1 Of Building, Roger North’s writings on Architecture ed., Colvin, H. and Newman, J. (Oxford 1981), 135 Google Scholar.

2 Colvin, H. M., ed., The History of the King’s Works, IV (London, 1982), 17–21 Google Scholar.

3 Thompson, D., Renaissance Paris: architecture and growth 1475-1600 (Zwemmer, 1984), 113-14Google Scholar.

4 There is, however, a chapter on ‘The Long Gallery’ in Jackson-Stops, G. and Pipkin, J., The English Country House — A Grand Tour (London, 1985)Google Scholar.

5 See particularly Prinz, Wolfram, Die Enstehung der Galerie in Frankreich und Italien (Berlin, 1970)Google Scholar and two long reviews of this book by V. Hoffmann in Architectura, 1/71, 102-12 and F. Büttner in Architectura, 1/72, 75-80.

6 Except for the introduction into the private house of the purpose-built ‘art gallery’. See Coope, R., ‘The Gallery in England, Names and Meanings’, Architectural History, 27 (1984), 446-55 (esp. 452-54)CrossRefGoogle Scholar.

7 Colvin, H., King’s Works, IV, p. 20 Google Scholar citing Scamozzi, , L’idea dell’ architettura uniwersale (1615), 1, 305 Google Scholar.

8 L’Archilecturefiançoise, edited and annotated by Blondel, F. (Paris, 1673), 37–38 Google Scholar.

9 Scamozzi, V., Taccuinodi Viaggio da Parigi a Venezia (14 marzo-11 maggio 1600), ed. Barbieri, F. (Venice, 1959)Google Scholar.

10 Blunt, A. F., ‘L’influence française sur l’architecture et la sculpture en angleterre pendant la première motié du XVI ième siècle’, Revue de l’Art (1969), 417 ff.Google Scholar; Howard, M.; ‘Sutton Place and Early Tudor Architecture’ in The Renaissance at Sutton Place (The Sutton Place Heritage Trust, 1983), 31 Google Scholar.

11 Enlart, C., Manuel d’archéologie française, 11 (1929), 112-13Google Scholar.

12 V. Hoffmann, art. cit., and F. Büttner art. cit. in n. 5.

13 Although his work was not published until the eighteenth century. Sauvai, H., Histoire et recherches de la ville de Paris (Paris 1724, reproduced in facsimile London, 1969 and Paris, 1974), 11, 281 Google Scholar.

14 See also Bournou, F., ‘L’hôtel royal de St Pol’, Mémoires de la Société de l’Histoire de Paris (1880), 99–101 Google Scholar. Sau val’s claim that his information was based on documentary sources is borne out by surviving documents.

15 Sauvai, op. cit., 11, 281.

16 Wood, M., The English Mediaeval House (1965), 336 Google Scholar; and, in general, History of the King’s Works, the Middle Ages, 1 and 11, ed. Colvin, H. (1963), esp. 1, 124Google Scholar.

17 M. Wood, op. cit., 336 and King’s Works, The Middle Ages, 11, 1013.

81 King’s Works, The Middle Ages, 1, 514.

19 David Calvert in his pamphlet The History of Herslmonceux (Herstmonceux n.d.) publishes drawings of these and other parts of the castle now demolished, made by the John Lamberts, uncle and nephew, in 1776. See also CL, 7 December 1935, 608, pls 4 and 5.

20 See plan in Faulkner, P., ‘Some Mediaeval Archiepiscopal Palaces’, Archaeological Journal, CXXVII (1970), 140 ffGoogle Scholar. The convincing evidence for the later date of the stone galleries is structural and comes from Mr Cyril Heysom, for many years Master Mason at Knole, to whom I am most grateful for much valuable information about the house. In the light of this Mr Faulkner points out that the plan of the ranges of Bourchier’s (’Stone’) Court necessitated galleries from the first and timber ones are suggested.

21 Anthony D. Stoyel, ‘The Lost Buildings of Otford Palace’, Archaeologia Cantiana, c, 259-80. The plan of Otford I have used (Fig. 4) was kindly provided by Mr Stoyel and supersedes that published in Arch. Cant., c. NB beyond the inner court lay a base-court, not on the plan. I am most grateful to Mr Stoyel for his help with the problems of Otford.

