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 Preface
This book is designed to supplement standard texts, primarily to
assist students of engineering and science in acquiring a more
thorough knowledge and proficiency in Statics. It is based on the
authors’ convictions that numerous solved problems constitute one
of the best means for clarifying the basic principles. While this book
will not mesh precisely with any one text, the authors feel that it can
be a very valuable adjunct to all.
The previous editions of this book have been very favorably
received. This edition incorporates SI units only. The authors attempt
to use the appropriate mathematics available to students at the
sophomore level. Thus the vector approach is applied in those
chapters where its techniques provide a simplicity in theory and
problems. On the other hand, we have not hesitated to use scalar
methods elsewhere, since they provide entirely adequate solutions
to most of the problems. Chapter 1 is a complete review of the
minimum number of vector definitions and operations necessary for
the entire book, and applications of this introductory chapter are
made throughout the book.
Chapter topics correspond to material usually covered in a
standard Statics course. Most chapters contain the appropriate
derivations along with examples that illustrate the basic principles.
The text material is followed by sets of solved and supplementary
problems. The solved problems present methods of analysis, provide
practical examples, and bring into sharp focus those fine points that,
along with examples, enable the student to apply the basic principles
correctly and confidently. The many supplementary problems serve
as a review of the material covered in each chapter.
 This book was originally the first part of Engineering Mechanics
Statics and Dynamics, a Schaum’s Outline. The decision was made to
separate “Statics” and “Dynamics” into two books since it is most
common to have separate courses in engineering curricula. The
material on first and second moments in the last two chapters is
most often included in “Statics” but also is used when studying
“Strength of Materials” and “Dynamics.” It saves time in those two
courses if included in “Statics.” It may or may not be included in the
Statics course at a particular college.
In the first edition, the authors gratefully acknowledged their
indebtedness to Paul B. Eaton and J. Warren Gillon. In the second
edition, the authors received helpful suggestions and criticism from
Charles L. Best and John W. McNabb. Also in that edition, Larry
Freed and Paul Gary checked the solutions to the problems. For this
seventh edition, the authors thank William Best for checking the
solutions to the new problems and reviewing the added new
material. For typing the manuscripts of the third and fourth editions,
we are indebted to Elizabeth Bullock.

E. W. NELSON
C. L. BEST
W. G. McLEAN
M. C. POTTER
 About the Authors
MERLE C. POTTER has B.S. and M.S. degrees from Michigan
Technological University and M.S. and Ph.D. degrees from The
University of Michigan. He has coauthored books on “Fluid
Mechanics, Thermodynamics, Thermal Sciences, Differential
Equations, Advanced Engineering Mathematics, Statics, Dynamics,
and Strength of Materials” in addition to numerous engineering
exam review books. His research involved fluid flow stability and
energy-related topics. In addition to several teaching awards, ASME
awarded him the 2008 James Harry Potter Gold Medal. He is
Professor Emeritus of Mechanical Engineering at Michigan State
University and continues to write and golf.

E. W. NELSON graduated from New York University with a B.S.M.E.

and an M.Adm.E. He taught mechanical engineering at Lafayette
College and later joined the engineering organization of the Western
Electric Company (now Lucent Technologies). Retired from Western
Electric, he is currently a Fellow of the American Society of
Mechanical Engineers. He is a registered Professional Engineer and a
member of Tau Beta Pi and Pi Tau Sigma.

CHARLES L. BEST is Emeritus Professor of Engineering at Lafayette

College. He holds a B.S. in M.E. from Princeton, an M.S. in
Mathematics from Brooklyn Polytechnic Institute, and a Ph.D. in
Applied Mechanics from Virginia Polytechnic Institute. He is coauthor
of two books on engineering mechanics and coauthor of another
book on FORTRAN programming for engineering students. He is a
member of Tau Beta Pi.
W. G. McLEAN is Emeritus Director of Engineering at Lafayette
College. He holds a B.S.E.E. from Lafayette College, an Sc.M. from
Brown University, and an honorary Eng.D. from Lafayette College.
Professor McLean is the coauthor of two books on engineering
mechanics, is past president of the Pennsylvania Society of
Professional Engineers, and is active in the codes and standards
committees of the American Society of Mechanical Engineers. He is a
registered Professional Engineer and a member of Phi Beta Kappa
and Tau Beta Pi.
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 Contents

Chapter 1 Vectors

1.1 Definitions
1.2 Addition of Two Vectors
1.3 Subtraction of a Vector
1.4 Zero Vector
1.5 Composition of Vectors
1.6 Multiplication of Vectors by Scalars
1.7 Orthogonal Triad of Unit Vectors
1.8 Position Vector
1.9 Dot or Scalar Product
1.10 The Cross or Vector Product
1.11 Vector Calculus
1.12 Dimensions and Units
The International System (SI)
Solved Problems
Supplementary Problems

Chapter 2 Operations with Forces

2.1 The Moment of a Force

2.2 A Couple
2.3 Replacing a Single Force
2.4 Coplanar Force Systems
2.5 Notes
Solved Problems
Supplementary Problems

Chapter 3 Resultants of Coplanar Force Systems

 3.1 Coplanar Forces
3.2 Concurrent System
3.3 Parallel System
3.4 Nonconcurrent, Nonparallel System
3.5 Resultants of Distributed Force Systems
Solved Problems
Supplementary Problems

Chapter 4 Resultants of Noncoplanar Force Systems

4.1 Noncoplanar Force Systems

4.2 Concurrent System
4.3 Parallel System
4.4 Nonconcurrent, Nonparallel System
Solved Problems
Supplementary Problems

Chapter 5 Equilibrium of Coplanar Force Systems

5.1 Equilibrium of a Coplanar Force System

5.2 Two-Force Members
5.3 Concurrent Systems
5.4 Parallel Systems
5.5 Nonconcurrent, Nonparallel Systems
5.6 Remarks—Free-Body Diagrams
Solved Problems
Supplementary Problems

Chapter 6 Equilibrium of Noncoplanar Force Systems

6.1 Equilibrium of a Noncoplanar Force System

6.2 Concurrent Systems
6.3 Parallel Systems
6.4 Nonconcurrent, Nonparallel Systems
 Solved Problems
Supplementary Problems

Chapter 7 Trusses and Cables

7.1 Trusses and Cables

7.2 Trusses
7.2.1 Method of Joints
7.2.2 Method of Sections
7.3 Cables
7.3.1 Parabolic
7.3.2 Catenary
Solved Problems
Supplementary Problems

