242 THE BUILDING NEWS. Marca 22, 1872. eo, ———— eed
in cupro ammonium solution, next withdrawn, dried, and tested for cohesive force, this will always be found greater than before treatment. This result appears to be due to a contraction of the tissue by the chemical action, and suggests comparison with the curious accession of strength imparted to paper by instantaneous dipping in concentrated sulphuric acid, although a more prolonged immersion dissolves the same paper absolutely. The fact is very generally known that woody fibre—chemically speaking, lignine or cellulose—differs remarkably in cohesive tenacity, though all specimens of cellulose or lignine are identical as to chemical composition. If complete solution of any of these specimens be effected, the dried result is simply a brittle semi- transparent glaze, the cohesion of which is no greater for the strongest original sample dissolved than for the weakest. In point of fact, it isin no ease practically desirable to effect complete solution, but only an incipient surface solution, whereby the original fibres, retaining their form and mutual arrangement, may become cemented together. Bearing this circumstance in mind, fabrics of extra- ordinary tensile and cohesive strength may be pre- pared by alternating canvas with paper, or, if pre- ferred, attaching breadths of canvas face to face immediately. Thickness for thickness, we do not think that any timber can equal the strength of these compound fabrics. For building uses there can be little doubt of the numerous applications these curious fabrics are destined to command. ‘Thus, for roofage the very thinnest double tissue paper would not merely be water but wind tight; and but for providing against the casualty of snow and other extraneous weights, nothing would be gained by using a thicker material. We have, however, seen a specimen made of six thicknesses of common brown paper, and corrugated, which seems to us to be strong, stout, and reliable enough to be proof against all ordinary casualties. As regards ornamentation, it is worthy of note that the natural tint of some of these cupro ammoninm lignine structures is very elegant. They readily take any sortof paint; but if painting be had re- course to they should previously be sized, otherwise the oil absorption effects an undesirable softening. Although these remarks have been specially directed to the building applications of cupro am- monium fabrics, yet consideration of their properties will suggest many other utilities. Amongst these the manufacture of tubing is very important. A cheap, indestructible, and absolutely waterproof paper tube admits of more applications than can be summarily indicated. Amongst these the manufac- ture of cartridges for breech-loading arms and min- ing purposes stands prominent. Possibly thin sheets of this material may be turned to good account in hat-making—probably in boot making. We have even seen a waterproof paper cape, the only obvious defect of which was a trifle too much of rigidity. ———— OXFORD ARCHITECTURAL AND HISTORICAL SOCIETY. N Tuesday week this Society had an excursion to Southleigh, Cokethorpe, Ducklington, and Witney. The party first visited Southleigh Church, now undergoing restoration, where some remarkable wall paintings have been found. The Rey. Gerard Moultrie, the vicar, gave a description of them. He observed that on the north side of the chancel arch there were two figures representing archangels, with their feet upwards, and blowing trumpets. The saved were on the right and the lost on the left-hand side of them. The naked figures, as he understood them, were the saved, and were rising from their graves. One of them had a coronet and another a mitre upon his head, Above them appeared to be a pope with a triple crown. He was of opinion that there had been a figure of our Lord in glory at the top, immediately over the centre of the arch, but of this there was no trace now. On the south side of the arch was a brown devil presenting his fork to one of the figures at the right. Here was also a devil shoving down into hell a: number of miserable beings whom the angel was endeavouring to draw up with a rope which he had fastened around his waist. On the north-east wall of the nave was a figure in good preservation, at the gates of Paradise, with a key in his left hand. He is vested in a black cope with morse. Besides this there were two or three naked figures with crowns on their heads, apparently arisen from the grave. Above them were represented angels looking over the parapets of a cassellated building. In the north aisle was a full-sized figure of S. Clement of Rome. It was in good preserva- tion, and appeared as though it was in the act of bene- diction ; it stood in a canopied niche, boldly sketched. It was vested in a flowered chasuble with episcopal gloves, and a crosier in his left hand over his left
shoulder. In his right hand was a rope, which was attached to an anchor, which was his symbol to in- dicate that he met with his martyrdom by drowning in the sea near the Crimea. On the south wall was the mouth of hell, and a tremendous devil with horns and hair something like a Durham ox. There was an old fresco painting also on the south wall of the nave. One of the figures it contained was that of the Virgin Mary, and the other that of Michael the Archangel. Between them stood an angel with half-spread wings, holding a balance in his hands, in one scale of which was a deyil with horns and tail, On the north side of the chancel was a saint preaching, and holding a processional cross in his hands. Paintings have also been discovered in the chancel on the east wall. The chancel, he observed, was a very old one, and probably of the fourteenth century. On the west end of the north aisle was a painting representing the open mouth of hell, with the vices issuing, from it. Over their heads their names are labelled—‘‘ Envy, slothe,” &e. Mr. Parker gaye a brief history of the church. He observed that the first mention of the place was in the Doomsday Survey, under the name of Lege, and that in 1130 it was divided into two parts, Northleigh and Southleigh, the former being granted to Osney Abbey. About twenty years later, in 1150, he found that a grant was made of this chapel to Reading Abbey, for the remains of which he thought they must look to the chancel, in which was a door of this date, and which did not appear to have been removed. The chancel he considered to be, therefore, of the twelfth century. Of course they could see that there had been alterations made in the chancel, and the east window was in all probability inserted in the fifteenth century. The chancel arch appeared to be of the early fourteenth century date. Possibly that little chancel might have had a nave or a portion of a naye, but it was only described as a chapel. Whether, however, there was in that time aisles or not there was no evidence to show. In the fifteenth century the present windows were placed in the south wall, and an aisle was added to the church on the north side. He thought it very probable that both the chancel arch and the paintings over the same were of the reign of Edward II. The