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Mr. URBAN,

YOU

Aubrey Family?—Apprentices.—Dr. Loss?

Jan. 12.

YOU will oblige me by inserting the following, as a preliminary to a genealogical inquiry.

Dr. William Aubrey was buried in

St. Paul's Cathedral, where he had a monument affixed to the north wall, opposite to the choir, with his bust. An engraving of this monument may be seen in Dugdale's History of St. Paul's. He is represented in his gown, with a close black cap on his head, a quilled ruff and ruffles: his right hand holding a pair of gloves, his left resting on a skull. On a shield, above the pediment: Arms, per fess and pale, 1 and 6, a chevron between three eagles' heads erased, Aubrey. 2. A lion rampant. 3. A chevron between three spear-heads. 4. Three cocks. 5. Three fleurs-de-lis. Crest, an eagle's head erased. On smaller shields are several other coats for his sons and daughters.

In Roman capitals:

"Gulielmo Aubreo, clara familia in Breconia orto, LL. in Oxonia Doctori, ac Regio Professori; Archiepiscopi Cantuariensis causarum Auditori, et Vicario in spiritualibus generali; exercitus Regii ad S. Quintin supremo Juridico; in limitane' Walliæ conciliu' adscito Cancellarie Magistro; et Regine Elizabethe a supplicum libellis; viro exquisita eruditione, singulari prudentia, et moribus suavissimis; qui, tribus filiis et sex filiabus è Wilgiforda uxore susceptis, æternam in Christo vitam expectans, animam Deo

[Jan.

merous, but said to have failed in the T. A. next generation.

MR. URBAN, Rochester, Jan. 24.

WHEN the March of Intellect is

making rapid innovations on the habits transmitted by our ancestors, it is not matter of surprise that the rising generation, at this time, should partake of its influence, in striving to become independent of all restraint and discipline essential to their present and future welfare in life.

The following subject, on which I seek information from some of your correspondents enabled to afford it, is important in the government of families generally, but especially to those in charge of young persons. A respectable female in my neighbourhood has several young articled apprentices to her business. On threatening one of them, lately, with personal chastisement for some serious offence, she was pertly told by the girl (not fifteen), that no mistress had any lawful right to do so; and that, if she proceeded, she would be summoned before a court. Forbearance was the consequence, and the result (as might naturally be expected)_endless confusion in the family. For this lady's government, as well as others similarly placed, I wish to know, through your excellent Miscellany, if masters and mistresses are legally justified in inflicting moderate

xxx111 Julii 1595, ætatis suæ 66, placide whipping, with the birch-rod, on ap

reddidit.

"Optimo Patri Edwardus et Thomas, Milites, ac Johannes, Armiger, filii mœstissimi posuerunt."

This Dr. Aubrey married Williford, eldest daughter of John Williains, esq. of Oxfordshire; which brings me to my question, Whether this John Williams were of Taiuton or Yarnton, or of what other parish or place in Oxfordshire? Whether of the family of Lord Williams of Thame, and in what degree related to the latter? and whether any of your correspondents will have the goodness to inform me of such particulars as have come to their knowledge respecting Sir Edward Aubrey, or Awbrey, Knt. of Tredowen, supposed to have been eldest son of Dr. Aubrey, and of his issue by Joane Havard, coheiress of the Havards of Brecknockshire, which issue were nu

prentices, or even articled domestic servants, under fifteen or sixteen years of age, when their conduct absolutely requires wholesome (not cruel) correction, and after all other means of controul have been resorted to in vain. Yours,

MR. URBAN,

IN

Z. L.

Taunton, Jan. 15. N 1762, a small medical work was published, with the following title: "Frederici Lossii, Heidelbergensis Palatini, Medici Dorchestrensis, Observationum Medicinalium Libri Quatuor. Londini, 1672.”

As the author was for a long series of years a physician of eminence at Dorchester, may I ask where any account of him, or his writings, is to be found, or whether any of your Correspondents in the county of Dorset are in possession of any particulars relating to him.

Yours, &c.

A. D..

1829.] St. John's Church, Upper Holloway, Islington.

NEW CHURCHES.-No. XX.

Oview of the three New Churches

UR present engraving comprises

built in the parish of Islington. In the outset, it is but justice to remark, that great credit is due to all the parties concerned in the work; to the parish particularly, for the selection of a style of architecture peculiarly adapted to ecclesiastical buildings, and for the choice of architects possessed both of taste and talent. The first and last subjects are the production of Charles Barry, esq. the architect of St. Peter's, Brighton; the new spire of Petworth Church, Sussex; and the alterations of St. Mary, Stoke Newington. The middle subject is by James Savage, esq. architect of St. Luke's Church, Chelsea; St. James's, Bermondsey, &c. Both of these gentlemen have distinguished themselves above their predecessors and their contemporaries, by their excellent designs in our national style of architecture.

