,transcriber's ,note3 italic text is denoted by underscores and bold text by equals signs4 ,,leadwork 8,that which gives to the leadwork of the ,middle ,ages a particular charm is that the means they employed and the forms they adopted are exactly appropriate to the material4 ,like ,carpentry or ,cabinet work1 ,plumbing was an art apart which borrowed neither from stone nor wood in its design4 ,medival lead was wrought like colossal goldsmith's work40--,,viollet-,,le-,,duc4 ,,leadwork ,,old ,,and ,,ornamental ,,and ,,for ,,the ,,most ,,part ,,english4 ,,by ,w4 ,r4 ,,lethaby ,,with ,,illvstrations ,illustration #ahic ,macmillan ,co41 ,london ,new ,york4 ,,richard ,,clay ,,and ,,sons1 ,,limited ,,london ,,and ,,bungay4 ,,contents ,,sect4 ,,page ,i4 ,,of ,,material ,,and ,,craftsmanship #a ,,ii4 ,,an ,,historical ,,sketch #e ,,iii4 ,,of ,,lead ,,coverings ,,to ,,buildings #ag ,,iv4 ,,of ,,leaded ,,spires ,,and ,,turrets #bj ,v4 ,,of ,,domes #cc ,,vi4 ,,of ,,roofs #cf ,,vii4 ,,of ,,lead ,,coffins #dj ,,viii4 ,,of ,,fonts #ea ,,ix4 ,,of ,,inscriptions1 ,,etc4 #fe ,x4 ,,of ,,the ,,decoration ,,of ,,lead #gb ,,xi4 ,,of ,,lead ,,ornamentation ,,of ,,other ,,materials #hj ,,xii4 ,,of ,,decorative ,,objects #hd ,,xiii4 ,,of ,,lead ,,glazing #hg ,,xiv4 ,,of ,,lead ,,statues #ij ,,xv4 ,,of ,,lead ,,fountains #aab ,,xvi4 ,,of ,,vases ,,and ,,gate ,,piers #aad ,,xvii4 ,,of ,,finials ,,and ,,crestings #abd ,,xviii4 ,,of ,,cisterns1 ,,etc4 #aca ,,xix4 ,,of ,,gutters #acg ,,xx4 ,,of ,,pipes ,,and ,,pipe ,,heads #aci ,,list ,,of ,,illustrations ,,fig4 ,,page #a4 ,,egyptian ,,inscribed ,,tablet #g #b4 ,,greek ,,quiver #h #c4 ,,builder',s ,,plummet #i #d1 #e4 ,,greek ,,weights #aj #f1 #g4 ,,greek ,,weights #aa #h1 #i4 ,,cists ,,from ,,the ,,kircherian ,,museum #ab #aj4 ,,roman ,,jewelled ,,cup #ad #aa4 ,,spire1 ,,barnstaple #bf #ab4 ,,another ,,spire #bg #ac4 ,,turret1 ,,barnard',s ,,inn ,,hall #bi #ad4 ,,calais ,,belfry #cb #ae4 ,,ornaments ,,from ,,coffins1 ,,constantinople #da #af1 #ag4 ,,cists1 ,,british ,,museum #db #ah1 #ai4 ,,roman ,,coffins1 ,,british ,,museum #dd #bj4 ,,roman ,,coffin1 ,,british ,,museum #de #ba4 ,,thirteenth ,,century ,,coffin1 ,,temple ,,church #df #bb1 #bc4 ,,thirteenth ,,century ,,coffins1 ,,temple ,,church #dg #bd4 ,,coffin1 ,,winchester #dh #be4 ,,at ,,moissac #di #bf4 ,,vessel1 ,,lewes ,,museum #eb #bg4 ,,font1 ,,brookland1 ,,kent #ed #bh4 ,,font1 ,,brookland #ee #bi4 ,,font1 ,,edburton1 ,,sussex #eg #cj4 ,,font1 ,,walton1 ,,surrey #ei #ca4 ,,font1 ,,parham1 ,,sussex #fa #cb4 ,,heart ,,box ,,of ,,king ,,richard #fg #cc4 ,,inscribed ,,cross #fh #cd4 ,,arms ,,from ,,bourges #gj #ce4 ,,incised ,,decoration1 ,,bourges #ge #cf4 ,,painted ,,decoration1 ,,bourges #gf #cg4 ,,flashings1 ,,bourges #gg #ch4 ,a ,,valance #gh #ci1 #dj4 ,,lead ,,glazing #hh #da4 ,,ventilating ,,quarry #hi #db4 ,,statue ,,of ,,mercury #ih #dc4 ,,sun-,,dial1 ,,temple ,,gardens #ajj #dd4 ,,cymbal ,,player #ajf #de4 ,,terminal ,,at ,,castle ,,hill #ajg #df4 ,,time1 ,,temple ,,dinsley #ajh #dg4 ,,vase1 ,,hampton ,,court #aae #dh4 ,,from ,,vase1 ,,hampton ,,court #aaf #di4 ,,vase1 ,,castle ,,hill #aag #ej4 ,,albert ,,gate #aah #ea4 ,,albert ,,gate #aai #eb4 ,,vase1 ,,knole #abj #ec4 ,,cupid1 ,,temple ,,dinsley #aba #ed4 ,,sphinx1 ,,syon ,,house #abb #ee4 ,,syon ,,house #abc #ef4 ,,finial ,,at ,,lille #abf #eg4 ,,finial ,,at ,,angers #abf #eh4 ,,angers #abh #ei4 ,,finials1 ,,bourges #abi #fj4 ,,from ,,newcastle #acj #fa4 ,,poundisford ,,park1 ,,taunton #acb #fb4 ,,cistern1 ,,exeter #acc #fc4 ,,cistern1 ,,london #acd #fd4 ,,cistern1 ,s4 ,,kensington ,,museum #ace #fe4 ,,gutter1 ,,lincoln ,,cathedral #acg #ff4 ,,gutter1 ,,taunton #ach #fg4 ,,bramhall1 ,,cheshire #adj #fh1 #fi4 ,,pipe ,,heads1 ,,haddon ,,hall #ada #gj4 ,,pipe ,,head1 ,,haddon #adb #ga4 ,,bodleian1 ,,oxford #adc #gb4 ,,st4 ,,john',s1 ,,oxford #add #gc4 ,,sherborne #ade #gd4 ,,liverpool #ade #ge4 ,,ashbourne #adf #gf4 ,,haddon #adg ,,leadwork ,i4 ,,of ,,material ,,and ,,craftsmanship4 ,to none of the processes of modern mechanism do more vulgar associations cling than to 8,plumbing40 ,it is the very serviceableness and ductility of lead as a material that have brought about the easy and familiar contempt with which it is treated4 ,while few are more worthy of artistic care no metal is more perfectly adaptable to noble use through a range of treatments that cannot be matched by any other metal whatsoever4 ,it combines extreme ease of manipulation with practically endless durability1 and a suitability to any scale1 from a tiny inkwell1 or a medal1 to the statue of horse and rider1 a ,versailles fountain1 or the greatest cathedral spire4 ,the range of method in handling follows from the equal ease with which it can be hammered out1 cast1 or cut1 and all three1 employed concurrently on the same piece4 ,the main purpose of the pages which follow is not to set out a history of the use of this material in various forms1 although this is involved4 ,it is intended by pointing out the characteristics and methods of the art of lead working in the past to show its possibilities for us1 and for the future4 ,a picture of what has been done is the best means of coming to a view of what may again be done4 ,but it cannot be too strongly asserted that the forms of past art cannot be copied2 that certain things have been done is evidence enough to show that we cannot do them over again4 ,reproduction is impossible2 to attempt it is but to make a poor diagram at the best4 ,commercially produced imitations of ornamental works are infinitely beneath the merely utilitarian object which serves its purpose and attempts nothing more4 ,behind all design there must be a personality expressing himself2 but certain principles of treatment and methods of working may be understood in some degree by a study of past work without going all through it again4 ,history thus makes the experience of the past available to us1 but it does not relieve us of the necessity of ourselves having experiences4 ,there is a great stimulus in feeling one of a chain1 and entering into the traditions of a body of art4 ,the workman ,bezin said to ,mr4 ,stevenson of museums1 8,one sees in them little miracles of workmanship--it fires a spark40 ,new design must ever be founded on a strict consideration of the exact purpose to be fulfilled by the proposed object1 of how it will serve its purpose best1 and show perfect suitability to the end in view when made in this or that material by easy means4 ,this1 not the torturing of a material into forms which have not before been used1 is the true ground of beauty1 and this to a certain extent is enough without any ornamentation4 ,ornament is quite another matter1 it has no justification in service1 it can only justify itself by being beautiful4 ,in so far as history is involved here it has been necessary to refer to and to figure many works1 not bearing the impress of a fine living style1 but only passable exercises in the respectabilities of a sort of conventional design learnt by rote4 ,as a general rule it will be found that the workers of the middle ages penetrated at once to the reason of a thing in structure and then decorated it with an evidence of fresh thought--a delight in growth1 form1 humanity1 in one word ,nature1 the source of all beauty and subject of all art4 ,each thing made is evidently by an artist2 it expresses reasonable workmanship and happy thought in pleasant solution of some necessity of actual service4 ,many of the later things are not thus natural and spontaneous but pedantic and pompous1 fulfilling their chief intention if they were expensive2 while to-day the chief care of design is often to appear expensive without being so in fact4 ,only in our century in ,england would it be possible for the metals which are so especially hers1 iron1 tin1 and lead1 to have been so degraded that it is hardly possible to think of them as vehicles of art4 ,it should not be so1 for each of the metals can give us characteristics that others cannot1 and the capabilities of lead have been sufficiently proved by more than two thousand years of artistic manipulation4 ,the only way in which the crafts can again be made harmonious by beauty is for men with a sense of architectural fitness and a feeling for design to take up the actual workmanship and practise it themselves as they would painting or sculpture1 seeking the delight of being good artists not the reputation of being successful merchants or clever professional men4 ,to any such1 lead-working may be recommended4 ,,ii4 ,,an ,,historical ,,sketch4 ,the ease with which lead ores may be gained from the earth and then worked1 is sufficient to show that the application of lead to the service of the arts must have been made very early4 ,nowhere does it seem to have been so easily found as 8in ,england herself which is the classic land of lead and tin0 7,abb ,cochet74 ,these two metals made the early fame of ,britain2 they brought here the ,phnician trader and had doubtless much to do with the ,roman occupation of this distant island4 8,tin and lead10 says ,harrison in his ,description of ,england1 8metals which ,strabo noteth in his time to be carried into ,marseilles from hence1 as ,diodorus also confirmeth1 are very plentiful with us1 the one in ,cornwall1 ,devonshire1 and elsewhere in the north1 the other in ,derbyshire1 ,weredale1 and sundry places of this island4444 ,there were mines of lead sometimes also in ,wales which endured so long till the people had consumed all their wood by melting of the same40 ,tin1 which was of such sovereign necessity for the composition of bronze1 was1 with lead1 an object of wide commerce1 as we may learn from the prophecy of ,ezekiel against ,tyre1 whose long black ships did the carrying trade of the world4 ,as the ,tarshish of ,scripture is the ,tartessus of classic authors--an entrept of ,phnician trade in ,spain--it may well be of ,english mined metal that the prophet speaks3--8,tarshish was thy merchant by reason of the multitude of all kinds of riches2 with silver1 iron1 tin1 and lead they traded in thy fairs40 ,the ,assyrian slabs which contain the accounts of the expedition into ,syria in the ninth century ,b4,c4 include among the tribute exacted of ,tyre and of ,jerusalem itself 8bars of gold1 silver1 copper1 and lead40 ,solomon used lead in the structure of the great wall of ,jerusalem4 ,sir ,h4 ,layard says the mountains three or four days' journey from ,nineveh furnished iron1 copper1 lead1 and silver in abundance1 and he found instances of its actual use at ,nineveh4 ,place also1 in his excavations at ,khorsabad1 discovered a foundation inscription of ,sargon ,,ii41 the great builder of the eighth century ,b4,c4 engraved on a plate of lead4 ,a leaden jar and a piece of pipe were found by ,loftus at ,mugheir4 ,in ,egypt it was sparingly used4 ,sir ,g4 ,wilkinson says3--8,lead was comparatively useless1 but was sometimes used for inlaying temple doors1 coffers and furniture1 small statuettes of the gods were occasionally made in this metal1 especially those of ,osiris and ,anubis40 ,in ,egypt as well as in ,babylonia it was the custom to make a deposit of several objects in the foundations1 a tradition which we still follow to-day4 ,at ,daphnae ,mr4 ,flinders ,petrie found a set of little slabs of different stones and small plates of metal1 gold1 silver1 copper1 and lead1 all engraved with the name of ,psamtik4 ,the lead tablet is here figured4 ,illustration3 ,,fig4 #a4 ,the ornamental objects of lead to which the earliest date can be assigned are those found by ,dr4 ,schliemann in his excavations at ,mycen and ,tiryns4#a #a ,see ,dr4 ,schuchardt1 translation #ahia 7,macmillan74 ,the ,greeks very largely used lead for many purposes4 ,it is twice mentioned in the ,iliad1 and its familiar use as a building material is shown by ,herodotus1 who says that ,queen ,nitocris built a bridge over the river at ,babylon1 of stone bound together with lead and iron2 and the story the ,greek historian gives of the celebrated hanging gardens describes how they were raised on high terraces of arches covered with bitumen and sheets of lead4 ,sufficient actual examples of ,greek lead work are stored up in museums1 masonry with dowels of lead1 inscribed tablets1 small toys and tokens1 little vases for eye salve about as large as a thimble1 boxes for unguents1 and sling bullets4 ,these last are often inscribed so that the warrior might know his work1 often with flouts and jibes and jeers4 ,one in the ,lewes ,museum has 1--8,well done02 others have 8,hit ,hard10 c4 ,in the museums of ,athens are some small figures1 a ,dionysiac wreath of gilt lead leaves to be worn as a garland1 a lead quiver for arrows about fifteen inches long1 also plummets and market weights1 with other objects4 ,mr4 ,cockerell found that parts of the early pediment sculptures at gina were of lead1 and lead is inlaid in the volute of the early ,ionic capital from the archaic temple of ,ephesus now in the ,british ,museum4 ,illustration3 ,,fig4 #b4 ,the plummets are interesting to us as builders' implements2 there are two or three dozen in the ,british ,museum1 about three inches high and one inch at the base tapering upwards3 some are marked with the letter ,a on one side and on the obverse a little relief1 a throne-seat with an owl4 ,the owl was ,athene's own symbol1 and appears on the coinage of ,athens in a form from which this seems copied4 ,the ,acropolis was her throne4 ,we will stretch our imaginations far enough to believe that the ,a stands for ,athens and that these are the very implements used in setting the masonry of one of the corner stones of the world's art--the ,parthenon4 ,illustration3 ,,fig4 #c4 ,the market weights are remarkable in bearing devices like the types of coins4 ,for the most part they are square cakes and the devices simple almost to rudeness1 yet they have that impress of style and grace in the design1 with the large free handling in which is the exquisiteness of ,greek art4 ,a sketchiness so simple and easy can be the only right treatment for a metal so likely to receive injury in the use2 to these as in all art so considered the inevitable injuries of wear are little loss4 ,we can hardly suppose that such a simple industry as making lead weights for the markets would have had artists capable of designing1 and suggesting in relief types like these1 rather we may suppose that some of the great coiners furnished the models1 especially as they would be issued by the authorities of the several towns4 ,we may take this first opportunity of remarking that the patterns for all ornament intended for casting should be modelled like these1 never carved1 as is now so universally the case for cast iron and the applied enrichments of picture frames1 the reason being that cast material of this sort1 so easily injured1 is unsuited for giving definition and high relief1 and should accept all the limitations of material frankly and make the most of dull suggestiveness2 for in all these the 8best are but shadows0 the modelling emerging from or melting away in the ground4 ,in two attempts the present writer has made in modelling for lead casting wax was used in one instance1 and in the other1 where very delicate relief was required made up mostly of threads and dots1 gesso was found to answer4 ,illustration3 ,,figs4 #d and #e4--;,greek ,weights4 ,the ram's head 7see ,fig4 #d7 for instance has only the frontal1 the lips1 and the horn1 made out1 the rest the imagination sees transparently below the field4 ,in the words of ,blake 8it is everything and nothing40 ,the raised rim is a good protection4 ,illustration3 ,,figs4 #f and #g4--;,greek ,weights4 ,the second1 a half ,mina of gina1 is yet simpler--just a pot1 but a beautiful one well placed4 ,the third is ,attic1 a quarter ,dimnoun with scarabeus-like tortoise4 ,the last is a ,mina of gina1 it bears the well-known ,greek rendering of the ,dolphin and the letters 4 8,market ,mina40 ,the dolphin has the 8bowed back0 ,sir ,thomas ,browne pointed out as a 8popular error0 of painters1 but the dolphin was to the ,greek mind1 rather the genius of the waving sea itself than any mere particular fish1 and this is the time consecrated form1 like this it swims amongst the undulating hair of the ,arethusa of ,syracuse1 the most beautiful coin in the world4 ,the ,romans used lead extensively and much in the same way as we do--for roof coverings and water pipes1 in masonry and for coffins4 ,in ,rome an immense quantity of lead piping has been found4 ,the pipes were formed of strips of cast lead bent round a rod and then soldered4 ,most of the work was signed by the plumber1 his name and that of the owner being impressed in the sand mould4#b #b ,see ,prof4 ,middleton1 ,ancient ,rome4 ,illustration3 ,,figs4 #h and #i4--;,from the ,kircherian ,museum4 ,there are many beautiful cistae or circular boxes in the museums of ,naples and ,rome4 ,these are decorated with little medallions1 shells1 beaded rods1 c41 stock patterns which were impressed in the sand mould in such fresh combinations as the thought of the workmen suggested1 just as a cook makes pie crust1 which is the subject of nearly the only spontaneous decorative art now remaining to us4 ,figs4 #h and #i are from the ,kircherian ,museum4 ,of the ,roman leadwork in the ,british ,museum the specimens are mostly coffins1 and a number of ingots of lead4 ,these 8pigs0 have been found in ,cheshire1 ,staffordshire1 ,derbyshire1 ,nottingham1 ,norfolk1 ,hants1 ,somerset1 and ,sussex4 ,of these there are ten in the ,british ,museum bearing names of emperors and dates which1 put into our era1 are--,a4,d4 #di1 ,claudius2 #ei1 ,nero2 #gf1 ,vespasian2 #ha1 ,domitian2 #aag1 ,hadrian4 ,these pigs are about #d by #ah inches2 and even they are not without design1 for some of them have the well-known classic label to receive the name4 ,a beautiful object1 remarkable as an instance of lead used in an article of price1 is a vase some #e inches high4 ,this is evidently a wine cup from the figures and emblems which decorate it--,bacchus1 ,silenus1 thyrsi bound with cords1 and four genii of the ,seasons carrying appropriate symbols1 one being a garland1 another a sheaf of corn2 around the middle is a belt set with glass jewels of varied colour1 dull reds1 greens1 and blue1 and below this is a wreath of vine 7,fig4 #aj74 ,compare a very richly decorated vessel in the engravings of the ,museo ,borbonico4 ,lead water pipes of ,roman make are frequently found in ,england2 at ,bath there is a water channel #a foot #i inches by #g inches1 of lead nearly one inch in thickness1 and sheets of it #aj feet long lined the basin of the great bath1 #cj lbs4 in weight to the foot4 ,in the refuse of the ,mendip mines ,roman lamps and other articles of lead have been found4 ,illustration3 ,,fig4 #aj4--,roman ,jewelled ,cup4 ,during the ,byzantine era lead was much used4 ,in a curious relief found at ,tunis 8the founder seems to have used up all the old