border in the south wall appeared as though it was of a later period—the reign of Mary—when, perhaps, the church was re- stored with money left by one ‘Wm. Secoll,” in 1457. So that there were some additions made to the church both in 1460 and again in 1550. After inspecting the exterior of the church, the party arrived at, Cokethorpe Chapel, situated in Cokethorpe Park, three miies distant. The principal object of interest here is the font, which is a remarkably handsome one, and which stands in the chancel, Mr. Parker observed that it was not in its right position, and pointed out that one side of it had been cut away, and that it must, therefore, have at one time stood against a wall. He drew particular attention to the handsome carved work around its bowl, and observed that they got there something like the origin of the pointed arch. Here were two round arches intersecting each other, which, as regards mere form, produced the pointed arches. With respect to the date there were one or two peculiarities about it. Some of the ornaments on it appeared to be about the middle of the 12th century—King Stephen’s reign—such as the nail head and the rose ornaments. On the south side of Iffey Church was arose ornament similar to the one they saw on the font. But they would observe also a kind of tooth ornament, which was characteristic of the thirteenth century. That font probably gave them the key note to the whole building. The southern wall of the chapel appeared to be of Norman origin. It seemed to be the rule that the only thing worth preserving in old churches was the twelfth century doorway. If the west window was in its original position the tower was of the thirteenthcentury. There were some yery peculiar windows in the chapel, but they had had their tracery cut out. They were of good splay, and the architectural details were too good for modern work. The square window at the west end appeared to be of Henry VIII.’s time. With regard to the history of the place he observed that the first entry he had found of a church here was in 1272. Ducklington Church was next visited. Mr. Parker gave a history of the church. This, he said, was one of the finest thirteenth century churches in Oxfordsbire. He pointed out that there was a great deal of difference in the arches on the north and south sides separating the aisles from the nave. Those of the latter were much earlier than the former. One of the pillars had a nail-head or- nament ; and they could also see on it the same kind of ornament and the same little intersecting arches,
with a pointed arch between them, as they saw on the font at Cokethorpe Chapel, and a person might almost imagine that the pillar and the font were carved by the same chisel and the same hand. This could not be earlier than the close of the twelfth century. The chancel probably dated from Henry IIL.’s reign, but he could not say whether it was _ early or late in that reign, On the wall on the north side of the church was the ball flower orna- ment, which was found on §. Mary’s spire, Oxford, in great profusion. It was a characteristic ornament of the early part of Edward III.’s reign, and the tracery of this aisle was also of that period. Mr. Parker, in conclusion, drew attention to some sculp- tures and tombs, and the very fine fourteenth cen- tury mouldings. The Rey. W. D. Macray, the Rector, explained what alterations had been made in the chancel, the floor of which, he said, had been raised, and he thought that the windows in that portion of the building were placed there at the time this work was done. He directed special attention to the ex- tremely beautiful windows on the north side of the church, and some sculptures and a vault under the north porch. The party then proceeded to Witney, where the beautiful Parish Church was visited. The party was here received by the Rey. F. M. Cun- ningham, the Vicar, who explained that the pillars and arches on each side of the nave were the original walls of the old Norman Church. When the church was enlarged these walls were knocked through, and the arches and pillars formed out of them. The church was originally very low, and they could now see in the wall the line of the original roof. The walls had since been raised much higher. The church was of the thirteenth century, but it had almost entirely been re-built. —_——_@—_—__—_ ARCHZZOLOGICAL. Tue Sure ar S. AtBAn’s.—A correspondent of the Atheneum writes:—‘The reported dis- covery of the Saint’s Shrine at S. Alban’s Abbey turns out to be something very like a real find. It appears that a number of arches and doorways were being built up at the time of the destruction of the shrine, and its fragments were used for the purpose. Sufficient to give the shape of the shrine was dis- covered about four weeks ago, and since then fresh pieces have been continually turning up till Wednes- day fortnight, when, in an arch between the south aisle and the Lady Chapel, so much was dis- covered that now we possess, not the design only, but by far the greater part of the fabric itself. In form it bears a general resemblance to the Confessor’s shrine at Westminster, and like it has stood on a low marble step, which is deeply worn by the knees of the devout. Itis about 9ft. long and 4ft. broad, each side having four niches, and each end two narrow ones, comprised under a single arch, These niches are not, as at Westminster, open to the ground, but closed to the height of 2ft. 3in. by elaborately traceried panels; above these the niches rise to a height of about 3ft., and are surmounted by gables, the whole being finished with a remarkably good carved cornice. The total height is about 8ft. Op- posite the divisions between the niches there are de- tached buttresses, connected with the main erection by bows at the springing of the arches and at the cornice. Inthe tympanum at one end is represented the decapitation of S. Alban, and in that at the other the scourging of Amphibalus; the smaller tympana at the sides are filled with foliage. All the corner spandrels have censing angels, the intermediate ones seated figures; amongst which is a king holding a model of a church, probably intended to represent Offa, the founder of the Abbey. The work is of about the middle of the fourteenth century, and is most excellent of its kind. The material is mostly Purbeck marble, but the graining inside the niches is of clunch. This part has been painted, the tracery being gold upon alternately red and blue grounds, and it is noticeable that in some places it has been painted to resemble the Purbeck: Three twisted pillars have stood detached on either side of the shrine. ‘They are very un-English in form, and have possibly been influenced by the Italian work at Westminster. They may have carried candlesticks or images. The shrine has been found broken into literally hundreds of pieces, but they haye been care- fully fitted together, and it now forms a valuable addition to our stock of English church antiquities, and it will well repay a visit.” ——— Messrs. Mathews & Quilter have been inyited to send in designs in competition for a new middle- class idiot asylum at Virginia Water, for Thomas Holloway, Esq.
