;  Slave  statue 

once  at,  162 
Cowtan  &  Son,  cistern.  85 
("ox,  Dr  Charles,  quoted.  28 
Crace  Collection,  157 
Cresting,  lead,  188,  104 


Cromwell,  Thomas  and  Oliver,  1 1 3 
Crosses,  absolution,  210  and  Bil'lingrnp/iy 
Cross,  on  ^V'estminster  ("athedral,  239,  410 
Cumberland,  Duke  of,  statue  of,  152 
Cmnniings,  Erskine,  drawing  by,  61 
(!unningham,  Peter,  quoted,  158 
Cup,  of  lead,  jewelled,  2 1 3 
Cupid,  181,301,  194;  see  aho  Amofirti 
Cupid  Makin;^  his  Bo7v,  Wilton,  169,  271 
Cupid  on  Swan,  at  Rousham,  180,  294 
Curse  tablets,  2 1 8 

Custom  House,  Exeter,  |)i[)e-head,  56 
Cylinders,  pierced,  on  pipe-heads.  30 
<:>«;/«/ /Y<nr/-,  statue,  172,289,  177,   180 


Danbury,  spire,  100,  180 

Dartmouth,  St  Saviour's,  pipe  socket  with  mask,  56 

Dawber,  Guy,  238 

Deanery,  Exeter,  cistern,  74,  137 

Delvaux,  Laurent,  statuary,  175 

Dent  &  Hellyer,  statue  belonging  to,  198,  324; 

work  by,  242,  421 
Deposition  from  the  Cross,  on  lead  vessel,  21,  32 
Derby,  Mayor's  parlour,  spouts,  25 
Derbyshire,  pigs  of  lead  and  mining,  see  Bihlio^^raphy 
Devizes,  Bear  Hotel,  gutter,  49 
Devonshire  House,  Piccadilly,  sphinxes,  175  :  statues, 

320,  196 
Diana,  statue,  174,  281,  192 
Dickenson,  a  statuary,  169 
Dillon,  Viscount,  statues  owned  by,  1 70.  273 
Ditchley,  statues  at,  170,  273 
"  Dock  "  forgeries,  215 
Dudds,  the  late  William,  224  et  seq. 
Doi^s.  178,299,  219,371 
Dolphin,  243,  425 

Dome  Alley,  Winchester,  pipe-heads,  &c.,  34,  58  60 
Domes,  Chapter  \TI. 
Donatello,  164 
Dorchester,  font,  3,  3,  5,  6 
Dorney  Church,  lead  plates,  211 
Down  Hatherley,  font,  3,  9,  28,  2c 
Downing  Street,  No.  10,  cistern,  71,  132 
D ration  of  Wales,  in  lead,  239,  41 1 
Drayton  House,  Samson,  statue  at,  166  :  vases,  206 
Drury,  Alfred,  .■\..R..A..,  modelling  by,  244,  426 
Dublin,  statues  at,  148,  149 
Dugdale's  Monasticon,  reproductions,  163  et  seq. 
Durham  Castle,  pipe-heads,  28,  37,  49,  50,  92,  95 
Durham  Cathedral,  spires,  loi,  183 
Dutch  fountain,  184,304 
Dutch  ideas  in  English  gardens,  184 
Duxford,  spirelets,  1 1 2 


262 


Eadberht,  Bishop,  leadwork  l)y,  142 

Ealing,  cistern,  153,  84 

East  Grinstead,  cistern,  156,  85 

East  Harling,  spirelet,  87,  no,  200.  201.   i\2.  122 

East  Quantock's  Head,  pipe-head.  4() 

Edburton,  font,  3,  15,  13.  15 

Edinburgh — 

iVIodern  font,  222.  375.  376 

St  Mary  Magdalen,  spire.   1  2(k  221 

Statue  of  Charles  II.  at.  14.S,  239 

Electrotyping  statues,  173 

Ji/ia,  quoted,  84 

Elphinstone,  Bishop,  100,  127 

Ely  Cathedral,  spire,  101,  182 

Enfield  Old   Park,  statues.    i.S,).   195.  317.  319.   vase. 
206,  342 

Erasmus'  Pi/griwage,  quotetl,  2  1  3 

Eugene,  Prince,  statue,  146.  242.   151,  155 

Evelyn,  John,  quoted,  143.  147,  157 

Exeter,   gutter,  37  ;  pipe-heads,  50.  56  ;  cisterns,  137. 

138-  73 
Exeter  Cathedral,  cresting.  188.   104 
Exton,  stone  spire,  1 1 1 
Eyam  Hall,  pipe-head,  29 
Eythorne.  font.  3,  18.  19.   Mi 


Fagan,  W.,  modellmg  by,  243 
Fairfax,  Lord,  bust  of,  146  ef  seq.,  238 
Fame,  statues,  170,  171,  273.  274,  192 
Fanlights,  lead  enrichments  of,  221 
Faun  with  a  Dog,  at  Studley  Royal.  1S2 
Fehr,  H.  C,  dragon  modelled  by,  239.  411 
Felixstowe,  lead  vessel  found  at,  22 
Finch,  H.  W..  modelling  liy.  227,  383 
Finial,  statue  as,  414,  241 
Fire  insurance  labels,  221 
Fireproof  construction,  leaded.  2311 
Fish,  decoration  on  font,  222.  376 
Fishmongers'  Company,  cistern.  143,  So 
Fleche,  Aberdeen,   127,  222;    l,a>v  Ciurts, 