22 At the château of Saumur (1370-80) and elsewhere. See Whiteley, M., ‘“La Grande Vis”, its Development in France from the Mid-Fourteeneth to the Mid-Fifteenth Centuries’, in L’escalier dans l’architecture de la renaissance (Series De Architectural ed. Chastel, A. and Guillaume, J., Picard, 1985), 17 Google Scholar.

23 Exterior and interior views in CL, 1 and 8 December 1960.

24 King’s Works, III, 350-51 and IV, 17.

25 Faulkner, P., Archaeol. J., CXXVII, 135 ffGoogle Scholar.

26 Faulkner, P. in Medieval Archeology, VI-VII (1962-63), 300-03Google Scholar.

27 The dating and attribution of the Croydon Gallery is Mr Faulkner’s, which he has confirmed to me. He points out the closeness of the partially surviving timber oriel of the Croydon gallery to those in Bourchier’s apartments at Knole. I am grateful to him also for providing me with relevant plans and drawings.

28 The gallery at Croydon was 60 ft × 10 ft, the Brown Gallery at Knole is 90 ft × 11 ft. Structural evidence suggests that this gallery at Knole, built by Bourchier or his immediate successors, was originally only 60 ft long and was lengthened later to give access to the new east wing added by Thomas Sackville.

29 Commissioners’ Surveys of 1649 for Richmond, Wimbledon and Nonsuch, published by Hart, W. H., Surrey Archeological Collections, v (1871)Google Scholar. For this structure see History of the King’s Works, IV, pls 18 and 19.

30 King’s Works, IV, 17, 18, 227 and 228.

31 Ashmolean Museum, Oxford, Dept of Western Art.

32 FitzWilliam Museum, Cambridge.

33 As depicted in the Très Riches Heures du duc de Berry (Musée Conde, Chantilly). The château appears in the background of the miniature illustrating ‘September’, probably painted c. 1411-15.

34 Description of Richmond in 1501; see Grose, F., Antiquarian Repertory, ii (1808), 314-16Google Scholar and King’s Works, IV, 224.

35 Ibid.

36 ’galeries d’ébattement’. Hoffmann, V., Architectura, 1/71, 109, 110Google Scholar and Hindley, G., England in the Age of Caxton (1979), 235 Google Scholar.

37 King’s Works, iv, 224.

38 Ibid., 17.

39 The original survey is in the Gloucestershire County Record Office and its date is 1583. It was quoted by Britton, J., The Architectural Antiquities of Great Britain (1802-26), IV, 157-58Google Scholar and by Leland, J., Collectanea, 11, 658 Google Scholar, but both give its date incorrectly. See also Hawkyard, A. D. K., ‘Thornbury Castle’, Bristol & Gloucestershire Archaeol. Soc. Trans., 95 (1977), 51–58 Google Scholar.

40 King’s Works, IV, 18 and 165.

41 See below p. 48.

42 Reproduced by Cave-Brown, J. in ‘Shurland House’, Arch. Cant., XXIII, 86 Google Scholar. The original is in the PRO (Maps & Plans) and belonged originally to the Crown Survey of 1572 (in the State Papers, Elizabeth).

43 Cavendish, George, The Life and Death of Cardinal Wolsey, ed. Sylvester, R. S. for The Early English Text Society (Oxford, 1959), 44–64 Google Scholar.

44 See below p. 48.

45 For the whole southern complex see A. D. Stoyel, Arch. Cant., c, 268-77 and, for the Great Gallery, 272.

46 Ibid., 261 and 272 and conjectural reconstruction of the palace from the north-west, 278.

47 Especially George Cavendish, op. cit. (n. 43).

48 Report by Venetian visitors, 1531. R. Coope, Architectural History, 27, 446 and n. 5.

49 Marius, R., Sir Thomas More (1985), 209 and his bibliog, p. 524 Google Scholar.

50 Law, E., History of Hampton Court Palace, 1 (1890), 49 Google Scholar; King’s Works, IV, 19.

51 Op. cit., n. 43, p. 164.

52 Winder, Thomas, ‘Notes on Sheffield Manor House’, Journal of the British Archaeological Association, New Series, x, 43–48 Google Scholar; Leader, J. D., ‘Sheffield Castle and Manor Lodge in 1582’, Arch. Soc. Report & Papers, XI (1871-72)Google Scholar. Excavations on the site have taken place recently and a plan made of the site is exhibited there but there is as yet no published report.