models in his studio4 ,here a ,good ,shepherd1 ,peacocks1 and stags drinking from the four mystical rivers1 palms and vines1 are found side by side with ,silenus1 a ,victory1 a ,nymph1 an ,athlete1 and scenes of the chase40#c ,in ,saxon ,england lead was a staple commodity for export and used in great quantities at home4 ,english merchants of lead and tin are mentioned as attending the ,french fairs from the time of ,dagobert4 ,during the middle ages it was largely applied to many purposes and manipulated by the various methods and decorated with the ornaments1 particulars of some of which follow4 ,england was still the best esteemed source of supply4 ,about #afhj ,m4 ,felibien wrote a book on the crafts connected with architecture1 in which he says that 8,the greatest part of the lead we use in ,france comes from ,england in large ingots called #8,salmons1' a little lead also comes from ,germany1 but it is dry and not so sweet as the ,english40 #c ,prat1 ,l',archologie ,chrtienne4 ,up to the #aeth century sheet lead was cast only1 but a coffin of the ,duke of ,bedford 7,joan of ,arc's7 at ,rouen is already laminated4 ,lead is an easy medium for the forgery of antiques1 and some of the objects so produced are quite pretty4 ,in the museum at ,taunton there is a small lead bottle which seems to be a forgery4 ,the ,plumbers' ,company in ,london appears to have been in existence early in the fourteenth century4 ,in #acfe 7#ci ,edward ,,iii47 ordinances were granted to the ,company which had then been in existence some years4 ,in #aehh 7#ca ,elizabeth7 arms and crest were granted2 and in #afaa 7#i ,james ,i47 a charter was given renewing all powers and privileges4 ,throughout the middle ages lead was more extensively used in ,england than elsewhere--our cathedral roofs1 for instance1 were all of lead1 whereas abroad they are often of corrugated or flat tiles1 stone or slate4 ,the methods of conducting water from the roof by stone gutters and gargoyles was much further developed in ,france than here1 where lead always came to hand4 ,lead pipes with ornamental heads were first introduced here in ,england for this purpose1 and they reached a development without parallel abroad4 ,during the eighteenth century there was1 as we shall see1 a large industry in lead statues1 and the plumber's art continued to the opening of the present century2 indeed1 cisterns decorated with the old devices may be seen as late as #ahdj1 and some of the old methods have not yet passed entirely out of memory4 ,the ,exhibition of #ahea marked exactly the general eclipse of craft tradition4 ,england was no longer to be saved by work1 but by commerce4 ,,iii4 ,,of ,,lead ,,coverings ,,to ,,buildings4 ,sheeting buildings with decorative plates of metal has been one of man's architectural instincts4 ,m4 ,chipiez1 in his essay on the origins of ,greek architecture1 considers first3--8,the temple1 metallic or covered with metal1 which obtained in ,medea1 ,judaea1 and in ,asia ,minor4 ,greek writers like ,pausanias speak of edifices having been constructed of brass2 such was the legendary temple of ,apollo at ,delphi1 that of ,athena ,calkhioecos in ,sparta1 and the treasury of ,myron1 tyrant of ,sicyon4 ,in the ,eneid the temple erected at ,carthage by the ,phnician ,dido is also of brass40 ,from ,homer to the ,arabian ,nights and the medival romance writers1 a metal-cased architecture1 shining with gold1 has been preeminently the architecture of the poets4 ,it would almost seem as if in the ,merovingian age ,western ,europe passed through the phase of a metal-cased architecture1 but in this case it was lead that formed the external vestment--an architecture of lead4 8,under the ,merovingian kings10 says ,m4 ,viollet-le-,duc1 8they covered entire edifices1 churches1 or palaces1 in lead4 ,st4 ,eloi is said to have so covered the church of ,st4 ,paul des ,champs with sheets of lead artistically wrought40 ,in ,england ,bede mentions a parallel instance4 ,finian the successor of ,st4 ,aidan in the ,see of ,lindisfarne built a church after the manner of the ,scots of hewn oak with a thatched roof2 afterwards 8,eadbert also bishop of that place 7#fch7 took off the thatch and covered it both roof and walls with lead40 ,the exaggerated lead roofs of the early medival churches in ,england were in nowise dictated by utilitarian considerations4 ,the creeping of the lead on steep surfaces1 the many burnings1 and the great expense in large churches which would take literally acres of lead1 made maintenance a burden1 but they liked this metal casing1 and that was enough4 ,this is still more evident in the medival delight in the tall leaded spires1 not in their aspect as mere roof coverings1 but intrinsically as metal shrines1 looking on them with their decorations as vast pieces of goldsmith's tabernacle work4 ,the steep pitch of the roof of the main building when applied to a square tower quite naturally produced leaded spires4 ,these already appear in the drawing made of ,canterbury ,cathedral about the year #aafj4 ,that these metal-sheeted spires were the best loved form1 and that stone was adopted at last but as a truce with fire is proved by the spires of lead which appear in the wall paintings 7those that were at ,st4 ,stephen's for instance71 in the ,,mss41 and by the splendid leaded spire of ,st4 ,paul's which we shall speak of below4 ,the spire so treated is not a mere roof1 or a cheap substitute for stone1 but takes its place in metal-cased architecture1 as do also the leaded ,byzantine domes of ,st4 ,sophia and ,st4 ,mark's4 ,in that most splendid work of the ,english renaissance1 the palace of ,nonsuch1 which was begun by ,henry ,,viii4 in #aech1 the structure was what we call half-timber1 the panels were filled with coloured and gilt reliefs by ,italian modellers1 and the timber framing is described by ,pepys1 who visited it in #affe1 as sheeted with lead4 ,this casing we may be sure was covered with delicate ,italian arabesques4 ,his words are1 8,one great thing is that most of the house is covered1 ,i mean the posts and quarters in the walls1 with lead and gilded40 ,,iv4 ,,of ,,leaded ,,spires ,,and ,,turrets4 ,our own old ,st4 ,paul's1 the once highest steeple in the world1 which rose #ejj feet and more into the clouds1 from whence it at last drew the lightning to its destruction1 was the proudest example of these lead spires which for beauty at least equalled the finest examples in stone4 ,when the second church1 begun at the end of the eleventh century1 was but just completed2 8the quire was not thought beautiful enough1 though in uniformity of building it suited with the church3 so that resolving to make it better they began with the steeple1 which was finished in ,a4,d4 #abba40 ,this was the lead-covered steeple1 the only spire of the church which stood centrally over the crossing4 ,it was #acab before the modification of the old church was done1 and thenceforth that part was known as the 8new work40 ,within three years afterwards a great part of the spire of timber covered with lead being weak and in danger of falling was taken down and a new cross1 with pommel large enough to contain ten bushels of corn1 well gilt was set on the top thereof by ,gilbert de ,segrave the ,bishop of ,london with great and solemn procession1 and relics of saints were placed in it4#d ,the relics of saints were thus put at the apex as a safeguard from lightning4 #d ,longmans1 ,three ,cathedrals4 ,this lead spire1 repaired in #acae1 must have been the work spoken of as finished in #abba1 and it was thus the earliest lead spire of considerable dimensions of which we have any knowledge3 it was an extraordinary development from the square lead pyramids that covered the ,norman towers at ,canterbury and other places4 ,stow says the height was #ebj feet 8whereof the stone-work is #bfj feet1 and the spire was likewise #bfj feet4 ,the cross was #ae feet high by #f feet over the arms1 the inner body was of oak1 the next cover was of lead1 and the uttermost was of copper red varnished4 ,the bowl and the eagle or cock were of copper and gilt also40 ,the ball at the apex was three feet across and the weathercock four feet from bill to tail and three feet six inches across the wings4 8,certes10 says ,harrison1 8the toppe of this spire where the weathercocke stode was #ebj foote from the ground of which the spire was one half40 ,the measurements of ,wren confirm the height of the stone tower 7which alone was standing in his day7 as being #bfj feet1 the spire1 he says1 had been #dj feet diameter at the base and rose #bjj feet or more4 ,it must have been altogether worthy of this vast church of twenty-five compartments in the interior vista of arch and vault1 #fjj feet in greatest length and #ajj feet high4 ,in #addd the spire narrowly escaped destruction by lightning1 but the fire was put out4 8,in the year #aefa1 the #dth of ,june1 between the hours of three and four of the clock in the afternoon1 the great spire of the steeple of ,st4 ,paul's ,church was fired by lightning1 which brake forth as it seemed two or three yards beneath the foot of the cross3 and from thence it went downwards the spire to the battlements1 stonework1 and bells1 so furiously that within the space of four hours the same steeple with all the roofs of the church were consumed to the great sorrow and perpetual remembrance of the beholders40#e ,it was thus destroyed a hundred years before the great fire when the cathedral perished4 #e ,stow4 ,london was a city of lead spires4 ,stow tells us that at ,st4 ,paul's ,school close by the ,cathedral was 8of old time a great and high clochiard or bell-house1 four square built of stone and in the same a most strong frame of timber with four bells the greatest that ,i have ever heard4 ,the same has a great spire covered with lead with the image of ,st4 ,paul on the top40 ,it was said that ,sir ,thomas ,partridge won it by a throw of dice from ,henry ,,viii41 and pulled it down4 ,stow1 who would have thought the ,society for the ,preservation of ,ancient ,buildings1 to which we owe so much good work1 much too cautious in its methods1 reports with much pleasure1 8,this man was afterwards hanged on ,tower ,hill40 ,at ,st4 ,bartholomew's ,priory1 ,smithfield1 was another of these timber spires4 ,a spire said to have been even higher than this of ,st4 ,paul's was erected in the fourteenth century over the central tower at ,lincoln4 ,the two western towers also had spires which were taken down to save the cost of repair within this century4 ,this group of three great leaded spires crowning the ,hill-city must have been one of the most wonderful the whole world over4 ,the central tower as it now stands is #bgj feet high #ed feet on the face2 it was finished in #acaa4 8,the spire of timber covered with lead reaching a height of #ebd feet which once surmounted it was destroyed by a tempest in #aedh40f #f ,cathedral ,guide4 ,the plates in ,dugdale's ,monasticon engraved by ,hollar and others surprise us by the number of leaded spires to the cathedrals not one of which has survived storm and flames or the crueller hatred of beauty which the modern mind has developed4 ,there are those of the two west towers of ,durham1 western spires at ,canterbury1 ,peterborough1 and ,ely1 all three at ,lincoln1 and four smaller pinnacles at ,norwich4 ,two square pyramids shown to the west tower of ,southwell1 were probably the original covering of the twelfth century4 ,these are now 8restored0 and they look as false as the word4 ,the great central spires at ,rochester and at ,hereford and the central and two western spires at ,ripon are shown of lead1 as is also that of the beautiful isolated belfry at ,salisbury1 which was destroyed 8to improve the view of the cathedral40 ,of three of these large central spires shown in ,dugdale1 ,rochester and ,hereford rise from square towers with 8broaches03 the first is of a curious and yet happy form1 with recessed faces1 and the other is an octagon of which the cardinal faces are wider than the alternate sides4 ,the great spire of ,ripon rose within the stone parapet of the tower1 apparently at first twelve-sided with gables1 and the spire itself twenty-four1 each pair making a slight reentering angle--a beautiful composition it must have been of light and delicate shadow on the silver white of the old lead4 ,this fair colour is of great importance2 several of the old spires which remain to us are as white as if whitewashed4 ,modern ones1 like the grimy thing at ,lynn1 would be improved by being whitewashed4 ,the old1 that at ,minster in ,kent for instance1 tell as bright high lights in a general view of the landscape such as that you obtain from ,richborough4 ,the finest of the ,english spires now existing constructed of timber and sheeted with lead is that of ,long ,sutton in ,lincolnshire1 the highest1 oldest1 and most perfect4 ,the stone tower with octagon projections at the angles1 is #be feet square and #fe high1 standing free from the church to which it is attached by one angle only4 ,the flche itself is #he feet from the eaves to the top of an enormous relic 8pommel0 some four feet in diameter1 which is thus #aej feet in the air4 ,the four octagonal projections carry large pinnacles #be feet high1 which at a little height disengage themselves wholly from the great flche1 but with consummate art all lean their axes inwards towards it as much as two feet4 ,the wooden framing1 carefully measured by ,mr4 ,austin1#g shows that this grouping of the lines was as much done from set purpose as the inclination of the lines in the ,parthenon of which we hear so much4 ,each face of the leading has the rolls arranged in a double row of herringbone1 and the faces of the pinnacles have the leading slanting in one direction only4 ,altogether it is a most interesting and most beautiful work of the thirteenth century4 #g ,spring ,gardens ,sketch ,book1 vol4 v4 ,illustration3 ,,fig4 #aa4--,spire1 ,barnstaple4 ,the drawing here given is of the fine old steeple at ,barnstaple1 which was saved from destruction by the good advice of ,sir ,gilbert ,scott--and lack of funds6 ,it is a delightfully careless and cheerful looking object1 like that at ,chesterfield1 warped and nodding1 which outrages the precise sensibilities of the townspeople2 it was erected in #achi1 as appears from the accounts and was repaired and altered in the seventeenth century 7as shown by a date and initials1 8#afcf ,w4 ,t4071 at which time the spire lights were opened out4 ,the external bells are unusual in ,england4 ,there are two other spires of village churches in the neighbourhood at ,braunton and ,swymbridge4 ,the spires at ,chesterfield1 ,godalming1 ,almondsbury in ,gloucestershire1 ,wrighton in ,northumberland1 and ,harrow 7#adha71 are among the finest that remain4 ,of the destroyed church at ,reculver the west towers1 which are retained as landmarks1 had lead spires4 ,in some spires in ,norfolk1 about ,cromer1 two or three feet of the leading is omitted1 thus forming an open band through which the timbering and a bell hung here may be seen4 ,in some of the spires the lead is laid in vertical strips1 as at ,minster in ,thanet1 and a sketch given from a church in ,hertfordshire shows the lower part in a way arcaded by an ingenious arrangement of the rolls4 ,at great ,baddow ,church1 ,essex1 vertical rolls run up about two-thirds of the spire1 and the rest is plain4 ,generally1 however1 the lead work is arranged in herring-bone with careful irregularity and change so as to get a texture in the surface so different to the dead and dreary accuracy we should attain to4 ,low square spires at ,ottery ,st4 ,mary are good examples of lead texture for those who see some beauty in the jointing of the armour of a tortoise4 ,illustration3 ,,fig4 #ab4 ,the construction of the wood framing of the greater of these spires is a forest of intricate interlacing timbers1 the best authority for which is the article ,flche in ,viollet-le-,duc1 or ,burges' drawing of ,amiens in his volume of careful studies of the ,gothic art of ,france4 ,the most decorated of these lead spires in ,england--although not very large--is at ,east ,harling in ,norfolk4 ,it rises within the stone battlement and has an open stage with wood pinnacles and crocketed 8flying buttresses0 all covered with lead4 ,the sides of the spire proper1 very narrow and acute1 have the rolls arranged in lozenges instead of the usual herring-bone or vertical lines1 the lozenges are on one side as wide as the face1 breaking into a zig-zag above1 on another side are smaller lozenges three or four in the width changing into one again above3 at the apex is a large finial knob4#h #h ,see drawing in ,sketch ,book of ,architectural ,association1 #ahha4 ,wren's knowledge of the spire of old ,st4 ,paul's possibly led him to try his hand at leaded spires1 and the result in some of the ,city churches1 particularly that one on ,ludgate ,hill that is such a perfect foil for the great dome of ,st4 ,paul's1 shows his usual assured mastery4 ,the spire of ,st4 ,olave1 ,hart ,street1 is said to have a crystal ball at the apex4 ,illustration3 ,,fig4 #ac4--;,barnard's ,inn ,hall4 ,the smaller turrets on college halls are generally covered with lead in an ogee form4 ,those at ,oxford have often a lozenge raised on each face1 that on ,barnard's ,inn in the ,city is wholly enveloped in lead4 ,a turret on the alms-houses at ,abingdon has large letters and crowns1 which are gilt1 standing up free on the slanting faces4 ,at ,hampton ,court there are turret roofs1 ogee with crockets and finials and little pinnacles set round at the springing4 ,at ,nonsuch leaded turrets surmounted the great octagons at the angles1 they were probably much decorated and certainly of considerable size1 making very picturesque compositions1 as we may see in the rude views of the palace which exist4 ,in ,france and ,germany there are many remarkable leaded spires1 but we can only stay to mention the steeple at ,chalons-sur-,marne1 the central flche at ,amiens1 and the belfry at ,calais4 ,the steeple at ,chalons is a most interesting work1 large and well-designed1 with faint and fascinating remains of a gorgeous scheme of colour decoration patterning the whole surface of the lead with figures and canopies resembling the drawing on stained glass1 the lead rolls passing across the design like the iron glazing bars4 ,this was carefully drawn by ,burges and illustrated in the ,builder for #ahef1 and the whole spire is represented to scale in the ,sketch ,book of the ,architectural ,association for #ahhc4 ,this is a work of the end of the thirteenth century1 and the decoration was done in the following century4 ,it will be well to mention it more particularly later1 but as ,viollet-le-,duc says that nearly all the lead work of the middle ages was so decorated we may conclude that such a magnificent spire as ,st4 ,paul's was not entirely bare of gold and colour4 ,the flche at ,amiens1 which