112,  233 
Flora,    statue,    at    Syon    House.     175;     at 

House,  190 
l<'l(j\ver-pot  gate,  Hampton  Cniirt.  174,  282 
Flying  Mercury,  see  Mercury 
Fodder  of  lead,  156 

Folkestone,  St  Eanswith's  reli(iuary,  124,  66 
Fonts,  Chapters  I.  and  XIII.,  and  /Ulliogra^ 
Ford,  John,  F.S.A..  195.  206 
Forged  "antique"  leailwork.   181 


Fountain,  once  at  Windsor,  144 

Fountains  Abbey,  lead  olijects  found  at,  24 

Fountains  at  X'ersailles,  185 

Fountains,  modern,  243,  418.  423  427 

Four   Seasons,    The,   on   cistern.    X5,    159  ;   as 

1 87,  308:  on  vase,  19').  325 
Fox  ivitli  Fowl.  179 
Frampton  Manor,  iiipe-head.  58.  107 
Frampton-on-Severn.  font.  3 
Freeman,  Prof.  E.  A  ,  quoted,  94,  104 
French  cisterns,  67.  135,  73  :  roofs,  22, 
Fryer,  Dr  Alfred,  F.S.A.,  22  and  Bibliography- 
Furniture,  with  lead  ornament.  216 


Gamekeepers,  statues.   169,   179,  180,  29I 

(laiden    ornaments,    Chai>ters    VIII.,    IX.,    X.,    XIII. 

passim,  and  Jh'bliograpliy 
Carden  seat  in  lead,  180,  344 
(lardner,  J.   Starkie,    F.S..-\.,   leadwork   h)',    236,  405; 

quoted,  25,  143,  221 
Gargoyles.  23,  35,  25,  28,  34 
Geographical  distribution  of  fonts.  3  ;  of  spires,  91 
George  I.,  statue,  154 

George  JI.,  monogram  of,  49  ;  statues  of,  149.  153 
Gibbons,  (irinling.  148.  151,  170 
Gilding  of  lead,  40,  44,  144,  145,  190.  216.  221,  228, 

23s 
Gillet,  Nicolas  Francois,  statuary,  18  [ 
Glaiiafor,   statue,   at    liurton    Agnes,    174.    280  :    at 

Devonshire  House,  196 
Gla/.ing,  uses  of  lead  in,  220 
Glemham   Hall,  statues  at,    146.    155.    16  r.  242,  243, 

313-  314 

Gloucester  Museum,  font-like  vessel.  32.  21 

Godalming,  spire.  S(\  170.  93.  and  Piblioiiraphy 

Godinton,  statues  at.  104 

Goldsmith's  Row,  Cheapsnle.  236.   144 

Gordon's  College,  .Aberdeen,  spire,  128.  223 

Gordon's  Vie'iv  of  Aberdeen,  127 

Gosse,  Edmund,  quoted,  156 

Gough,  Richard,  194  and  Bibliography  —YowX.'i 

Gough  Park,  Boars  and  Ostriches  once  at,  194 

Grave  slab,  of  lead,  2 1 1 

Great  Baddow,  spire,  87,  193,  106 

Greatham  House,  font  or  font  lining.  3.  30.  20 

Great  Ormond  Street,  cistern.  150.  83 

Great  Plumstead,  font.  2.  i 

Great  Yarmouth,  spire.  1  13 

Gresford,  gargoyle,  35,  25 

Greyhound,  Castle  Hill.  17S,  298 

Grimsthor|:ie.  |ii|)e-head,  64 

Grinling  Gibbons.   148,   151.   170 


IXDKX. 


263 


Grove,  Arthur,  font  modelled  by,  224,  381  ;  i)ii)e  head 

designed  by,  384,  227 
(luildford.   Abbot's    Hospital,   pipe-heads,    ,51;,    6973, 

78,  45  ;  turret,  132 
Guildhall  Museum,  London,  48,  80,  85,  213,  215,  221 
Guy's  ClilTe,  S/(77v  statue  at,  162 


Hovingham  Hall,  statue  at,   166 
Hulm  Abbey,  1  i  i,  202,   1  2  1 
Husson,  Pierre,  quoted,  184 
Hyde  Park  Corner,  leadyard,  187 


H 


Haddon  Hall,  pii)e-heads,  39-54,  2S  c/  sc,/.,  41,  82, 
84-87,  4S.  53 

Hadleigh,  Suffolk,  spire,  165,  91,  93 

Hall,  Matthew,  &  Co.,  leadwork  by,  239,  410 

Ham  House,  Petersham,  busts  at,  180 

Hamburg- America  Steamship  Offices,  leadwork  at, 
242,  421 

Hammermen  Guild,  Edinburgh,  126 

Hampton  Court,  ceiling  ornaments,  216,  220,  36S  . 
Flower-Pot  Gate,  174,282;  pipe-heads,  36,  25,  26. 
49,  93,  55;  statues,  167;  turret  roof,  132,  134, 
229;  vases,  202,  333;  ventilating  quarries  at,  221 

Hanover  Square,  No.  20,  cistern,  149,  82 

Handel,  statue  of,  149 

Hardwick  Hall,  gargoyle,  25,  230:  statues,  309-312,  193 

Haresfield,  font,  3,  i8a,  15 

Harlequins,  Statues,  169 

Harrison,  J,  P.,  quoted,  143 

Harrow,  spire,  l62,  87,  106 

Harrowden  Hall,  statues  at,  166,  263,  264 

Haslemere,  leaded  bays  at  Redcourt,  407,  '3'' 