53 King’s Works, IV, 133, 136 and 137.

54 Ibid., 120.

55 Ibid., plan, fig. 13, p. 131, axonometric reconstruction fig. 14, and drawing (Magdalene College, Cambridge), pl. 10.

56 Ibid., 20.

57 For all of which see King’s Works, IV.

58 For the Nonsuch gallery see King’s Works, IV, 199. It should also be noted that the position of the gallery gave it a view of the most important parts of the stucco decoration of the Inner Court with its Tudor-propagandist iconography.

59 At Allington in Kent a gallery survives which was earlier than the Vyne but its function is problematic. On the one hand it only linked ‘lodgings’ and servants’ quarters, on the other it had bay windows (now dismantled and stored) suggesting some splendour see SirConway, M., ‘Allington Castle’, Arch. Cant., 28 (1909), 337-62Google Scholar (particularly 355-56 and 359).

60 Scamozzi, Taccuino di Viaggio, p. 59 and figs 7 and 8.

61 And at Beauregard, for which and for Ecouen see below pp. 58 and n. 153.

62 Hautecoeur, L., Histoire de l’architecture classique en France (1965), I, ii, 433 Google Scholar.

63 Prof. Jean Guillaume of the University of Tours tells me that though the gallery now gives access to the chapel this connection may not date from the inception of the château. Structurally, the evidence suggests that the decision to build this wing as a gallery was an afterthought, but one taken early, for the whole building programme was short.

64 J. Guillaume, ‘Oiron, le décor renaissance’, Monuments Historiques, Revue No. 101.

65 Gébelin, F., Les Châteaux de la Renaissance (Paris, 1927), 67–68 Google Scholar and M. Dumolin, Bussy-Rabutin, in the series Petites monographies sur grands monuments de France — Paris (n.d.)

66 The galerie François 1^er is a closed gallery over a loggia, but its south side was modified soon after it was built.

67 Robertet’s château may have influenced Sutton Place. See Maurice Howard,’Sutton Place . . .’,31.

68 Ibid.

69 Chute, Chaloner W., A History of The Vyne in Hampshire (Winchester, 1888), 140 and 152Google Scholar.

70 See National Trust guide to The Vyne (1981) (plans pp. 6 and 26), and CL, 20 June 1963.

71 For details and drawings of the panelling and its scheme, see W. R. D. Harrisson and Viscount Chandos, Carvings, Oak Gallery, The Vyne, Hampshire, a pamphlet published in 1979.

72 Correspondence, ed. Lewis, W. S., 35 (Oxford 1973), 641 and 642Google Scholar.

73 Op. cit., 140.

74 Ibid., Appendix 1, pp. 639 and 640, which contains Walpole’s ‘Inventionary [sic] of Alterations to be made at The Vyne’ of 1 July 1755, including ‘the gallery: To be finished at the ends with carved wainscot’, ‘to two more whole lengths’. The panelling of the end-bay must date from the 1820s and it must be noted that two windows on the east side are blocked by the earlier panelling. Sandys’ cypher on the lock of the entrance-door to the gallery, often cited, is of no significance for dating. The door is late and very poor, the lock ‘brought in’.

75 Chaloner Chute, op. cit., 139ff. Despite Chute’s full discussions of the 1541 inventory, reference to the original in the archives at Belvoir Castle might elucidate more of the problems of The Vyne galleries but, unfortunately, it has not been possible to see this. A thorough examination of the fabric of the galleries, not hitherto undertaken, could also grealty help to establish their building history.

76 See the unpublished PhD thesis by Howard, Maurice (University of London, Courtauld Institute of Art, 1985) The Domestic Building Patronage of the Courtiers of Henry VIII Google Scholar. For Somerset House see King’s Works, IV, 252-53.