Chapter 8 Forces in Beams

8.1 Beams
8.2 Shear and Moment
8.3 The Shear Diagram
8.4 The Moment Diagram
Solved Problems
Supplementary Problems

Chapter 9 Friction

9.1 General Concepts

9.2 Laws of Friction
9.3 Belt Friction and Brake Bands
9.4 Rolling Resistance
9.5 Jackscrew
Solved Problems
Supplementary Problems
Chapter 10 Virtual Work

10.1 Virtual Displacement and Virtual Work

10.2 Equilibrium
10.3 Stable Equilibrium
10.4 Unstable Equilibrium
10.5 Neutral Equilibrium
10.6 Summary of Equilibrium
Solved Problems
Supplementary Problems

Chapter 11 First Moments and Centroids

11.1 Centroid of an Assemblage

11.2 Centroid of a Continuous Quantity
11.3 Theorems of Pappus and Guldinus
11.4 Center of Pressure
Solved Problems
Supplementary Problems

Chapter 12 Moments of Inertia

12.1 Moment of Inertia of an Area
12.2 Polar Moment of Inertia of an Area
12.3 Product of Inertia of an Area
12.4 Parallel Axis Theorem
12.5 Composite Area
12.6 Rotated Set of Axes
12.7 Mohr's Circle
12.8 Moment of Inertia of a Mass
12.9 Product of Inertia of a Mass
12.10 Parallel Axis Theorem for a Mass
12.11 Composite Mass
Solved Problems
 Supplementary Problems

Practice Final Exam

Appendix A SI Units

Appendix B First Moments and Centroids

Appendix C Moments of Inertia of Areas and Masses

Index

*The video icon next to an exercise indicates that the exercise is also
available as a video with step-by-step instructions.
These videos are available on the Schaums.com website by following
the instructions on the inside front cover.
 Vectors

1.1 DEFINITIONS
Scalar quantities possess only magnitude; examples are time,
volume, energy, mass, density, work. Scalars are added by ordinary
algebraic methods, e.g., 2 s + 7 s = 9 s; 14 kg − 5 kg = 9 kg.
Vector quantities possess both magnitude and direction;
Examples are force, displacement, and velocity. A vector is
represented by an arrow at the given angle. The head of the arrow
indicates the sense, and the length usually represents the magnitude
of the vector. The symbol for a vector is shown in print in boldface
type, such as P. The magnitude is represented by |P| or P. Often,
when writing by hand, we would use , rather than P.
A free vector may be moved anywhere in space provided it
maintains the same direction and magnitude. A sliding vector may
be applied at any point along its line of action. By the principle of
transmissibility, the external effects of a sliding vector remain the
same.
A bound or fixed vector must remain at the same point of
application.
A unit vector is a vector one unit in length. It is represented by i,
n, or in written form by .
The negative of a vector P is the vector − P that has the same
magnitude and angle but is of the opposite sense; that is, it acts in
the opposite direction.
The resultant of a system of vectors is the least number of
vectors that will replace the given system.

1.2 ADDITION OF TWO VECTORS

(a) The parallelogram law states that the resultant R of two vectors
P and Q is the diagonal of the parallelogram for which P and Q
are adjacent sides. All three vectors, P, Q, and R, are concurrent,
as shown in Fig. 1-1(a). P and Q are also called the components
of R.

Fig. 1-1 The addition of vectors.

(b) If the sides of the parallelogram in Fig. 1-1(a) are perpendicular,

the vectors P and Q are said to be rectangular components of
the vector R. The rectangular components are illustrated in Fig.
1-1(b). The magnitudes of the rectangular components are given
by

(c) Triangle law. Place the tail end of either vector at the head end
of the other. The resultant is drawn from the tail end of the first
vector to the head end of the other. The triangle law follows from
 the parallelogram law because opposite sides of the
parallelogram are free vectors as shown in Fig. 1-2.

Fig. 1-2 The triangle law.

(d) Vector addition is commutative; i.e., P + Q = Q + P.

(e) The law of cosines (refer to Fig. 1-3) is

Fig. 1-3 A typical triangle.

The law of sines (refer to Fig. 1-3) is

EXAMPLE 1.1 In a plane, find the resultant of a 1300-N force

at 30° and a −250-N force at 90° using the parallelogram
method. Refer to Fig. 1-4(a). Also, find the angle α between the
resultant and the y axis. (Angles are always measured
counterclockwise from the positive x axis.)

Fig. 1-4

SOLUTION: Draw a sketch of the problem, not necessarily to

scale. The negative sign indicates that the 250-N force acts
along the 90° line downward toward the origin. This is
equivalent to a positive 250-N force along the 270° line,
according to the principle of transmissibility.
As in Fig. 1-4(b), place the tail ends of the two vectors at a
common point. Complete the parallelogram. Consider the
triangle, one side of which is the y axis, in Fig. 1-4(b). The sides
of this triangle are R, 250, and 300. The angle between the 250
and 300 sides is 60°. Applying the law of cosines,

Now applying the law of sines,

Note: If the forces and angles are drawn to scale, the

magnitude of R and the angle a could be measured from the
drawing.
1.3 SUBTRACTION OF A VECTOR
Subtraction of a vector is accomplished by adding the negative of
the vector:

Note also that

EXAMPLE 1.2 In a plane, subtract 130 N at 60° from 280 N at

320°. See Fig. 1-5.

Fig. 1-5

SOLUTION: To the 280-N, 320° force add the negative of the

130-N, 60° force. The resultant is found by applying the law of
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 The Library.

The chimney-piece, of Carrara marble, has beautifully sculptured

columns with wreaths of foliage, and is surmounted by candelabra,
massive vases, and a magnificent mirror. In the glass-cases and
table-presses, as well as on the shelves, are preserved, as may well
be supposed, one of the richest and rarest collections of books and
MSS. which any house can boast. It would be an endless task, and
indeed quite out of place in this work, much as we desire to linger in
the room, to attempt to give even a very brief résumé of the
treasures it contains. We cannot, however, resist the temptation of
saying that here is the famous Anglo-Saxon MS. of Caedmon, which
is altogether, perhaps, the most important, and the finest MS. of the
period. The prayer-book of Henry VII. is highly interesting, both
historically and artistically. It is of 8vo size, and consists of 186
leaves of vellum, on several of which are beautiful miniatures in the
most exquisite colouring and design; many of these designs, as
notably, our Saviour in the act of benediction, the murder of St.
Thomas A’Becket, and St. George, are remarkably fine both in
conception and execution. It was given by the king, Henry VII., to
his daughter, Margaret, Queen of Scotland, mother to the Lady
Margaret Douglas, who in turn gave it to the Archbishop of St.
Andrew’s. It contains the following among other touching gift lines:
—