Hassingham,  font  once  at,  2 

Hatfield,  pipe-heads,  65,  67,  68,  38,  41,  48,  54,  lOO, 
61,63 

Hawthorne's  plan  of  Windsor,   144 

Heart  caskets,  208,  210,  353,  354 

Hemel  Hempstead,  spire,  87,  90,  179,  100 

Hems,  Harry,  cistern  belonging  to,  74,  138 

Henri  Quairc,  bust,  205 

Henry  HI.,  24 

Henry  VHL,  i 

Henshaw,  Charles,  242 

Herbert,  George,  38 

Hercules,  statue,  at  Hami)ton  Court,  167  ;  at  Shrews- 
bury, 307,  192  ;  at  VVinton,  179 

Hereford  Cathedral,  spire,  167.  9 1 

Hexham  Abbey,  spire,  88,  164 

Hitchin,  spirelet,  87,  no 

Hogarth's  House,  vase,  201 

Hoghton  Tower,  statue  at,  146,  241 

Holme  Lacy,  Mercury  at,  165  and  l''rontis[)iece 

Honeysuckle  ornament,  mediajval,  2  1  i 

Hope,  Henry,  &  Sons,  gutter  made  l)y,  398,  z^o 

Horham  Hall,  lantern,  133,  226 

Horsley  Hall,  modern  pipe-head,  394,  230 


Ickleton,  spire,  86,  91,  169,  93 

■■  Imaginations  in  lead,"  169 

Imprecations,  lead  a  suitable  metal  for,  21S,  219 

Incised  and  leaded  inscriptions,  210 

Ingram  House,  Stockwell,  242,  422 

Inner  Temple  Gardens,  statue,  161 

Inns  of  Court,  London,  pipe-heads,  49 

Inscription  on  Roman  pipe,  212,  356 

Inscriptions,  incised  and  leaded.  210  and  Biblioi^raf'lty 

Instow  Park,  flower-pot  at,  245,  428 

Insurance,  fire,  tablets,  221 

In  wood,  cistern  at,  143 

Inwood's  use  of  lead  mouldings,  218 

Ireland,  pipe-heads  in,  64 

Italian  tank,  66,  125 


I  96,  319 

..feoffms  by, 
'<Is-  2  I  3,  357 


J 

Jardinieres  of  lead,  84,  151, 
Johnston,  Philip,  F.S..\.,  find 
Jointing  pipes,  Rom. in  niethi, 
Joliffe  family,  149 
Jones,  Inigo,  55 
Juno,  statue,  196 
fustice,  statue,  149 

K 


Karne.  Andrew,  statuary,   148,   158 

Kelly,  William,  63 

Kempston  Hall,  cistern,  70 

Kendal,  pipe-head,  45,  58 

Kennedy,  D.  W.,  design  by,  247,  434 

Kensington,  High  Street,  modern  pipe  head,  388,  228 

Kent,  William,  architect,  180 

Kettering,  stone  spire,  94 

Kew  Gardens,  vases,  200 

Kinfauns  Castle,  statue  at,  242,  414 

King's  College,  Aberdeen,  fleche,  127,  222 

King's  College,  London,  pipe-head  at,  64,  122 

Kip's  view  of  Hampton  Court,  i  74 

Kitchin,  G.  H.,  pipe-head  designed  by,  394,  230 

Kneeling  Hercules,  179 

Kneeling  Slave,  %\.^X.\i^,  161,  173,  182,250,251,  195. 318 

Knole  Park,  pipe-heads,  32  et  set/..  55-57,  38,  41,  53, 

54,  61 
Knowsley,  statue  of  Slave  at,  162 


264 


M 


Lace  gateway,  Syoii,  175 

La  Granja,  fountains,  1S5 

Laidler,  A.  B.,  leadwork  executed  by,  247,  433.  434,  441 

Lanchester  &  Rickards,  use  of  lead  by.  :,Vt.  411 

Langley  Marish,  pipe-head,  28 

Lantern,  meaning  and  use  of  word,  133 

Lanterns,  Chapter  VIL 

Lavabo,  vessel  conjecturally  used  as,  2  i 

Law  Courts,  London,  fleche,  112,  233 

Lay  Vicar's  House,  Exeter,  pipe-head,  56 

f.i-adtu  Popes,  on  Cheapside  Cross,  156 

I.i-asowes,  .Shenstone's  garden  at,  172,  199 

Leeds  (Jastle,  Kent,  bronze  bust  of  Fairfax  at    147 

Leicester,  modern  font,  377,  378,  224 

Leicester  Square,  statue  omx-  in.  154 

Leigh,  font  once  at,  2 

Leighton  Bromswold,  pipe-head,  37,  66 

Le  Notre,  Andre,  1S6 

Leoni,  Giacomo,  173 

Lethaby,   Professor,  quoted.    13,   21,   29.   36,(16,  142. 

158,   160,   162,   189,    202,    210,    211,    213,   235; 

design  by,  247,  436 
Levens  Hall,  pipe-head,  I17,  61 
Lewes  Castle,  font-like  vessel  at,  33.  22 
Lilies,  decoration  on  font,  222-224.  376.  379 
Lincoln  Cathedral,  cistern,   67.  130,  131.  70  :  gutter, 

25,    189;    parapet,    104.   191  ;    spires.    ro2,    185. 