rises from the roof some #ajj feet of 8transparent fretwork which seems to bend to the west wind10 is well illustrated in ,viollet-le-,duc's ,dictionary as well as by ,burges4 ,every resource of the art was lavished on it1 pinnacles and niches1 lead statues1 tracery1 great circular coronets of pierced cast work4 ,the sheet lead was diapered with fleurs-de-lis1 and all was decorated with designs in colour and gold4 ,although perfectly ,gothic in form it is a work of the sixteenth century1 and the painting is in the manner of the ,renaissance4 ,at ,calais the fine belfry represented in ,fig4 #ad1 which was completed about #afjj1 is in some respects very ,english in character1 while on the other hand it is a northern representative of a class of bulbous spires which are as much cupolas as spires1 and were probably often intended as fantastic domes4 ,these1 although later found all across ,europe1 from ,russia to ,belgium1 were never naturalised in ,england on a large scale1 our nearest approach to them being in the ogee cupolas of small turrets and lanterns and some of ,wren's spires4 ,in ,holland they were very much affected in the most extravagant forms1 and they are now the constant form of church spire seen in eastern ,europe4 ,they seem much at home in such a city as ,buda-,pesth1 and have doubtless characteristics which endear them to those of ,mongolian blood and speech4 ,it is an interesting point to decide whether these forms are in origin actually ,eastern--8travelled topes0 as a friend says--or whether they are the natural outcome of a combination of spire and dome in a period of extravagant and declining taste4 ,illustration3 ,,fig4 #ad4--;,calais ,belfry4 ,v4 ,,of ,,domes4 ,the ,romans covered domes in lead2 during the ,byzantine empire they very generally did so4 ,constantinople in the age of ,justinian was a city of lead domes1 as it has always since remained4 ,the domes of ,st4 ,sophia are still covered with lead laid over the brickwork4 ,this tradition was carried on by the ,greek master builders who erected the great mosques for the conquerors4 ,a large mosque has as many as twenty or thirty domes of all sizes grouped about the central one4 ,the bazaars1 caravansaries1 and bakeries1 have long level rows of cupolas4 ,this prospect of dome beyond dome in a succession as of billows is of marvellous beauty in a general view of the city as seen from the sea4 ,the lead is laid over the brickwork1 the rolls are very small1 and as they have no wood core the lines are very irregular4 ,some of the lead domes of ,constantinople were melon-shaped1 that is having large convex gores4 ,a ,turkish example of this remains in an ogee-shaped dome at the angle of the ,seraglio wall near ,st4 ,sophia4 ,most interesting works of this tradition are the 8domes0 or rather domical roofs of ,st4 ,mark's at ,venice4 ,those eastern-looking forms which give such fantasy to it were raised to their present form on wooden framework in the thirteenth century4 ,they are sheeted with plain rolls except the bulb-formed lanterns1 which are much like an umbrella in which every gore has a salient angle1 a 8ridge and valley40 ,these five timber-framed spire-like domes1 erected for their own sake and not lying close to the interior form of the building1 in this respect resemble northern spires4 ,the whole group rising over the level front of ,st4 ,mark's is a work of the highest imaginative genius4 ,it is not a building with a dome but a building roofed in domes1 bubbling over with domes2 and it expresses the metal shrine idea in perfection4 ,the original leaded domes of ,st4 ,mark's were copied from those of the church of the ,holy ,apostles at ,constantinople1 a church built by ,justinian4 ,at the ,renaissance the leaded dome became a popular commonplace especially at ,venice4 ,for the most part these were covered like a roof with ordinary rolls4 ,by forming ribs and panels in the wooden foundation a more elaborate but not more successful aspect is obtained4 ,st4 ,paul's is well designed in this way4 ,this design with the great ribs ,sir ,christopher ,wren considered 8less gothick than sticking it full of rows of little windows0 as at ,st4 ,peter's4 ,it was first intended to cover ,st4 ,paul's dome with copper1 but #ejj was saved by substituting lead at a cost of #b1ejj4 ,at the ,national ,gallery--a very careful and refined work1 one of the last of the old scholarly dead language sort we call classic--the lead covering is formed into raised scales and frets1 very well and successfully done of its kind4 ,,vi4 ,,of ,,roofs4 ,the ,romans used lead as a roof covering4 ,in the ,west 8one can hardly 7,viollet-le-,duc says7 explore the ruins of a ,gallo-,roman erection without finding some sheet-lead that had been employed for gutters or roofs40 ,in the ,east--,eusebius says of ,constantine's ,basilica 7the ,holy ,sepulchre7 at ,jerusalem--8the roof with its chambers was covered with lead to protect it from the winter rain40 ,in ,england ,bede tells us of ,wilfrid having roofed his church at ,york with lead in the seventh century1 and it has continued without a break in its use as the most perfect of coverings4 ,the methods employed in the middle ages are described by ,burges and ,viollet-le-,duc4 ,the latter well remarks that of lead covering1 as well as many other parts of the construction of buildings1 we are a little too apt to think overmuch of the perfection of our modern methods while we are too little careful to learn the experience acquired by our forefathers4 ,the old cast lead is much thicker than the modern milled lead1 being as much as twelve or thirteen pounds to the foot of surface4 ,it is certainly not quite even in thickness1 and is subject to faults in the casting1 but it is not so liable to crack as is milled lead4 ,the old lead employed has also a considerable quantity of silver and arsenic in it1 which was the cause of the beautiful white oxide it obtained4 ,modern lead blackens as the preparation of lead now includes its 8de-silverisation40 ,the acid of timber which has not lost its sap decomposes lead2 old building timber was water-seasoned as only ship timber now is4 ,the chief difficulties that had to be overcome in the use of lead were the weight of the sheets of lead to be maintained in position1 and the great dilatation of the metal under the heat of the sun1 so that it had to be at once strongly attached and free to move4 ,the method followed was to nail it at the top and roll the lateral edges together4 ,the roofing at ,canterbury was of twelve-pound lead and about #b4j between the rolls4 ,the thirteenth century lead of ,chartres ,cathedral1 8covered externally by time with a patina hard1 brown1 and wrinkled1 and shining in the sun10 was in sheets eight feet long1 attached at the top by nails with very large heads and held at the bottom by clips of iron that passed down between the sheets and turned over the bottom edge of the upper one4 ,the rolls were formed by turning over the margins one in the other without a wood roll2 they were much smaller than the modern ones4 ,our milled lead is rolled out in sheets about #af #f feet and is usually cut in half lengthways1 and #d inches is allowed in each edge to form the rolls which are thus #b-c apart4 ,lead one inch thick is sixty pounds to the square foot1 so six-pounds lead is #a_/ajth of an inch in thickness4 ,we generally make the mistake of putting a longitudinal roll along the ridge1 but it is not so done in our old roofs1 nor should it be1 for the running out of the rolls frets the ridge into a simple decoration4 ,the lead covering of old roofs should be jealously maintained--its loss is irreparable4 ,if repair becomes absolutely necessary for the protection of the building1 such lead should be recast1 it should never be replaced by milled lead4 ,the old metal is easily recast on the ground1 and this is now frequently done1 but not frequently enough4 ,it was cast on a wood table with a projecting margin or curb all round2 on this slid up and down a cross piece notched down to give the proper gauge to the lead which it levelled4 ,where lead was applied to the vertical or steep planes of dormers or spires the interlocking of the sheets in herring-bone was a practical as well as an artistic expedient4 ,where nails had to be driven through exposed lead1 in repairs or otherwise1 flaps like little shields were laid over them soldered on the top edge4 ,lead1 where used to incase wood tracery1 as in the open work of spires or dormers1 was secured by means of laps and rolls without solder so that it was free to expand and contract4 ,the modern plumber is much too apt to employ soldered joints even in structural work4 ,small openings were made like little dormers1 for ventilation of the roof timbers1 by dressing a stout piece of lead up into a triangle or half circle in front dying back on the roof with the back turned up under the tiles or slates4 ,sometimes cast ornaments were applied to a slated roof2 the disc with undulating rays on the slated apex of the north-west tower at ,rouen is an instance4 ,,vii4 ,,of ,,lead ,,coffins4 ,in the later classical period lead was much used for coffins2 several of very fine workmanship have been discovered in ,syria1 some of these1 very delicately ornamented are figured by ,perrot1 and ,chipiez4#i ,in the ,louvre there is a finely decorated example of the ,roman period1 and large numbers of ,roman lead coffins have been found both in ,england and in ,france4 ,there is a very beautifully decorated early ,christian coffin in the museum at ,cannes1 this has a border of vine and birds with monograms of ,christ--4 4#aj ,fig4 #ae shows portions of ornamentation from a remarkable series of coffins now in the museum of ,constantinople4 ,there are some eight or ten of these and all decorated in the most elaborate way with tendrils and medallions beautifully modelled in very slight relief4 ,none of the symbols are definitely ,christian1 but they evidently belong to the same school as the last named4 ,the neighbourhood of ,beyrout and the ancient ,sidon was the site of the discovery of most of these coffins of early ,christian date4 #i ,history of ,art1 8,phnicia40 #aj ,illustrated by ,reber4 ,illustration3 ,,fig4 #ae4--,ornaments from early ,christian ,coffins1 ,constantinople4 ,the coffins found in ,england are not so much ,roman as strictly ,anglo-,roman1 for far more have been found here than in any other country1 such as have been found in ,france are near our shores as if certainly made of our lead1 and the ornamentation of the ,english examples has a common likeness in the use of the scallop shell which is not represented abroad4 ,the comparison can best be made in a little book by the learned archologist ,abb ,cochet of ,rouen1 ,les ,cercueils de ,plomb 7#ahga71 in which the examples found in ,france are figured4 ,these ,english coffins and sepulchral cists are mostly in the ,british ,museum and at ,colchester4 ,the cists are plain circular boxes some ten inches diameter by fourteen inches high2 one of these is decorated by simple circles and another has crossed rods of 8reel and bead10 with applied small panels of chariots and horses4 ,illustration3 ,,figs4 #af and #ag4--;,cists1 ,british ,museum4 ,the coffins have been found chiefly in the ,london district--in the ,minories1 ,stepney1 ,stratford2 at ,east ,ham1 ,plumstead in ,kent 7this last is now in ,maidstone ,museum7--at ,southfleet and at ,colchester and ,norwich4 ,they are decorated by rods of 8bead and reel0 differently arranged on the lids in zig-zags or lozenges1 with scallop shells and plain rings placed in the spaces4 ,the rods and shells were evidently separately impressed into the flat field of the sand mould and that with the artful carelessness which shows that the designer and the workmen were one and the same person1 an artist4 ,with these simple elements compositions are made of quite classic distinction and grace4 ,mr4 ,alma-,tadema apparently drew the fine leaden oleander tub in his picture from these coffins1 and it makes a perfect flower-pot4 ,a coffin found at ,pettham in ,kent was decorated by a simple cord which passed around once transversely in the middle and then each of the spaces thus formed on lid1 sides1 and ends had diagonals of cord4 ,a fragment of one in the museum at ,cirencester is more finished and refined1 it has a saltire of the twisted bars with terminations at their ends1 and in one of the spaces is a small female head4 ,the coffins are made like a modern paper box with a lid lapping over the sides4 ,some sketches are given from those in the ,british ,museum4 ,that shown in ,fig4 #ai was of full length 7#f ft47 but only a part of the lid remains4 ,the other two 7,figs4 #ah and #bj7 are less than #d ft41 one of which is ornamented with rings and ropes and curious forms like the letter ,b4 ,those at ,colchester are like the former4 ,these coffins are all very white with oxide4 ,illustration3 ,,figs4 #ah and #ai4--,roman ,coffins1 ,british ,museum4 ,the ,french examples have been found at ,boulogne1 ,beauvais1 ,amiens1 ,angers1 ,rouen1 and ,valogne near ,cherbourg1 but none are like the ,english in having rods of beads with scallop shells4 ,one has only groups of rings which1 simple as it is1 makes a design4 ,another at ,rouen has a human head in a circle at the centre with six lions' heads in octagons4 ,that at ,valogne has a trunk-shaped lid with flying genii and birds2 and one at ,nismes has lions and griffins1 and between each pair persons planting a vine4 ,illustration3 ,,fig4 #bj4--,roman ,coffin1 ,british ,museum4 ,there is just enough evidence to show that the use of leaden coffins was continued by the ,english after they had superseded the ,romans4 ,st4 ,guthlac1 ,abbot of ,croyland1 was1 ,leland says1 buried in a sarcophagus of lead4 ,and ,st4 ,dunstan was buried at ,canterbury in a lead coffin4 ,illustration3 ,,fig4 #ba4--,thirteenth ,century ,coffin1 ,temple ,church4 ,directly after the ,conquest we find them in use4 ,at ,lewes there are two coffins of ,de ,warren 7#ajhh71 and his wife the daughter of the ,conqueror 7#ajhe72 they are covered with the reticulated meshes of a net1 both sides and lid as if cast from actual netted cord4 ,at the heads are the names ,,willelm1 ,,gvndrada4 ,illustration3 ,,figs4 #bb and #bc4--,thirteenth ,century ,coffins1 ,temple ,church4 ,st4 ,dunstan was re-interred in the new work1 at ,canterbury in #aahj in a coffin of lead which was 8not plain1 but of beautiful plaited work40 ,some most remarkable coffins thus decorated were discovered in #ahda in relaying the floor of the ,temple ,church in ,london2 the style of their design would show that they were made about the year #abjj4 ,they contained the bodies represented above them by the cross-legged stone effigies of knights4 ,these coffins were drawn and published by ,mr4 ,edward ,richardson in #ahde1 from whose careful drawings are made the accompanying illustrations4 ,illustration3 ,,fig4 #bd4 ,the extreme delicacy of the ornament is most remarkable4 ,here again the pattern design is made up of portions several times repeated in similar or different combinations2 the panels were either cast to the required number and then arranged on a board from which the final mould was made2 or the parts were impressed separately in a smooth and level surface of moulding sand1 and this with all the rapid ease of self-sufficient art4 ,they are about #f feet #f inches long1 and some are formed like the stone coffins of the time with a circular end for the head4 ,the sides as well as the covering are decorated in the richest example by two of the same small square patterns alternating1 and in others by vertical cords at intervals4 ,at ,winchester there has recently been exposed a fifteenth century coffin bearing on the lid a cross and the arms of the ,bishop ,courtenay4 7,fig4 #bd47 ,later the form was made to conform more closely to the body1 being rather a wrapping than a box4 ,that of ,henry ,,iv4 7#adac7 at ,canterbury was of this form1 as also was that found at ,westminster under the tomb of ,henry ,,vii41 the latter had a small cross at the breast only4 ,illustration3 ,,fig4 #be4--;,at ,moissac4 ,the heart-box of ,richard ,cur de ,lion is mentioned in another place4 ,there is a heart casket in the ,british ,museum1 circular and much like a flower-pot2 on the lid is the device of a spear-head within a garter1 and engraved outside is this inscription3--8,here lith the ,harte of ,sir ,henrye ,sydney4 ,anno ,domini #aehf40 ,a fine coffin 7,fig4 #be7 is represented in the lead group of the entombment at ,moissac in ,france4 ,this is #aeth century work4 ,,viii4 ,,of ,,fonts4 ,england is extremely rich in the possession of early fonts in lead2 these are for the most part alike in being of the twelfth or early thirteenth century4 ,nearly all of them agree in being circular and have other similarities which with many repetitions in their design would seem to relate them to one family4 ,as in ,sussex there are in the neighbouring villages of ,edburton and ,piecombe two fonts substantially alike1 and in ,gloucestershire another pair1 with others that have close resemblances2 they have been claimed for local manufacture1 yet a strong case could be made out for most of them coming from one common centre4 ,as1 further1 there are several specimens in ,normandy entirely parallel1 the question arises whether the type arose here or there1 for there can be no doubt as to one set being indebted to the other4 ,as ,england was so especially a lead producing and exporting country1 and as such a number of these fonts remain with us broadly scattered over the country1 while there are but comparatively few in ,france1 and those mostly in ,normandy1 this1 with the local coincidences pointed out1 would seem to give us the best claim4 ,illustration3 ,,fig4 #bf4--,vessel1 ,lewes ,museum4 ,there is in the ,lewes ,museum a lead cistern-like object of ,saxon work1 which is represented in ,fig4 #bf4 ,it is about #ad inches long and #h inches high1 the sides are decorated with triangles of interlacing patterns cast with the lead4 ,it has two handles of iron2 but as it would be much too heavy for a movable vessel1 and as the small foreign lead font in ,kensington ,museum has handles also1 it is probably a font4 ,the cross in the decoration would go to confirm this4 ,some of the fonts of ,norman date it cannot be doubted were made in ,england4 ,but unless we would claim the two figured by ,viollet-le-,duc and that at ,st4 ,evrault-le-,montford which is similar to ours at ,brookland described below1 we can hardly claim to have made all our own4 ,possibly examples were brought here1 as was the case with several black stone fonts in ,england4 ,some of these lead fonts 7that at ,wareham for instance7 appear to have been cast in one piece4 ,but for the most part they are small low cylinders cast flat in sheet with the ornaments repeated usually more than once in the sand mould2 the