In addition to this cause of decay (the neglect of repainting the surface), another very fertile one is discoverable in the use of iron cramps; whether these are original, or only placed on the removal, cannot easily be determined; but in many instances the iron has become oxidated and increased in size to such an extent as literally to heave and thrust the stones off their beds, and a fissure thus commenced has ended in the disruption and fall of large masses of stonework. Lead is also very generally used, both constructively, between the joints, and as flashings above the canopies, &c., and in the case of the ogee arches circular bar iron is placed within a circular roll of lead, thus forming a kind of continuous tie or bond. In some cases the chemical action of the lead and iron on each other has completely pulverised the latter metal. In other cases the expansion of the iron has burst asunder the lead roll and the stonework in its turn ;- -a practical lesson we may all profit by.

The lower stage was filled in with solid ashlar masonry upon the removal to Stourhead, for the purpose of support. The size of the original central column is therefore uncertain; the present appearance, however, assures one that the effect would be enhanced by its being made as light as is consistent with safe construction, bearing in mind that the superincumbent weight is very considerable. The form of the arch in this stage is flat, being segmental, and nearly approaching to a four-centered arch. The ogee arch being high, a large spandrel space is thus left for foliation. The crockets and finial are unusually large, and very boldly carved; the character of the trefoil open panelling of the lower pedestals is late, and the whole detail and design is quite late Decorated, almost approaching early Perpendicular. The present outline is very elegant, and I see no reason to doubt its being very near its original form and height, for the upper portion, being the lightest, may have become first decayed, and thus account for its present debased and heterodox character; some traces of a later taste are likewise discoverable in the lower stages, some of the

cusp terminations resembling Italian cherubs' heads. There is not much difference between the height of the present Cross and the model exhibited; the great difference between them is, that the former exhibits throughout marks of debased and discordant additions, in the latter I have attempted, whilst preserving the beautiful outline, to embody one uniformly harmonious feeling throughout, that being of the period of its earliest foundation. To give an instance of this process of purifying :-Above the sitting figures is a tier or frieze of boys bearing shields; both sculpture and shields being of the taste of Charles's reign, this looks crowded and excrescence like, and by its bustle mars the grace of the outline; this feature has been discarded and the pyramidal lines made at once to spring from the upper canopies. The character of the restored design is correctly seen in all other respects by reference to the model. It is divided into four separate stages, the lower composed of the open groined space, square in plan, the groining ribs dying on to a central octagonal column, which it connects with the four angular buttresses; the groining immediately supports the lower pedestals, which have a light appearance, being pierced; the play of light through the mullioned spaces produces a good effect; a kind of rough groining shaft attaches this open work to the central construction. The second tier is composed of the niches and projecting canopies, under which four life-size figures will stand. The third tier has the same features for four sitting figures; and the fourth is the pyramidal covering or spire, completing the outline suggested by the buttresses, stopping at various heights; as a piece of medieval construction, it affords a valuable lesson, worthy of our careful study; and the mode by which the enormous weight of the canopies, &c., is conveyed laterally on to the ground by means of flying buttresses (attaching the outer to the inner vertical buttresses), cannot be too much admired; surely here the great canon of architectural construction has been well attended to—of ornamenting construction-for it is by these buttresses that the beautiful outline is produced.

We arrive thirdly at the consideration of the figures which now adorn the present structure. In connection with these I will in the words of Barrett state the causes which incited the gratitude of the worthies of "Antient Bristowe," to instate in the niches they still fill, the statues of the following crowned and sceptered monarchs:

King John was placed North, fronting Broad-Street. He gave the city the first and very extensive privileges, especially all the void ground on the banks of the river, thereby to amend the town by building, &c.

King Henry III., East, fronting Wine-Street. He confirmed Henry the 2nd's charter, that established it a mayor town, and that of King John. He also joined Redcliff to Bristol, making it one corporate

town.

King Edward III., West, facing Corn-Street. He separated Bristol from the County of Gloucester, and constituted it a county within itself, and also fixed its pomerium or boundary, by an ample charter for that purpose. In the year 1373 the Cross was erected, and these three Kings placed in niches; afterwards was added a statue of

King Edward IV., Southward, facing High-Street.

Thus the lower tier of niches was filled. In the reign of Charles the 1st (as before mentioned) an upper tier was added, being filled with sitting figures of

King Henry VI., facing East. He granted and confirmed all the charters of his predecessors.

Queen Elizabeth, facing West. She also confirmed the former charters.

King Charles I., facing North. He granted a new charter, and sold the Castle and its dependencies to the city, which to the great annoyance of the inhabitants was before out of the mayor's jurisdiction.

King James I., facing South. He also renewed the charters conferred upon Bristol by the previons monarchs.

It only remains to add that in the restoration now proposed, my instructions from the High Cross Committee are to fill the new niches with statues of monarchs, corresponding with the old ones, but as these do not display sufficient artistic excellence for modern imitation (although perhaps well carved for the time), each figure will be carefully studied from all the existing authorities, and not only will portraits, but works of art be produced. This hope I confidently entertain from the fact of having secured the services of Mr. Thomas, the sculptor, for that department of the restoration; his works of decorative sculpture at the new houses of parliament, &c., are doubtless known to all present, and will remain for ages as monuments to his genius.

In conclusion I would remark that the desire to repossess this interesting Civic Monument appears to have engaged the minds of artloving Bristolians for nigh a century; in fact, as soon as destroyed, the feeling was manifested by a subscription being raised for the purpose (no inapt parallel to the case of the good citizens of Cologne, who could not rest happy under the loss of their favourite Crane, the replacing of which on the summit of their half-finished Cathedral was likewise indicative of civic hope). Again, in Hone's Table Book, published many years ago, appears an announcement for the immediate rebuilding of the Cross. We surely may, then, indulge in the hope that the time has at length arrived when the long projected idea will be realised in a manner worthy the improved taste of the present age, and the important object on which it has now to be exercised.

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