104.  190 
Luicoln's  Lin,  cisterns,  66,  147 
Lmdisfarne,  ancient  church,  leaded,  142 
Lions,  at   Southampton.    174,  286;    at   Syon    House, 

■75.285 
Lion  and  Lioness,  at  Castle  Hill,  17S,  296,  297 
[Jon   and    Unicorn,   at    Hampton    (.'ouil,     174,    283 

284 
Leith,  St  Ninian's,  lantern,  126,  220 
Lewes  Museum,  coffins,  211 
Llancaut,  font,  3,  5 
Llanelly,  pipe-head,  59 

Lloyd,  R.,  "Cit's  Country  Bijx,"  quoted,  191 
Lombardic  lettering,  20,  24 
London  Apprentice,  statue,   198,  324 
Long  Sutton,  spire,  86,  173,  174,  94,  96 
Long  Wittenham,  font,  3,  13,  12,  13,  20S 
Lorimer,  R.  S.,  245 
Louvre,  vase  from,  co[)ied  in  lead,  200 
Lowestoft,  spire,   1 10 
Ludlow,  pipe  heads,  63 
Lydney  Park,  pipe-head,  113.  61 
Lynn,  St  Nicholas,  spire,  234 
Lyons,  Col    G.  1!.  Croft.  I'.S.A..  220 


Magdalen  College,Oxford,  gargoyles,  see  Bi/di<i:^riiphv  .■ 

pipe-heads,  40 
Magic  and  spells,  lead  a  vehicle  for,  21S 
Maidstone  Museum,  candlestick  at,  372,  220;  coffin, 

2°7.  315;  font-like  vessel,  34,   22;  tobacco-box 

at,  218,  370 
Manchester  Cathedral,  modern  [jipe  head.  389,  229 
Manning,  a  statuary,   169 
Marcus  Aurelius,  at  \\'ilton,   i6g 
Marlborouiili,  statue  of,  146,  243,   151,   155 
Mars,  statue,   149,   192 

Marston  Moor,  The  Red  House,  statue  at,  158,  249 
Marton,  font,  3 
Mary,  Queen,  36 

Masque  of  Lovely  Loudon,  TItc,  19S 
Masse  on  Pewter,  (juoted,  40 
Mastic  decoration,  ^i 
May,  Hugh,  159 

Mayor's  Parlour,  Derby,  gutter,  25 
Medallion,  lead,  216.  219,  366 
Medals,  lead,  214 
Medici   Venus.  1  7.'-! 
Melbourne,    1  )irb\shnt  .   Icadwmk  at,   58,    i6oc/^tY., 

169,  199,  250-262,  325 
Mercer's  School,  lantern,   134.  228 
Mercury,  at   Holme   Lacy,    165  and    Frontispiece;  at 

Melbourne,     166.     262;     at     Oxford.     166:     at 

Rousham,  iSo 
Mermaid's  Fountain,  423.  245 
Merstham,  shingled  spire.  88.  93 
Military  Girl,  statue,   [71,  276 
Milton,  statue  of,  149 

Milton-next-Sittingbourne,  coffiii  found  at.  207.  345 
Minster,  spire,  87,  104,  192.   106 
Mitchell,  Arnold,  use  of  lead  by.  241 
Montefiascone,  dome,  136 
Morden  College,  ovvnershi[)  mark.  221 
Moulds,  for  pilgrims'  tokens,  214 
Mower,  statue,  169,  171,  278 
Much  Wenlock,  spire,  87.  196.   109 
Museum,  liritish.  see  British 
Music,  statue.  311,   11)4 
Myddelton    House,    Hoar,   315,    nj  t  :     Ostriches,   316, 


194 


328,  329.  343 


N 


Naseby  Knamel,  the,   [47 
National  Gallery,  dome,  141 
Neptune,  statue,  157.  248.   1 
A' ep tunes  / dorse.  243.  424 


INDKX. 


Netherlands,  probable  influence  on  Wren's  spires,  i2y 

Newhaven,  shingled  spire,  88,  93 

Newport  Church,  Essex,  lead  ornament  on  chest,  216 

Newton,  Ernest,  designs  by,  399,  407,  232.  236 

Nicholson,  Sir  Charles,  designs  by.  406,  235,  248,  438 

Niven,  William,  F.S.A.,  quoted,  i  26 

Noah's  Ark  decoration,  231 

Nolhac,  Pierre  de,  quoted,  186 

Nollekens,  Life  of,  quoted,  187 

Nonesuch  Palace,  143 

Norden's  view  of  Windsor,  144 

Norton  Conyers,  statue  of  S/nrc  ;it,   y62 

Norwich  Cathedral,  spire  ami  pinnacles,  94,  186.   104 

Nost,  see  van  Nost 

Nottingham    Castle   Museum,  pipe-heads  and   cistern, 

63,  119,  120,  136,  73 
Nun  Monkton,  statues,  170.  171,  274-277 

o 

Ockham  Hall,  statue  of  ..S7(77't'  at,  162 

O' Flanagan,  forgeries  by,  214 

Ogee  HI  roof  lines,  132 

Ogilvy,  Hamilton,  statues  owned  by,  179 

Old  Leicester  House,  London,  vase  once  at,  206 

Old   Palace   Vard.   Coventry,   pipe-heads.  iVc,  36,  61, 
80,  8r,  45 

Old  St  Paul's,  see  St  Paul's 

Ossuaries,  22,  207-208,  346,347 

Ostrich,  Myddelton  House,  316,  195 

Ottery  St  Mary,  spire,  108 

Ownership  marks,  221 

Oxenhall,  font,  3,  2,  6 

Oxford- 
Cathedral,  spire,  94 
Magdalen  College,  pipe-heads.  40 
St  John's  College,  pipe-head,  40,  74-77 