casting was then bent round and soldered4 ,in one case1 where it is not joined so as to form a cylinder1 but with the sides spreading to the top1 the band of ornamentation which was straight on the sheet runs up as it approaches the joint in a most amusing way4 ,the patterns consist of delicate scroll-work1 arcades and boldly modelled figures #aj or #ab inches high2 a moulding strengthens the upper and lower edges4 ,they stand on stone pedestals4 ,there are altogether some twenty-eight or thirty of these fonts in ,england4 ,illustration3 ,,fig4 #bg4--;,font1 ,brookland1 ,kent4 ,the font at ,brookland at ,kent is very small1 only #aa inches high1 an arcade surrounds it of two stages in twelve bays4 ,in the upper tier are the signs of the ,zodiac with their ,latin names1 and below the subjects of the labours appropriate to the months with their names in ,norman ,french4 ,this scheme of imagery is well known abroad but while often occurring in ,english ,,mss4 this is one of very few examples of its treatment in sculpture4 ,although the scale of the figures is small and they are but slightly modelled1 there is a great deal of character1 appropriateness1 and grace1 in their gesture4 ,illustration3 ,,fig4 #bh4--;,font1 ,brookland4 ,a comparative table of the usual scenes which accompany the signs has been given in ,archologia1 and another1 probably more accessible1 in the ,stones of ,venice4 ,with the examples there given the scenes on the font very closely agree4 ,they are inscribed in capitals3-- ,,aquarius4--,,janvier4 ,a ,janus-headed figure feasting4 ,,pisces4--,,fevrier4 ,warming feet at fire4 ,,aries4--,,mars4 ,man hooded and pruning a vine4 ,,taurus4--,,avril4 ,young girl with lilies in her hand4 ,,gemini4--,,mai4 ,man on horse1 hawk on wrist4 ,,cancer4--,,juin4 ,mowing with a scythe4 ,,leo4--,,julius4 ,man with wide brim hat raking hay4 ,,virgo4--,,aout4 ,cutting corn4 ,,libra4--,,septembre4 ,threshing corn4 ,,scorpio4--,,octobre4 ,treading out wine4 ,,sagittarius4--,,novembre4 ,woman lighting with candles the next scene1 or feeding the pigs4 ,,capricornus4--,,decembre4 ,man1 killing swine with axe4 ,the signs are thus represented3--,aquarius1 man pouring water from a jug4 ,pisces1 two fish as usual reversed4 ,the ram and the bull are much alike4 ,the twins and the crab are not remarkable1 except the latter for unlikeness4 ,leo is a good heraldic beast4 ,the ,virgin1 much obscured4 ,libra1 a man with scales4 ,scorpio1 is certainly a frog4 ,sagittarius1 a centaur4 ,capricorn is indeed a capricious creature like a cockatrice with horns4 ,the forequarters of a goat with fish-tail is the traditional form for this sign handed on from the ,roman ,zodiac4 ,in the months1 the ,mower1 the man raking1 and especially the ,reaper1 are well designed2 the man pruning is also good1 and the girl with the long stalked lilies in her hand is charming4 ,the four last are shown in the sketches given4 ,the pillars are varied1 every third standing on the loop as shown4 ,illustration3 ,,fig4 #bi4--;,font1 ,edburton1 ,sussex4 ,the font at ,edburton in ,sussex is #ba inches in diameter and #ad inches high2 it has a wide band of foliage and at the top a row of trefoil panels4 ,at ,piecombe1 the adjoining parish1 the upper row of small trefoil arches and the narrow band of ornament are the same1 but instead of the lower panels there is a row of round-headed arches4 ,at ,lancourt1 or ,llancault1 and ,tedenham in ,gloucestershire there are fonts in duplicate4 ,these are much larger1 #b feet #h inches in diameter by #a foot #g inches high4 ,an arcade of twelve arches surrounds the bowl2 each compartment has a throned figure or a panel of foliage alternately4 ,there are two varieties of figure and foliage1 each is thrice repeated and the little columns are twisted and decorated4 ,these two fonts are evidently of the twelfth century4#aa ,at ,frampton-on-,severn is a font with similar seated figures and foliage4 #aa ,for engravings see ,archologia1 vol4 xxix4 ,at ,wareham in ,dorsetshire the font is hexagonal with two standing figures under arches in each face1 twelve altogether4 ,the sides instead of being vertical slope outwards4 ,the style seems central ,norman not transitional1 like several of the examples4 ,at ,dorchester1 ,oxfordshire1 the bowl is #b feet #a inch diameter #ad inches deep1 it has an arcade wholly of seated figures of bishops4 ,it is a very beautiful work1 the figures are extremely well modelled1 and the whole in good condition1 the lead of great substance4 ,walton-on-the-hill1 ,surrey1 has a similar font #ad inches high1 surrounded by an arcade1 and in each compartment a sitting figure4 ,a sketch of one arch given is necessarily rough1 as the modelling1 even at first soft and sketchy1 has suffered some injury in the use of #gjj years4 ,at ,wansford1 ,northamptonshire1 is another of these with arcades and figures4#ab #ab ,see ,parker's ,glossary1 vol4 iii4 ,illustration3 ,,fig4 #cj4--;,font1 ,walton1 ,surrey4 ,at ,childrey1 in ,berkshire1 there is also a font with twelve mitred bishops with pastoral staffs and books4 ,another at ,long-,wittenham1 in the same county1 has the arcade at bottom of very tiny pointed arches of some thirty bays with figures1 above are panels with discs and rosettes4#ac ,one at ,warborough1 in ,oxfordshire1 is similar in style1 made in the same workshop apparently4 ,the bottom half has a small arcade interrupted after every four arches by three higher ones3 in the twelve small niches are figures of bishops with mitre and staff and lifted hand in benediction1 the three high arches and the space above the little ones have discs of ornament1 the bishops are repeated from one pattern2 the size is #a-c in height by #b-b diameter4#ad #ac ,see ,archological ,journal1 vol4 ii4 #ad ,see ,paley's ,fonts4 ,woolhampton1 in ,berkshire1 has a font in which the lead is placed over stone and pierced1 leaving an arcade and figures showing against the stone background4 ,the font at ,parham is of later ,gothic4 ,mr4 ,andr gives an account of it in ,vol4 #cb1 ,sussex ,archological ,society2 it is only #ah inches in diameter1 and a portion of the bottom is hidden by being sunk into the stone block on which it stands4 ,the decoration is made by repeats of a label bearing ,,ihc ,,nazar placed alternately upright and horizontally with small shields in the interspaces which are said to bear the arms of ,andrew ,peverell1 knight of the shire in #acea4 ,the style of the lettering would seem earlier than this4 ,,ihc ,,nazar was frequently engraved on the front of knights' helmets4 ,this is an extremely good example of how a fine design may be made of simplest elements4 ,illustration3 ,,fig4 #ca4--,parham1 ,sussex4 ,a ,norman font of lead at ,great ,plumstead was destroyed with the church in the fire of ,december1 #ahia4 ,it is figured by ,cotman4#ae #ae ,arch4 ,remains1 vol4 i41 series #b4 ,the font at ,avebury1 ,wiltshire1 has often erroneously been stated to be of lead2 there is a resemblance in the design1 but it is of stone painted4 ,at ,ashover1 ,derbyshire1 the stone font has leaden statues of the ,apostles4 ,there is a seventeenth century lead font at ,clunbridge1 ,gloucestershire4 ,a complete list as far as possible follows3-- ,berkshire ,childrey and ,long-,wittenham1 ,clewer1 ,woolhampton1 and ,woolstone 7,norman7 ,derbyshire ,ashover 7,norman7 ,dorsetshire ,wareham 7,norman7 ,gloucestershire ,frampton-on-,severn and ,llancourt 7similar1 ,norman7 ,siston and ,tidenham 7,norman7 ,gloucester ,museum 7,norman7 ,clunbridge 7#afdj7 ,kent ,brookland 7,norman71 ,chilham1 and ,eythorne 7the latter dated #afbh1 a copy of a ,norman original7 ,lincolnshire ,barnetby-le-,wolde 7,norman7 ,norfolk ,brundal1 ,hastingham 7,norman7 ,northamptonshire ,wansford ,oxfordshire ,clifton1 ,dorchester1 ,warborough1 7,norman7 ,somerset ,pitcombe ,surrey ,walton-on-the-hill 7,norman7 ,sussex ,edburton and ,piecombe 7early ,english7 ,parham 7,decorated7 ,wiltshire ,chirton ,two of the ,french fonts are figured by ,viollet-le-,duc1#af that at ,berneuil is of the twelfth century and very similar to that at ,tidenham in ,gloucestershire1 with alternate arches occupied by figures and foliage4 #af ,art4 ,fons4 ,at ,lombez 7,gers7 is a very beautiful example1 small and delicate1 with two girdles of decoration1 the upper row continuous foliage and figures1 but made up of one scene1 a man discharging an arrow at a lion and a basilisk1 five times repeated2 the lower row has sixteen quatre-foils with figures of four varieties repeated1 these are the religious orders4 ,it is remarked that the decorations were evidently 8stock patterns0 because the upper row is much older than the lower1 which is of the late thirteenth century4 ,at ,visine 7,somme7 is one of the fifteenth century with separate cast figures in sixteen niches4 ,at ,bourg-,achard1 in ,normandy1 is another lead font1#ag and one is also in the ,museum of ,antiquities in ,rouen1 this last has a long inscription and date1 #adae4 ,there is a cast of one of these fonts in the ,trocadero collection in ,paris4 #ag ,dawson ,turner's ,tour4 ,at ,st4 ,evrouet-de-,monford 7,orne7 is another very similar to our ,brookland font with ,zodiac and ,seasons4 ,in ,germany1 at ,mayence1 there is a very fine example of the fourteenth century4 ,and in the ,south ,kensington ,museum is a copy of a small circular lead font in the ,berlin ,museum2 this is cast in one piece1 it stands on three lions' feet and has two handles1 around it is an inscription in ,lombardic letters4 ,it was presented to ,treves by ,bishop ,baldani in the thirteenth century4 ,,ix4 ,,of ,,inscriptions1 ,,etc4 ,a sheet of lead is a most inviting surface for inscriptions1 as may be seen by making a trip to the leads of some cathedral or castle and inspecting the series of names1 dates1 hand-marks and foot-prints left by generations of plumbers and visitors4 ,so lead has been one of the chief materials used for written documents1 not merely ephemeral1 and even now it would be difficult to find anything more ready to receive the legend1 more enduring to transmit it1 and so easily decorated with the charm of art which makes an object worthy to live4 ,our first illustration shows the foundation record of an ,egyptian ,king inscribed on lead4 ,it was the custom also in ancient ,babylonia to insert inscriptions below the foundation stones of the great temples and palaces4 ,in #ahed ,place found at ,khorsabad the memorial inscriptions of the great palace of the later ,sargon1 father of ,sennacherib1 a building founded in the eighth century before our era4 ,there were five of these inscribed plates all of different metals1 gold1 silver1 antimony1 copper1 and lead2 the four former are in the ,louvre1 but the lead1 which must thus have been of some size1 8was too heavy to be carried off at once02 it was dispatched by raft1 and was lost with most of the collection4 ,the inscription1 translated by ,oppert1 ends with the imprecation on disturbers which it has been the wont of great builders in all times to conjure4 8,may the great ,lord ,assur destroy from the face of this country the name and race of him who shall injure the works of my hands or who shall carry off my treasure40 ,at ,dodona many tablets of lead have been found inscribed in ,greek2 these are questions to the oracle of that shrine4 ,in the ,british ,museum there are several tablets inscribed in ,greek about the area of this book and covered with text1 they are for the most part imprecations on the heads of injurious persons1 and were hid as a magic rite in ,temple enclosures4 ,they are quite little stories4 8,imprecation of ,antigone against her accuser40 8,imprecation of ,prosodion against those who misled her husband ,nakron40 8,imprecations of a woman against some one who stole her bracelet40 ,pausanias mentions having seen a text of ,hesiod which was inscribed on lead leaves2 and ,pliny also tells us of lead books4 ,a lead inscribed tablet was found in the ,roman remains at ,lydney slightly scratched with a stylus4 ,illustration3 ,,fig4 #cb4--;,heart ,box of ,king ,richard4 ,of the ,carlovingian age there are examples of lead documents in the ,british ,museum2 one being an edict of ,charlemagne himself1 in which he assumes the style of ,emperor of the ,west2 and it bears his well-known cypher and the date1 #ahth ,sept41 #hja4 ,another is signed ,ludovic 7,louis the ,younger71 #hbb4 ,in the ,londesborough collection there is a leaden book-cover of ,saxon work with an inscription from lfric's ,homilies4 ,for sepulchral use lead is especially fitted2 it was customary in the twelfth century to inscribe a tablet or cross and to place it in the coffin on the breast of the dead4 ,in the ,museum at ,bruges there is a tablet with a long inscription to ,gunilda the sister of ,harold4#ah ,two were found at ,canterbury of the thirteenth century with lines of beautifully drawn ,lombard capitals in incised outline with lines ruled between each row4#ai #ah ,archologia1 xxv4 #ai ,ibid4 xlv4 ,illustration3 ,,fig4 #cc4--;,inscribed ,cross4 ,in #ahch was discovered in ,rouen ,cathedral choir the heart casket of ,lion-hearted ,richard1 there were two boxes1 one within the other1 the inner one1 covered inside with thin silver leaf1 was inscribed with the simple words given in ,fig4 #cb from ,archologia 7xxix74 ,a cruciform tablet is given in ,camden#bj with an inscription purporting to record ,king ,arthur2 the form shows that it was made in the twelfth century4 ,in the fifteenth century ,chronicle of ,capgrave1 under the year #aagj1 he writes--8,in these days was ,arthures body founde in the cherch yerd at ,glaskinbury in a hol hok1 a crosse of led leyd to a ston and the letteris hid betwyx the ston and the led40 ,he gives ,giraldus1 8whech red it10 as his authority4 ,giraldus ,cambrensis gives the inscription as 8,hic jacet sepultus inclytus ,rex ,arthurus cum ,wennevereia uxore sua secunda in ,insula ,avalonia40#ba #bj ,folio1 plate v4 vol4 i4 #ba ,capgrave1 in ,rolls ,series4 ,now ,william of ,malmesbury1 who died about #aade1 says distinctly that the tomb of ,arthur had never been found1 so this dates the fabrication of this cross by the monks of ,glastonbury always so especially greedy of relics1 as within a year or two of this time when ,giraldus saw it 78quam nos quoque vidimus074 ,the inscription on the lead cross engraved by ,camden agrees word for word with the exception of 8with ,guenevere his second wife40 ,must we not suppose that ,giraldus here improved even upon the monks1 and added this poetic touch himself8 ,few of these absolution crosses have been found abroad2 one discovered in ,perigord was inscribed on the arms ,,lvx 4 ,,pax 4 ,,rex 4 ,,lex4 ,wall tablets in churches are represented by one at ,burford in ,shropshire1 the monument of ,lady ,corbett1 #aeaf4 ,her effigy is incised under a canopy much like the brasses of the same time1 and it suggests simple decorative possibilities1 such as filling cavities with mastics of several colours1 parcel gilding1 damascening in brass wire1 or inlay of metal on metal4 ,in ,saltash ,church1 ,cornwall1 a lead tablet records that 8,this ,chapple was repaired in the ,mairty of ,matthew ,veale1 ,gent4 ,anno #afhi40 ,inscriptions may be either cast with raised letters1 engraved like the early ones1 or punched4 ,ornamental borders might also be made up of punched lines1 loops and dots4 ,illustration3 ,,fig4 #cd4--;,arms from ,bourges4 ,of ,coat ,arms there was an instance at ,jacques ,cur's house in ,bourges1 which is quite a lead mine4 ,the ,angel shield bearer alone remains1 with signs of the erasure of the arms4 ,in ,london1 about ,copthall ,buildings1 in the ,city1 are several tablets with the arms of the 8,armorers ,brasiers10 as also a large number of shields of cast lead with dates and initials or names of the ,city wards4 ,the insurance companies also used shields of stamped lead4 ,in ,vere ,street1 ,clare ,market1 over the angle of what is at present a baker's shop1 there is a panel with two negroes' heads in relief1 and the legend 8,s4 ,w4 ,m4 #agae40 ,we began with a foundation inscription1 we will conclude with one twenty-six centuries later4 ,this is a large cast plate of lead #c4f by #b4d and an inch thick1 now preserved in the ,guildhall ,museum1 which was laid in the foundation of old ,blackfriars1 then ,pitt ,bridge3-- 8,on the last day of ,october in the year #agfj and in the beginning of the most auspicious reign of ,george ,,iii41 ,sir ,thomas ,chitty1 ,knight1 ,lord ,mayor1 laid the first stone of this bridge undertaken by the ,common ,council of ,london 7in the height of an extensive war7 for the public accommodation and ornament of the city 7,robert ,milne being the architect7 and that there may remain to posterity a monument of this city's affection to the man who by the strength of his genius1 the steadiness of his mind1 and a kind of happy contagion of his probity and spirit1 under the divine favour and fortunate auspices of ,george ,,ii41 recovered1 augmented and secured the ,british ,empire in ,asia1 ,africa1 and ,america1 and restored the ancient reputation and influence of his country amongst the nations of ,europe4 8,the ,citizens of ,london have unanimously voted this bridge to be inscribed with the name of ,william ,pitt40 ,x4 ,,of ,,the ,,decoration ,,of ,,lead4 ,one of the most usual methods of decorating lead was to gild it2 whole domes were gilt in this way4 ,the dome of ,st4 ,sophia at ,constantinople seems to have been so treated1 and the great arc of gold dominating such an ,eastern city must have been a most impressive sight4 ,many of the late domes are partly gilt1 as at the ,invalides in ,paris4 ,the roof of the ancient basilica at ,tours is said to have been like 8a mountain of gold40 ,old recipe books of the last century give instructions for gilding lead4 ,the following are examples3-- 8,take two pounds of yellow ochre1 half a pound of red lead1 and one ounce of varnish1 with which grind your ochre1 but the red lead grind with oil2 temper them both together2 lay your ground with this upon the lead1 and when it is almost dry1 lay your gold2 let it be thoroughly dry before you polish it40 ,for another ground--8,take varnish of linseed oil1 red lead1 white lead and turpentine2 boil in a pipkin and grind together on a stone40 8,or take sheets of tinfoil1 and grind them in common gold size2 with this wipe your pewter or lead over2 lay on your leaf gold and press it with cotton2 it is a fine gilding1 and has a beautiful lustre40 ,dutch metal was also used on a ground of varnish and red lead1 as in second recipe2 or gilt leaves of tinfoil on white lead ground in linseed oil1 this last took a polish 8as if it had been gilded in fire40 ,dutch metal should be lacquered on the surface4 ,a cheap substitute for gilding could doubtless be made for large surfaces by laying tinfoil lacquered gold colour4 ,or for statues the surface of the lead might be made bright and lacquered4 ,the external gilding on the ,ste4 ,chapelle in ,paris was done in leaf gold on two coats of varnish4 ,smaller decorative objects of lead in the middle ages were often entirely gilt or parcel gilt in patterns2 for instance1 in an inventory of #aeec we find an altar cross 8of lead florysshed withe golde foyle40 ,the effect of silver is obtained by 8tinning0 with solder1 and when this is intended to form patterns on the surface of the lead the method is thus described by ,burges4 ,the surface is coated with lamp black mixed with size2 the pattern is either transferred on it or drawn direct and then marked round with a point2 all the part to be tinned has the surface removed by a 8shave hook0 so as to leave the pattern quite bright1 a little sweet oil is rubbed over this and the solder is applied and spread in the usual way of soldering with a 8copper bit40 ,this is more conveniently done in the shop1 but the spire at ,chalons was decorated in this way long after the lead covering was finished4 ,a specimen of this work prepared by ,burges may be seen in the ,architectural ,museum1 ,westminster4 ,transparent colour was often applied over this tinning1 which1 shining through1 gave it lustre2 or the tinning alternated with the colour as in chevrons of tin and blue and red4 ,we may suppose that this sort of work was done in ,england1 for some leaded spires shown in the paintings at ,st4 ,stephen's ,chapel1 ,westminster1 were coloured vermilion and gold1 or green and white1 in chevrons following the leading4 ,stow also tells us that at the ,priory of ,st4 ,john of ,jerusalem1 ,clerkenwell1 rebuilt after a fire in #acha1 there was a steeple decorated in this way which remained to his day and was then destroyed4 8,the great bell tower1 a most curious piece of workmanship1 graven1 gilt1 and enamelled1 to the great beautifying of the city1 and passing all others that ,i have seen40 ,rain-pipe heads at ,knole have patterns formed in this way by bright tin applied to the surface4 ,there are also heads of water pipes at the ,bodleian and at ,st4 ,john's ,college1 ,oxford 7see ,figs4 #ga and #gb71 treated all over with patterns of chequers and zig-zags4 ,those at ,st4 ,john's have cast coats of arms in wreaths brightly emblazoned in gold and colours4 ,the collars to the pipes are painted with patterns1 as also are some pipes at ,framlingham1 ,suffolk4 ,illustration3 ,,fig4 #ce4--;,incised ,decoration1 ,bourges4 ,sometimes the pattern was incised on the lead in deep broad lines1 and these1 when filled with black mastic1 traced the pattern without any tinning4 ,an example of this method is found in a ridge and finial sketched at ,bourges--the hearts and scallop shell were badges of ,jacques ,cur4 ,other portions of the lead work at this house are decorated by patterns in lamp-black painted on the lead4 ,see the ridge and examples of flashings drawn in ,figures #cf and #cg4 ,a ridge designed for ,st4 ,vincent's ,church at ,rouen1 of which a drawing is preserved1 is a beautiful instance of this treatment2 it is divided into lengths in which branches with leaves and flowers alternate with a stiffer pattern4 ,the spire before spoken of1 at ,chalons-sur-,marne1 furnishes the finest example of these methods used in combination4 ,see drawings in ,builder1 #ahef1 and in the sketch book of the ,architectural ,association for #ahhc1 both by ,burges4 ,this decoration is of the fourteenth century and is thus described by ,viollet-le-,duc3--8,the sheets of lead were engraved in outlines and filled in with black material1 of which traces may yet be seen4 ,painting and gilding illuminated the spaces between these black lines1 and we must observe that nearly all the leadwork of the middle ages was thus decorated by paintings applied to the metal by means of an energetic mordant4 ,the plumber's art of the middle ages is wrought out like colossal goldsmith's work1 and we have found striking correspondence between the two arts as well in the methods of application as in the forms admitted3 gilding and applied colour here replace enamel40 ,the design is of tabernacle work with figures and the whole was clearly intended to recall a shrine of goldsmith's work4 ,large engraved patterns filled with black used alone on the silvery lead become great niellos1 exactly parallel to the method of treating silver4 ,illustration3 ,,fig4 #cf4--,painted ,decoration1 ,bourges4 ,illustration3 ,,fig4 #cg4--;,flashings1 ,bourges4 ,the flche called 8the golden0 at ,amiens retains traces of arabesque patterns on grounds of bright blue and vermilion4 ,repouss by hammering1 another method most appropriate to the material1 was more used in ,france than with us1 where casting has been throughout the chief means for obtaining relief decoration4 ,in ,france the finials were mostly formed in this way4 8,recalling the best goldsmith's work of the epoch10 withal so easily and carelessly wrought that it is plain that they were done at once without pattern and yet with ample knowledge of the ultimate form desired2 so a leaf cut out of a sheet is hammered and twisted till it cups and curls itself into living grace4 ,illustration3 ,,fig4 #ch4--;,a ,valance4 ,in these finials applied castings were also used1 and at the end of the fifteenth century they superseded repouss for a time4 ,many of the moulds in stone and plaster1 for the ornaments which were used on the roofs and finials at ,beaune are preserved4 ,the castings were not so free and decorative however as those done by repouss4 ,of piercing into delicate tracery the pipe-heads at ,haddon give many charming examples4 ,at ,aston ,hall1 ,warwickshire1 the curved lead roofs of the turrets have all round the eaves a brattishing of pierced sheet in simple scroll work1 it stands up freely and gives a dainty finish3 the pattern is something like that above4 ,in the ,east pierced valances of this kind are very general2 the roofs of the larger fountains at ,constantinople are usually finished in this way4 ,fig4 #ch is from the portico roof of the ,dome of the ,rock at ,jerusalem drawn from a photograph4 ,casting and piercing were also combined1 the pattern being strengthened thus by ribs and the veins1 and interspaces being cut away4 ,in small ,japanese work brass is sometimes inlaid into lead or pewter in the form of flowers1 which are further defined by surface engraving4 ,engraving on sheet lead similar to the old memorial brasses has been mentioned before1 and we may go on to look at the decorative processes in which lead was used applied to other materials4 ,,xi4 ,,of ,,lead ,,ornamentation ,,of ,,other ,,materials4 ,lead trappings and appendages have often been applied to stone statues4 ,the sceptres and bishops' crosses of the fine fourteenth century statues of ,st4 ,mary's spire at ,oxford are of wrought lead4 ,the leaves of the sceptre heads and the crosses are embossed out in two pieces and then soldered at the edges4 ,inlaying of lead in stone slabs making grisaille designs was a method much used--a magnificent example remains in the pavement at ,st4 ,remy1 ,rheims 7formerly in the choir of ,st4 ,nicaise in the same town71 where foliated panels with figure subjects from ,scripture are made out on the stones2 it is a work of the early fourteenth century4#bb ,we have in ,england an example of this treatment in a tomb slab at ,st4 ,mary ,redcliffe1 ,bristol1 and there is mention of the process in the account by ,william of ,malmesbury of the ,saxon part of the 8,ealde ,chirche0 at ,glastonbury4 ,we may well suppose this was an imitation in the national material of ,roman mosaic4 ,the floor was 8inlaid with polished stone 444 moreover in the pavement may be remarked on every side stone designedly interlaid in triangles and squares and figured with lead1 under which if ,i believe some sacred enigma to be contained ,i do no injustice to religion4 ,the antiquity and multitude of its saints have endowed the place with so much sanctity that at night scarcely anyone presumes to keep vigil there or during the day to spit upon its floor 444 and certainly the more magnificent the ornaments of churches are the more they incline the brute mind to prayer and bend the stubborn to supplication40 #bb ,see ,viollet-le-,duc1 8,dallage40 ,the method is still followed in lettering on tombs and the like3 the design is engraved in the marble and holes are drilled with a bow drill in the sunk parts1 some inclined at an angle to give a better hold2 strips of lead of sufficient substance are then hammered into the casements with a wooden mallet1 and the superfluous metal removed with a sharp chisel4 ,some of the sixteenth and seventeenth century engraved brasses have portions of the arms1 etc41 inlaid in lead in the brass2 there are instances of this in ,westminster ,abbey4 ,lead might also be inlaid in cast iron with good effect1 where it has not to be painted3 the recesses would be left in the casting of either cast brass or cast iron4 ,the stars that spangle the ceilings of churches on a blue ground are usually of cast lead gilt4 ,the ceiling of the well-known panel and rib kind attributed to ,holbein at the ,chapel ,royal1 ,st4 ,james's had the enrichments in the panels of lead4 ,chimney-pieces were also decorated in the same way1 and even furniture is found at times with applied badges of gilt lead4 ,these methods it must be understood are not all recommended here1 they are only recorded4 ,the delicate applied enrichments so much used in work influenced by the practice of the ,brothers ,adam are in the best work of lead2 cast with extraordinary delicacy in relief figure panels1 after the manner of the antique1 or fragile garlands1 vases1 and frets4 ,much of this work was used in the internal decoration at ,somerset ,house4 ,the accounts under #aghj show payments to ,edward ,watson--for lead pateras from #b;d4 to #aj;d4 each2 nineteen ornamental friezes to chimney pieces #aj #ags4 #h;d42 lead frieze to the bookcases in the ,royal ,academy ,library at #bs4 #f;d4 per foot2 #acg feet run of large lead frieze in the exhibition room at #ds4 ,dutch bracket clocks of the eighteenth century have pierced and gilt ornamentations of lead4 ,this method of applying pierced lead to wood was known in the middle ages4 ,in the ,kensington ,museum there is a delicate openwork panel1 three inches square1 which with others1 decorated the front of a fourteenth century chest in the church at ,newport1 ,essex4 ,a beautiful little panel of open work1 which contains the subject of the ,annunciation1 was found some years since in the ,thames4 ,one of the last instances of this decorative use of lead is on the great doors of ,inwood's church1 at ,st4 ,pancras1 where the panels are filled with reliefs and the margins have the palmette border4 ,at ,christchurch1 ,hampshire1 some of the tracery panels at the back of the stalls have been replaced in lead4 ,the front door fanlights so well known in the ,london houses of the eighteenth century were made by applying lead castings to a backing of iron4 ,even staircase balustrades were cast in panels of lattice work of hard lead and fixed between iron standards some three or four feet apart4 ,,xii4 ,,of ,,decorative ,,objects4 ,a great number of small objects in lead are in our museums1 and first we should mention the medals and plaques of the great masters of the ,renaissance4 ,lead will cast with more delicacy than any other material1 and ,cellini especially recommended it for proofs4 ,the proofs of the great work of the medallists1--the modelling just a film1 fading into the background--presentments and allegories of the ,malatestas and ,gonzagas by ,pisanello and ,sperandio1 are certainly the most precious things ever formed in lead4 ,there are a great number of these medals and decorative plaques in the ,british ,museum and at ,kensington4 ,for coins in lead see ,gaetani and ,fiscorni4 ,for tokens and pilgrim badges1 of which a great number have been found in the ,seine1 see ,gazette des ,beaux ,arts1 ,vol4 ,,vi4 and ,,xviii4 ,some of these remind us of the lead figures that1 according to 8,quentin ,durward10 ,louis ,,xi4 wore in his hat4 ,at the ,guildhall there is a collection of hundreds of these small objects found in the ,thames2 most are of great delicacy1 many very beautiful4 ,there are1 in the ,british ,museum1 little ,greek objects1 rings and toys1 armlets of a snake pattern1 and pierced ornaments for applying to other objects4 ,other objects in the ,kensington ,museum are3--,a small tankard only two and a half inches diameter but modelled with figures in low relief1 it is ,german of the sixteenth or seventeenth century2 a pair of little inkstands the circular drums modelled with foliage and projecting top and bottom rims1 also ,german2 and a square canister with panel of ,st4 ,george on each face4 ,another is a beautiful little ,gothic box of the fourteenth century4 ,it is hexagonal1 with three feet1 a flat hinged cover has a sitting lion which forms the knob1 a slight relief of the ,annunciation under a canopy1 and two shields of arms4 ,round the sides are delicate bands of foliage and ,gothic lettering2 it is three and a half inches high1 and of cast lead4 ,there are other portions of little ,gothic boxes in the ,british ,museum4 ,at ,gloucester ,museum there is a square box of late fifteenth century work1 the sides formed of four cast panels of lead1 soldered at the angles4 ,the panels all repeat the same relief of the dead ,christ and the ,virgin1 right and left are the other two ,marys1 and the background bears the cross1 crown1 spears1 dice1 and all the implements of the ,passion4#bc ,small canisters1 and candlesticks the stems of which are formed of a little lead figure1 were made quite recently4 #bc ,see ,antiquary1 ,feb41 #ahic4 ,,xiii4 ,,of ,,lead ,,glazing4 ,this subject1 in which lead is only secondary1 has been treated so often by others in connection with glass that little more need be said here4 ,already1 when ,theophilus wrote his treatise on the arts1 some time from the tenth to the twelfth century1 leaded glazing of coloured glass was practised much as we do it now1 and he describes how the leads were cast with the two grooves for the glass and how it was put together on a table4 ,coloured glass windows were placed in the ,basilica at ,lyons in the fifth century1 as described in the letters of ,sidonius4 ,from the thirteenth century there are crowds of examples of glazing wholly of white glass in which patterns are made by the arrangement of the leads4 ,in the cathedrals of north ,france1 especially ,bayeux1 ,coutances1 ,mantes1 and through ,brittany1 most elaborate patterns of this kind fill the windows2 not only diapers but interlacing bands1 over and under in effect1 and this in plain white glass4 ,this method does not seem to have been followed here1 where for the most part1 unless in colour arrangements1 the leading for church windows was in plain lozenges and parallelograms4 ,later1 however1 in houses1 pattern glazing1 sometimes of an elaborate kind1 is found1 especially in the north of ,england1 at ,moreton ,hall in ,cheshire1 at ,bramhall1 and at ,levens in ,westmorland4 ,in some parts the glass may not be more than a circle or diamond of an inch across4 ,these patterns have been amply treated in other places1 and we may consider those that have a diapered pattern all over the light to belong rather to the glass than the lead4 ,there are others1 however1 in which the lead lines are made still more important by being arranged in a single intricate panel to each light1 the centre usually being charged with an heraldic device4 ,two simple examples are given in ,figs4 #ci and #dj4 ,illustration3 ,,fig4 #ci4 ,illustration3 ,,fig4 #dj4 ,there is one point to speak of in regard to the fretted patterns not usually noticed4 ,the frets are sometimes leaded up so that the glass does not lie in one plane1 but there is an intentional change1 so that the faces of glass reflect the light differently in a uniform manner all over the window1 the forward panes being some or inch in front of the plane of the inner ones and between them others are placed obliquely4 ,this is best known in ,holland1 but a similar practice was followed at ,levens in ,westmorland4 ,lozenges of lead pierced for ventilation1 either one or several together1 are sometimes found2 they are cast with a delicate pattern1 or cut in a lattice4 ,some of the best are in the museum of ,fountains ,abbey1 others are at ,ely and at ,haddon4 ,fig4 #da is from a ,surrey cottage4 ,illustration3 ,,fig4 #da4 ,,xiv4 ,,of ,,lead ,,statues4 ,the making of lead statues was frequent up to the end of the #ahth century1 and then more frequent than at any other time1 to cease at once on the introduction of the ,italian plaster model shops1 which in the eyes of the connoisseurs of the time brought with them a time of purer taste1 the taste whose god was the ,apollo of the ,belvidere4 ,these statues of lead were known to the ancients4 ,there was one of ,mamurius at ,rome4#bd #bd ,fosbroke1 ,ency4 ,antiq4 ,in the middle ages there were not only small cast lead figures like those around the font at ,ashover and a figure from a crucifix now in the library of ,wells ,cathedral which is about #ab inches high1 of #aeth century work1 but figures full size and more were also made2 this was especially the case in ,france2 these1 however1 were generally repouss4 ,in the garden of the ,cluny ,museum in ,paris is a fine figure of ,st4 ,john ,evangelist1 fully eight feet high2 it is of early #adth century work1 and looks as if it had stood at the central pier of a doorway4 ,at ,moissac1 in the south of ,france1 is a most remarkable work of lead1 a tomb1 above which is a lead sarcophagus and several figures representing the entombment of ,christ1 who is being laid in the open coffin4 ,it is #aeth century work2 the figures1 six in all1 are full of character and vigour like the wooden statuary of the time4 ,it appears from a photograph to be cast in separate portions4 ,the figures formed by repouss usually serve as finials on the roof1 or stand in niches of the flche4 ,in the great flche at ,amiens there are six figures as large as life1 with other smaller figures of angels which hold emblems of the ,passion4 ,m4 ,viollet-le-,duc says these figures were nearly always embouties that is to say hammered out on a wooden model in portions1 and soldered together4 ,the artist had to be careful that the model should be thin and 8dry0 so the thickness of the lead should not make it too coarse in the forms4 ,burges cites an account of #aead of a payment to ,john ,pothyn1 sculptor1 for having carved a prophet in walnut wood to serve as a mould and pattern to the lead-workers4 ,sometimes the lead casing was put on with lapping joints1 the skeleton frame being iron4 ,there are not now in ,england lead statues of any size executed during the middle ages2 but magnificent figures of bronze cast by the cire perdu method remain to us4 ,the effigy of ,queen ,eleanor at ,westminster cannot be matched in ,europe4 ,the founder's art was carried to much perfection in ,germany in the #aeth and #afth centuries4 ,mr4 ,seymour ,haden has in ,hampshire a statue of a city herald of lead which formerly belonged to the great clock at ,nuremburg4 ,many statues of lead were set up in ,english towns after the earlier ,renaissance1 they are our national version of the bronze of ,italy1 a material which we used but little2 such bronze statues as were cast here since the middle ages seem to have been the work of foreigners4 ,le ,sieur1 for instance1 did the statue of ,charles ,,ii4 at ,charing ,cross1 and many others4 ,the statue of ,queen ,anne that was to surmount ,gibbs' proposed column in the ,strand was ordered in ,rome4 ,at ,bristol there is a large ,neptune of lead roughly modelled2 the limbs are contorted with too much life and yet it is a decorative feature in the centre of a wide street4 ,on the pedestal has been engraved a little history of the statue1 an example that might be followed--8,neptune1 cast and given ,a4,d4 #aehh by a citizen of ,temple parish to commemorate the defeat of the ,spanish ,armada4 ,re-erected on its fourth site in #ahgb40 ,this seems to be a tradition unsubstantiated by record1 but the time is not so remote that it may not as well be true1 especially as the style of the figure would seem to agree with the date named4 ,the story says that it was the gift of a plumber in the town1 the metal being that of the captured ships' pumps4 ,at ,bungay in ,suffolk there used to be a large statue at the ,market ,cross known as 8,astra40 ,one of the most interesting portrait statues in ,london1 the ,queen ,anne at ,queen ,anne's ,gate1 ,westminster1 is of lead4 ,the surface ornament on the robes is especially appropriate to the material4 ,there is also in ,golden ,square a statue of ,george ,,ii4 which seems to be nearly a repeat of the stone statue on ,bloomsbury steeple2 it suggested the statue in ,fred ,walker's picture1 8,the ,harbour of ,refuge40 ,there were also many full size equestrian statues founded in this metal1 that of ,george ,i41 until #ahgd in ,leicester ,square1 was one of these1 and like the last it was brought from ,canons1 the celebrated house of the ,duke of ,chandos at ,edgware1 dismantled about #agdg4 ,the ,george ,i4 resembled ,le ,sieur's statue at ,charing ,cross and was known as the ,golden ,horse1 for the whole was gilt1 as many of the statues seem to have been at ,canons1 in that garden where1 according to ,pope1 8,the trees were clipped like statues--the statues thick as trees40 ,the statue of ,william of ,orange at ,dublin is another of these1 and it is celebrated alike in political demonstrations and ,catholic polemics4 ,cardinal ,newman wrote of it1 8,the very flower and cream of ,protestantism used to glory in the statue of ,king ,william on ,college ,green1 ,dublin1 and though ,i cannot make any reference in print ,i recollect well what a shriek they raised some years ago when the figure was unhorsed4 ,some profane person one night applied gunpowder and blew the king right out of his saddle1 and he was found by those who took interest in him1 like ,dagon1 on the ground40 ,yet another equestrian statue is that of ,charles the ,second at ,edinburgh1 set up by the magistrates of the city in ,parliament ,square1 in honour of the restoration of the king4 ,a writer in the ,athenum for ,april #acth1 #ahej1 speaks of it as the 8finest piece of statuary in ,edinburgh10 and urges the suitability of lead for the purpose4 8,in ,black's ,guide through ,edinburgh it is spoken of as the best specimen of bronze statuary which ,edinburgh possesses2 it is1 however1 composed of lead4 ,now this leaden equestrian statue has already without sensible deterioration stood the test of #afe years' 7in #ahej7 exposure to the weather1 and it still seems as fresh as if erected but yesterday40 ,some years before this1 one of the interior irons having given way1 a part of the shoulder sank a little and it was taken down and repaired and sufficiently proved to be lead4 ,taking the figures above1 it appears that the date of this work is #afhe4 ,mr4 ,james ,nasmyth also wrote to the ,athenum1 ,june1 #ahej1 8to confirm as a practical man the perfect fitness of lead0 as a substitute for bronze1 and to recommend the cire perdu method of casting1 at that time discontinued in ,england2 the process being to model the statue in wax on a solid core1 to cast in plaster the finished wax model1 and then to melt out the wax from this plaster mould1 the space which it occupied being refilled with lead4 ,of course only one cast can be obtained in this way1 whereas the old decorative statues spoken of later were cast in a piece mould and reproduced again and again4 8,the addition 7still quoting7 of about five per cent4 of antimony will give it not only greater hardness but enhance its capability to run into the most delicate details 444 it is in every sense as durable as bronze when subject simply to atmospheric action40 ,we shall see that an addition of block tin was made to the lead by the old figure founders4 ,type metal1 which is so much harder than lead1 is an alloy of lead and to of antimony1 or of two parts of lead to one of tin and one of antimony4 ,in the courtyard of ,houghton ,tower1 ,lancashire1 there is a statue of ,william ,,iii4 brought from the dismantled ,walton-le-,dale in #ahcd4 ,the statues decorating the parapets of the large 8classic0 country houses are at times of lead2 there are five of these at ,lyme in ,cheshire4 ,over the portico of the ,clarendon at ,oxford there are four of these statues representing the sciences4 ,until recently there was a figure of ,king ,james high up in a niche at the ,bodleian4 ,the figures of the good little boy and girl common at charity schools are also often of lead4 ,the great ,percy lion that surmounted old ,northumberland ,house at ,charing ,cross 7destroyed twenty years ago7 is now on the river front of ,syon ,house2 it weighs about three tons1 and it was placed in its original position in #agdi4 ,the lion on the bridge at ,alnwick is also of lead1 as the little boy found to his cost who climbed out on its tail4 ,there are a series of lead busts in oval panels on the front of ,ham ,house1 ,petersham1 ,surrey1 #afaj being the date of its erection4 ,before passing into the garden a word on the practical details of casting as traditionally followed may be added4 ,the casting of lead statues is much the same process as founding in bronze1 but it is simpler from the much lower temperature at which lead flows1 and the ease with which limbs can be cast separately and joined to the body4 ,the technical details may be found in a text-book of modelling and casting--,mouler en ,pltre1 ,plomb1 c4 7,lebrun1 ,paris1 #ahfj74 ,the course followed is to cut up the model in such parts as is determined1 to mould these in loam1 the cores are then cast in plaster after the thickness that will be occupied by the lead has been first applied to the moulds in sand 7terre74 ,the cores are then removed and dried and baked1 for in this as in all founding everything depends on the absolute dryness of the mould4 ,after the first mould had been added to1 for the casting of the core1 a second mould would be prepared from the original figure and the core supported in that by irons4 ,the castings are then made1 and the portions reunited and finished on the surface4 ,large works have to be sufficiently supported with internal irons4 ,all the mysteries of vents1 and false coring when necessary1 can only be understood by practical familiarity with founding4 ,modern figures for ,dundee were cast from plaster2 cast iron also makes good moulds4 ,if the roof is the place for those earlier figures formed by repouss1 the garden is rightly inhabited by cast lead statues4 ,it is a material in which the designer might well permit himself slightness1 caprice1 or even triteness4 ,a statue that would be tame in stone1 or contemptible in marble1 may well be a charming decoration if only in lead1 set in the vista of a green walk against a dark yew hedge or broad-leaved fig1 or where the lilac waves its plumes above them and the syringa thrusts its flowers under their arms and shakes its petals on the pedestal4 8,how charming it must be to walk in one's own garden1 and sit on a bench in the open air with a fountain and a leaden statue and a rolling-stone and an arbour4 ,have a care though of sore throat and the agoe4#be0 #be ,gray's ,letter from ,pembroke ,coll41 #agfi4 ,illustration3 ,,fig4 #db4--,mercury4 ,when sculptors learn again that their art is to shape many materials in various ways for diverse uses1 and that a statue is not necessarily of whitest marble or to be exhibited on the #ast of ,may1 then we may get back the delight of sculpture in the garden4 ,sculptured marble1 unless the art is of a high order1 does not please us out of doors by a pond or on a terrace1 if it is not weathered down to a ruin1 but lead is homely and ordinary and not too good to receive the graffiti of lovers' knots1 red letter dates and initials4 ,here is a sketch of a ,mercury not at all too fine for further decoration of this sort2 it came from a ,london sale room1 the surface was quite white and exfoliated like old stone4 ,the jaunty messenger has a garden thought too1 for it is honeycomb in his hand4 ,one of the best known of these garden statues was a group of ,cain and ,abel that so recently gave an interest to the great grass quad of ,brasenose ,college1 ,oxford4 ,it was given by ,dr4 ,clarke1 of ,all ,souls1 8who bought it of some ,london statuary40 ,hearne speaks of it as 8some silly statue0--superiority has always been the greatest enemy to beauty4 ,forty or fifty years ago there was a ,mercury in ,tom ,quad which has also been improved away4 ,illustration3 ,,fig4 #dc4--,sun-dial1 ,temple ,gardens4 ,our next example fulfils a purpose4 ,it is the sun-dial formerly in ,clement's ,inn1 which was known locally as the 8,blackamoor40 ,it is strongly1 if simply modelled1 a piece of art full of character1 and we may be glad that it has been restored to us although now placed in the gardens of the ,inner ,temple1 instead of before the 8,garden ,house0 in ,clement's ,inn4 ,the negro is the full size of life and bears the stone disc of the dial on his head with one hand1 the other being free4 ,the dial is beautifully engraved and is signed on the edge of the gnomon ,ben ,scott in the ,strand ,londini ,fecit4 ,the sides have the initials of the donor1 ,p4 ,i4 ,p41 and the date1 #agca4 ,mr4 ,hare in his ,walks in ,london states that it was brought from ,italy late in the seventeenth century by ,holles ,lord ,clare1 whose name is preserved in the neighbouring ,clare market4 ,this statement is also found in ,thornbury's ,old and ,new ,london1 and the statue is said to be bronze1 which it is not1 nor do the initials and date above agree with ,mr4 ,hare's statement1 who goes on to remark that 8there are similar figures at ,knowsley1 and at ,arley in ,cheshire10 but he does not say if these also were brought from ,italy by ,lord ,clare4 ,no authority is given by ,mr4 ,hare1 but his statement is in the main a transcript from ,john ,thomas ,smith1 who also gives the verses quoted by ,mr4 ,hare1 said to have been attached to the statue on one occasion with a pitying reference to the legal atmosphere the ,african had to breathe4 ,that it was brought from ,italy is seemingly local gossip added to the account of ,mr4 ,smith who knew well enough the ,english workshop1 as we shall see1 where these figures were made4 ,similar figures are mentioned by this writer in his gossiping ,antiquarian ,rambles in ,london in which he wrote the memories of his own travels in the streets in the beginning of the present century1 and gives quite a history of this 8despicable manufactory40 ,the founding of these lead garden statues seems specially to have been an industry of the eighteenth century2 with the dreary opening of the nineteenth 8a purer taste10 so we are assured1 banished these and most other charms of an old-fashioned garden4 8,in ,piccadilly1 on the site of the houses east of the ,poulteney ,hotel including that1 now ,no4 #ajb1 stood the original leaden figure yard1 founded by ,john ,van ,nost1 a ,dutch sculptor1 who came to ,england with ,king ,william ,,iii4 ,his effects were sold ,march1 #agaa40 ,as late as #agfc a ,john ,van ,nost 7supposed descendant of the former7 was following the profession of a statuary in ,st4 ,martin's ,lane1 on the left1 a little farther up than where the old brick houses now stand in #ahic4 ,the original business was taken in #agci by ,mr4 ,john ,cheere1 who served his time with his brother1 ,sir ,h4 ,cheere1 the statuary who did several of the ,abbey monuments4 8,this despicable manufactory must still be within memory1 as the attention of nine persons in ten were arrested by these garden ornaments4 ,the figures were cast in lead as large as life and frequently painted with an intention to resemble nature4 ,they consisted of ,punch1 ,harlequin1 ,columbine and other pantomimical characters2 mowers whetting their scythes2 haymakers resting on their rakes2 gamekeepers shooting2 and ,roman soldiers with firelocks2 but above all an ,african kneeling with a sundial upon his head found the most extensive sale4 8,for these imaginations in lead there were other workshops in ,piccadilly1 viz41 ,dickenson's1 which stood on the site of the ,duke of ,gloucester's house1 ,manning's at the corner of ,white ,horse ,street1 and ,carpenter's1 that stood where ,egmont house afterwards stood4 8,all the above four figure yards were in high vogue about the year #agdj4 ,they certainly had casts from some of the finest works of art1 the ,apollo ,belvidere1 the ,venus de ,medici1 c41 but these leaden productions1 although they found numerous admirers and purchasers1 were never countenanced by men of taste2 for it is well known that when application was made to the ,earl of ,burlington for his sanction he always spoke of them with sovereign contempt1 observing that the uplifted arms of leaden figures1 in consequence of the pliability and weight of the material1 would in course of time appear little better than crooked billets4444 ,there has not been a leaden figure manufactory in ,london since the year #aghg1 when ,mr4 ,cheere died40 ,walpole knew little of these lead-working sculptors1 his only notice occurring under 8,carpentier or ,charpentiere0--our ,carpenter above--8a statuary much employed by the ,duke of ,chandos at ,canons1 was for some years principal assistant to ,van ,ost 7our ,van ,nost7 an artist of whom ,i have found no memorials1 and afterwards set up for himself4 ,towards the end of his life he kept a manufactory of leaden statues in ,piccadilly and died in #agcg1 aged above sixty40 ,the original ,van ,nost came from ,mechlin1 and married in ,england the widow of another ,dutch sculptor4 ,in the account books of the building of ,somerset ,house the following entry1 which occurs under #aggh1 is interesting as showing ,john ,cheere working on particular works1 and for giving us the composition of the metal and the price4 8,john ,cheere1 figure maker2 to moulding1 casting1 and finishing four large sphinxes in a strong substantial manner1 lead and block tin1 at each #ca40 ,it is curious if ,lord ,burlington gave the critical dictum attributed to him1 that there were so many lead garden statues at his villa at ,chiswick1 in #ahib dismantled by the ,duke of ,devonshire4 ,doubtless they belonged to that garden described by ,walpole as in the ,italian taste1 where 8the lavish quantity of urns and sculpture behind the garden front should be retrenched10 a wish that time accomplishes4 ,there was a ,bacchus1 a ,venus1 an ,achilles1 a ,samson1 and ,cain and ,abel4 ,in the first quadrangle at ,knole there are two good reproductions of the antique1 one being a crouching ,venus4 ,in the courtyard of ,burton ,agnes in ,yorkshire stands a ,fighting ,gladiator4 ,studley ,royal1 near ,ripon1 is a fine example of the best effort of park-gardening1 if the phrase be allowed1 for the term 8landscape gardening0 is degraded to mean productions in the cemetery style1 an affair of wriggling paths1 little humps1 and nursery specimens1 which might best be described as cemetery gardening1 and between which and the manner of ,kent there is no parallel4 ,here lakes in ordered circles and crescents occupy the grassy flat between hanging woods1 and several groups of lead statuary stand above the water4 ,in the beautiful old gardens at ,melbourne in ,derbyshire are a large number of lead figures1 two of which are drawn in ,the ,formal ,garden4#bf ,there are two heroic sized figures of ,perseus and ,andromeda beside the great water2 a ,flying ,mercury after ,giovanni ,bologna2 two slaves1 which are painted black1 with white drapery1 carrying vases on salvers2 and several ,cupids in pairs or single4 ,of these 8the single figures0 ,mr4 ,blomfield says 8are about two feet high4 ,one has fallen off his tree1 another is flying upward1 another shooting1 another shaping his bow with a spoke shave4 ,all of these are painted and some covered with stone dust to imitate stone1 a gratuitous insult to lead which will turn to a delicate silver grey if left to its own devices40 #bf ,blomfield and ,thomas4 ,macmillan1 #ahib4 ,illustration3 ,,fig4 #dd4--;,cymbal ,player4 ,in the old gardens at ,rousham described by ,pope are still some ,cupids riding on swans2 at ,holmerook ,hall are statues and other objects in lead1 and at ,newton ,ferrars in ,cornwall are two statues of ,mars and ,perseus4 ,at the ,mote ,house1 ,hersham1 are some garden figures4 ,there are also some figures of lead in the gardens of ,castle ,hill1 ,lord ,fortescue's house in ,devonshire4 ,in the two niches of a garden temple there is a ,cymbal ,player from the antique and a ,venus in the manner of ,william and ,mary4 ,amongst the foliage of a wood-path is a terminal figure of ,pan1 the pillar being stone and the head and shoulders only of lead4 ,in the gardens here are also two large couchant lions1 four sphinxes1 and some greyhounds4 ,at ,nun ,moncton in ,yorkshire1 on a terrace by the river ,ouse are several lead figures on each side of the walk1 these have gilded trappings4 ,at ,glemham in ,suffolk are figures of the ,duke of ,marlborough and ,prince ,eugne at the entrance4 ,in the garden are two black slaves with sun-dials1 and the ,seasons3 also hounds at the gateway4 ,illustration3 ,,fig4 #de4--,terminal at ,castle ,hill4 ,in the garden at ,canons ,ashby is a figure of a shepherd playing a flute4 ,in a garden at ,exeter are four or five figures1 amongst which is a ,skater and a ,flower ,girl1 and at ,whitchurch is a ,quoit ,thrower4 ,illustration3 ,,fig4 #df4--,time4 ,in the niches of a large circular yew hedge at ,hardwick are four figures1 three are playing on musical instruments2 pipe1 trumpet1 and violin1 and the fourth represents ,painting4 ,there are also two other figures in the