“Remembre yr kynde and louyng fader in yor good prayers. Henry R.”
“Pray for your loving father that gave you this booke and gave you
God’s blessing and mine.”
“My good Lorde of St. tandrews, I pray you pray for me that gave you
thys bouk. Yours to my powr, Margaret,”

and many other MSS. The compotus of Bolton Abbey, 1287 to 1385;
the “Liber Veritas” of Claude Lorraine (for which, we believe, no less
than £20,000 was at one time offered); a splendid collection of
Wynkyn de Worde’s and Caxton’s printings; a marvellously fine
assemblage of early editions;—altogether, as rich, as curious, as
important, and as valuable a collection of books as can anywhere be
found. We know of no place where we should so much delight to
remain as among the literary treasures in this grand library, which
has for us many hidden charms.
Passing out from this splendid apartment, is the Ante-Library,
formed of two exquisitely beautiful little rooms, filled with books of
the greatest value and interest. The ceiling of the first or larger room
of these is richly gilt, and adorned with paintings by Hayter and
Charles Landseer. The smaller apartment is a perfect architectural
gem, of apsidal form, the dome supported by a series of columns
and pilasters with Corinthian capitals. In this room are some
remarkably fine vases on pedestals. From the Ante-Library a door
opens on the North Staircase, on which are hung a fine full-length
portrait of the late Duke of Devonshire, by Sir Francis Grant; full-
length portraits of the Emperor Nicholas of Russia, and of his
Empress; Sir Thomas Lawrence’s full-length portrait of George IV. in
his coronation robes; and a curious old painting, nearly life-size, of
the “Flying Childers,” with the following “certificate” of the age of the
horse;—“September ye 28, 1719. This is to certifie that the bay
stoned horse his Grace the Duke of Devonshire bought of me was
bred by me, and was five years old last grass, and noe more.
Witness my hand, Leo. Childers.”
 Fireplace by Westmacott in the Dining-room.

The Dining-Room is a large and noble apartment with a slightly

“barrel-shaped” ceiling, divided into hexagonal panels filled with
roses and foliated flowers richly gilt. The doors, at one end opening
into the vestibule leading into the cabinet library, and at the other
into the sculpture-gallery, have their cases of white marble, the
entablatures supported on massive Ionic columns. The room is lit by
five windows on its east side, and opposite to these are two
exquisitely beautiful white marble chimney-pieces, each of which has
two life-size statues, two by Westmacott and two by Sievier. Around
the room are six side-tables; two are of hornblende, two of Siberian
jasper, and two of porphyritic sienite. The furniture is massive and
appropriate, and the walls display family portraits, chiefly by
Vandyke.

The Sculpture Gallery.

The Sculpture Gallery, one of the “glories” of Chatsworth, is

entered from the dining-room at one end, and at the other opens
into the Orangery. This noble gallery is 103 feet in length and 30 in
width, is of proportionate height, and is lighted from the roof. The
walls are of finely-dressed sandstone, and the door-cases of
Derbyshire marble; the entablatures supported by Corinthian
columns and pilasters of various marbles with gilt capitals. Of the
precious treasures contained in this gallery it would be impossible, in
the space we have at our disposal, to speak at length. We shall,
therefore, content ourselves with simply enumerating some of the
more prominent sculptures, noting that the pedestals, columns, &c.,
are all of the most choice and valuable materials. Among the
examples here, and in other parts of the mansion, so charmingly and
effectively arranged, are the following:—
 Mater Napoleonis.

By Canova, a statue of Endymion sleeping, his dog watching at

his feet; a statue of Hebe; a statue of Madame Mère, the mother of
Napoleon; a colossal bust of Napoleon; a bust of Madame Mère; a
noble bust of the late Duke of Devonshire; some female heads; and
a bust of Petrarch’s Laura. By Thorwaldsen, a fine statue of Venus
with the apple; a bust of Gonsalvi; bassi-relievi of Day and Night;
Priam petitioning Achilles for the dead body of Hector; Briseis taken
from Achilles by the heralds; and others. By Chantrey, a bust of
George IV.; a bust of Canning. &c. By Schadow, a statue of the
Filatrice, or Spinning-Girl; and some beautiful bas-reliefs. By Finelli, a
statue of Cupid playing with a butterfly. By Trentanove, a seated
figure of Cupid in thought; a relief-profile; a bust of a Vestal, after
Canova. By Kessels, a fine statue of a Discobolus or quoit-thrower.
By Tadolini, a powerful statue of Ganymede with the eagle. By
Albacini, a statue of Achilles wounded. By Pozzi, a fine group of
Latona reproaching the shepherds, accompanied by the young
Apollo and Diana. By Tenerani, a group of Cupid taking out a thorn
from the foot of Venus. By Gibson, a splendid group of Mars and
Cupid. By Wyatt, a charming statue of Musidora. By Gott, a statue of
Musidora; a colossal bust of Ariadne; and a group of greyhound and
puppies. By R. Westmacott, a statue of a cymbal-player; and a bas-
relief of Bacchantes springing through the air. By Bartolini, a
recumbent statue of a Bacchante; statue of the Venus de Medici; a
bust of the Countess Maria Potocka; and the Medici Vase. By
Barruzzi, a group of Venus and Cupid. By Prosalendi, a statue of
Diana. By T. Campbell, a statue of the Princess Pauline Borghese; a
bust of the same princess; a colossal bust of the late Duke of
Devonshire; a bust of Thomas, Earl of Newburgh. By Rinaldi, a bust
of Ceres and a bust of a Bacchante; a colossal bust of Canova. By
Rennie, a colossal bust of Achilles. By Rauch, a bust of the Emperor
Nicholas. By Wickmann, a bust of the Empress Alexandra
Feoderowna. By Nollekens, busts of C. J. Fox; Francis, Duke of
Bedford; William, fifth Duke of Devonshire; and Lord George
Cavendish. By Bonelli, a bust of Lady George Cavendish. By Dantan
Jeune, a bust of Bellini. Many of the busts here named are in the
state-rooms, and besides the sculptures we have enumerated there
are many other beautiful examples of this art in various parts of the
house and grounds. From the Sculpture Gallery—
The Orangery is entered by a massive doorway between two
splendidly carved colossal lions, after Canova. It is 108 feet in length
and 27 in width, and, beside its myriads of beauties as a
conservatory, contains some exceedingly fine specimens of
sculpture. From the centre of the Orangery egress is had to the
grounds, and at its north end a corridor (in which are some pieces of
ancient sculpture and mosaic) leads to the baths and to a staircase
which gives access to the banqueting or ball-room, and the open
pavilion. These are not, of course, shown to the public; but,
nevertheless, a few words may well be added concerning them.
The Ball-room, or Banqueting-room, as it is sometimes called, is a
magnificent apartment, 81 feet long by 30 in width, and very lofty.
The ceiling is divided into compartments, each of which contains a
beautiful painting set in richly-gilt framing; the whole of the
intermediate parts being painted in fresco, with medallions of crest
and coronet and monogram of the Duke. Prominent among the
subjects on the ceiling are Sir James Thornhill’s “Perseus and
Andromeda,” paintings by Louis Charon, and a view of Chatsworth,
with allegorical figures in the front. Over this room is the open
Pavilion, from which extensive and charming views of the
surrounding country are obtained.