Pain's  Hill,  Rape  of  the  Sabines,  166;  vase,   199 
Painting  of  lead,  37,  40,  44,  167,  183,  187,  190,  216, 

221,  228,  235 
Painting,  statue,  310,  194 
Pall  Mall,  leaded  parapet,  408,  238 
Pan,M.  Ardross  Castle,  419;  at  Castle  Hill,  1 1  7,  293  ;  at 

Glemham  Hall.  314,  194  ;  at  Studley  Royal.  182 
Papal  seals,  215,  364 
Papier-inaclie,  2 1 6 
Parapets,  lead  covered.  104,  191 
Parapetted  spires,  classified.  87 
Parham,   font,  3,  24,  20  ;  River  God.  187,  302  ;  vase. 

199,  326 
Paris,  statue  of,  180,  30O 
Parish  boundary  marks,  221 
Parker,  John  Henry,  quoted.  106 


323 


240 


Bii'liograpliy 
and  Bihliograpln 


356357 


Park  Lane,  Caryatides,   19 

Paten,  of  lead,  2  i  o 

Pathless  spires,  classified.  86 

Paulet,  coat-of-arms,  52.  72 

Peace,  statue,  149 

Pembury,  shingled  spire,  93 

Penn,  font,  3,  31,  21 

Penshurst,  vase,  2o'i 

Pepys,  Samuel,  quoted.  114.  143.  159 

Pepysian  Library,  print  in.  157 

Perseus,  at  Melbourne,  164.  260 

Perth,  St  John's,  spire,  87,  93,  178.  99 

Petersfield,  statue  of  ]Vi//iam  III.  at.  i^(: 

Petworth,  pipe-heads,  50,  94,  112,  h\ 

Pewter,  40,  220 

Piccadilly,  leadyards.  160,  165.  170,  187- 

Piend-roUs.  142 

Pierced  work,  29,  30,  33.  228 

Pierpont  family,  3  i 

Pigs  of  lead,  Roman,  212.  355,  ani 

Pilgrims' tokens,  213,  214.  358363  ;  am 

Pinnacled  spires,  86 

Pipes,  water,  Romano-British.  212,  213. 

Piping  God  at  Hardwick  Hall.  312,  n, 

Piscina  outlet.  229.  230.  397 

Pitcombe,  font,  3 

Plasterwork,  relation  to  leadwork,  57,  2 

Plumbers,  Worshipful  Companv  ol,  122 

Preface 
Plumpton,  shingled  spire,  88.  93 
Poundisford   Park,  pipe-head  and   ciste 

73-  139.  140.  75 
Prior,  E.  S.,  quoted,  go,  91.  96,  10 1 
Pulborough,  font,  or  font  lining,  3.  20 
Pump-head.  157,  85 
Purley  Hall,  statue  <ji  Si-r,v  at.  162 
Putti,  with  globe,  412,  240 
Pyecombe,  font,  3.  16.  t  3,  r  5 


(Quarries,  ventilating,  220,  221,  373.  374 
Queen  Anne's  Gate,  statue.  152 
Queen  Charlotte,  statue.  149.  152.  245 
Queen  Square.  Bloomsbury.  cistern,  148.  Si 

R 

Raby  Castle,  pipe-head,  59 

Rain-water  heads  and  pipes,  Chaps.  H.,  HL,  and  X] 
Ranger's  Lodge,  Green  Park,  Stags  once  on,  175,  2l 
Ranworth  Church,  lead  ornaments  on  screen.  2  1 6 
Rape  of  t/ie  Sabines,  statue  group,  166,  167.  266 
Record  Office,  cisterns,  146,  8t 
Redgrave,  quoted,  148 
Reliquaries,  21,  22,  66,  124,  2c8 


368 


49.  89.  9 


266 


INDEX. 


Repousse  work  in  lead,  173 

Resurrection,  The,  depicted  on  font,  y 

Ribbon  of  lead,  52 

Ricardo,  Halsey,  design  by,  228,  387 

Richard  Coeur  de  Lion's  heart  casket,  20S.  353 

Richardson's  drawings  of  Temple  coffin';,  20.S,  349  352 

Richmond,  cistern  at,  155,  S5 

Ripon  Cathedral,  spire,  187,  104 

Roach  Smith,  quoted,  22  and  l!iblii>:^rtipliy 

Rochester  Cathedral,  spire,  168.  9 1 

Roman  pigs  of  lead,  2  1  2,  355,  and  Bil'liti:^raphy 

Roman  Soldier,  statues,  167,  i6(),  170,  171 

Roofs,  142 

Roubilliac,  149,  153 

Rouen  Cathedral,  heart  casket.  208.  353 

Rousham,  statues  at,  177.  iSo.  294 

Rysbrack,  statuary,  149,  152,  175,  u)2 

Ryton,  spire,  86,  160.  88,  93 


.Sackvillc  College,  East  C.rinstead,  .  isterii,  156.  85 

St  Alban's  Abbey,  spirelet,  1  10 

St  Alban's,  Leicester,  modern  font.  377,  378.  22^ 

St  .A.nn's,  Soho,  steeple,  142 

St  Antholin's,  VVatling  Street,  spire,  19.  i  uj 

St  Augustine's,  Watling  Street,  steeple.  120.  213,  124, 
I  38,  139  ;  vases,  201 

