THR following particulars have been added in a supplementary list because they could not be inserted in their proper places without a risk of error, for time would not permit that the list should be corrected throughout after the insertion of them. They include also two or three items omitted by mistake.

The Earl of Ashburnham.

MISSAL. SARUM. 1504, fol. Paris.
Byrkman.
BREVIARY. SARUM.
HORA, B.V.M.

Hopyl, imp. Cluen de Ammerfort and 1514, fol. Paris. Hopyl.

SARUM.

vel.

1556, 4to. 2 vols. London. Kingston and Sutton.
After 1520, large 8vo. Paris. Higman, for S. Vostre.
1527. Paris. Hardouyn. Vel.

PRYMER, English. 1535, 4to. London. Byddel, for Marshall. Vel.

Stonyhurst College.

OFFICIUM, B.V.M. SARUM.
Vostre.

Imp. n.d. 1512-1530? 8vo.

Paris. Expensis

MISSAL. SARUM. 1519, Oct. 30, 4to. Paris. Higman.

HORE, B. V. M. SARUM. 1526, Jan. 11, long and very narrow 8vo. Paris. Regnault.

PRYMER. SARUM. English, 1521, 12mo. Paris. Regnault.

English and Latin, and Epistles and Gospels. 1541, 8vo.

London. Thomas Petyt.

HORA, B. V. M. SARUM. 1556, 12mo. Rouen. Valentin.

BREVIARY. SARUM. P. H. 1556, small 32mo. Rouen. Valentin.
ENCHIRIDION. SARUM. 12mo. Paris?

LIBER FESTIVALIS. Three editions; by Caxton; by Faques; and one anonymous. See No. 20, p. 8; No. 30, p. 12; No. 537, p. 241; also pp. 329-397.

I have let slip an opportunity of looking over these references. They were given me by the gentleman who kindly communicated to me the list of books at Oscott.

Balliol College, Oxford.

PRIMER, Latin. Small fol. Illuminated. No title page.

Mr. Toovey.

PSALTER, or imperfect Breviary. Sarum. Small fol.

The Calendar, and the latter part of the Sarum Breviary of 1555, at S.Cuthbert's College, Ushaw, appear to have been printed at a different time from the rest; and the like may be said of Mr. Horner's Breviary, 1535–55, marked *.

The small Tract, A. B. C., was found in the original binding of the Missal of 1557, at Ushaw. It consists of half a sheet of eight pages, by Day. No date.

In Mr. Grenville's Library.

PRAYER, of Salisbury Use. n.d., 8vo., (1531.)

British Museum.

Latin, some English at the end.

Before the Horæ of 1498, at Trinity College, Cambridge, is a short godly psalm of Queen Mary, by Richard Beard. A.D. 1555. London. W. Griffith. Six leaves.

British Museum. Maskell.

PRYMER, in English. London. 12mo., 1560. Seres.

Mr. Pickering.

PRYMER, with the Pystles and Gospels. 8vo. The Primer is of Paris, 1538. Pystels and Gospels no date, but seems to be of the same date with the rest.

PYSTELS AND GOSPELS. 4to. London. n.d. Abraham Vele.

4to. London. n.d. (1544-8.) John Hereforde.
4to. W. Powell. n.d.

PRYMER, English and Latin. 4to. 1557. London.

Kingston and Sutton. At

the end, another copy of the last mentioned Pystels and Gospels.

PYSTELS AND GOSPELS. 1538, 12mo. or 8vo.

1553, 12mo. John Waley.

MANUALE. SARUM.

MISSALE.

SARUM.

1540, 4to. Richard Bankes.

n.d. (about 1546,) 4to. T. Petyt.

1574, 4to. London. John Awdeley.

1554, 4to. Rouen. Valentin imp.

1554, 4to. Rouen. Valentin and Hamillon imp.

There seems to be another Primer, without date, at Emmanuel College, Cambridge.