The first in order of date, and having priority in the engraving, has the preference in point of description, as it would be invidious to make a distinction in the merits of the buildings. ST. JOHN'S CHURCH, UPPER HOL

LOWAY.

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Architect, Barry.

This Church is situated on the south side of the high road, and nearly opposite to the branch leading to the Highgate Archway. It is built with a fine white brick, the ornamental portions executed in Bath stone. The plan gives a nave and side ailes, with a square tower, flanked with vestibules at the western end, and a small vestry attached to the opposite extremity. The basement floor is occupied by ca

tacombs.

The western front of the Church is made in breadth into three portions. The centre is occupied by the tower, in which is the principal entrance. It has a Pointed arch, with an ogée canopy, crocketted, and ending in a finial; the outer moulding springs from bustos. Above this is a window of a single light, and to this succeeds a pannel, intended for the dial. The upper story of the tower is clear of the Church; it owes more to the gracefulness of its proportions, than to its height or dimensions; the angles are guarded by duplicated buttresses, and in each face GENT. MAG. January, 1829.

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is a Pointed window, nearly occupying the space between the buttresses. The windows are each divided by a single mullion into two lights, with arched heads, inclosing five sweeps; the head of the arch is occupied by a single division of a similar character, and its exterior lines are inclosed in a

sweeping cornice. Over a cornice charged with reliefs of masks and roses, an embattled parapet finishes the walls; and the buttresses at the angles terminate in square pedestals, surmounted by crocketted pinnacles, crowned by finials. The remainder of the west front is plain and unadorned. The flanks are uniform, or nearly so.' The aisle is made into seven divisions by buttresses, those at the angles project diagonally from the wall, and are crowned with pinnacles; the others finish below a cornice just above the points of the windows, over which the elevation is terminated by a plain parapet. The windows resemble in design those in the tower already particularized; they are divided into two heights by a transom, the lights below which are distinguished from those above by the arched heads being destitute of the ornamental sweeps. The first window from the west in the south aisle, and the first and last in the north aile, have their lower series of lights omitted to make way for doorways. The frontispieces are all alike; the arches are pointed, and inclosed in a square head, the sweeping cornice resting on busts of a King and a Bishop, which are all copies of each other-a want of invention seldom or ever displayed by our ancient architects. The spandrils of the several doorways are filled with foliage, interwoven with the monograms JD and XPS.

The aisles fall short of the nave in length by one division at both extremities, allowing for the projection of the tower at one end, and of a chancel at the other. In the eastern ends of the aisles are simple windows of one light each, which, however, are only introduced to avoid a dead space, as they give no light to the Church.

The clerestory is divided by buttresses into the same number of divisions as the aisle, and each contains a window of two lights divided by a single mullion. The upright is finished with a plain parapet and coping, simi

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St. John's Church, lar to the aisle. The east end of the chancel has a handsome window nearly occupying the whole of the wall; it is made in breadth by four mullions into five lights, which are subdivided in height by a transom; the head of the arch is occupied by smaller perpendicular divisions, and the detail of the whole assimilates with the aisle windows; the arch is finished by a sweeping cornice. Below this window is the vestry, a plain room, semi-octagonal in plan, with a square window in the eastern face. At the angles of the main building are buttresses crowned with pinnacles; little above the point of the window is a square aperture inclosing a quatrefoil; and then succeeds a pedimental cornice, over which the elevation is finished with a coping of the same form. On the point is an elegant cross flory, pierced with a lozenge in the centre.

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THE INTERIOR

Is simple and chaste; the arches form a medium between the obtuse and low forms of the Tudor æra and the acutely-pointed ones of the thirteenth century, occupying a larger space, with reference to the pillars, than those gracefully formed arches which are always found in works of the fourteenth century; they may in consequence be said to form a medium between the last period and the firstnamed æra the architect having adopted that modification of the Pointed style, in which a vast number of the ancient parochial churches is erected, a simple unostentatious style which prevailed about the middle of the fif teenth century, and which, from its light and unornamented character, seems peculiarly adapted to the village church. On each side the nave are six arches, and they are well adapted to prevent any unpleasant interference with the sight of the congregation in the galleries. The piers from which the arches spring are octangular, to the sides of which are attached cylin drical columns, with the usual capitals and bases, which serve to sustain the mouldings ornamenting the soffites of the arches; a similar column is applied to the inner faces of the pier, which is carved up to sustain the beams on which the ceiling of the nave reposes: the capitals of these pillars are foliated. The jambs of the clerestory windows are brought