77 Emmison, F. G., Tudor Secretary, Sir William Petre at Court and Home (London, 1961), 22–39 Google Scholar.

78 For a full discussion of the monastic conversions of the period see Maurice Howard, PhD thesis cited in n. 76. Neath Abbey in Wales had a striking example of an inserted gallery. RCHM Glamorgan, IV, Part 1 (HMSO, 1981), though there are problems concerning the dating given there.

79 Coope, R., ‘On Newstead Abbey’ in Transactions of The Thoroton Society of Nottinghamshire (1979), 46–54 Google Scholar. (Since this article excavation has confirmed a post-1540 date for the upper galleries of the cloisters).

80 In the inventory of 1575, published in Wilts Arch. Mag., 63 (1968), 72, this is not referred to as a gallery but as ‘the large stone chamber’.

81 Brakespear, H., ‘Lacock Abbey’, Wilts. Arch. Mag., 31 (1901), 228 Google Scholar.

82 See Henderson, Paula, ‘Life at The Top, 16th and 17th-century Roofscapes’, CL, 3 January 1985, 6 Google Scholar.

83 See Lacock Abbey (N.T. Guide 1984), plans on pp. 6 and 7. Both galleries were a good deal altered in the eighteenth and nineteenth centuries.

84 I am extremely grateful to Mr Anthony Burnett-Brown for all his information and help during and since my visit to Lacock.

85 Girouard, M., Robert Smythson & The Elizabethan Country House (1983), 89 Google Scholar.

86 See The Diary of Lady Margaret Hoby of Hackness, Yorkshire, 1599-1605, ed. D. M. Meads (1930), passim.

87 Gotch, J. A., Early Renaissance Architecture in England (1901), 195 ffGoogle Scholar. but Gotch notes that these two galleries may have been divided into two lengths.

88 M. Girouard, Robert Smythson, 110.

89 King’s Works, IV, 57.

90 J. A. Gotch, op. cit., lists most of these and some other measurements. See also Blomfield, R., History of Renaissance Architecture in England (1896), 79–80 Google Scholar.

91 Thejoumeys of Celia Fiennes, ed. Morris, C. (1949), 90 Google Scholar.

92 Gent, Lucy, Picture and Poetry 1560-1620 (1981), 66–86 Google Scholar, Appendix: Books on Art, Perspective and Architecture in English Renaissance Libraries, 1580-1630; and J. A. Gotch op. cit., 261.

93 M. Girouard, Robert Smythson, 110.

94 Girouard, M., ‘Elizabethan Architecture and The Gothic Tradition’, Arch. Hist., 6 (1963), 27 Google Scholar.

95 References will be given only for galleries no longer existing.

96 Summerson, J., ‘The Building of Theobalds 1564-1585’, Archaeologia, XCVII, 107-26Google Scholar.

97 Except for one strip of brickwork forming part of the Old Palace House gardener’s cottage.

98 Summerson, , Archaeologia, XCVII, pl. XXXIII Google Scholar.

99 Walpole, H., Correspondence, 35 (1973), 143 Google Scholar.

100 Newman, J., West Kent and The Weald, Buildings of England (1976), 508-09Google Scholar. The courtyard was engraved by Richard Godfrey in c. 1787 for Halsted’s History of Kent.

101 Newman, John, ‘Copthall, Essex’, in The Country Seat, ed. Colvin, H. and Harris, J. (1970), 18 ffGoogle Scholar. In his article on Slaugham, Mark Girouard dates Copthall to the 1570s but gives no reason for so doing. As will become clear, the present writer inclines to the later dating. See Girouard, , ‘Renaissance Splendour in Decay, the Ruins of Slaugham, Sussex’, CL (9 January 1964), 70–73 Google Scholar.

102 G. H. Chetile, Kirby Hall, HMSO Guide (revised and expanded by Peter Leach, 1984).

103 Summerson, J., ‘The Book of Architecture of John Thorpe in Sir John Soane’s Museum’, Walpole Society, XL (1966)Google Scholar (henceforward referred to as Thorpe Drawings), T239-40 p. 104, pls 109-11; and Girouard, M. in CL, 9 January 1964, 70 ffGoogle Scholar.