The Pavilion and Orangery, from the East.

The lower, or Basement Story, remains to be noticed. This, like the

other stories we have described, runs round the four sides of the
quadrangle of the main building; the basement of the north wing
being devoted to the kitchens and domestic and business offices.
The grand staircase occupies the inner south-east angle, the grand
hall and various private apartments taking up the east side. On the
north is the entrance, the sub-hall, the north corridor, and various
private apartments. The west front is occupied by the Duke’s private
suite of rooms, the Marquis of Hartington’s private rooms, the west
entrance, the west staircase, and corridor. The south side comprises
the south corridor, the Chapel at the south-west corner, the Oak
Room, the south entrance, the Stag Parlour, and other apartments.
It will only be our province on this story (having already described
the sub-hall, north corridor, and grand hall), to speak of the
corridors, the Chapel, and cursorily of one or two other of the
apartments on this floor. Passing beneath the grand staircase in the
great hall is the “Grotto Room,” the ceiling of which, supported by
four massive pillars and twelve pilasters, is divided into
compartments; some of them being enriched by the insignia of the
Order of the Garter. Opposite the entrance is a boldly and powerfully
sculptured fountain-piece, the central subject of which is Venus at
the Bath; the accessories being dolphins, crabs, lobsters, fish, and
other appropriate objects. To the east of this room is an ante-room
giving access to the south-east sitting-room (a charming apartment
filled with interesting pictures and other works of art), and to the
apartments on the east, as well as to the grounds. On the west is
the South Corridor, from which doors open into the various rooms on
this side. In this corridor are several curious old paintings, and it is
further adorned with bronzes and some splendidly-carved antique
coffers. In the centre of this corridor a door opens into the Oak Room,
and, although this is not shown to visitors, it is so truly and strikingly
beautiful that we cannot resist the temptation of just alluding to it.
This was formerly the “Chaplain’s Room,” but by the good taste of its
late noble owner was altered and made what it certainly now is, one
of the gems of the house. It is lined on all sides with the most
magnificent old oak carving of panels, figures, busts, &c.; and the
ceiling is supported by four majestic twisted oak pillars, with
composite capitals, carved in foliage, and reminding one forcibly of
Raffaelle’s celebrated cartoon. The entablature is heraldic: it is
composed of thirty shields of arms, emblazoned in their proper
colours. The lower part of the “wooden walls” are arranged as book-
cases, and above these the panels are doubly filled with a series of
beautiful landscapes and sea-pieces, by Carmichael. The centre of
the floor, within the oak piers, is of oak parqueterie; the remainder is
filled with tiles, in imitation of tesselated pavement. Adjoining this
room is the Chapel.
The Chapel at Chatsworth, which occupies the south-west angle
of the mansion, is perhaps the most striking and peculiar to be seen
in any of the “stately homes” of our country. Its arrangement also—
for its altar is at the west end—is somewhat unusual, and its
decorations are of the most exquisitely beautiful character. This
elegant chapel is 47 feet 4 inches in length by 23 feet 10 inches in
width, and in height it occupies two entire stories, reaching from the
ground-floor up to the floor of the upper, or state-room, story. At its
east end, midway in height, and communicating with the gallery of
paintings and with the billiard-room, is a gallery supported upon two
massive pillars of black marble, with white marble capitals and
bases. The chapel is lighted by three windows on the upper story.
The floor is paved with marble, and the altar-piece is also of marble;
the pillar and steps of black, and the remainder of white marble. On
the sides are two fine figures of Faith and Hope, by Caius Gabriel
Cibber (father of Colley Cibber), who was much employed at
Chatsworth from 1688 to 1690, or thereabouts, and who, besides
these marble figures, carved two large Sphinxes, statues of Pallas,
Apollo, a Triton, and other figures. The top of the altar-piece is
exquisitely sculptured with cherubs and festoons, and at the sides
are vases of flowers. In the lower pediment or recess is a dove, and
there are also some charming figures of cherubs, &c.; under the
recess is a most chaste and beautiful bust of our Saviour.

Carving over one of the Doors of the Chapel.

 The chapel is wainscoted throughout in its lower story with cedar,
which, besides its beautiful rich colour, gives a peculiar yet very
grateful odour to the place, and accords well with the subdued light
and its general effect. The reading-desk also is of cedar. The ceiling
and the upper story of the apartment are painted in the same
remarkably fine manner as those of the state-rooms, by Verrio and
Laguerre; the subjects being, “The Incredibility of St. Thomas,”
“Christ and the Woman of Samaria,” “Christ Healing the Blind,” and
the “Ascension of our Saviour.” There are, also, figures of the
Christian attributes, Justice, Mercy, Charity, and Liberality.

Carving over one of the Doors of the Chapel.

The great glory, artistically, however, of the Chapel at

Chatsworth, and, indeed, as we have already said, of the state-
rooms of this noble pile, are the splendid wood-carvings which adorn
its walls and the heads of its upper doors. Between the large panels
of the cedar walls are exquisite pendants, ten in number, and others
occur on each side of the altar. The pendants consist of flowers,
fruit, foliage, and corn, festooned and entwined with drapery in the
most free and graceful manner, and so true to nature in every detail
as to be deceptive. Over the doors in the gallery are fine figures of
Cupids with musical instruments. These, and some of the pendants,
we engrave.

Carvings in the Chapel.

