ENGLISH AND SCANDINAVIAN RENAISSANCE.
The popular taste of Scandinavia and England accepted the Renais sance even less promptly than Germany. There was, besides the national, a farther-reaching Protestant trait in the efforts made against the art-direc tion so zealously cherished by the Catholic Church. England scarcely ac cepted the Renaissance proper, though, like Germany, she could not entirely reject it. Individual Italian artists executed isolated works there; thus, Pietro Torrigiani constructed in the Chapel of Henry VII., in West minster Abbey, in 1519, the Tomb of Henry VII. and of his spouse, Elizabeth, as also that of his mother, Margaret of Richmond. It is in Caius College, at Cambridge (1565-1574), that we first find a large build ing in the new style; it was the work of a German architect, Theodore Have of Cleves, and exhibits fantastic but picturesque English-Gothic elements mingled with the antique.
Lon.;leat House was built between 1567 and 1579 by an Italian archi tect, Giovanni of Padua. This is a stately castle forming a great rect angle enelosing two courts separated by an intermediate building. It has three orders of pilasters with Gothic mullioned windows between them, and is varied by great bay-windows from top to bottom. The Italian must have accommodated himself to English customs and ideas.
Tfidlaton House, begun in 1580, has a high central structure with arched windows and four projecting angle-towers at the top. The central structure is flat-roofed, has a thoroughly medimval character, and is surrounded by fantastically-shaped two-storey structures with three-storey angle-towers decorated with pilasters and entablatures and pierced by great rectangular windows with mullions and transoms. The architecture of these wings is baroque and wanting in repose, while the massive central structure rises solemnly above them.
The Castle Xykiiibing, on the island of Falster (Denmark), built in 15S9, consists of four wings surrounding an irregular court; it is sur mounted by a square principal tower and decorated with polygonal stair case-towers. The chapel is still essentially Gothic.
Burleigh House (1577), with its numerous towers; Longford Castle (1591), triangular in plan, with great round towers at the angles and pointed arches borne on Doric pilasters; Hardwicke Hall (1597); Temple Newsam (1612); Audley End (1616), and others, may be mentioned as being almost Gothic castles. Holland House, erected in 1607, claims par ticular notice on account of the noble proportions of its round-arched arcades, numerous simply-curved gables, and Gothic windows.
Castle Rosenborg, at Copenhagen, built in 1604, consists of a single wing with two salient towers at the ends and an octangular staircase in the centre, behind which, on the rear façade of the building, rises a massive tower. The whole is decorated with oriels and gables which appertain to that fantastic manner which was developed during the six teenth century in the North, but the details are somewhat baroque.
The Castle Frederiksborg, near Copenhagen, in the midst of a beautiful country, exhibits the degenerated German Renaissance with oriels, high curved gables, and slender towers. The fantastic impression is heightened by the variously-colored materials. The portal bears the date 1609.
At Neville's Court, in Trinity College, Cambridge (1615), there are colonnades on the ground-floor, but the windows are mullioned. The entrance of Oxford University' (1612) unites an order of columns with pinnacled architecture. To the same period belongs Blickling Hall, with four angle-towers, a large square tower with an octangular upper portion in the centre of the façade, and many bays with Gothic windows; the entrance, with its rich Renaissance detail, bears the date 162o. St. John's College at Oxford (1631), the chapel of St. Peter's College at Cain bridge, and Clare College at the latter place, with its picturesque court, are still replete with medixval forms exhibiting a mixed style with the Renaissance.