104 Thorpe Drawings, T183 and 194, pp. 93-94, pl. 84.

105 Ibid., T39 and 40, p. 55 and pl. 18.

106 H. Walpole. Correspondence, 35, 77 and n. 76.

107 Thorpe Drawings, T164, p. 90, pl. 78.

108 See RCHM Cambridgeshire, 1, West Cambridgeshire (1968), 180-81.

109 The wing opposite, intended to form a court, was never built.

110 M. Girouard, ‘Designs for a Lodge at Ampthill’, in The Country Seat, 13 ff.

111 Summerson, , Archaeologia, XCVII, pl. XXXIII Google Scholar.

112 And see below, p. 58 for discussion of the Audley End gallery.

113 Cf. Holdenby, Thorpe Drawings, T183 and 184, pp. 94-95, pl. 88.

114 Colvin, H., ‘Beaudesert, Staffordshire’, Transactions of the Ancient Monuments Society, N8 29 (1985), 107 ffGoogle Scholar.

115 Walpole, Correspondence, 35, p. 64.

116 Summerson, Archaeologia, XCVII, pl. XXXIII.

117 Divided up in the late seventeenth century.

118 Thorpe Drawings, T19 and 20, p. 46, pl. 7.

119 Girouard, M., ‘The Smythson Collection of the RIBA.’ Arch. Hist., 5 (1962)Google Scholar. Drawings 1/18 (2) and 1/18 (3) and pp. 80 and 81.

120 Much altered within in the nineteenth century.

121 M. Girouard, Robert Smythson, 171-204.

122 Ibid., 116-17.

123 Now altered internally, see Girouard, Robert Smythson, 201 and fig. 16.

124 For the Old Hall see Durant, D. and Riden, P., Hardwick Hall Building Accounts, 1 (Derbys. Record Society, 1980)Google Scholar.

125 At Montacute, as in other less grand houses, it is not accurate to speak of ’state rooms’, or ‘state suite’.

126 M. Girouard, Robert Smythson, 185, fig. 14.

127 Hasiam, R., ‘Kiplin Hall, North Yorkshire’, CL, 28 July 1983, 203-04Google Scholar.

128 Thornton, P. and Tomlin, M., The Furnishing and Decoration of Ham House, Furniture History Society (1980), original plan of 1610, p. 2 Google Scholar.

129 Information from John Heward. The house was much enlarged in the nineteenth century.

130 For the dating of Barrington, formerly believed to be earlier, see VCH Somerset, IV (1978), 114-16.

131 Walpole, H., Journal of Visits . . . Walpole Society, XVI (1927/28), 57 Google Scholar.

132 Though the house has been much restored there is no reason to suppose that the gallery is not part of the original construction.

133 Plans of the house and all information on Lilford have been given to me by John Heward. Before leaving attic galleries and galleries over halls the one French equivalent known to me should be mentioned. It was designed by Philibert de l’Orme to go over the grande salle at the château of Limours. Information from MmeC. Grodecki.

134 Tipping, H. Avray, English Homes, Period IV: Late Stuart, 1649-1714 (Country Life, 1929), 1, 1–22 Google Scholar.

135 Celia Fiennes, op. cit., n. 91, 25.

136 I would like to thank Mr Hugh Sackville-West for showing me this gallery and much else besides at Knole.

137 Summerson, , Archaeologia, XCVII, 117 Google Scholar.

138 J. A. Gotch, Early Renaissance Architecture, p. 90 and, for the plan, Kingsford, C. L., ‘Some London Houses of the Tudor Period’, Archaeologia, 71 (1921)CrossRefGoogle Scholar.

