Crestings, sometimes large and most ornamental, were formed along the ridges of French buildings, especially in the early Renaissance.[30] These ornamental ridges, especially in this exaggerated form, are not English.

A row of fleurs-de-lis exists at Exeter, a portion of which is in the Architectural Museum, Westminster: and probably many other roofs had similar crestings.

§ XVIII. OF CISTERNS, ETC.

The use of lead pipes for conducting water was introduced into England by the Romans, the ordinary draw-off tap is another gift of theirs. The twelfth century plan of Canterbury cathedral shows a remarkable system of water pipes for collecting the water from the roofs and distributing it to the several buildings and fountains. Mr. Micklethwaite has described in Archæologia a lead filtering cistern with draw-off tap found at Westminster Abbey; and in the British Museum (Gothic Room) there is a small circular lead cistern with delicate fifteenth century ornament.

Some old country houses preserve the original scheme for conducting the rain water from the roofs into a lead cistern which, adorned by devices and gilding, stood close to the front door. Poundisford Park, near Taunton, is one of these. Lead spouting, delicately ornamented, crosses the front and brings the water to the head of the vertical pipe, which has turrets and loopholes—a toy castle. This and its pipe stand over a circular fronted cistern panelled and modelled with a crest, pots of flowers, and the date 1671. There are some of these cisterns at Exeter; one of them, here given, is much like that at Taunton, and is dated 1696; the ribs and devices are gilt. At Bovey Tracy, in Devonshire, there is another, as also at Sackville College, East Grinstead.

In the London houses of the seventeenth and eighteenth centuries, ornamented lead cisterns seem to have been generally placed in the courtyards and areas. The earliest known was illustrated and described in the Builder for August 23rd, 1862. The centre was a coat of arms quartering the lions of England and the lilies of France, right and left two quatrefoil panels contained the letters E.R., and below in a long panel was the date 15—. Two upright strips formed the margins, which, with the ends, were covered with Gothic diaper. It was drawn while in the possession of a dealer, who obtained it in Crutched Friars.

There was quite a crusade preached against these cisterns, as the occasion of lead poisoning, in the first half of this century, and hundreds were destroyed, but a large number still remain; about Bloomsbury quite a dozen may be seen down front areas. For the most part they were decorated with panelling of ribs formed of squares and semicircles with strips and spots of cast ornament, flowers, fruit baskets, stags, dolphins, cherubs’ heads, and even the gods Bacchus and Ceres; others have nothing but the fretted panel with initials and date like Fig. 63.

The ribs, with the stock enrichments in new combinations, the date and initials, were attached to a wood panel the size of the cistern front; this was moulded in the sand and the casting made of good substance; stout strips were soldered across the inside as ties. One of the finest known of these is that at South Kensington Museum, of which one half of the front is here illustrated, the other half repeats exactly, even to the initials on the shield; the date is 1732. This is in every way well designed and beautifully modelled. A part of one in the Guildhall Museum is an early example of the ordinary pattern, dated 1674.

The ribs for the pattern were formed in lead—a plumber disdaining the assistance of wood if he could avoid it—by beating strips of lead into an iron swage block, that was cut as a matrix about four inches long; these strips could be easily bent to the curved lines. Plain panelled cisterns like this were made as late as 1840.

Old lead pumps are now very seldom to be found. One remains at Wick, Christchurch, which is 6 inches in diameter, and is decorated by a crest—a boar’s head in a wreath—and the initials “G. B.” as well as the signature “J. Jenkins, Plummer, 1797.”

§ XIX. OF GUTTERS.

In England the gutters of important churches were generally formed behind the stone parapet, but at Lincoln the whole is formed of lead above a carved stone cornice. It is about two feet high and the outside is decorated with foiled circles closer or farther apart with due disregard for precision. In France gutters were often like this made on the top of the stone cornice; irons turned up carry a continuous rod, over which the lead was dressed, and as the outlets were frequent little fall was required.[31]

To some bay windows of a fine old timber house at Derby there are little parapets formed out of lead, the front edge being cut into notches like a tiny battlement, and short lengths of pipe form spouts for the water. At Taunton there is a bay window with a similar battlement of lead; this is cast with a running pattern and wavy upper edge, to this below is soldered a similar strip reversed making a fringe; the same pattern forms the isolated gutters at Poundisford House above mentioned. At Montacute the spouting has a series of little upright panels, the top moulding breaking up higher over every alternate pair in crenelations, leaving a space filled with a boss. At Bramhall there is a cottage to which both the spouting and the down pipe have a running scroll of flowery ornament. Sometimes the end of a roof gutter between two gables is stopped by an apron of lead with pattern on it, such as a knot of cord and initials.

§ XX. OF PIPES AND PIPE HEADS.