A Sarum Manual at Caius College, H 2, 4to., Rouen imp., wants colophon. It was presented to the college by Humphrey de la Poole in 1498.

Mr. Mendham has a copy of the Sarum Missal of 1515.

ARCHITECTURAL LOCALISMS, AS ILLUSTRATED BY THE CHURCHES OF NORTHAMPTONSHIRE AND LEICESTERSHIRE.

A Paper read before the Oxford Architectural Society, June 6th, 1849, by EDWARD A. FREEMAN, M.A., Corresponding Secretary.*

(Concluded from page 192.)

We have now finally to consider the district under examination with reference no longer to the outline and proportion of its churches, but as to the illustrations which it affords of the history of architecture, of the developement and progress of successive styles. In this respect Northamptonshire is one of the most important counties in England. Its merit does not lie, like that of some others, Somerset for instance, in possessing a single prevalent style, and exhibiting first-rate examples of that style in all its fulness. Work of all dates is very much mixed together, and a church, historically or aesthetically belonging to a single period, is decidedly the exception. But in tracing out the successive changes which architecture underwent in this country, probably no district could afford us more assistance. Containing work of all dates, it is more especially rich in those specimens of transition from one style to another which are historically the most valuable of all, and at almost every period the actual style of architecture, as well as the features of the churches, presents some unmistakeable local impress.

:

Of Norman work a good deal occurs, but chiefly in the centre of the county, immediately around Northampton. In that neighbourhood a very large proportion of the churches contain portions, and sometimes very extensive ones, of that style; but more to the north and south examples are much less frequent. The remains of this period, with the exception of doorways, are almost entirely confined to the interiors piers and arches of this style are very common, but the walls seem to have been almost always rebuilt, so that the characteristic Norman exterior, with its ranges of pilasters and windows, hardly ever occurs. Some slight approaches to it may be traced in the round part of S. Sepulchre's, but the effect is almost entirely destroyed by later insertions and mutilations. Consequently the visitor will continually find the predominant character of an interior Norman, when an external view gave not the least promise of any such gratification.

Nowhere can the genuine Norman pier and arch as adapted to small parish churches be better studied than in this county. The pier is usually columnar, of low proportions, but not lower than the style demands; it is finished with a carved capital and square abacus, and supports an arch usually without any moulding or other ornament.

* [We have not thought it right in a paper bearing the name of its author to alter his nomenclature; but in retaining that of Rickman in this instance, we beg to have it understood that we are not at all more favourable to it than we have hitherto been.--ED.]

The rich arches of S. Peter's are an exception, and the columns also are much slenderer than usual, and provided with an anomalous band. On the other hand we find at Grendon an example of what is very rare, because very unnecessary, in parochial architecture, the vast cylindrical piers common, and most appropriate, in our greater churches. At Towcester are some curious clustered piers, oddly enriched with the chevron.

The churches of Kingsthorpe, Brockhall, and Spratton, will supply excellent studies of the Norman arcade, as it occurs in Northamptonshire; the first is the best example, the second being very plain, and the third verging on Transition. And I must not omit to mention the northern arcade at Brigstock, as supplying, when compared with the well-known belfry arch, a most striking proof of the difference between Anglo-Saxon and Norman Romanesque.

Norman doorways are common enough in the district where the style is usual, and, as in other parts of England, they are not unfrequent even where the Norman pier and arch is seldom found. Very large and rich doorways, such as those of Iffley or Malmsbury Abbey, are hardly found, and many quite plain ones, without shaft or moulding, occur in small churches or in inferior positions. But most of them have at least one order furnished with a shaft, and more or less moulding to the arch. Very good examples occur at S. Giles Northampton, Spratton, Roade, Brackley, Wellingborough, Werrington, and Earls Barton, the latter remarkable for the use of the beak-head moulding, whereas the ornament employed is usually only of the chevron form. It is curious that at S. Peter's, where the internal Norman work is so gorgeous, the doorways are much plainer than usual. At Pitsford is the only example I remember of a tympanum, which is covered with sculpture.