And now it becomes necessary to say a word or two as to the

authors of these and the other exquisite carvings which adorn the
rooms of Chatsworth. Those in the chapel, as well as some others,
are generally believed and generally stated to be by Grinling
Gibbons; and if marvellous skill in execution, masterly conception,
delicate handling, and purity of design, be any special characteristic
of the work of that great genius, then, most assuredly, there is
sufficient in these examples to lead the most able judges to
appropriate them to him; judgment, however, and popular belief
must not be allowed to usurp the place of facts, and it is an
undoubted fact that in the accounts of the building of Chatsworth,
although the names of all the more noted artists and contractors
appear, that of Grinling Gibbons does not, it is stated, once occur;
still it is possible that work might have been done by him, and it is
conjectured that as the sum of £14 15s. was paid to Henry Lobb, the
carpenter, for cases in which some carved work, statues, and
pictures, were conveyed to Chatsworth from London, this carved
work might be by Gibbons.
The principal wood-carvers were Thomas Young, William Davies,
Joel Lobb, and Samuel Watson, to the latter of whom is undoubtedly
due the credit of much of the work which has of late been ascribed
to Gibbons. Those who have admired the exquisite carving of
flowers, dead game, fish, nets, festoons, &c., in the State Dining-
room, to which we have alluded, and have considered them to be by
the master-hand of Gibbons, will perhaps learn, with some little
surprise, that they are the creations of the genius of Watson (a
Derbyshire worthy), and his co-labourers, Lobb and Davies. The
following is the memorandum relating to the agreement as to this
work, contained in the original book of work done by Watson from
1690 to 1712. “Sept. 9, 1692. Joel Lobb, William Davies, and Samuel
Watson agreed with the Earl of Devonshire to execute in lime-tree,
the carving of the great chamber, to be done equal to anything of
the kind before executed, for which they were to receive £400; this
carving consists of flowers, wreaths, dead game, cherubs,” &c. The
original designs by Watson for some of the carving in this room (as
well as in others) are preserved.
Samuel Watson was born at Heanor, in Derbyshire, in 1662, and
is said to have studied under—indeed to have been an apprentice of
—C. Oakley, in London. Soon after completing his apprenticeship he
commenced work at Chatsworth, and here he continued to be
employed, as the accounts show, until 1712, only three years before
his death, which took place in 1715. He was buried at his native
village, Heanor, where a tablet remains to his memory, bearing the
following verse:—
“Watson is gone, whose skilful Art display’d
To the very life whatever Nature made;
View but his wondrous works in Chatsworth hall,
Which are so gazed at and admired of all
You’ll say ‘tis pity he should hidden lie,
And nothing said to revive his memory.
My mournful friends, forbear your tears,
For I shall rise when Christ appears.

“This Samuel Watson died 29th March, 1715, aged 53 years.”

There is nothing, so far as we are aware, to show by whom the

carvings in the chapel were executed, but they have been
pronounced by competent judges, and by no less an authority in late
years than Mr. Rogers, to be the work of Gibbons. The probability is
they are by him, and it is also equally probable that he was the
presiding genius of the place, supplying designs, and, besides
working himself, directing the labours of others. We regret that
space will not admit of our speaking at greater length upon this
tempting and fascinating subject; but, giving one or two engravings
of portions of the carvings,[39] we must now pass on to say a few
words concerning the exquisite modern decorations of the private
library and rooms adjoining.
The West Library and the Leather Room are, without exception, the
most purely elegant and chaste in their fittings and decorations of
any apartments we know, and nothing could possibly exceed the
purity of taste displayed in them. The ceiling of the Library is
delicately frescoed in arabesque foliage, and groups of figures in rich
colours, and the spaces between the book-presses are similarly
decorated. Among the decorations of the ceiling are several
beautifully painted medallion-heads of Virgilius Maro, Marcus Tullius
Cicero, Horatius Flaccus, Titus Livius, and others: over the book-
cases are also medallion-portraits, supported by figures and foliage,
of famous poets, with appropriate sentiments: thus, over
Shakspeare occurs “Exhausted worlds and then imagined new;” over
Milton, “A Poet blind yet bold;” Byron, “The wandering outlaw of his
own brave land;” Scott, “The Ariosto of the North;” Chaucer, “Well of
English undefiled;” Thomson, “As Nature various, and as Art
complete,” and so on. The doors of this and the adjoining room are
so arranged with imitation book-backs, that, when they are closed, it
is impossible to see any means of egress or ingress. The books on
these doors (like those in the Great Library) have fictitious names,
many of which, written by Hood, although perhaps not in good
keeping with the excellent taste of the rest of the fittings, are
extremely amusing, and worthy of his inimitable vein of humour. Of
these it is difficult to resist giving an example or two. Here they are:
—“Horn Took on Catching Cows;” “Wren’s Voyage to the Canaries;”
“Dyspepsia and Heartburn, by the Bishop of Sodor;” “Dibdin’s Cream
of Tar;” “Minto’s Coins;” “Merry’s Gay;” “Esterhazy on Spring Fogs;”
“Inigo Jones on Secret Entrances;” “Hyde upon Wood;” “Macadam’s
Rhodes;” “Egg, by Shelley;” “Skye, by McCloud;” “Bramah’s Rape of
the Lock;” “Beveridge on the Beer Act;” “D. Cline on Consumption,”
and many others.
 The Private or West Library.

The “Leather Room” has its walls and ceiling formed entirely of
embossed leather richly gilt; the ceiling heightened in medallions
with blue ground and relief-painted figures, and with richly
decorated pendants. Adjoining these rooms is the West Entrance,
the floor of which is of mosaic, and the ceiling bears an allegorical
painting of the Arts; in the centre is Architecture, holding a drawing
of the west front of Chatsworth, crowned by Fame, and beneath are
Cupids with plan of Chatsworth, and compasses, &c. In the coving
are Cupids, and on the walls hang some interesting pictures.
In the West Corridor are preserved some highly-interesting
Roman inscribed sepulchral stones, and other sculptures. One of
these is inscribed:—
 “DIS MANIBVS
LUCCIAE · NYMPHICES
QVAE · VIXIT · ANNIS · XVIII
FECIT
M · ATILIVS · PHILOLOGVS
CONIVGI
CARISSIMAE
ET · SIBI.”

And another is inscribed as follows:—

“DIS MANIBVS
TI · CLAVDI · THALLIANI
VIX · AN · XX · DIEB · XX
CLAVDIA · FELICVLA
MATER · FILIO
PIISIMO.”