139 Summerson, , Archaeologia, XCVII, 121 and pl. XXXIIIGoogle Scholar.

140 M. Girouard, Robert Smythson, 238 and fig. 20: 262 and fig. 177.

141 Jackson-Stops, G. in CL, 26 February 1981, 502 Google Scholar; 5 March 1981, 560; 12 March 1981, 643.

142 Hollar’s view of Arundel House: see Parry, G., Hollar’s England (London, 1980)Google Scholar. For the Hollar pencil sketch inscribed ‘Arundel House’ (HM The Queen), see Cat. No. 25 in the exhibition, ‘Patronage and Collecting in the Seventeenth century, Thomas Howard Earl of Arundel’, Ashmolean Museum, Oxford, November 1985-January 1986.

143 Running behind the hall and lying between the wings.

144 Letter of 29 September 1859 cited in N. T. Guide, Trerice (1981).

145 Girouard, M., ‘Renaissance Splendour in Decay’, CL, 9 January 1964, 70 Google Scholar.

146 Summerson, , Archaeologia, XCVII, pl. XXVIIGoogle Scholar.

147 VCH Hertfordshire, 11 (1908), 396. The VCH adds ‘as shown in existing drawings’ but gives no reference to them.

148 Binney, Marcus, ‘Penshurst, Kent’. CL, 4 May 1972, 1093 Google Scholar, who dates it by the rainwater heads bearing ‘1579’.

149 Ibid.

150 Drury, P., ‘No Other Palace in the Kingdom will compare with It: the Evolution of Audley End 1605-1754’, Arch. Hist., 23 (1980), 1–39 Google Scholar. I am greatly indebted to this article and, as anyone writing on any aspect of Audley End must do, I have based my remarks upon its findings and upon Drury, P. J. and Gow, I. R., Audley End, Official Handbook (HMSO 1984), 15 and 40-70Google Scholar.

151 For Ecouen see Hoffmann, V., Der Schloss Ecouen (Berlin, 1970), 10 Google Scholar. For Verneuil, Du Cerceau vol. 1 (1576) and for Charleval and Ecouen, 11 (1579). For the owners of foreign architectural books in England see Lucy Gent, Picture and Poetry, 82-86 and Malcolm Airs, The Making of the English Country House 1500-1640 (1978).

152 For the subsequent dismantling and re-erection of the gallery see P. Drury in Audley End, Official Handbook, 61.

153 Beauregard was begun c. 1520. F. Gébelin, Les Châteaux de la Renaissance 53 and 54, and Boutique, A., Châteaux et Manoirs de France, Region de la Loire (Paris, 1934)Google Scholar. Engraved in vol. 11 of the Plus Excellents Bastiments. cf. Thorpe Drawings, T71, pl. 34 based on Du Cerceau’s Leçons de Perspective Positive (1576), leçon LVIII.

154 Summerson, J., Inigo Jones (1966), 26 Google Scholar; idem, Architecture in Britain 1530-1830 (1979), 115.

155 Roger North, of Building, 85.

156 Ibid., 135.

157 Ibid., 85

158 Ibid., 85.

159 H. Avray-Tipping, English Homes . . .1640-1714, 198.

160 R. North, of Building, 136-37.

161 Introduction to Ingatestone Hall. Essex Record Office Publications, No. 20 (1953), 6 and 7.

162 Law, E.. Hampton Court Palace, 1, 49 Google Scholar.

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164 Everybody’s Pepys, The Diary, ed. Moorshead, O. F. (1947), 277 Google Scholar.

165 Volk, Conrad, ‘The Dumb-Bell at Knole’, National Trust Studies (1981), 133 Google Scholar.

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169 Emmison, F. G., Tudor Secretary, Sir William Petre at Court and Home (1961), 32 ffGoogle Scholar. and 185-86.

170 J. Newman on Copthall, see n. 101. For the relationship of gallery and chapel in France see James, F. C., ‘L’hôtel du Cardinal de Ferrare à Fontainebleau d’après un document inédit’, Actes du colloque international sur l’art de Fountainebleau (Paris, 1975), 36 ffGoogle Scholar.

171 As it is by M. Girouard (but without giving reasons) in his art. cit. on Slaugham, Sussex.

172 See Foister, Susan, ‘Paintings and Other Works of Art in Sixteenth-Century English Inventories’, Burl. Mag., CXXIII (May 1981), 278 Google Scholar.