The remarks I have already made exclude the possibility of any extensive occurrence of Norman windows; and I am not aware of the existence of any enriched ones. I have already mentioned the clerestories at S. Peter's and Rothwell; a few other small and plain windows are found here and there, as at Roade, and at Upton, a small and rude, but comparatively unaltered, Norman church. And I may here mention the pilasters and bell-gable at the west end of Northborough as an instance cf external Norman work. The usual reconstruction of the external walls prevents also any great appearance of mural arcades, inside or out; but a very noticeable one runs along the interior of the chancel at Earls Barton.

As far as I am acquainted with Leicestershire it contains but little Norman work; even doorways are quite rare in the parts I have visited. The most notable Romanesque specimen is one of a sort quite different from anything in Northamptonshire, namely, the choir of S. Mary's, in Leicester, where we have no piers or arches, but one of the finest displays in England of an unaltered range of large and rich Norman windows, with external pilasters of singular character. The same church has a good deal of Norman work besides, especially a very odd arcade at the west end. The sedilia are well known. The other churches in Leicester, differing in this as in other respects from those in the rest of the county, contain some Norman work: I may

particularly mention the plain, but grand, lantern arches of S. Martin's. Thurcaston church has a good Norman doorway, and South Kilworth, on the Northamptonshire border, a plain arcade with columnar piers, a ruder version of the Northamptonshire type.

Proceeding from Romanesque to the transitional forms between that style and Gothic, we shall find that period exhibiting the architecture of Northamptonshire in its most interesting aspect. The local forms of the Transition are more remarkable than any which occur earlier or later, and are worthy of the most attentive study: the more so as they depart very widely from the ordinary and natural progress of the developement. Without going at any length into the history and philosophy of the Transition, I may briefly recapitulate that its natural and normal course seems to be to engraft the pointed arch, first as one of construction, then as one of decoration, upon Romanesque architecture otherwise unaltered, and finally by degrees to bring the mouldings and other details into conformity with the construction thus established. Hence the pointed arch, without mouldings, and supported by Romanesque piers, though inconsistent and often unsightly, is a necessary stage in the developement of Gothic art. But the use of the round arch with confirmed Gothic detail is no stage of the developement, but something unnatural and anomalous; yet at the same time it was most likely to happen during a great architectural revolution, which could not fail to call out great diversities of taste, and all of whose conductors could not have been philosophic artists. And this form of architecture not only exists, but affords us an opportunity of contemplating a double localism. It is a style characteristic of Northamptonshire, and it is moreover characteristic of north-eastern Northamptonshire as opposed to the rest of the county. Allowing, as before, for a few occasional exceptions, we may again make an architectural division of the county, nearly coinciding with our former one of the "tower" and the "spire country." The latter clave to the round arch long after its days were elsewhere numbered, in the former an extensive use of the pointed was early introduced. The north gives us an inconsistent style of architecture, set off in many instances by great beauty of detail; the south presents the ordinary and natural progress of the developement in a somewhat rude form. There are several examples of this stage in the southern parts of the county. Stowe church, well known for its Anglo-Saxon tower, and King's Sutton, so famous for its spire, exhibit in their interiors the pointed arch supported on the ordinary Romanesque column of the district. In the round part of S. Sepulchre's* we have plain, almost rude, pointed arches resting on cylindrical piers of amazing bulk. But the finest specimen of the kind is the superb church of Rothwell,

Some of the features in the choir of this church are odd: in the north arcade the responds are Romanesque, the piers Early English, yet they seem contemporary. Of this sort of transition, consisting of a simultaneous use of different styles, we shall soon come to another instance in Roade church. The triplet at the east end of the north aisle has square abaci, as have the couplets in the chancel at Cogenhoe, which are set under blank arches, like pier-arches, but clearly never designed to be opened. There is a similar arrangement in the chancel at Cuddesden, but I do not recollect it elsewhere in Northamptonshire.