after the great fire of London in 1664, Gothic had fallen more and more into disuse. "If in the history of British art," says Eastlake, "there is one period more distinguished than another for the neglect of Gothic, it was certainly the middle of the eighteenth century." But architecture had this advantage over other arts, it had left memorials more obvious and imposing. Mediæval literature was known only to the curious, to collectors of manuscript romances and black-letter ballads. The study of medieval arts like tempera painting, illuminating, glass-staining, woodcarving, tapestry embroidery; of the science of blazonry, of the details of ancient armor and costumes, was the pursuit of specialists. But Westminster Abbey, the Tower of London, Salisbury Cathedral, and York Minster, ruins such as Melrose and Fountain Abbeys, Crichton Castle, and a hundred others were impressive witnesses for the civilization that had built them and must, sooner or later, demand respectful attention. Hence it is not strange that the Gothic revival went hand in hand with the romantic movement in literature, if indeed it did not give it its original impulse.

*

"It is impossible," says Eastlake, speaking of Walpole, "to peruse either the letters or the romances of this remarkable man, without being struck by the unmistakable evidence which they contain of his mediæval predilections. His Castle of Otranto was perhaps the first modern work of fiction which depended for its interest on the incidents of a chivalrous age, and it thus became the prototype of that class of novel which was afterward imitated by Mrs.

*"History of the Gothic Revival," p. 43.

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Radcliffe and perfected by Sir Walter Scott. The feudal tyrant, the venerable ecclesiastic, the forlorn but virtuous damsel, the castle itself with its moats and drawbridge, its gloomy dungeons and solemn corridors, are all derived from a mine of interest which has since been worked more efficiently and to better profit. But to Walpole must be awarded the credit of its discovery and first employment."

Walpole's complete works* contain elaborate illustrations and ground plans of Strawberry Hill. Eastlake gives a somewhat technical account of its constructive features, its gables, buttresses, finials, lath and plaster parapets, wooden pinnacles and, what its proprietor himself describes as his "lean windows fattened with rich saints." From this I extract only the description of the interior, which was "just what one might expect from a man who possessed a vague admiration for Gothic without the knowledge necessary for a proper adaptation of its features. Ceilings, screens, niches, etc., are all copied, or rather parodied, from existing examples, but with utter disregard for the original purpose of the design. To Lord Oxford, Gothic was Gothic, and that sufficed. He would have turned an altar-slab into a hall-table, or made a cupboard of a piscina, with the greatest complacency, if it only served his purpose. Thus we find that in the north bed-chamber, when he wanted a model for his chimney-piece, he thought he could not do better than adopt the form of Bishop Dudley's tomb in Westminster Abbey. He found a pattern for the piers of his garden gate in the choir of Ely Cathedral."

*"Works of Horace Walpole, Earl of Orford," in five volumes, 1798. "A Description of Strawberry Hill," Vol. II. pp. 395–516.

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The ceiling of the gallery borrowed a design from Henry VII.'s Chapel; the entrance to the same apartment from the north door of St. Alban's; and one side of the room from Archbishop Bourchier's tomb at Canterbury. Eastlake's conclusion is that Walpole's Gothic, "though far from reflecting the beauties of a former age, or anticipating those which were destined to proceed from a re-development of the style, still holds a position in the history of English art which commands our respect, for it served to sustain a cause which had otherwise been well-nigh forsaken."

James Fergusson, in his "History of the Modern Styles of Architecture," says of Walpole's structures: "We now know that these are very indifferent specimens of the true Gothic art, and are at a loss to understand how either their author or his contemporaries could ever fancy that these very queer carvings were actual reproductions of the details of York Minster, or other equally celebrated buildings, from which they were supposed to have been copied." Fergusson adds that the fashion set by Walpole soon found many followers both in church and house architecture, "and it is surprising what a number of castles were built which had nothing castellated about them except a nicked parapet and an occasional window in the form of a cross. That school of bastard Gothic illustrated by the buildings of Batty Langley, and other early restorers of the style, bears an analogy with the imitations of old English poetry in the last century. There was the same prematurity in both, the same defective knowledge, crudity, uncertainty, incorrectness, feebleness of invention, mixture of

ancient and modern manners. It was not until the time of Pugin that the details of the medieval building art were well enough understood to enable the architect to work in the spirit of that art, yet not as a servile copyist, but with freedom and originality. Meanwhile, one service that Walpole and his followers did, by reviving public interest in Gothic, was to arrest the process of dilapidation and save the crumbling remains of many a half-ruinous abbey, castle, or baronial hall. Thus, "when about a hundred years since, Rhyddlan Castle, in North Wales, fell into the possession of Dr. Shipley, Dean of St. Asaph, the massive walls had been prescriptively used as stone quarries, to which any neighboring occupier who wanted building materials might resort; and they are honey-combed all round as high as a pick-ax could reach." + "Walpole," writes Leslie Stephen, "is almost the first modern Englishman who found out that our old cathedrals were really beautiful. He discovered that a most charming toy might be made of mediævalism. Strawberry Hill, with all its gimcracks, its pasteboard battlements and stained-paper carvings, was the lineal ancestor of the new law-courts. The restorers of churches, the manufacturers of stained glass, the modern decorators and architects of all varieties, the Ritualists and the High Church party, should think of him with kindness. .That he was

* Pugin's "True Principles of Gothic Architecture" was published in 1841.

"Sketches of Eminent Statesmen and Writers," A. Hayward (1880). In a note to "Marmion " (1808) Scott said that the ruins of Crichton Castle, remarkable for the richness and elegance of its stone carvings, were then used as a cattle-pen and a sheep-fold

quite conscious of the necessity for more serious study, appears in his letters; in one of which, e. g., he proposes a systematic history of Gothic architecture such as has since been often executed." * Mr. Stephen adds that Walpole's friend Gray "shared his Gothic tastes, with greatly superior knowledge."

Walpole did not arrive at his Gothicism by the gate of literature. It was merely a specialized development of his tastes as a virtuoso and collector. The museum of curiosities which he got together at Strawberry Hill included not only suits of armor, stained glass, and illuminated missals, but a miscellaneous treasure of china ware, enamels, faïence, bronzes, paintings, engravings, books, coins, bric-a-brac, and memorabilia such as Cardinal Wolsey's hat, Queen Elizabeth's glove, and the spur that William III. wore at the Battle of the Boyne. Walpole's romanticism was a thin veneering; underneath it, he was a man of the eighteenth century. His opinions on all subjects were, if not inconsistent, at any rate notoriously whimsical and ill-assorted. Thus in spite of his admiration for Gray and his-temporary-interest in Ossian, Chatterton, and Percy's ballads, he ridiculed Mallet's and Gray's Runic experiments, spoke contemptuously of Spenser, Thomson, and Akenside, compared Dante to "a Methodist parson in bedlam," and pronounced "A Midsummer Night's Dream" "forty times more nonsensical than the worst translation of any Italian opera-books." He said that poetry died with Pope, whose measure and manner he *"Hours in a Library," Second Series: article, "Horace Wal. pole."

Letter to Bentley, February 23, 1755.