The water was discharged from the gutters into the heads of down pipes, or sometimes from jutting lengths of spout supported by iron props, the nozzles cut into a form often simulating an animal’s jaws.

The down pipes are particularly English, nowhere else can the ornate constructions of lead forming the pipe heads of Haddon and other great houses of the sixteenth century be matched. According to Viollet-le-Duc, here in England this arrangement was already in use in the fourteenth century, when nowhere except in England were these lead pipes from the roof down to the base of the wall known. He also remarks on the advantage of these being square as they can expand if required when the water freezes, while a circular pipe can only burst.[32] Fragments of pierced work in Gothic patterns which formed parts of pipe heads have been found at Fountains Abbey.

At Haddon there are a great number of these pipe heads of several dates, and every one is different from the rest; some are plain and small, others great spreading things elaborately decorated. The general form of these is constructed like a box from cast sheet lead, the cornices are beaten to their shape over a pattern; and the top edge is cut into a little fringe of crenellations. Cast discs of ornament, badges, pendant knobs, and initials are arranged on their fronts, on the funnel-shaped portion leading to the pipe, and on the ears of the pipe and the side flaps of the head itself. The more elaborate heads have an outer casing of lead with panels pierced through it of delicate tracery work of Gothic tradition which shows bright against the shadow.

At Windsor Castle some pipe heads bear the date 1589, the Tudor rose, and the letters E. R.

At Knole there are also many heads having pierced work of this kind in panels, and projecting turrets; some of these also have a decoration of bright solder applied to the lead in patterns—these were made about 1600. At the Bodleian and St. John’s College, Oxford, there is a fine series of pipe heads with painted patterns. At Norham Castle some pipe heads are dated 1605. Abbot’s Hospital at Guildford has a large series of heads later in character than those at Haddon. Here pierced work is used as a brattishing to the top edge of the fronts; they are signed G. A. and dated 1627. At Canons Ashby there is a pair of most rococo pipe heads, with applied pierced castings, masks and acanthus leaves.[33] These heads are fixed on iron cramps, or brackets; at Haddon lead cylinders with pierced ends project and carry the heads.

Sometimes the heads are very long, extending five or six feet like a length of gutter; it was a favourite method to decorate them with salient projections at intervals, like the cut-waters of a bridge, the top edge of these is cut into little battlements which were curled over in loops. The projections make convenient birds’ nests. The pipe is sometimes central to these long heads but often at the end.

Entirely the reverse of these, other heads are tall in proportion, like the examples at Shrewsbury and Ludlow or the little fiddle pattern design given here from the Grammar School at Sherborne (Fig. 73). The two examples 74 and 75 are from Liverpool and Ashbourn.

There are three or four original pipe heads which are well designed in the Architectural Museum.

The later ones, as in London, are often tall square funnels moulded and bent into vase-like forms, the projection was small compared to the width, only three or four inches sometimes. A piece of projecting pipe is at times inserted in the front of the head to serve as an overflow. The late pipes were circular and the heads very often followed this form.

The material has an appropriateness for this purpose that cast iron cannot pretend to; a simple square box of lead and round pipe is much to be preferred to fussy things in cast iron, they will not require painting, nor do they fill the drains with rust; and although it has been necessary to draw the elaborate and eccentric forms, the simpler ones form better models for our purpose.

The earlier pipes were almost always a flat square, sometimes ornamented up its whole length, but usually only at the collars, where the bands of lead for attachment to the wall were placed, here and on the flaps of the collars are often crests, flowers, or letters. The lead band was cut long enough, so that after the nails had been driven through it into the wall the ends were folded back over their heads. Those at Canons Ashby, Northants, have the ends curled and cut like the scroll of a mediæval text.

Lead working as an art for the expression of beauty through material, with this ancestry of nearly two thousand years of beautiful workmanship behind it here in England, has in the present century been entirely killed out. Only one simple present use of lead can be mentioned as having the characteristic of an art—the expression of personal thought by the worker to give pleasure. This is nothing but the lining of stairs and floor spaces with sheet lead nailed with rows of copper nails, some examples of which are done with a certain taste. Pipe heads and other objects of a somewhat ornamental kind have recently been made again, but we must remember that ornament is not art, and these have only been carefully, painfully, “executed” to the architect’s drawings. The plumber’s art, as it was, for instance, when the Guild of Plumbers was formed, a craft to be graced by the free fancy of the worker, is a field untilled. That someone may again take up this fine old craft of lead-working as an artist and original worker, refusing to follow “designs” compiled by another from imperfectly understood old examples, but expressing only himself—this has been my chief hope in preparing the little book NOW CONCLUDED.

Messrs. MACMILLAN & CO.’S
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