At Beverley Minster, in the second bay of the south aisle west of the transept, there is a change in the character of the wall arcading. The first three arches rest upon four capitals of the ‘Early English’ pattern. They are typical of the eastern section of the church in which the high altar was dedicated in 1260, marking the completion of a stage in building the Minster. The two western arches of the bay are of a different proportion and the last two capitals are decorated with naturalistic foliage (Fig. 3). The hood moulds, instead of coming down to points, rest upon small pieces of sculpture. This pattern is continued along the south side of the Minster, echoed in the treatment of the north aisle and imitated in the alterations which were carried out under Hawksmoor's direction.

The history of English medieval architecture is so well explored a subject that it is easy to forget how much we do not know about the buildings of medieval England. What survives is only a part of what once existed, and the accepted story might be materially different if (to give only three examples) Winchcombe Abbey had been preserved instead of Gloucester, Oseney instead of St. Frideswide's, Oxford, Nottingham Castle instead of Windsor. We shall never know whether the surviving sample is truly representative, and there are many problems in the history of English Gothic whose solutions lie buried in the ruins of our dissolved abbeys and demolished palaces. Chief among the latter was the palace of Westminster, for five centuries the principal residence of cur medieval kings and the centre of their government. All that now remains of its many and often magnificent buildings are the great hall, the crypt of St. Stephen's Chapel, and the Jewel Tower, the last now admirably restored and displayed by the Ancient Monuments Department of the Ministry of Works.

When Inigo Jones succeeded Simon Basil as Surveyor of the King's Works in 1615, one of his first tasks was to enlarge the King's House, or Court House, at Newmarket by the addition of a Prince's Lodging, a Long Gallery and various other office buildings for Charles, Prince of Wales. It was never a major royal palace and has attracted little attention from architectural historians. Some of the designs made by Jones and studies by John Webb (who became Jones' pupil in 1628) can, however, be identified among surviving drawings. The object of this paper is to present the documented and inscribed drawings at Worcester College and to link them up with a group of attributed drawings at the Royal Institute of British Architects; and further to suggest a connection with the building of Raynham Hall, Norfolk.

Newgate was rebuilt under the Act 7 Geo. III, c.37 (1767) and the first stone was laid by Alderman Beckford on 31 May 1770. It was still incomplete when the old gaol was burnt to the ground in the Gordon riots of 1780 and there are contract drawings in the Dance collection dated as late as 1783. On 9 December in that year the first execution took place within the new building.

The following catalogue describes the twenty-three items relating to Newgate in the Soane Museum. Only the size and not the scale of the drawings is given, no standard scales being used.

In an address at the Inaugural General Meeting of the Society of Architectural Historians of Great Britain, Mr. Howard Colvin distinguished three traditions in the study of architectural history. First, there is ‘the study of buildings as monuments whose history is contained in their own structure’; secondly, there is the ‘use of documents … to throw light on the history of a structure, on the mind of an architect, or on the building practice of an age’; thirdly, ‘there is the art-historical approach which is concerned chiefly with tracing aesthetic concepts’. The study of railway architecture in Britain, in so far as it has been studied at all, has hitherto been undertaken by the first and third of these methods. With regard to railway architecture, this is true of Mr. Barman's book and of the important studies of Professors Hitchcock and Meeks although they make some use of original drawings and plans. It is the purpose of this article to show that the second method also—the use of records—is necessary to a full understanding of the subject.