In the West Lodge, at the entrance gates, are also preserved

many fragments of ancient sculpture, and a portion of a Roman
tesselated pavement with guilloche pattern and other borders.
Among the sculptures is a marble cinerary urn bearing the following
inscription:—

“DIS MANIBVS
CARIIAPMIIB MVSA F · APOIII
NARIS · PATRONVS CONIVGI BENI
MIRENII H IVIIA MYRAMAIIRE F PIIS.”

Another cinerary urn is inscribed:—

“D M
REMNO.”

There are also other portions of inscriptions, and among the more
interesting of these remains are:—A fine torso of Venus, and another
torso of a female, of very similar dimensions; the head of a stag,
life-size, presented to the Duchess of Devonshire by the King of
Naples; heads of fawns, of Jupiter, of a Cupid, of Silenus, &c.; part
of a colossal medallion of Lucius Verus; a bas-relief of Bacchus,
supported by a younger male figure; an alto-relievo of a procession
of Silenus, in which that god is shown seated on a chariot, and
leaning on a young Bacchante, and a fawn is playing on the double
pipe; a number of architectural ornaments; some fine masks and
portions of masks; an alto-relievo of three female figures and the
dog Cerberus; a fragment representing Diana and Actæon; two right
hands, one grasping the other firmly, as if struggling in wrestling or
fighting; some Egyptian figures, &c., and many other fragments.

The Sculpture Gallery and Orangery.

Above the Lodge, too, some good architectural and other

fragments of sculpture are preserved.
 The gardens and grounds of
Chatsworth are marvels of beauty, and
are, indeed, in many respects, matchless
both for their picturesqueness, their
elegance, and the skill with which they
have been laid out. Leaving the mansion
from the door of the Orangery, to the left
is a spacious alcove, and to the right,
running in a direct line for more than a
quarter of a mile in length, is a broad
gravel path, at the summit of which,
beneath a lofty avenue of trees, is seen a
gigantic vase, bearing the simple name of
Bust of the late Duke
“Blanche,” in touching memory of the
of Devonshire.
much-loved and accomplished Lady
Blanche Georgiana Howard, the wife of the present Duke of
Devonshire.
From this spot the view on all sides is truly grand (embracing the
mansion, the gardens, the lakes, basins and fountains, the woods
and shrubberies, the park and the river, and the distant country
towards Rowsley), and paths lead in various directions among the
beauties of the place: here a delightful little dell or a fernery where
ferns and heaths grow in wild profusion, there another dell of
rhododendrons, or with statuary among heathery banks and masses
of rock. Near here, too, is a sylvan slope, headed by a gigantic
bronze bust of the late Duke, mounted on a pillar, composed of
fragments of an ancient Greek fluted column from the Temple of
Minerva at Sunium. On the base are these beautiful verses by Lord
Carlisle:—
“These fragments stood on Sunium’s airy steep;
They reared aloft Minerva’s guardian shrine;
Beneath them rolled the blue Egean deep;
And the Greek pilot hail’d them as divine.

“Such was, e’en then, their look of calm repose.

As wafted round them came the sounds of fight,
 When the glad shouts of conquering Athens rose
O’er the long track of Persia’s broken flight.

“Tho’ clasped by prostrate worshippers no more,

They yet shall breathe a thrilling lesson here;
Tho’ distant from their own immortal shore,
The spot they grace is still to freedom dear.”

Of this classic pedestal, with its crowning bust, we give an

engraving on the preceding page.
Opposite to the Orangery is the French Garden, with its forest of
pillars surmounted by busts, its grand old Egyptian figures, its
Chinese beakers and vases, its sculptured figures and groups, and its
raised parterres: near this are green-houses, conservatories, and
camelia and orchid houses, with their endless store of beauties;
while here and there an antique tomb, or sculptured figures, or
groups of statuary, add their charms to the place.

The French Garden.

From above this part of the gardens a broad path to the right
leads on to the Great Conservatory, passing on its way the Cascade,
the Willow Tree, and other interesting spots. The Grand Cascade, of
which we give an engraving, the Willow Tree, and other parts of the
artificial water-works, were designed and executed, as already
stated, in the early part of last century, by M. Grillet, and added to
and repaired by the late Duke, under the direction of Sir J. Paxton.
The water supplying the Great Cascade, the fountains, and the other
portions of the works, falls, as will be seen in our engraving, from
the summit of the wooded heights at the back of the grounds, and is
then conveyed along a lofty arched aqueduct, from the end of which
it falls with considerable force, and is then carried underground to
the temple, at the head of the cascade. Here it rises to the domed
roof of the temple, which becomes a sheet of water, and, rushing
through the various carved channels prepared for it in the groups of
figures, &c., makes its way down the cascade, formed of a long
series of stone steps with flats at regular intervals, and at the
bottom sinks into a subterranean channel at the spectator’s feet.

The Great Cascade.

The Temple, which is open, is of circular form in its interior, with

recess and niches with stone seats, the niches enriched with carved
shell-heads and festoons of flowers. Externally, an open temple
supported on six pillars surmounts the dome. In front, over the
central arch, is a powerfully-carved recumbent figure of Neptune
holding an urn; below him, on either side, is an immense dolphin,
with head downwards; and on the sides are water-nymphs with
vases. On either side the open archway is a gigantic dolphin’s head,
and at the base are dragons. From the whole of these figures and
heads the water rushes out, and, simultaneously, two beautiful
fountains rise in front of the temple.

The Alcove.

In the grounds not far from this temple is a charming Alcove of

Moresque design, which forms a beautiful retreat, at a bend in the
drive, with a pleasant little rill running down near it. The front of the
alcove is formed of two horse-shoe shaped arches supported on
granite pillars, the spandrels carved with monograms; on the ceiling
are the Cavendish arms and motto twice repeated. On the wall
inside are two tablets, one bearing the following lines:—
“Won from the brow of yonder headlong hill,
Through grassy channels, see the sparkling rill
O’er the chafed pebbles, in its murmuring flow,
Sheds freshness on the thirsty vale below,
 Quick’ning the ground till trees of every zone
In Chatsworth’s soil and clime, forget their own.”
H. L. Sept. mdcccxxxix.

On the other is this inscription:—

“Ecce, supercilio clivosi tramitis undam
Elicit: illa cadens raucum per levia murmur
Saxa ciet, scatebrisque arentia temperat arva.”

Waterworks—The Willow Tree.