St  Benet  Fink,  136,  231 

St  Benet  Gracechurch.  steeple.  217.  125.  12(1 

St   Benet,  Paul's  Wharf,  lantern.   115.    125.    133.    135, 

230,  140 
St  ClL-ment  Panes,  domes,   137 

St  Dionis,  ISackchurch,  destroyed  arcading,  195 

St  Eanswith's  reliquary,  Folkestone,  124,  66 

St  Edmund's,  Lombard  Street,  lantern,  i  15.  135,  137. 
232  ;  vases,  20  1 

St  Fagans  Castle,  cistern,  126-129,  67-70 

St  lame.-,,  I'iccadilly,  steeple,  142 

St  John's  ( 'ollege,  Cambridge,  pipe  head,  40 

St  John's  College,  O.xford,  pipe-heads,  40,  7477 

St  John's,  Berth,  spire,  87,  93,  178,  99 

St  Lawrence  Jewry,  steeple,  55,  120.  214,  12; 

St  .Machar's  Cathedral,  Aberdeen,  s|iire,   100 

St  Magnus,  steeple,  i  14,  206,  120,   125.  225 

St   Margaret,  Lothbuiy.  ^te^ple,  120,213,   '-5-   MtJ 

St   Margaret   Pattens,   spire,    115,    117,209.   i  1 ').   120, 

139 
St  Martin  l.udgate,  steeple.   120,  211.  122.   137 
St  Mary  .'\bchurch,  steeple,  120,  210,   122 
St  Mary   Redcliffe,  inscription  leadeil,  210 
St  Mary  Somerset,  carved  stones  from,  11)5.  318 
St  Michael,  Oooked  Lane,  steeple,  218,  126 
St  .Michael,  (^)ueenhithe,  steeple,  219,  126 
St  .Michael,  NVood  Street,  steeple,  126 


St  Mildred,  Bread  Street,  steeple,  120,  212,  124 

St  Nicholas,  Aberdeen,  spire,  86,  94,  175,  c6,  97 

St  Nicholas-at-Wade,  destroyed  font,  2 

St  Nicholas,  Cole  .Abbey,  lantern,  i  15.  137,  233,  139 

St  Nicholas,  Great  Yarmouth.  Ni)irL-,  1  13 

St  Nicholas,  Lynn,  spire,  234 

St  Pancras  Church,  lead  on  doors  of.  218 

St  Paul's  Cathedral,  Old,  loi,  102,  184.  104  :  Wren's, 

114,  122,  124,  13s 
St  Paul's  Churchyard,  statue  of  (jueen  .Xnne,  152,  153 
St  Peter's,  Gracechurch  Street,  steeple,   1  15,  120,  2l6, 

1-5 
St  Philip's,  Birnniigham.  dome.  234,   141 
St  Saviour's,  Dartmouth,  pipe  soi/ket,  56 
St  Swithin's,  London  Stone,  spire,  1  17,  208.   i  19,  120, 

138.  139 
St  Thomas  a  Becket,  ampulke,  213,  359,  360 
Salt  cellar,  conjectural,  22 
Samson  Slaying  the  Philistines,  166,  263 
Sandhurst,  Glos.,  font,  3,  4,  5 
Sandywell,  statue  of  Slave  once  at,  162 
Santa  Sophia,  Constantinople,  domes.  136 
Saturn,  lead's  planet,  21S 
Sawbridgeworth,  spirt-let,  87,  96,  199,  110 
Sawley  Church,  pipe-head,  58 
Scheemakers,  Peter,  statuary,  166,  175 
Scilly,  St  Mary's,  cistern,  142,  78 
Scots  plumbers,  records  of,  1)7 
Scotston  House,  Aberdeen,  mask.  142,  237 
Scott,  Sir  Gilbert,  spire  at  Lynn  b).  234 
Scrope,  coat-of-arms,  53,  72 
Sculpture,  statue,  309,  193 
Seals,    leaden.    216.   365-367;     Paijal,    215,   364,  and 

Bibliography 
Seasons,  The    Av/a,  on    ristern,   85,    159.    as    statues, 

187,308;   on  vase,   190,325 
Seat,  in  lead,  180,  344 

Sedbury  Park,  ftnit,  from  Llancaut  Church  at,  3 
Seine,  Kiver,  pilgrims'  tokens  found  in,  213 
Sepulchral  leadwork.  Chapter  XL  and  Bihlii^i^'aphy 
Sevenoaks,  Knole  Park,  pipe-heads,  32  r/  s,;/.,  55-57 
Shenstone,  on  garden  ornaments,  172.  100 


Shepherd  and  shepherdess,  statues, 

306,  189,  196 
Shere,  shingled  spire,  88 
Shipdham,  spirelet,   i  12.  203 


279-  '>''7,  305- 


Shijiway,  Colonel.  201 
Shrewsljury,    lleniihi,   307.    192; 

61-63,  II4-I16,  118 
Shrmes,  tokens  sold  at,  213 
Shropshire,  leadwork,  23,  63 
Signacula,  or  pilgrims'  signs,  213, 
Silchester,  Roman  lead  pipe,  ivic, 
Simon,  Abraham  and  Thomas,  i^ 


358363 


INDEX. 