gardens4 ,at ,temple ,dinsley near ,hitchin is a figure of ,time1 hour-glass in hand1 of which a sketch is given4 ,the left hand formerly held a scythe1 now lost4 ,at ,shrewsbury is a ,hercules4 ,the statues in the grounds at ,blarney celebrated in the 8,groves of ,blarney0 were of lead3-- 8,there's statues gracing this noble place in ,all heathen ,goddesses so fair1 ,bold ,neptune1 ,plutarch and ,nicodemus ,all standing naked in the open air40 ,these statues were sold by auction to ,sir ,thomas ,dene who bought the castle1 and pictures3-- 8,and took off in a cart 7',twas enough to break my heart7 ,all the statues made of lead and pictures ,o60#bg #bg ,reliques of ,father ,prout1 i41 #adj4 ,the eighteenth century must have been busy in the 8manufacture0 of these garden figures and ornaments1 some of the gardens mentioned have as many as twenty to thirty pieces still4 ,a great number was doubtless absorbed in the ,london public gardens and the villas up the ,thames4 ,in old ,vauxhall was a statue of ,milton by ,roubilliac1 but it is difficult to attribute many specimens to individuals4 ,the negro we saw was sold by ,mr4 ,john ,cheere in ,st4 ,martin's ,lane1 but likely enough the model was a part of the stock of ,van ,nost1 as also the fine vases at ,hampton ,court4 ,many of these statues were destroyed to suit the 8purer taste0 of this century1 and a great number were exported during the ,american ,war to become bullets1 because at that time as 8works of art0 the lead escaped the ,customs4 ,a large number have been accidentally crushed by the fall of a tree or otherwise destroyed1 and many not adequately supported have flattened down out of shape4 ,there was a large display la ,louis ,quatorze1 of lead casting in the gorgeous gardens of ,versailles2 where in the fountains1 groups of statues1 and vases1 the greatest sculptors of the time worked indifferently in marble1 bronze1 or plomb dor4 ,franois ,girardon was one of these4 ,born in #afbh1 at ,troyes1 he lived to the year #agae1 achieving a reputation that placed him amongst the foremost of ,french artists of that time4 ,the immense structure entirely of lead known as the ,fountain of the ,pyramid is his work4 ,from a basin in which sport three man-sized tritons rises a pedestal1 with a circular basin much enriched by gadroons1 set on three classic zoomorphous legs2 and above it three other like basins of diminishing size1 each supported from the one below around the rim2 by baby tritons for the lowest1 the next with dolphins1 and the last with lobsters4 ,in the last basin is a vase4 ,the whole is a composition showing great refinement of scholarship1 recalling in general form the great pine cone of bronze in the ,vatican gardens1 once the fountain in the atrium of old ,st4 ,peter's4 ,it is exquisitely drawn and engraved by ,rouyer et ,darcel#bh together with two vases also of lead from the ,basin of ,neptune4 #bh ,l',art ,arch4 en ,france1 vol4 ii4 ,other groups1 some of colossal proportions--8,france ,victorious10 8,the ,four ,seasons10 and so on--were the work of ,thomas ,renaudin of ,moulins1 ,j4 ,b4 ,tubi from ,rome1 ,pierre ,mazaline and ,gaspard de ,marcu2 their individual works1 with illustrations1 may be distinguished in the volume of engraved statues of the ,versailles gardens by ,s4 ,thomassin published in ,paris #afid4 ,versailles certainly set the fashion1 which we followed and which influenced the gardens of the most of ,europe4 ,in ,russia a ,swiss gardener arranged a labyrinth at the summer palace of ,peter the ,great with animal groups from sop in gilt lead forming fountains4 ,beckford1 writing from ,lisbon in #aghi1 describes a garden at ,bemfica 8which eclipses our ,clapham and ,islington villas in all the attractions of leaden statues1 ,chinese temples1 serpentine rivers1 and dusty hermitages40 ,,xv4 ,,of ,,lead ,,fountains4 ,none of the old ,english gardens were complete without a fountain1 and no fountain was complete without a figure4 ,bacon says--8,for fountains 444 the ornaments of images1 gilt or of marble1 which are in use do well40 ,paul ,hentzner writes of the sixteenth century garden of ,theobalds1 the seat of ,lord ,treasurer ,burleigh--8,there was a summer house1 in the lower part of which1 built semicircularly1 are the twelve ,roman emperors in white marble and a table of touchstone 7alabaster7 the upper part is set around with cisterns of lead into which the water is conveyed by pipes so that fish may be kept in them1 and in summer time they are very convenient for bathing40 ,at ,st4 ,fagan's1 near ,cardiff1 in front of the house is a remarkable lead tank2 it is octagonal1 ten feet across and nearly four feet high2 it is ornamented round the sides with flowers1 and shields in panels1 and is dated #afbj4 ,at ,syon ,house there is a fountain in which a lead figure forms the jet d'eau4 ,at ,wooton in ,staffordshire there is a fountain basin with a lead duck so suspended as to float on the water spouting water from its bill4 ,the ,swan which seemed to float on the water described by ,borrow in ,lavengro must have been of lead4 ,at ,sprotborough in ,yorkshire are some lead toads about nine inches long1 which also seem to have belonged to a fountain4 ,some of the figures mentioned before stand in the centre of basins1 and occasionally simple groups1 as of ,neptune in a two-horsed chariot1 may be found1 but we have nothing in ,england to compare to the great fountain compositions of the ,versailles ,gardens or to the fountain called ,le ,buffet in the ,trianon ,park1 designed by ,mansard1 and profusely decorated by the gilt lead sculptures of ,van ,clve and other artists4 ,in ,germany some of the earlier town fountains are of lead4 ,,xvi4 ,,of ,,vases ,,and ,,gate ,,piers4 ,the vases at ,hampton ,court mentioned above are particularly fine in design and well modelled2 their height is about #b4c and the little sitting figures1 slight as they are1 are charming in their pose2 the folded arms and prettily arranged hair give us a suggestion of life which most of these things supposed to be in the classic taste lack4 ,the inventory taken by the ,commission at ,hampton ,court mentions 8,fower large flower potts of lead40 ,similar vases are in the gardens at ,windsor1 also larger and later examples with figure plaques in ,flaxman's manner4 ,at ,castle ,hill1 ,north ,devon1 there are ten vases1 some with mouldings and gadroons formed in repouss1 others cast4 ,at ,melbourne in ,derbyshire there is an enormous vase some seven or eight feet high in a very rococo style4#bi ,there is one at ,penshurst1 which comes from ,old ,leicester ,house in ,london2 and at ,sprotborough are others of similar design4 ,these vases will not bear comparison with the beautiful lead ,gothic fonts before given4 #bi ,the ,formal ,garden1 ,blomfield and ,thomas4 ,illustration3 ,,fig4 #dg4--,vase1 ,hampton ,court4 ,illustration3 ,,fig4 #dh4--;,from ,vase1 ,hampton ,court4 ,there are several vases at ,wimpole near ,cambridge1 at ,wilton1 and at ,wrest4 ,little square flower boxes with cast or repouss devices on the sides were also made2 ,charles ,lamb describes some flower pots for us from the gardens of ,blakesware in ,herefordshire1 a fine old house1 destroyed even when he wrote--8,the owner of it had lately pulled it down2 still ,i had a vague notion that it could not all have perished4 ,how shall they build it up again80 ,there was a beautiful fruit garden and 8ampler pleasure garden rising backwards from the house in triple terraces1 with flower pots now of palest lead save that a spot here and there saved from the elements bespake their pristine state to have been gilt and glittering40 ,illustration3 ,,fig4 #di4--,vase1 ,castle ,hill4 ,at ,knole are a pair of circular pots figured on page #abj4 ,circular baskets of open interlacing work and other forms were also made4 ,illustration3 ,,fig4 #ej4--;,albert ,gate4 ,illustration3 ,,fig4 #ea4--;,albert ,gate4 ,garden seats were also made entirely of lead4 ,there are six lead seats at ,castle ,hill1 ,north ,devon2 they are large square boxes with heavy 8classic0 forms1 the top and ends imitating the folds of drapery4 ,at ,chiswick similar seats in every way were sculptured in stone4 ,these show how lead should not be used4 ,illustration3 ,,fig4 #eb4--,vase on ,gate ,pier1 ,knole4 ,at ,castle ,hill are also several greyhounds2 they are particularly lively and well modelled and suitable for their purpose as guards to the gates4 ,gate piers are most inviting pedestals for leaden imagery4 ,at ,albert ,gate1 ,hyde ,park1 there are two beautiful lead stags--another pair of them are at ,loughton in ,essex2 no more appropriate ,english park gate could well be thought of4 ,at ,carshalton1 ,surrey1 where a park was enclosed by ,thomas ,scawen1 the great gate pillars of the entrance have large boldly modelled statues of ,diana and ,acton1 the date #agbf4 ,the little ,cupids that stand out of the ivy that covers the piers at ,temple ,dinsley are sketched in ,fig4 #ec4 ,illustration3 ,,fig4 #ec4--,temple ,dinsley4 ,perhaps the finest gate pier groups are those to the ,flower ,pot ,gate at ,hampton ,court1 where ,cupids uphold a basket of flowers4 ,these able pieces of work are not generally known for lead1 because1 like so many figures and vases1 they have been painted and sanded to imitate stone4 ,illustration3 ,,fig4 #ed4--,syon ,house4 ,in #agdd the then member for ,southampton presented two lions for the ,bar ,gate in that town4 ,these not very beautiful creatures still remain4 ,syon ,house1 on the ,thames1 has besides the great lion1 a lesser lion set over ,adam's 8lace gateway10 weighing a ton and half1 it is unfortunately newly painted and sanded to look like stone1 and as the tail sticks out in a way utterly impossible for anything but metal it makes it entirely absurd4 ,there is a plague of paint over old leadwork1 which should be gilt or let alone4 ,illustration3 ,,fig4 #ee4--,syon ,house4 ,on the park wall facing the road there are fine sphinxes1 about five feet long1 in every way different to the lion1 well designed exercises in the 8classic taste40 ,well modelled1 with impressive heads1 in the dark and dinted metal1 they are pleasant both in colour and texture4 ,they are quite 8,adam's0 in character but not at all petty like some of his work and very different to a pair of sphinxes also of lead1 on the gates of ,chiswick ,house4 ,,xvii4 ,,of ,,finials ,,and ,,crestings4 ,the lead finial is typically a ,french feature2 there cannot be said to be a single instance of a large ornamental finial of lead remaining in ,england of the kind once so universal in ,france and of which so many still remain there4 ,these ,french finials from the #abth to the #ahth centuries have been sufficiently described1 especially by ,m4 ,de la ,queriere1 who devotes a volume to them and the cresting of ridges2 by ,viollet-le-,duc2 and in ,de ,caumont's ,abcdaire4 ,many of these early ,french ,gothic finials of the #abth and #acth centuries were lead statues formed out of repouss sheet metal and they surmounted the culminating point of the church1 at the apex of the chevet2 here was often placed an immense angel with great wings turning as vanes in the wind4 ,at ,rouen it is the ,virgin with the infant ,christ which stands over the ,lady ,chapel2 there was formerly on the main apse a giant ,st4 ,george horsed and spearing the dragon1 melted at the ,revolution 8they say0 into bullets4 ,at ,clermont ,ferrand is the most remarkable composition1 a tall pillar on which stands a colossal ,virgin facing the sunrise2 round the stem spring out great branches of foliage on which sit four figures--,king ,david with the harp and three others with musical instruments--the ridge is ornamented with open work1 and a length of similar foliage reaches down the slope of the roof for some feet on either side of the finial where are two other figures1 these are full life size1 and the whole must be #bj or more feet high4 ,at ,evreux the apse had a ,st4 ,michael treading down ,satan4 ,the immense ,st4 ,michael that surmounted the central tower at ,mont ,st4 ,michel1 which could be seen many leagues out at sea1 was also probably of lead4 ,we had in ,england in the twelfth century a large figure serving as a finial to the central tower at ,canterbury4 ,this tower was built by ,lanfranc1 and ,gervase tells us it was surmounted by a gilt angel1 this is shown in the contemporary drawing of ,canterbury2 and the tower1 ,professor ,willis says1 ever retained the name of the ,angel ,tower4 ,stow also told us of a lead spire close by ,st4 ,paul's with an image of ,st4 ,paul on the top4 ,illustration3 ,,fig4 #ef4--;,finial at ,lille4 ,the early ,french examples of finials without a figure were formed of foliage in repouss on a stem or pillar with swelling bands or bowl-like forms at the point of growth3 these and the foliage were beaten out of thick sheet lead1 the larger forms in two halves and soldered together4 ,the central stem was an iron rod covered with lead tube slipped over it in short pieces1 with hooks to hang the branching leaves to2 sometimes slender rods rise out of the foliage and droop with lilies at their extremities4 ,illustration3 ,,fig4 #eg4--;,finial at ,angers4 ,later1 cast ornaments became general2 on the ,htel ,dieu at ,beaune is a wonderful series of these finials made up of portions partly repouss partly cast1 these have coronets of delicate open work which were cast in strips and bent round4 ,where the finial joins the roof a rayed sun of cast metal is placed4 ,mr4 ,clutton gives drawings of these4 ,in the ,museum at ,lille there are two fine finials1 one of these is carefully analysed to a large scale by ,burges in his book of drawings and the other1 wholly made up of castings1 is given here from a photograph4 ,in the ,museum in the splendid old hall of the ,htel ,dieu at ,angers are two1 sketches of which are given in ,figs4 #eg and #eh4 ,the leaves and scrolls are cast with ribs to make them stiffer4 ,the later ,gothic and ,renaissance finials are often charmingly suggestive in the subject of their design--some have figures1 a huntsman at ,bourges1 a ,cupid shooting arrows or a man-at-arms2 some are made up with suns or sun and moon1 or moon and stars1 as at ,troyes2 at ,beaune1 cup-like forms are made of openwork for birds' nests4 ,again we find a vase of lilies or branch of drooping thistles1 a pigeon1 a coronet1 or personal devices and badges4 ,mr4 ,burges noted how the early poets spoke of the music of the vanes1 and there can be little doubt that some of them were intended to resound to the wind3 in the ,hypnerotomachia 7#adii7 a finial is shown with little bells hanging to chains which swang against a metal bowl2 ,viollet-le-,duc also tells us that in certain crestings he found a singular musical conceit in contrivances for producing 8sifflements0 under the action of the wind--olian flutes4 ,illustration3 ,,fig4 #eh4--;,angers4 ,illustration3 ,,fig4 #ei4--;,finials1 ,bourges4 ,at ,bourges on the ,htels ,jacques ,cur and ,cujas are some finials consisting of little more than a lead-covered stick bearing a rod and girouettes4 ,flags were properly only set up in the due heraldic precedence of the proprietor1 a ,knight might fly a pennon and so on2 they were centred at times on a piece of agate to reduce the friction of revolution4 ,we have only to look at the views of old towns given in manuscripts to see how the medival mind delighted in these flag finials2 but there are probably not half a dozen old ones now left in ,england4 ,when there are many revolving flags to the finials on one building and these are bright with new gold1 they have the delightful property of flashing the light to a great distance4 ,the gilt flags on the pinnacles of the west front of ,wells ,cathedral twinkle simultaneously against the setting sun4 ,illustration3 ,,fig4 #fj4--;,from ,newcastle4 ,crestings1 sometimes large and most ornamental1 were formed along the ridges of ,french buildings1 especially in the early ,renaissance4#cj ,these ornamental ridges1 especially in this exaggerated form1 are not ,english4 #cj ,see ,de la ,queriere or ,viollet-le-,duc 7,art4 8,crte074 ,a row of fleurs-de-lis exists at ,exeter1 a portion of which is in the ,architectural ,museum1 ,westminster3 and probably many other roofs had similar crestings4 ,,xviii4 ,,of ,,cisterns1 ,,etc4 ,the use of lead pipes for conducting water was introduced into ,england by the ,romans1 the ordinary draw-off tap is another gift of theirs4 ,the twelfth century plan of ,canterbury cathedral shows a remarkable system of water pipes for collecting the water from the roofs and distributing it to the several buildings and fountains4 ,mr4 ,micklethwaite has described in ,archologia a lead filtering cistern with draw-off tap found at ,westminster ,abbey2 and in the ,british ,museum 7,gothic ,room7 there is a small circular lead cistern with delicate fifteenth century ornament4 ,illustration3 ,,fig4 #fa4--,poundisford ,park1 ,taunton4 ,some old country houses preserve the original scheme for conducting the rain water from the roofs into a lead cistern which1 adorned by devices and gilding1 stood close to the front door4 ,poundisford ,park1 near ,taunton1 is one of these4 ,lead spouting1 delicately ornamented1 crosses the front and brings the water to the head of the vertical pipe1 which has turrets and loopholes--a toy castle4 ,this and its pipe stand over a circular fronted cistern panelled and modelled with a crest1 pots of flowers1 and the date #afga4 ,there are some of these cisterns at ,exeter2 one of them1 here given1 is much like that at ,taunton1 and is dated #afif2 the ribs and devices are gilt4 ,at ,bovey ,tracy1 in ,devonshire1 there is another1 as also at ,sackville ,college1 ,east ,grinstead4 ,illustration3 ,,fig4 #fb4--;,cistern1 ,exeter4 ,in the ,london houses of the seventeenth and eighteenth centuries1 ornamented lead cisterns seem to have been generally placed in the courtyards and areas4 ,the earliest known was illustrated and described in the ,builder for ,august #bcrd1 #ahfb4 ,the centre was a coat of arms quartering the lions of ,england and the lilies of ,france1 right and left two quatrefoil panels contained the letters ,e4,r41 and below in a long panel was the date #ae--4 ,two upright strips formed the margins1 which1 with the ends1 were covered with ,gothic diaper4 ,it was drawn while in the possession of a dealer1 who obtained it in ,crutched ,friars4 ,there was quite a crusade preached against these cisterns1 as the occasion of lead poisoning1 in the first half of this century1 and hundreds were destroyed1 but a large number still remain2 about ,bloomsbury quite a dozen may be seen down front areas4 ,for the most part they were decorated with panelling of ribs formed of squares and semicircles with strips and spots of cast ornament1 flowers1 fruit baskets1 stags1 dolphins1 cherubs' heads1 and even the gods ,bacchus and ,ceres2 others have nothing but the fretted panel with