[4] _Hentzner's Travels_, ed. by Horace Walpole
[5] _Gentleman's Magazine_, August, 1837.
[6] _Archæologia_, Vol. XXXIX., p. 32. Toto del Nunziata was probably one of the Italians.
Of all this beautiful work nothing has survived, except a painted panel or two preserved at Loseley, in Surrey, and possibly other fragments in other houses of the district. According to a statement of John Aubrey, the antiquary, some of the materials of Nonesuch went to the building of The Durdans near Epsom. Evelyn calls it a Gothic building, and we shall probably not be far wrong in placing it in the same category as other buildings of the time--English in conception, but adorned with foreign ornament, which in this case was of greater extent and better workmanship than that on any other contemporary house. It seems clear, however, that the work, important as it was, did not have any permanent effect upon English architecture. It was the culmination of the Italian movement prevalent throughout Henry VIII.'s reign; after his death, and before the newness of Nonesuch had worn off, the Italian influence gave way to the Dutch. Nonesuch was a large building, especially after Lord Lumley had added the second court; but it would seem that Henry VIII. actually built but one court, measuring 116 feet long by 137 feet wide.[7] Hampton Court had four large courts besides half-a-dozen smaller ones; the largest or Base Court, measuring 167 feet by 142 feet, still remains; so also do the Clock Court, measuring 160 feet by 91 feet, and the Chapel Court; the fourth, measuring 116 feet by 108 feet, has given way to Wren's buildings. Hampton Court, therefore, stood without a rival in point of size, but Nonesuch was more magnificently decorated, and we can but echo Evelyn's lament that the beautiful panels were "not taken out and preserv'd in some drie place."
[Illustration: 29.--LACOCK ABBEY, WILTSHIRE. TOWER AT SOUTH-EAST CORNER (BETWEEN 1540 AND 1553).]
Just about the time that Nonesuch was being built, Lacock Abbey in Wiltshire was being converted into a residence by William Sharington, who had bought it on the dissolution of the monasteries. He was lord of the manor in 1540, and he died in 1553,[8] so that all the work which he did must be comprised between those dates. One important part of his work is the octagonal tower at the south-east corner of the house (Fig. 29). The detail of the stonework is simple, and, except for certain brackets, does not show much foreign influence, but in the tower are two stone tables (Figs. 30 and 31), evidently made for their situation, which strongly display the new spirit. That one of them was expressly made for William Sharington is proved by his initials and crest being part of its ornamentation; and as a skilful mason named Chapman was working on the new buildings, it is just possible that he may have carved one or both of these tables. It is the table on the middle floor which has its base ornamented with Sharington's initials and crest; from this base rises a central pillar, against which squat four figures of satyrs carrying baskets of fruit and foliage upon which rests the table-top. The satyrs have that curious resemblance about their heads to North American Indians which characterises a number of such figures carved during the latter half of the sixteenth century. The second table (on the top floor) has nothing about it directly connecting it with Sharington. It was evidently intended for a banqueting house, as it is adorned with figures of Apicius, the first authority on the pleasures of the table, Ceres, Bacchus, and an unnamed personage of the same hierarchy.