DOI Page / Citation link:
https://doi.org/10.11588/diglit.6914#0168
136
ARCHITECTURAL ANTIQUITIES.
corpse rested one night on its way from the place of her decease to that of inter-
ment, in Westminster Abbey church.35
Gough has calculated that there were originally fifteen of these crosses, the sites
of which, he states, are still pointed out, either by tradition or history, but only
three are now remaining, namely, those at Geddington, Northampton, and Waltham
Cross. Though now in a very shattered and imperfect condition when compared
with what must have been their original elegance, they still display both scientific
execution and beauty of design of a superior kind. Walpole, following the surmise
of Vertue, has given currency to the opinion that these crosses were designed by
the celebrated Italian artist, Peter Cavallini, but there is not the least valid ground
for such an inference, and from all that is known upon the subject we have full as
much reason to conclude that they were devised by English artists as by any
foreigner."36
The crosses of Geddington and Northampton are elevated on basements of several
steps, but that at Waltham Cross, from the great rise of the high road, to which it
is immediately adjacent, has a dwarfish appearance, and seems as though based on
the ground, although it cannot reasonably be questioned that it stands on a flight of
steps like the others. These crosses consist of three stages, or stories, the middle-
35 In the new and beautiful edition of Walpole's " Anecdotes of Painting," augmented by the Rev.
James Dallaway, (vol. i. p. 35, note) is the following passage, but the source of the information is not
stated.—" The statue of Queen Elinor is said to have been modelled from her person after death, and pro-
bably by an Italian sculptor, from which all the others were copied; and it has been asserted, that it was
considered as the worthy prototype of the numerous images of the Virgin Mary for a century afterwards."—
Brayley, speaking of this figure in the " History, &c. of Westminster Abbey," has these words : " The
Queen's statue is a very admirable performance ; the peculiar sweetness and beauty imparted to the
countenance cannot easily be excelled, and the benign aspect of virtuous composure which it exhibits is of
the most elevated cast." He should have added that those remarks particularly apply to the figure as seen
in profile.—" Even the very attitude," he continues, " is indicative of a chaste and pious dignity."
26 An absurd idea has been too long current among Topographical writers that we are indebted to
foreigners for all our excellence in art in ancient works; but from the more sedulous and attentive
inquiries of late years many names of English artists and workmen of great eminence in different walks of
art might now be produced, though but little can be traced of them beyond the mere conjunction of their
names with the works which they executed, or in which they were engaged. It might also be affirmed,
with every appearance of truth, that the names and condition of many other native artists of first-rate
talents would be rescued from an undeserved and inglorious obscurity, were the archives of our collegiate
and cathedral establishments carefully examined by persons duly qualified for the task.
ARCHITECTURAL ANTIQUITIES.
corpse rested one night on its way from the place of her decease to that of inter-
ment, in Westminster Abbey church.35
Gough has calculated that there were originally fifteen of these crosses, the sites
of which, he states, are still pointed out, either by tradition or history, but only
three are now remaining, namely, those at Geddington, Northampton, and Waltham
Cross. Though now in a very shattered and imperfect condition when compared
with what must have been their original elegance, they still display both scientific
execution and beauty of design of a superior kind. Walpole, following the surmise
of Vertue, has given currency to the opinion that these crosses were designed by
the celebrated Italian artist, Peter Cavallini, but there is not the least valid ground
for such an inference, and from all that is known upon the subject we have full as
much reason to conclude that they were devised by English artists as by any
foreigner."36
The crosses of Geddington and Northampton are elevated on basements of several
steps, but that at Waltham Cross, from the great rise of the high road, to which it
is immediately adjacent, has a dwarfish appearance, and seems as though based on
the ground, although it cannot reasonably be questioned that it stands on a flight of
steps like the others. These crosses consist of three stages, or stories, the middle-
35 In the new and beautiful edition of Walpole's " Anecdotes of Painting," augmented by the Rev.
James Dallaway, (vol. i. p. 35, note) is the following passage, but the source of the information is not
stated.—" The statue of Queen Elinor is said to have been modelled from her person after death, and pro-
bably by an Italian sculptor, from which all the others were copied; and it has been asserted, that it was
considered as the worthy prototype of the numerous images of the Virgin Mary for a century afterwards."—
Brayley, speaking of this figure in the " History, &c. of Westminster Abbey," has these words : " The
Queen's statue is a very admirable performance ; the peculiar sweetness and beauty imparted to the
countenance cannot easily be excelled, and the benign aspect of virtuous composure which it exhibits is of
the most elevated cast." He should have added that those remarks particularly apply to the figure as seen
in profile.—" Even the very attitude," he continues, " is indicative of a chaste and pious dignity."
26 An absurd idea has been too long current among Topographical writers that we are indebted to
foreigners for all our excellence in art in ancient works; but from the more sedulous and attentive
inquiries of late years many names of English artists and workmen of great eminence in different walks of
art might now be produced, though but little can be traced of them beyond the mere conjunction of their
names with the works which they executed, or in which they were engaged. It might also be affirmed,
with every appearance of truth, that the names and condition of many other native artists of first-rate
talents would be rescued from an undeserved and inglorious obscurity, were the archives of our collegiate
and cathedral establishments carefully examined by persons duly qualified for the task.