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down to a cornice over the points of the main arches; but a portion of their height being built against by the aisle roofs, pannels of stone carved with shields in quaterfoils are introduced below the glazing, which has a pleasing effect. The ceilings are plain plaster, resting on beams of oak; those of the nave show obtuse arches, with pierced quaterfoils in the spandrils; the soffite is pannelled into compartments by ribs, with roses and lozenges at the intersections. The compartments are coloured with a light blue tint. The beams of the aisles are segments of arches springing from corbels attached to the side walls, and abutting against the main arches; the ceiling, like the nave, is plain plaster untinted, and this is the only modern innovation of which we have to complain. The architect has perhaps been compelled by circumstances to adopt the expedient, but it would have been far better, in point of appearance, had he made the whole to imitate an oak ceiling; the mixture of wood and plaster has the appearance of an ancient work modernized by a tasteless repairer.

Both the aisles have galleries. The fronts are varnished in imitation of oak, and ornamented with square panels, each containing three arched heads, tolerably executed, but the carving wants relief. A continuation of the same gallery crosses the west end of the Church, and above this latter branch is a smaller gallery, with a plain front, which contains the organ and seats for the charity children.

The chancel is separated from the Church by an obtuse arch. The mouldings are continued from the jambs to the archivolt without interruption. The ceiling is vaulted in imitation of stone, and groined with arches and cross springers, at the in tersections plain bosses. Below the window sill is the altar screen; it consists of six perpendicular divisions with arched heads covered with ogée cano pies; between each is a buttress capped with a pinnacle, and behind the cano pies a series of niches, the whole crowned with an embattled cornice. The usual inscriptions occupy four of the compartments, and two are vacant; the screen is executed in composition, in imitation of Bath stone. In the wall at the side of the screen is a lin telled doorway, from which, and other

1829.]

St. John's and St. Paul's Churches, Islington.

indications, it is evident that the altar is unfinished; and did we not know that Mr. Barry possesses too much knowledge of sacred architecture to leave this part of a church in a plainer state than the nave, and that he is too well acquainted with Pointed architecture to admit of any doorway but an arched one, we should be inclined severely to criticize this deviation, but we suspend our complaint against the naked appearance of the chancel in the present instance, because, seeing what Mr. Barry has done at Brighton, and in the Church which forms the subject of the ensuing article, it would not perhaps be fair to censure what we have no doubt the architect would have avoided, had he been able. With in the altar rails are two chairs for the officiating clergymen, designed on the model of the Coronation chair.

In the great window are the Royal arms, encircled in the garter, and surmounted by the regal crown, executed in a style closely resembling the antique. The introduction of this beautiful morceau raises a wish that the arms of the Bishop, &c. were added, until the whole of the window was filled up in a corresponding style, which would then have a splendid effect.

The designs of the pulpit and reading desk, for they are copies of each other, are marked with the highest excellence. An octagon pedestal of good proportions, each face of which is enriched with perpendicular panels, is surmounted by a succession of mouldings gradually increasing in size until they form a base to the pulpit, which keeps the same form, and is decorated with upright panels of a richer character than the pedestal. The bold relief of the mouldings approaches to the excellence of original works of the period; but here we have to regret, that in a building possessing so much excellence, this stupid innovation has been allowed to creep in. We have always objected to two pulpits, even in a Grecian Church; but in an old English edifice to witness such an innovation makes our very eyes to ache. If the Parish Committee, or the King's Commissioners, have directed this modern arrangement, the architect is excused; if Mr. Barry is chargeable with the fault, we trust he will avoid it for the future. The service of the Church is to be read from a desk, and n

pulpit; and bating the impropriety of the alteration, let any of the new Churches, with their two pulpits, be contrasted with the old arrangement adhered to still in most of the churches built by Sir Christopher Wren, and the comparison will certainly manifest the superiority of the old and approved custom above idle and fanciful alterations, to suit modern ideas of uniformity.

The font is small, but the design is very chaste. It is an octangular basin with a quatrefoil panel, enclosing a flower on each face, and is sustained on a pillar of the same plan. It assimilates exceedingly well with the Church, and is in itself a very pleasing design. As a proof of the taste of the architect, we cannot quit the Church without noticing the neat which hide the staircase and room at the sides of the lower story of the tower: the designs are good, and the idea excellent; we only wish the funds had been sufficient to render the execution equally so.

screens

The church-yard is inclosed with a dwarf wall, surmounted by a stone coping, and adds by its simplicity to the antique character of the Church.

