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Updated: June 27, 2025
On the north-east angle are two buttresses; and on the north-west angle there is a group of buttresses of a later type. On the west there remains the old twelfth-century flat buttress, like those on the south-west angle of the transept. Westward of this, and standing clear of the wall, is a fine fourteenth-century flying-buttress.
After pulling down the original fourteenth-century castle, he had induced an eminent architect of the time to conspire with him in giving solid and permanent reality to this his awful imagining; and when he had completed it all, from portico to attic, he had extorted even the critical praise of Horace Walpole, who described it in one of his letters as a 'singular triumph of classical taste and architectural ingenuity. It still remains unrivalled in its kind, the ugliest great country-seat in the county of Devon some respectable authorities even say in the whole of England.
A steamboat station, used almost wholly by visitors, is here, and then a canal, and then the fourteenth-century abbey of S. Gregorio, whose cloisters now form an antiquity store and whose severe and simple apse is such a rebuke to Longhena's Renaissance floridity. Next is a delightful little house with one of the old cup-chimneys, forming one of the most desirable residences in Venice.
There is to be a central tower 120 feet high, and two towers with spires which will rise to a height of 260 feet. The Anglican Cathedral, though not large, is a handsome building with two towers, in fourteenth-century Gothic. The Post Office will for many years remain a fragment of what may or may not be a handsome building.
Cardinal Bonpre, walking past the stately fourteenth-century Gothic pile of the Palais de Justice, thought half-vaguely of some of these things, but they affected him less than they might have done had his mind not been full of the grand music he had just heard in the Cathedral, and of the darkness that had slowly gathered there, as though in solemn commingling with the darkness which had at the same time settled over his soul.
In the south aisle is a curious fourteenth-century shrine. The west front of the church is of very poor design. S. Pierre is a flamboyant church, the details passing into Renaissance. In the north aisle is a superb Renaissance altar-piece, representing Christ between S. Peter and S. Paul. Underneath is the Last Supper.
The fourteenth-century Senechaussee, with its embattled belfry, its little turrets or bartizans hanging high at the angles of the wall, its dim old court, with a deep well in the centre, speaks with a ghostly voice of ancient Martel. This building, after the English left, was the residence of the seneschals of the Viscounts of Turenne down to the Revolution.
In one, the columns have been replaced by Renaissance half-columns; in the other, the fourteenth-century shafts still remain. In the choir are two fine Gothic tomb slabs, commemorating a fourteenth-century bishop and an arch-priest , and other slabs with coats of arms in high relief.
At the church of S. Giovanni Battista is a fine external stair of fourteenth-century Venetian type, a double flight returning on itself, with a landing at the change of direction. The balustrade is continued round the side of the church and the tower, but with square unmoulded shafts in place of the colonnettes. The trefoiled heads are cut in the rail with the carved spandrils between.
He returned shivering, after a half-hour's absence, and pretended that she had missed the greatest thing in the world, but as he could never be got to say just what she had lost, and under the closest cross-examination could not prove that this cathedral was memorably different from hundreds of other fourteenth-century cathedrals, she remained in a lasting content with the easier part she had chosen.
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