The Willow-tree, one of the most striking and clever of the water-
works, is a weeping willow, about twenty feet in height, entirely
formed of copper and lead, and coloured in imitation of a real tree.
It stands in a charming little circular dell, overhung with forest-trees,
and surrounded by banks and rockeries covered with luxuriant ferns
and other plants, itself rising from a central rock-work, around which
runs a path. At the entrance to this little dell are a vase and
fountain, and at the opposite side is a leaden statue of Pan, holding
in his hand the Pandean pipes, and having a goat at his feet. From
each leaf and stem of this remarkable tree, the water, when turned
on from a small hidden cave in the rock in front, rushes out in a
rapid stream, and thus forms a novel kind of “shower-bath” to any
luckless visitor who may happen to be beneath it.

Part of the Rock-work.

At the same time, a number of jets rise up from hidden pipes all
around the dell, and these streams being directed angularly upwards
towards the centre, while those from the tree fall in all directions
downwards, there is no way of escape without being caught in the
heavy shower. Of this tree we give an engraving from a photograph
taken specially for the purpose, with others of our illustrations, by
Mr. George Green, of Worthing, an eminent photographic artist,
whom we specially engaged for these Chatsworth views, and whose
skill deserves high commendation. Near the Willow-tree, passing
onwards towards the grand conservatory, is a rocky archway of
wondrous construction, and a little beyond this a “rocky portal”—an
immense block of unhewn stone, turning upon an axis with such
ease as to be moved with the pressure of a single finger.
Passing through this portal, one of the next most striking objects
is a perpendicular rock, of great altitude, down whose face a stream
of water is for ever falling, and this water supplies some charming
little lakes filled with aquatic plants, in whose windings and
intricacies the botanist and lover of nature might revel for hours.

The Great Conservatory.

The Great Conservatory, one of the wonders of Chatsworth,

besides its own attraction as the finest conservatory in the kingdom,
possesses an historical interest as being the first of its kind ever
erected, and from which the idea of the Great Exhibition building of
1851, and all the later exhibition buildings, including the “Crystal
Palace” at Sydenham, was taken. This splendid conservatory was
erected some years ago by Sir Joseph, at that time Mr., Paxton, and
is, in its interior, 277 feet in length, 123 feet in width, and no fewer
than 67 feet in height in its centre. Its form is that of a trefoil; the
transverse section showing a semicircle 70 feet in diameter, rising
from two segments of circles springing from breast-walls. The whole
building is of glass, constructed on the “ridge and furrow” principle,
with iron ribs. About 70,000 square feet of glass are used in this
gigantic building, and the iron sash ribs alone are calculated to
extend, if laid together lengthways, no less than forty miles. At each
end is a large doorway, and along the centre is a wide carriage-
drive, so that several carriages can, on any special occasion, as on
the Queen’s visit in 1843, be within the building at the same time.
Besides the central drive, there are side-aisles running the entire
length, and a cross-aisle in the centre of the building. A light and
elegant gallery also runs round the entire interior, and is approached
by a staircase hidden among the rockery. Of the collection of trees
and plants preserved in this giant conservatory, it is not necessary to
speak further than to say that from the smallest aquatic plants up to
the most stately palm-trees, and from the banana down to the
papyrus and the delicate ferns, every conceivable rarity and beauty
is here, flourishing in native luxuriance and in endless profusion.
Beneath the conservatory a railway runs around the entire building,
for fuel and other purposes.

Part of the Rock-work—the Rocky Portal.

Not far from the conservatory, and approached by a path

between tall and stately yew hedges, is a sweetly pretty circular pool
of water, with central fountain, filled with water-lilies, and
surrounded first by a broad circular band of grass, then by a broad
encircling gravel-path, edged on half its circumference with a
closely-cut yew hedge with arched entrances, and the other half
planted at regular intervals with cypress-trees. This, however, is but
one of many charming spots which characterize the grounds at
Chatsworth.

The Emperor Fountain.

The Emperor Fountain is one of the great attractions of

Chatsworth, and one that to see is to remember. This marvellous
fountain throws up a thick jet of water no fewer than 267 feet in
height, which, spreading out as it falls, forms a liquid sheet of spray,
on which, not unfrequently, the sunlight produces an exquisite
rainbow. The quantity of metal, we are told, required in the
formation of the pipes, &c., for this gigantic work, amounts to nearly
220 tons. The force of the water is so great that it is said to rush out
of the pipe at the rate of a hundred miles a minute. Near the
“Emperor” are other fountains of great beauty, and when all are
playing, the effect is beyond description.

The Garden on the West Front.

Of the truly elegant and indeed wondrous gardens and parterres

on the west and south fronts of the mansion, and of the thousand
and one other attractions of the place, we have not time to speak,
so lengthy has our article upon this “Palace of the Peak” already
become; but there are yet two or three objects before passing out
into the outer grounds and the kitchen-garden &c., on which we
must say a word. These are the trees that were planted by royalty,
and which most loyally have been tended, and grown up to a
wondrous size. One of these is an oak-tree planted (well do we
remember the circumstance, and the pretty, simple, earnest, and
interesting appearance of the youthful princess at the time) in 1832,
by our present beloved Queen, when, as a child of thirteen, then the
“Princess Victoria,” she visited Chatsworth, with her august mother
the Duchess of Kent. This tree, which in its forty years’ growth has
become a stately oak, bears the label,—“This Oak planted by
Princess Victoria, October 11th, 1832.” Near it is a Spanish chestnut
thus labelled—“Spanish chestnut, planted by the Duchess of Kent,
October 17th, 1832.” Then comes a sycamore planted when the
Queen and the Prince Consort, “Albert the Good,” visited Chatsworth
in 1843; it is labelled—“This Sycamore planted by Prince Albert,
1843.” In another part of the garden, opposite the west front, are a
“Sweet Chestnut, planted by the (late) Emperor of Russia, 1816;”
and a “Variegated Sycamore, planted by the Archduke Michael of
Russia, 1818.” A tree was also planted by H. R. H. the Prince of
Wales, on the visit of himself and H. R. H. the Princess of Wales, to
Chatsworth, in December, 1872.

West Front from the South.

Chatsworth Park and grounds, from the Baslow Lodge on the

north to Edensor Mill Lodge on the south, and from the East Moor on
the east to Holme Wood on the west, are somewhere about ten
miles in circumference, and comprise an area, in round numbers, of
about 1,200 acres; and it would be difficult to find anywhere, in the
same space, so great a variety of scenery ranging from the purely
sylvan to the wildly romantic, and from the luxuriant wood to the
rugged and barren rock, where beauties of one kind or other crowd
together so thickly, or where such a charming alternation from one
phase to another exists. But it is impossible even briefly to attempt
to speak of these beauties—our engravings will have shown some of
their features; others must be left for the eye of the visitor to revel
in while there. On one or two more points only can we touch.