The first stone was laid on the 4th of May, 1826, and it was consecrated by the present Archbishop of Canterbury, then Bishop of London, on the 2d of July, 1828. The number of persons accommodated are 1782, and the estimate is the exceedingly low sum of 11,613l. 5s. 7d.

ST. PAUL'S CHURCH, BALL'S POND.

Architect, Barry.

The design of the present Church is so nearly similar to the last described, that much of the descriptive portion of the building is anticipated. It is built of brick and stone, like the last church, but differs in the plan, inasmuch as the tower is placed at the east end. In the addition of staircase and vestry room projections, the architect has displayed an equally bold defiance of dull uniformity with those admirable architects whose works he almost rivals. The present structure is not so regular as the last, but in some respects it has a bolder character. The principal front, owing to its local situation, is the eastern one. The lower story of the

orch; the front is oc

inted arch, with

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St. Paul's Church, Ball's Pond, Islington.

moulded architrave, the mouldings
dying into the jambs; the spandrils
are filled with the Tudor rose, encircled
with a profusion of foliage. The ceil-
ing of the porch is groined, and in the
side walls are doorways communicat-
ing with the stairs to the galleries. In
the second story is a very neat window
of three lights, with arched heads, en-
closing five sweeps; the head of the
arch is occupied by perpendicular di-
visions, and finished by a sweeping
cornice. To this succeeds the clock
dial, the very figures of which are an-
tique, with a cross in lieu of the XII.
The upper story is entirely clear of the
Church; and, except in some minor
particulars, which are easily distin-
guishable in the engraving, it resem-
bles the tower of the last church. The
north aisle is made by buttresses into
six divisions; all, except the one
nearest the west, contain windows,
copies of those described in the last
subject, but the pinnacles at the an-
gles are omitted. The clerestory has
five windows. The aisles, like the
last subject, fall short in length at both
extremities. As the west end of the
south aisle is an attached polygonal
staircase, lighted by small windows.
The west end of the nave has double
buttresses at the angles, ending in pin-
nacles. The elevation is made by a
string course into two stories; in the
lower is the principal doorway; it is a
simple Pointed arch, the sweeping
cornice resting on busts. The door is
neatly and appropriately carved in
compartments, in the style of the win-
dows. On each side are loop-holes,
giving light to small apartments within-
side. In the upper story is a window
of four lights, divided by a transom,
the head of the arch filled with per-
pendicular divisions. Over this is a
small quatrefoil aperture, and the ele-
vation is finished with a gable and
cross, copied from the other example.
In the west end of the north aisle,
which is unencumbered by a staircase,
is a window of a single light. The
north front of the Church is in its ge-
neral features similar to the southern.

THE INTERIOR,

In its detail, closely resembles the last described Church. There are, however, on each side only five arches; the trusses which sustain the ceiling of the nave are of a more ornamental character than in the last; they form

[Jan.

obtuse arches, their spandrils filled with upright open divisions with trefoil heads, and the whole crowned with an embattled cornice; the same mixture of plaster and wood is, however, to be regretted. The clerestory windows, organ, and galleries, agree with the last Church. The fronts of the lower gallery are here ornamented with narrow perpendicular pannels, with cinquefoil heads.

The decorations of the altar are, however, far more magnificent. In that wall of the tower which is within the Church, is formed a lofty arch, high enough to embrace two stories of its elevation; the jambs and archivolt are canted and relieved by ogée moulding, in a simple but bold style; the lower part is occupied by a handsome screen, and the upper by a deep recess, covered with a groined ceiling. The altar screen is in imitative stone, it consists of seven divisions made by buttresses, and each covered by a canopy, in the style of the altar tombs of the fifteenth century. The three central divisions are recessed, and in consequence the buttresses are omitted, the arches springing from pendants. In the recess, which has a groined ceiling, is placed the altar; the two succeeding divisions are niches, and form seats for the officiating clergyman. The exterior divisions contain the decalogue, and here the antiquarian skill of the architect is displayed in the letter and style of the inscriptions, which is the black letter of the 15th century. The initial letters are red, and are illuminated with leaves and flowers; the small letters are black; and the figures denoting the numbers of the Commandments are blue: the enrichments in blue and red have a singular effect, and the entire inscription possesses the appearance of a MS. of the same age as the Church purports to be. Behind the canopies are a series of upright panels, and these are surmounted by a cornice, which is splayed up to a breast-work, also of stone, but in a somewhat plainer style; it belongs to a pew or gallery situated over the porch in the basement story of the tower, and has the effect of giving an additional height and value to the screen; it is made into five divisions by tail pedestals crowned with pinnacles, each division forming an ornamental panel: in the three centre are the letters IHS. in Roman letters. From the lozenge

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