initials and date like ,fig4 #fc4 ,illustration3 ,,fig4 #fc4--;,cistern1 ,london4 ,illustration3 ,,fig4 #fd4--;,cistern1 ,s4 ,kensington ,museum4 ,the ribs1 with the stock enrichments in new combinations1 the date and initials1 were attached to a wood panel the size of the cistern front2 this was moulded in the sand and the casting made of good substance2 stout strips were soldered across the inside as ties4 ,one of the finest known of these is that at ,south ,kensington ,museum1 of which one half of the front is here illustrated1 the other half repeats exactly1 even to the initials on the shield2 the date is #agcb4 ,this is in every way well designed and beautifully modelled4 ,a part of one in the ,guildhall ,museum is an early example of the ordinary pattern1 dated #afgd4 ,the ribs for the pattern were formed in lead--a plumber disdaining the assistance of wood if he could avoid it--by beating strips of lead into an iron swage block1 that was cut as a matrix about four inches long2 these strips could be easily bent to the curved lines4 ,plain panelled cisterns like this were made as late as #ahdj4 ,old lead pumps are now very seldom to be found4 ,one remains at ,wick1 ,christchurch1 which is #f inches in diameter1 and is decorated by a crest--a boar's head in a wreath--and the initials 8,g4 ,b40 as well as the signature 8,j4 ,,jenkins1 ,plummer1 #agig40 ,,xix4 ,,of ,,gutters4 ,in ,england the gutters of important churches were generally formed behind the stone parapet1 but at ,lincoln the whole is formed of lead above a carved stone cornice4 ,it is about two feet high and the outside is decorated with foiled circles closer or farther apart with due disregard for precision4 ,in ,france gutters were often like this made on the top of the stone cornice2 irons turned up carry a continuous rod1 over which the lead was dressed1 and as the outlets were frequent little fall was required4#ca #ca ,see ,viollet-le-,duc4 ,illustration3 ,,fig4 #fe4--;,gutter1 ,lincoln ,cathedral4 ,to some bay windows of a fine old timber house at ,derby there are little parapets formed out of lead1 the front edge being cut into notches like a tiny battlement1 and short lengths of pipe form spouts for the water4 ,at ,taunton there is a bay window with a similar battlement of lead2 this is cast with a running pattern and wavy upper edge1 to this below is soldered a similar strip reversed making a fringe2 the same pattern forms the isolated gutters at ,poundisford ,house above mentioned4 ,at ,montacute the spouting has a series of little upright panels1 the top moulding breaking up higher over every alternate pair in crenelations1 leaving a space filled with a boss4 ,at ,bramhall there is a cottage to which both the spouting and the down pipe have a running scroll of flowery ornament4 ,sometimes the end of a roof gutter between two gables is stopped by an apron of lead with pattern on it1 such as a knot of cord and initials4 ,illustration3 ,,fig4 #ff4--;,gutter1 ,taunton4 ,,xx4 ,,of ,,pipes ,,and ,,pipe ,,heads4 ,the water was discharged from the gutters into the heads of down pipes1 or sometimes from jutting lengths of spout supported by iron props1 the nozzles cut into a form often simulating an animal's jaws4 ,the down pipes are particularly ,english1 nowhere else can the ornate constructions of lead forming the pipe heads of ,haddon and other great houses of the sixteenth century be matched4 ,according to ,viollet-le-,duc1 here in ,england this arrangement was already in use in the fourteenth century1 when nowhere except in ,england were these lead pipes from the roof down to the base of the wall known4 ,he also remarks on the advantage of these being square as they can expand if required when the water freezes1 while a circular pipe can only burst4#cb ,fragments of pierced work in ,gothic patterns which formed parts of pipe heads have been found at ,fountains ,abbey4 #cb ,art4 8,conduite10 ,fig4 #f4 ,illustration3 ,,fig4 #fg4--;,bramhall1 ,cheshire4 ,at ,haddon there are a great number of these pipe heads of several dates1 and every one is different from the rest2 some are plain and small1 others great spreading things elaborately decorated4 ,the general form of these is constructed like a box from cast sheet lead1 the cornices are beaten to their shape over a pattern2 and the top edge is cut into a little fringe of crenellations4 ,cast discs of ornament1 badges1 pendant knobs1 and initials are arranged on their fronts1 on the funnel-shaped portion leading to the pipe1 and on the ears of the pipe and the side flaps of the head itself4 ,the more elaborate heads have an outer casing of lead with panels pierced through it of delicate tracery work of ,gothic tradition which shows bright against the shadow4 ,illustration3 ,,figs4 #fh and #fi4--,pipe ,heads1 ,haddon ,hall4 ,illustration3 ,,fig4 #gj4--,pipe head1 ,haddon4 ,at ,windsor ,castle some pipe heads bear the date #aehi1 the ,tudor rose1 and the letters ,e4 ,r4 ,illustration3 ,,fig4 #ga4--;,bodleian1 ,oxford4 ,illustration3 ,,fig4 #gb4--,st4 ,john's1 ,oxford4 ,at ,knole there are also many heads having pierced work of this kind in panels1 and projecting turrets2 some of these also have a decoration of bright solder applied to the lead in patterns--these were made about #afjj4 ,at the ,bodleian and ,st4 ,john's ,college1 ,oxford1 there is a fine series of pipe heads with painted patterns4 ,at ,norham ,castle some pipe heads are dated #afje4 ,abbot's ,hospital at ,guildford has a large series of heads later in character than those at ,haddon4 ,here pierced work is used as a brattishing to the top edge of the fronts2 they are signed ,g4 ,a4 and dated #afbg4 ,at ,canons ,ashby there is a pair of most rococo pipe heads1 with applied pierced castings1 masks and acanthus leaves4#cc ,these heads are fixed on iron cramps1 or brackets2 at ,haddon lead cylinders with pierced ends project and carry the heads4 #cc ,figured in the ,spring ,gardens ,sketch ,book1 vol4 v41 #eh4 ,illustration3 ,,fig4 #gc4--,sherborne4 ,illustration3 ,,fig4 #gd4--,liverpool4 ,sometimes the heads are very long1 extending five or six feet like a length of gutter2 it was a favourite method to decorate them with salient projections at intervals1 like the cut-waters of a bridge1 the top edge of these is cut into little battlements which were curled over in loops4 ,the projections make convenient birds' nests4 ,the pipe is sometimes central to these long heads but often at the end4 ,entirely the reverse of these1 other heads are tall in proportion1 like the examples at ,shrewsbury and ,ludlow or the little fiddle pattern design given here from the ,grammar ,school at ,sherborne 7,fig4 #gc74 ,the two examples #gd and #ge are from ,liverpool and ,ashbourn4 ,there are three or four original pipe heads which are well designed in the ,architectural ,museum4 ,illustration3 ,,fig4 #ge4--;,ashbourne4 ,the later ones1 as in ,london1 are often tall square funnels moulded and bent into vase-like forms1 the projection was small compared to the width1 only three or four inches sometimes4 ,a piece of projecting pipe is at times inserted in the front of the head to serve as an overflow4 ,the late pipes were circular and the heads very often followed this form4 ,the material has an appropriateness for this purpose that cast iron cannot pretend to2 a simple square box of lead and round pipe is much to be preferred to fussy things in cast iron1 they will not require painting1 nor do they fill the drains with rust2 and although it has been necessary to draw the elaborate and eccentric forms1 the simpler ones form better models for our purpose4 ,illustration3 ,,fig4 #gf4--;,haddon4 ,the earlier pipes were almost always a flat square1 sometimes ornamented up its whole length1 but usually only at the collars1 where the bands of lead for attachment to the wall were placed1 here and on the flaps of the collars are often crests1 flowers1 or letters4 ,the lead band was cut long enough1 so that after the nails had been driven through it into the wall the ends were folded back over their heads4 ,those at ,canons ,ashby1 ,northants1 have the ends curled and cut like the scroll of a medival text4 ,lead working as an art for the expression of beauty through material1 with this ancestry of nearly two thousand years of beautiful workmanship behind it here in ,england1 has in the present century been entirely killed out4 ,only one simple present use of lead can be mentioned as having the characteristic of an art--the expression of personal thought by the worker to give pleasure4 ,this is nothing but the lining of stairs and floor spaces with sheet lead nailed with rows of copper nails1 some examples of which are done with a certain taste4 ,pipe heads and other objects of a somewhat ornamental kind have recently been made again1 but we must remember that ornament is not art1 and these have only been carefully1 painfully1 8executed0 to the architect's drawings4 ,the plumber's art1 as it was1 for instance1 when the ,guild of ,plumbers was formed1 a craft to be graced by the free fancy of the worker1 is a field untilled4 ,that someone may again take up this fine old craft of lead-working as an artist and original worker1 refusing to follow 8designs0 compiled by another from imperfectly understood old examples1 but expressing only himself--this has been my chief hope in preparing the little book ,,now ,,concluded4 ,,messrs4 ,,macmillan ,,co4',s ,,books ,,for ,,technical ,,classes4 ,,drawing ,,and ,,design4 ,a ,class ,text-book for ,beginners4 ,by ,e4 ,r4 ,,taylor4 ,head ,master of the ,birmingham ,municipal ,school of ,art4 ,with ,illustrations4 ,oblong crown #hvo1 #es4 net4 ,,elements ,,of ,,handicraft ,,and ,,design4 ,by ,w4 ,a4 ,s4 ,,benson1 ,m4,a4 ,oxon4 ,with ,illustrations4 ,extra crown #hvo1 #es4 net4 ,a ,,text-,,book ,,of ,,needlework1 ,,knitting ,,and ,,cutting-,,out4 ,with ,methods of ,teaching4 ,by ,miss ,,elizabeth ,,rosevear1 ,senior ,teacher1 and ,lecturer on ,needlework1 ,training ,college1 ,stockwell1 ,london4 ,with ,original ,illustrations and ,sectional ,diagrams4 ,crown #hvo1 #fs4 ,,saturday ,,review4--8,a very useful book of reference for teachers of elementary sewing classes40 ,,schoolmaster4--8,this is a remarkably clever and practical text-book on ,needlework40 ,,queen4--8,it has been carefully prepared by an intellectual teacher1 expert in the art of demonstration lessons1 and anxious to impart to others the results of her experience as ,senior ,teacher and ,lecturer at ,stockwell ,training ,college40 ,a ,,primer ,,of ,,domestic ,,economy4 ,by ,,edith ,a4 ,,barnett and ,h4 ,c4 ,o',,neill4 ,pott #hvo1 #as4 ,,scotsman4--8,it is in its way unique among school books1 touching the fringe of a great variety of subjects--hygiene1 economics1 physiology1 cooking1 medicine1 and the sciences dealing with money4 ,of these it says a little that every housekeeper ought to know1 and opens the way for more4 ,it is an admirable school book40 ,,saturday ,,review4--8,a capital little book for the young householder40 ,a ,,primer ,,of ,,practical ,,horticulture4 ,ten ,lectures delivered for the ,surrey ,county ,council1 by ,j4 ,,wright1 ,f4,r4,h4,s4 7,horticultural ,instructor71 ,assistant ,editor of the 8,journal of ,horticulture10 ,editor of 8,garden ,work40 ,with #cg ,illustrations4 ,pott #hvo1 #as4 ,,spectator4--8,a most useful little book1 giving hints on various profitable kinds of cultivation4 ,the contents were originally given as lectures1 and it is an excellent idea to have them re-published40 ,,the ,,food ,,of ,,plants4 ,by ,a4 ,p4 ,,laurie1 ,m4,a41 ,fellow of ,king's ,college1 ,cambridge4 ,adviser in ,technical ,education to the ,bedfordshire ,county ,council4 ,pott #hvo1 #as4 ,,nature4--8,this little book is intended to be an introduction to agriculture4 ,the experiments are carefully chosen and described and can be performed with inexpensive materials1 and the book1 especially if used as the author suggests1 in conjunction with a ,chemistry ,primer1 can well be recommended as an interesting guide to the study of agriculture40 ,a ,,manual ,,of ,,dairy ,,work4 ,by ,professor ,,james ,,muir1 of the ,yorkshire ,college1 ,leeds4 ,pott #hvo1 #as4 ,,school ,,board ,,chronicle4--8,a very useful and authoritative handbook4444 ,a happy combination of scientific and of practical facts1 explanations1 and advice40 ,,the ,,grammar ,,of ,,woodwork4 ,a ,graduated ,system of ,manual ,training for ,elementary1 ,secondary1 and ,technical ,schools1 designed for the ,pupils of the ,whitechapel ,craft-,school by ,walter ,e4 ,degerdon1 ,head ,instructor in ,woodwork at the ,whitechapel ,craft-,school1 formerly ,woodwork ,instructor in the ,cambridge ,university ,engineering ,workshops4 ,with a ,preface by ,h4 ,,llewellyn ,,smith4 #dto1 ,paper ,covers1 #bs4 ,,schoolmaster4--8,the order of work is clearly mapped out1 and the book will be found to be most useful for reference at the bench4 ,we warmly recommend it to the notice of all manual instructors40 ,,macmillan',s ,,science ,,primers4 ,pott #hvo4 ,cloth1 #as4 each4 ,under the joint ,editorship of ,prof4 ,,huxley1 ,sir ,h4 ,e4 ,,roscoe1 and ,prof4 ,,balfour ,,stewart4 ,,introductory4 ,by ,professor ,,huxley1 ,f4,r4,s4 ,,astronomy4 ,by ,j4 ,n4 ,,lockyer1 ,f4,r4,s4 ,illustrated4 ,new ,edition4 ,,physics4 ,by ,,balfour ,,stewart1 ,f4,r4,s4 ,with numerous ,illustrations and ,questions4 ,new ,edition4 ,,chemistry4 ,by ,sir ,h4 ,e4 ,,roscoe1 ,f4,r4,s4 ,with numerous ,illustrations and ,questions4 ,new ,edition4 ,,geology4 ,by ,sir ,a4 ,,geikie1 ,f4,r4,s4 ,with numerous ,illustrations4 ,new ,edition4 ,,physical ,,geography4 ,by ,sir ,a4 ,,geikie1 ,f4,r4,s4 ,with numerous ,illustrations and ,questions4 ,new ,edition4 ,,botany4 ,by ,sir ,j4 ,d4 ,,hooker1 ,f4,r4,s4 ,new ,edition1 revised and corrected4 ,,physiology4 ,by ,,michael ,,foster1 ,m4,d41 ,f4,r4,s4 ,with numerous ,illustrations4 ,new ,edition4 ,,logic4 ,by ,w4 ,,stanley ,,jevons1 ,f4,r4,s4 ,new ,edition4 ,,political ,,economy4 ,by ,w4 ,,stanley ,,jevons1 ,f4,r4,s4 ,uniform with the ,above4 ,,first ,,lessons ,,in ,,practical ,,botany4 ,by ,g4 ,t4 ,,bettany1 ,m4,a41 ,f4,l4,s4 ,pott #hvo4 #as4 ,,first ,,principles ,,of ,,agriculture4 ,by ,h4 ,,tanner1 ,f4,c4,s4 ,pott #hvo4 #as4 ,,elementary ,,science ,,class ,,books4 ,,algebra ,,for ,,beginners4 ,by ,h4 ,s4 ,,hall1 ,m4,a41 and ,s4 ,r4 ,,knight1 ,b4,a4 #bs4 ,,with ,,answers4 #bs4 #f;d4 ,,mechanics ,,for ,,beginners4 ,by ,rev4 ,j4 ,b4 ,,lock1 ,m4,a4 ,part ,i4 ,mechanics of ,solids4 #bs4 #f;d4 ,,schoolmaster4--8,bears the stamp of an author who is thoroughly at home in his subject4 ,careful arrangement1 logical explanation1 suitable illustrations and numerous examples testify to the value of the book40 ,part ,,ii4 ,mechanics of ,fluids4 ,in preparation4 ,,elementary ,,lessons ,,in ,,heat1 ,,light1 ,,and ,,sound4 ,by ,prof4 ,d4 ,e4 ,,jones1 ,b4,sc4 #bs4 #f;d4 ,adapted to the ,elementary ,stage of the ,south ,kensington ,syllabus4 ,the questions at the ends of chapters are taken partly from the ,elementary ,papers of the ,science and ,art ,department4 ,,electricity ,,and ,,magnetism ,,for ,,beginners4 ,adapted to the ,elementary ,stage of the ,south ,kensington ,syllabus4 ,by ,prof4 ,s4 ,p4 ,,thompson4 ,in preparation4 ,,inorganic ,,chemistry ,,for ,,beginners4 ,by ,sir ,,henry ,,roscoe1 ,f4,r4,s41 assisted by ,,joseph ,,lunt1 ,b4,sc4 #bs4 #f;d4 ,adapted to the ,elementary ,stage of the ,south ,kensington ,syllabus4 ,,organic ,,chemistry ,,for ,,beginners4 ,by ,g4 ,s4 ,,turpin1 ,m4,a4 ,adapted to the ,elementary ,stage of the ,south ,kensington ,syllabus4 ,ready shortly4 ,,physiography ,,for ,,beginners4 ,by ,j4 ,e4 ,,marr1 ,m4,a41 ,f4,r4,s41 and ,a4 ,,harker1 ,m4,a41 ,f4,g4,s4 ,adapted to the ,elementary ,stage of the ,south ,kensington ,syllabus4 ,ready shortly4 ,,physiology ,,for ,,beginners4 ,by ,prof4 ,,michael ,,foster and ,dr4 ,l4 ,e4 ,,shore4 ,adapted to the ,elementary ,stage of the ,south ,kensington ,syllabus4 ,ready shortly4 ,,some ,,volumes ,,of 8,,nature0 ,,series4 ,crown #hvo4 ,cloth4 ,,seeing ,,and ,,thinking4 ,by ,prof4 ,w4 ,k4 ,,clifford1 ,f4,r4,s4 ,diagrams4 #cs4 #f;d4 ,,popular ,,lectures ,,and ,,addresses4 ,by ,lord ,,kelvin1 ,p4,r4,s4 ,in #c vols4 ,vol4 ,i4 ,constitution of ,matter4 ,illustrated4 #gs4 #f;d4 ,vol4 ,,iii4 ,navigation4 #gs4 #f;d4 ,,modern ,,views ,,of ,,electricity4 ,by ,prof4 ,o4 ,j4 ,,lodge1 ,,ll4,d4 ,illustrated4 #fs4 #f;d4 ,a ,,century ,,of ,,electricity4 ,by ,t4 ,c4 ,,mendenhall4 #ds4 #f;d4 ,,charles ,,darwin4 ,memorial ,notices reprinted from 8,nature40 ,by ,,thomas ,h4 ,,huxley1 ,f4,r4,s41 ,g4 ,j4 ,,romanes1 ,f4,r4,s41 ,sir ,,archibald ,,geikie1 ,f4,r4,s41 and ,w4 ,t4 ,,dyer1 ,f4,r4,s4 #bs4 #f;d4 ,,the ,,scientific ,,evidences ,,of ,,organic ,,evolution4 ,by ,,george ,j4 ,,romanes1 ,f4,r4,s4 #bs4 #f;d4 ,,are ,,the ,,effects ,,of ,,use ,,and ,,disuse ,,inherited8 ,an ,examination of the ,view held by ,spencer and ,darwin4 ,by ,w4 ,,platt ,,ball4 #cs4 #f;d4 ,,on ,,the ,,colours ,,of ,,flowers4 ,by ,,grant ,,allen4 ,illustrated4 #cs4 #f;d4 ,,the ,,apodid3 ,a ,,morphological ,,study4 ,by ,,henry ,,meyners ,,bernard1 ,m4,a4 ,cantab4 ,with #ga ,illustrations4 #gs4 #f;d4 ,,scotsman4--8,a book which zoologists will very greatly prize4 ,the writer has worked out the task he set before him with the greatest care and in the most elaborate manner1 and has presented the fruits of his labour in a volume which every lover of scientific investigation will thoroughly appreciate4444 ,a valuable contribution to zoological investigation40 ,,the ,,right ,,hand3 ,,left-,,handedness4 ,by ,sir ,d4 ,,wilson4 ,illustrated4 #ds4 #f;d4 ,,macmillan ,,and ,,co41 ,,london4 99 99 99 99 99 ,transcriber's ,note ,punctuation has been standardised4 ,missing periods and dashes have been supplied where obviously required4 ,all other original errors and consistencies have been retained 7of particular note is the #8v' for #8u' substitution in #8,,illvstrations' on the title page71 except as follows3 ,page #e3 changed #b to ,,ii 7 ,,ii4 ,,an ,,historical ,,sketch47 ,page #e3 changed whch to which 7,england herself which is the7 ,page #g3 added missing footnote marker 7,mycen and ,tiryns4#a7 ,page #ag3 changed ,phoenician to ,phnician 7,carthage by the ,phnician ,dido is7 ,page #ai3 changed ,sta4 to ,st4 7domes of ,st4 ,sophia and ,st4 ,mark's47 ,page #fb3 changed statutes to statues 7font has leaden statues of the7 ,page #fb3 changed ,walmsford to ,wansford 7,northamptonshire ,wansford7 ,page #id3 removed duplicate word #8a' 7shoulder sank a little and7 ,page #ajc3 added missing paragraph break 78,all the above four figure yards7 ,page #aji3 changed enought to enough 7',twas enough to break my heart7 ,page #aji3 changed ,chere to ,cheere 7,mr4 ,john ,cheere in ,st4 ,martin's ,lane17 ,page #aaa3 changed ,bemfila to ,bemfica 7a garden at ,bemfica 8which eclipses7 ,page #abd3 changed ,caumonts's to ,caumont's 7,de ,caumont's ,abcdaire47 ,ads page #a3 changed ,manua to ,manual 7,a ,graduated ,system of ,manual7