Singer,  Messrs,  of  Frome,  leadwork  cast  by,  229  et  seq. 

Siston,  font,  3 

Slave,  see  Kneelin;^  SUu\\  sliitue 

Sieger's  Theatnim  Scutitc,  100,  181,  127 

Slimbridge,  font,  3,  29,  20,  73 

Slindon  Park,  statue  of  Slave  at,  162 

Slingshys  Diary,  158 

Smith,  j.  T.,  iiuiilcd,  154,  156,  160,  169,  175, 
1S7" 

Sorkcts,  pipe,  3.  else.,. 

Sceur,  Hubert  le,  statuary,   155 

Somerset  House,  Sphinxes  on,  175 

Sources  of  lead.  Bibliography 

Southampton,  lions  at,  174,  286 

South  Kensington  Museum,  olijects  at,  102  104,  55, 
67.  135.  7,1,  1'')-%  180,  1S9,  191,  205,  216,  221, 
244 

Southover  Church,  coftin  at,  20S,  348 

"Southwark  Arms,"  221 
Southwell  Minster,  spires,  163,  8,S 
Spain,  probable  influence  on  Wren's  spires,  129 
Spalding,  cistern,  71.  133 
Spanish  Armada,  lead  from,  158 
Sparta,  lead  figurines  found  at,  214 
Sphinxes,  at  Castle  Hill,  175,  298;  at  Chiswick,  175  ; 
at  Devonshire  House,  175;  at  Somerset   House, 
175  ;  at  Syon,  175,  288 
Spirals,  108,  109 
Spire-form  steeples,  115 
Spirelets,  87  et  set/.,  239 
Spires,  Chapters  V.,  \{  ,  and  XIII. 
Siai^s,  at  Albert  Gate,  i  75,  287 
Staircase  railings,  21S,  368 
Stanley  Abbey,  lead  tracer)-  found  at,  218 
Stanwick,  pipe-head,  50 
Stars,  of  lead,  on  ceilings,  218 
Steel  construction  leaded,  235,  405 
Steelyard  weights,  Roman,  213 
Stock  patterns,  5,  46 
Stokes,  Leonard,  1 1 1 
Stone,  Nicholas  and  John,  15S 
Stonyhurst,  pipe-head,  56,  105 
Stoup,  conjectural,  21,  22,  32 
Stow,  John,  quoted,  102,  126.  156,  157 
Straight-sided  spires,  87  <•/  se,/. 
Straps,  of  lead,  55 

Stratford-on-Avon.  spire,  once  leaded,  113 
Strawberry  Hill,  decoration,  64 
Strode,  General,  152 

Studley  Royal,  statues  at,  166,  i.Sj,  303;  \ascs.  204,  334 
Sundials,  161,  301,  181,  247,  434,  437,  440 
Sussex  iron  fire-backs,  56,  75 

Swaffhani,  Mutter  Cross.  196,  321  ;  spirelet,  87,  198, 
112,  122 


Swanneck,  treatment  of,  382,  383,  227 

Swindon,  pipe-head,  28 

Swymbridge,  spire,  86,  93 

Syca,  statue  once  at  Melbourne,  166 

Sydney,  Sir  Henry,  heart  case,  210,  354 

Symbolism,  9,  t6,  64,  85,  222  224 

Syon  House,  Lions,  Sphi/i  \es,  and  /-ioni.  175,  285,  288 


lacca,  I'letro.   \Ui 

Tangley,  font,  3.  26,  27,  20 

Tangmere,  shingled  spire,  88,  93 
Taunton,  angel  on  fleche,  238  :  pipe-heads,  49,  50 
Taylor,  Andrew  T.,  quoted,  i  r8 

Temple  Church,  coffins,  208,  349352 

Temple   Dinsley,    Old  Time  al.    167.   268:   va-r.  201, 

330 
Tenterden  St.,  cistern  from,  158,  85 
Thames,  pilgrims'  tokens  found  in,  213 
.  Theobald,  cotlfin  plate  of  Archbishop,  210 
Thomason  "Tracts,"  quoted,  157 

Ihoresby's  "  Diary,"  quoted,  147,  170 

Thorpe-le-Soken,  spirelet.  J13 

Tickets,  dance,  in  lead,  2  1  6 

Tidenham,  font.  3,  6 

Time,  statue.  167,  268 

Tinning  of  lead,  2,2,  37,  38,  40,  44,  229,  237 

Tobacco  bo.xes,  2 1 9,  370  ;  stopper,  2 1 9 

Tokens,  coinage,  219  and  Bibliognipliy 

Tokens,  pilgrims',  see  Pilgrims 

Topsham,  Stone  House,  pipe-head,  56 

Torrigiano,  23 

Torrington,  pipe-heads,  50,  91,  iii,  61 

Tortington  Priory,  coffins,  211,  354  a  and  b 

Tower  Bridge,  a  lost  opportunity,  236 

Tower  of  London,  down  pipes  fixed  on,  24 

Triniias,  The,  de|jicted  on  font,  5 

Trinity  College,  Cambridge,  fountain,  145 

Triton,  a  Dutch  figure,  184,  304;  at  Melbourne,  160 

Tropliies  of  Arms,  Hampton  Court,  174,  283 

Troup,   F.  W.,  quoted,  40  ;  work  designed   by,  230  el 

•«''/•>  393,  437.  439 
Turner,  J.  AL  \V.,  quoted,  114 
Twopeny,  William,  36 

u 

Uftington,  gargoyle,  25 

University  College,  London,  statues,  190 

Upton  Court,  lead  apron,  36 


N'allance,  Aymer,  F.S.A.,  tjuoted,  36 
Win  Nost,  statuaries,  father  and  son,    148,  154,  160, 
162,  171,  174,  190,  199,  205 