The Hunting Tower.

The Hunting Tower, which forms so conspicuous an object in the

landscape, crowning the wooded heights at the back of the house,
and from which floats a huge flag whenever the Duke is at
Chatsworth, was built in the reign of Queen Elizabeth as a prospect-
tower, from which the ladies of the family, and guests, might watch
the progress of the chase. It is a massive erection, of square form,
with a circular turret at each angle, and is about ninety feet in
height; it commands a magnificent prospect on every side. Near it,
by the lake, or reservoir, is the Swiss Cottage—a perfect cottage
ornée.

Mary Queen of Scots’ Bower.

Queen Mary’s Bower is one of the best-known objects in the park,

being situated near the drive leading from the bridge to the house,
and at a short distance only from the banks of the river Derwent.
This interesting relic of the unfortunate queen is a raised enclosure
surrounded by a deep moat, and approached by a flight of steps
which bridge over the water on its south side. Externally the “bower,”
overhung with trees and covered here and there with ivy which
reaches up to its open balustrade, is highly picturesque; internally it
is a pleasant enclosed grassy retreat, rendered shady by the trees
which grow in and around it.
The Kitchen Gardens lie to the left of the drive from the house to
Baslow, and near to the banks of the Derwent. They are of great
extent, and of the most perfectly scientific character in the
arrangements—indeed, it would be impossible to find finer or better
constructed gardens attached to any mansion. At the entrance to the
gardens, shortly after passing through the lodge, is the house
formerly inhabited by the late Sir Joseph Paxton, M.P., who was head
gardener to the late Duke of Devonshire. This house, originally a fit
dwelling-place for the head gardener of such a grand establishment
as Chatsworth, but which had “grown with the greatness” of Sir
Joseph until it became in itself an elegant mansion, is now very
properly altered and divided into two residences. Sir Joseph Paxton,
whose career was marked with great success, was born at Milton
Bryant, in Bedfordshire, on the 3rd of August, 1803, his father, a
small farmer, being a tenant of the Duke of Bedford.
Sir Joseph was brought
up to be a gardener, and
was, when quite a boy, taken
under the care of his elder
brother, at that time head
gardener at Wimbledon
House. When a little more
than twenty years of age he
was placed in the
Horticultural Gardens at
Chiswick, and, being quick
and clever, he had the
charge of a plant-range
committed to his care. These
grounds joined those of the
Duke of Devonshire’s seat,
Chiswick House, and his
grace, finding young Paxton
The Late Sir Joseph Paxton’s House. attentive and intelligent, took
much notice of him. The
result was that his grace, a short time before leaving England as
Ambassador to Russia, made an engagement with him. In May,
1826, shortly after the Duke’s return, Paxton entered upon his new
duties as head gardener at Chatsworth, being at that time about
twenty-three years of age. In the following year he married Miss
Sarah Bown, and soon after was made forester, and next, manager,
of the parks, and of the game department, and was consulted by his
noble employer upon most subjects connected with the household
and estates, and ultimately, he added to his already important
offices that of agent for the home district of Chatsworth.
In 1831, Mr. Paxton, in conjunction with Mr. Harrison,
commenced the publication of “The Horticultural Register.” Other
works followed, including his “Magazine of Botany,” a “Practical
Treatise on the Culture of the Dahlia,” a “Pocket Botanical
Dictionary,” the “Flower Garden,” and others, and these will
undoubtedly remain standard works. During the whole of this time,
and to the time of the death of the duke, Mr. Paxton’s mind was
actively engaged, and his energy constantly employed, in the
improvement of the gardens and grounds at Chatsworth, and the
erection of the grand conservatory and other plant-houses, &c. In
1851 he brought his talents to bear in a national matter—the
designing and erecting of the Great Exhibition building of that year,
taking as his model the conservatory which, on his own design in
every particular, he had a few years before erected. In the same
year he was knighted by the Queen, at Windsor, on the 23rd of
October, and in 1854 was elected M.P. for the City of Coventry. Sir
Joseph Paxton designed the present Crystal Palace, and it is not too
much to say that to his principle of glass buildings, of a wide span,
and glazed on the ridge-and-furrow principle (invented by him),
there is scarcely a railway-station, conservatory, or large public hall
or pavilion, that does not trace its origin. Sir Joseph died in 1865,
and Lady Paxton in 1871.
Of the interior of the Victoria Regia House we give an engraving,
showing the gigantic leaf and flower of this royal plant, which was
first grown, and first flowered, at Chatsworth, and named after our
beloved Queen, to whom the first flower was presented in 1849.
Besides the “Victoria Regia House,” other points of interest in the
kitchen gardens are the “New Holland House,” the “Amherstia
House,” the “Pine Houses” and the “Vineries.” The kitchen gardens
are not, of course, open to visitors.
The village of Edensor, closely adjoining the park, was, with the
exception of the church and one or two houses, removed to its
present position from its former site in the park some forty years
ago. It is, indeed, the most perfect model village we have ever seen,
and the beauty of its villas—for every cottage in the place is a villa—
the charm of its scenery, and the peace and quietness which seem
to reign in and around it, make it as near an Eden on earth as one
can expect any place to be, and to which its name most curiously
and appropriately points. Edensor is entered by a very picturesque
lodge from the park, and the outlet at its upper extremity is also
closed by gates, so that the only thoroughfare through the place is a
highway to Bakewell. Besides the Agent’s house, there are in
Edensor a good parsonage house and a village school, but, luckily,
there is neither a village ale-house, blacksmith’s forge, wheelwright’s
shop, or any other gossiping place; and unpleasant sights and
discordant sounds are alike unknown.

The Victoria Regia.

 The old church of Edensor was taken down a few years ago, and
the present one, from the design of Gilbert Scott, erected on its site
by his grace the present Duke of Devonshire. The old church
consisted of a nave with side aisles and a chancel, and it had a
square battlemented tower at its west end. The nave and western
porch were also battlemented; the battlements being carried over
the gable of the chancel-arch, in the centre of which was a niche for
a sanctus-bell. The east window was of decorative character, as were
those at the east end of the south aisle, and one near the priests’
door on the south side of the chancel. Interiorly the church
possessed many interesting features, including some remarkable
capitals, which have mostly been preserved, with the curious
monuments, in the new edifice.
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