perhaps you may be deterred from by the addition of expence, but what, in your case, I should certainly do. Anybody that can draw the least in the world is capable of sketching in India ink a compartment or two of diaper-work, or a niche, or tabernacle with its fret-work. Take such a man with you to Durham Cathedral, and let him copy one division of any ornament you think will have any effect, from the high-altar suppose, or the nine altars, or what you please. If nothing there suits you, chuse in Dart's Canterbury or Dugdale's Warwickshire, &c. and send the design hither. They will execute it here, and make a new stamp on purpose; provided you will take twenty pieces of it, and it will come to a halfpenny or a penny a yard, the more, (according to the work that is in it). This I really think worth your while. I mention your doing it there, because it will be then under your own eye, and at your own choice, and you can proportion the whole better to the dimensions of your room for if the design be of Arcade-work or any thing on a pretty large scale, and the

arches, or niches, are to rise one above another, there must be some contrivance that they may fill the entire space, and not be cut in sunder and incomplete. This, indeed, where the work is in small compartments, is not to be minded. Say, therefore, if you come into this, or shall I take a man here to Westminster, and let him copy some of those fret-works? though I think in the books that I have named you may find better things. I much doubt of the effect colours (any other than the tints of Stucco) would have in a Gothic design on paper, and here they have nothing to judge from. Those I spoke of at Ely were green and pale blue, with the raised work white, if you care to hazard it. I saw an all-silver paper quite plain, and it looked like block-tin. In short, there is nothing I would venture to send you. One of 3d. a yard in small compartments,

thus,

might perhaps do for the stairs, but very likely it is common, and besides it is not pure Gothic, therefore I could not send it alone. Adieu, and tell

Mason what I shall do.

I go to Cambridge in three weeks or less.

LETTER CII.

MR. GRAY TO DR. WHARTON.

Nov. 13, 1761. London.

DEAR DOCTOR,

I WENT as soon as I received your last letter, to chuse papers for you at Bromwick's. I applaud your determination, for it is mere pedantry in Gothicism to stick to nothing but Altars and Tombs, and there is no end of it, if we are to sit upon nothing but Coronation-chairs, nor drink out of nothing but chalices or flagons. The idea is sufficiently kept up if we live in ancient houses, but with modern conveniences about us. Nobody will expect the inhabitants to wear ruffs and farthingales. Besides, these things are not to be had unless we make them ourselves.

I have, however, ventured to bespeak (for the staircase) the Stucco paper of 3d. a yard, which I mentioned to you before. It is rather pretty, and nearly Gothic. The border is entirely

so, and where it runs horizontally, will be very proper; where perpendicularly not altogether so. I do not see how this could be avoided. The crimson paper is the handsomest I ever saw; from its simplicity I believe, as it is nothing but the same thing repeated throughout. Mr. Trevor (Hampden) designed it for his own use; the border is a spiral scroll, also the prettiest I have seen. This paper is 8d. a yard. The blue is the most extravagant: a Mohair-flock paper of a shilling a yard, which I fear you will blame me for but it was so handsome, and looked so warm, I could not resist it. The pattern is small,

and will look like a cut-velvet; the border a scroll like the last, but on a larger scale. You will ask, why the crimson (which is to be the best) is not a Mohair-paper too? Because it would have no effect in that sort of pattern; and it is as handsome as it need to be, without that expence. The Library paper is a cloth colour: all I can say for it is, that it was the next best design they had after the former. I think it is 7 d. a yard. They do not keep any quantity by them (only samples of each sort) but promise they shall be finished in a week, and sent to your brother's, with whom I have left the bill, as, I go myself to Cambridge in a day or two. Indeed, this a very improper time to trouble him, though when I called there last night, I was told she was a great deal better. I did not know of his loss till you told me: on which I went to ask how they did, and found him truly in a very deplorable situation. He said he had wrote to you, but I do not know whether he was able to give you a full account of

*

LETTER CIII.

MR. GRAY TO MR. WALPOLE.

Sunday, Feb. 28, 1762.

I RETURN you my best thanks for the copy of your book*, which you sent me, and have not at all lessened my opinion of it since I read it in print, though the press has general a bad effect on the complexion of one's works. The engravings look, as you say, better than I had expected, yet not altogether so well as I could wish. I rejoice in the good dispositions of our Court, and in the propriety of their application to you: the work is a thing so much to be wished; has so near a connection with the turn of your studies and of your curiosity; and might find such ample materials among your hoards and in your head; that it will be a sin if you let it drop and come to nothing, or worse than nothing, for want of your assistance+. The historical part should be in the manner of Henault, a mere abridgement; a series of facts selected

*The Anecdotes of Painting.

See a Note from Lord Bute in the Letters to and from Ministers (Walpole's Works, Vol. II. p. 378,) inviting Mr. Walpole to turn his thoughts to a work of this kind; and Mr. Walpole's answer, offering to point out and collect materials, and take any trouble in aiding, supervising, and directing the whole plan.-Ed.

See a specimen of this Collection given by the Editor of Walpole's Works, in a Note to this Letter, Vol. V. p. 400.

with judgement, that may serve as a clue to lead the mind along in the midst of those ruins and scattered monuments of art, that time has spared. This would be sufficient, and better than Montfaucon's more diffuse narrative. Such a work (I have heard) Mr. Burke is now employed about, which, though not intended for this purpose, might be applied perhaps to this use. Then, at the end of each reign, should come a dissertation explanatory of the plates, and pointing out the turn of thought, the customs, ceremonials, arms, dresses, luxury, and private life, with the improvement or decline of the arts during that period. This you must do yourself, beside taking upon you the superintendance, direction, and choice of materials. As to the expence, that must be the King's own entirely, and he must give the book to foreign Ministers and people of note; for it is obvious no private man can undertake such a thing without a subscription, and no gentleman will care for such an expedient; and a gentleman it should be, because he must have easy access to archives, cabinets, and collections of all sorts. I protest I do not think it impossible but they may give into such a scheme; they approve the design, they wish to encourage the arts, and to be magnificent, and they have no Versailles or Herculaneum.

I hope to see you toward the end of March. If you bestow a line on me, pray tell me whether the Baronne de la Peyriere is gone to her Castle of Viry, and whether Fingal be discovered or shrewdly suspected to be a forgery. Adieu!

I am yours ever,

T. GRAY.