268 

Vauxhall  Gardens,  statue,  once  at,  149 
Venice,  dome  of  Salute  Church,  136 
Ventilators,  lead,  21S.  220,  221,  373,  374 
Venus,  at  Castle  Hill.  177-  290 
Venus,  de  Medici,  17S 
Vernon  family,  29,  31 
Verrocchio,  Andrea  del,  162,  164 
Versailles,  statues  at,  185,  1.S6 
Vine  pattern.  34.  58,  36,  61,  62 
377 

VioUet-le-Duc,  (luoUd,  24,  40 


INDEX. 


I30'  70.  74.  2^4. 


w 

Waldron,  font,  22 

Walls,  leaded,  142-144 

Walpole,  Horace,  quoted.  147.  15S 

Walsingham,  spire,  loS 

Waltham  Cross,  vases.  200,  201,  328.  329,  343 

Walton-on-the-Hiil.  font,  3,  7.  '.  m.  13 

Wansford,  font,  3 

Warborough,  font,  3.  14,  12.  13.  20S 

Wareham,  font,  3,  8,  9 

Warenne,  William  de,  coffin,  20S,  348 

Warrington,  down  pipe,  62 

Watford  Church,  spirelet  by  J-  F.  Kentlc),  239 

Wax,  lost- wax  process,  173 

Wtald  Hall,  fox  at,  179 

Webb,  W.  E.,  use  of  lead  by.  241 

Weights,  Roman,  213  and  JiMw-m/'/tv 

Welbeck  Abbey,  modern  pipe-head,  383,  227 

Wenden  Ambo,  spirelet,  87 

Wenham  &  Waters,  lead  work  by,  236,  407 

Weybridge,  Bridge  House,  statues,  172 

Wheatley,  H.  B.,  F.S.A.,  quoted,  152 

Wickes,  quoted,  94,  96,  104 

Wickham  Market,  spire.  87.  195.  loS 

Wilby,  stone  spire,  i  1 1 

Wilkins,  use  of  lead  by.  at  the  National  Callery,   142 

m/liam  HI.,   statues.    146,    148,  24O,   1 4'i.  241,  244. 

151 

Wilmint;ton,  grave  slab.  211 


Wilson,  H.,  design  by.  224,  381 

Wilson,  Sir  Spencer  Maryon,  of  Eastborne,  leadwork 

in  possession  of,  84 
Wilton     House,    Amorini,    169,    270,    271  ;     Manus 

Aurdius,  169  ;  vases,  338,  339.  205  ;    Woman  on 

Parapet,  169,  272 
Wimperis  &  Best,  vase  designed  by,  245,  429 
Wimpole,  Charity  and  Poverty.  197  ;  Samson,  166 
Winchester    College,    pipe-head,    53;     Dome    Alley, 

pipe-head,    34,   58-60 :    Judge's   Lodgings,    pipe- 
head,  lOI,  55 
Windsor    Castle,   fountani   once   at,    144,    145:    P'Pe- 

heads,  37.  38,  26,  34.  44,  17, :  statues  once  at,  167  ; 

vases  at,  335,  204 
IVinter,  Glemham  Hall.  313,  194 
Winton  Castle,  statue  at.  179 
Wise.  Henry,  160 


W 


jy,  stone  spne.  94 


Wullaton  Hall,  pipe-head.  64 

Wolsey's  Closet.  Hampton  Court,  ceiling,  216.  368 

Woodchester,  lead  vessel  Ironi.  21.  32 

Woolhampton,  font,  2 

Woolstone,  font,  3,  13.  22.  19 

Wootton  Waweii  Hall,  vase,  205 

Worsted,  Norfolk,  lead  ornament  on  woodwork.  216 

VVragge,  George,  Ltd.,  work  by,  250.  394.  395 

Wren,  Sir  Christopher.  44.  55.  1 1  3.  i  14  ''''  •*<''/■-  'S') 

Wrest    Park,    statues,    146,    151.    244,    166,    265267, 

269;  vases,  202,  331,  332 
Wrestlers,  statue,  166,  264,  303,  182 
Wychling,  font.  3.  21,  18 


Yarmouth,  (.ireat.   Charity  statues,    197  ; 

destroyed  spire.  1 13 
York  Minster,  Chapter  House,  loS 
York  Museum,  quarries  in,  221,  373 
York  Philosophical  Society,  bust  of  Fairf;^ 


146,238 


Zodiac,  signs  of.  on  font.  9 


14  DAY  TTC17 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below  or 
RenPw»^°K  'V  '^^'^  '".^'''^'^  renewed  '    ' 

Renewed  books  are  subjea  to  imtnediate  recall 


—f^9\h^^n%T^^ 


REC'D 


LOAN  Dgf^L, 

BEC,CIK.MAR31  7 


LD  21A-60m-3,'65 
(F2336sl0)476B 


.General  Library 

University  of  CaJifomia 

Berkeley 


L 


¥^ 


ivil267'36 


THE  UNIVERSITY  OF  CALIFORNIA  LIBRARY 


-4  i