173 Arch. Hist., 27, 449-50.

174 Volker Hoffmann, art. cit. (n. 5), 109-10 and his transcription of the Conflans contract.

175 Susan Foister, art. cit., 278.

176 Ibid., 278.

177 A. Boutqiue, Châteaux et Manoirs de France . . .

178 Susan Foister, art. cit., 278.

179 But uniformly framed in the eighteenth century so perhaps actually hung in the gallery then?

180 Recorded in a painting of the gallery made by John Weld in 1825 but all now gone. Information from Maurice Howard.

181 Susan Foister, art. cit., 278.

182 Published by Sandys, William, in Archaeologia, xxx (1844)Google Scholar.

183 Kingsford, C. L., ‘Essex House, Formerly Leicester House and Exeter Inn’, Archaeologia, 73 (1922-23), 48 Google Scholar. Also the unpublished thesis (1981) by Jane Clark (University of London, Courtauld Institute of Art) on The Earl of Leicester’s Collection.

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185 For this practice see Strong, R., The English Icon (1969), 101 Google Scholar.

186 Counts Egmont and Horn.

187 The Journeys of Celia Fiennes, 150-51.

188 First pagination-run, p. 319

189 Quotation given me by Nigel Llewellyn.

190 In the collection of the Duke of Norfolk, Arundel Castle. See Treasure Houses of Britain, Five Hundred Years of Patronage and Art Collecting; catalogue of the exhibition held at the Nat. Gall, of Art, Washington, 1985/86 (Washington and Yale, 1985), cat. nos 49 and 50 (cat. entries by O. Millar).

191 For a contemporary description of the galleries see Louw, H.J., ‘Some Royal and other Great Houses in England. Extracts from the Journal of Abram Booth’, Arch. Hist. (1984), 503-09Google Scholar. For continental precedents for the type of the sculpture gallery in Myten’s portrait of the earl see Saxl, F. and Wittkower, R., British Art and the Mediterranean (1948), 42 Google Scholar and pls a and b.

192 Dent, J., The Quest for Nonsuch (1981, Sutton Libraries & Arts Services), 105 Google Scholar. For the possible appearance of panelling in Nonsuch Palace see Summerson, J., Architecture in Britain 1977), 36, pl. 11 Google Scholar.

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196 For the elevation see J. Newman on Copthall in The Country Seat, 23, fig. 12.

197 M^me Monique Châtenet, who is preparing a monograph on the château of Madrid, assures me that Du Cerceau’s representations are accurate.

198 André Chastel, ‘Le château de Lanquais’, Congrès Archéologique de France, 198, Le Périgord Noir, 130 ff., and figs 2, 9 and 10.

199 C. L. Kingsford, ‘Essex House . . .’, Archaeologia, 73, 39.

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202 Nottingham University, Dept of Mss, MI15.

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204 Blunt, A. F., Art and Architecture in France, 1300-1700 (1980 edn), 424, n. 33 Google Scholar.

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208 Plus Excellents Bastiments, 1.

209 Anglo, Sydney, ‘The Hampton Court Painting of the Field of the Cloth of Gold considered as an Historical Document’, Antiquaries Journal (1966), 287–307 (esp. 294-96)CrossRefGoogle Scholar; idem, Spectacle, Pageantry and Early Tudor Policy (Oxford 1969). The reference to ‘chevaliers errans’ is interesting in view of the deliberate cult of the chivalric era at the early sixteenth-century French court.

210 Sauvai, Histoire et recherches . . ., 11, 281 ff.

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214 R. Blomfield, History of Renaissance Architecture in England, 80 ff., from the Commissioners’Survey of 1649. For the history of Wimbledon House see Higham, C. S. S., Wimbledon Manor under the Cecils (London 1962)Google Scholar.

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217 Ibid., 105.

218 Or, as in the case of the Stone Gallery at Wimbledon, the Cryptoporticus.

219 In particular Frank Büttner, Architectura, 1/72, 75-80.

220 Plutarch’s Lives, ed. A. Clough (NY, n.d.), 621.

221 Bacon, Francis, The Essays, ed. Rhys, E. (1936), 133 Google Scholar.