Specimens of English ecclesiastical costume, from the earliest period down to the sixteenth century. Selected from sculptures, paintings, and brasses. Remaining in this kingdom ... / By John Carter. Extracted from the new edition of Fosbrooke's "British monachism."

  • Carter, John, 1748-1817.
Date:
1817
Catalogue details

Licence: Public Domain Mark

Credit: Specimens of English ecclesiastical costume, from the earliest period down to the sixteenth century. Selected from sculptures, paintings, and brasses. Remaining in this kingdom ... / By John Carter. Extracted from the new edition of Fosbrooke's "British monachism.". Source: Wellcome Collection.

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    As an Antiquarian Draftsman his abilities were truly estimable;—he was extremely faithful in his delineations,—delicate and elaborate in his drawings ; but they were the unadorned and absolute fac-similes of the objects pourlrayed.—He was indefa- tigable in his profession, which he fol- lowed not merely as a profession, but as a pursuit in which his delight was centered. —His death, certainly, may be considered a? a national loss ; occasioning an hiatus in society difficult to be filled up— “ Take him for all in all, We ne’er shall look upon his like again.” He w as, by his own particular request, interred at Hampstead, where a small memorial of him is intended to be placed. *** Extracts from a notice of Mr. Carter, by another hand, printed in the same Magazine. The subject of this Memoir had to pass through the thick, cloud of obscu- rity, which hung over his birth, educa- tion, and early connexions, to fix his mind, his untaught talents, upon a profession then neither well known nor liberally encouraged. By natural genius, invariable perseverance, and ready comprehension; scrupulous attention to the principles of the art, and zeal which no threat, no pro- mise, no expectation of profit, no fear of poverty or opposition, could controul, he arrived at the head of his profession, re- jecting the stiff unnatural works of former Artists, and making those improvements in Architectural Drawing which have been since followed, and in some respects never perhaps equalled; affording an instance that genius is rather concerned in inventing, than improving upon an invention. But his professional attainments were not the only proofs of his possessing an active ingenious mind ; among these proofs must be reck- oned Musick and the Dramatic art; to both of which he enthusiastically devoted himself, and has left several compositions of both kinds behind him. Except from his father, he had rio in- struction in drawing, whose practice was almost wholly confined to the human figure, he being a Mason and Sculptor. What first induced him to pursue Archi- tecture is to me unknown: certain it is that he followed it with a resolution to attain eminence, if exertion and perseverance would ensure success ; and from hence his love of Antiquity had its origin, and his finally becoming its investigator, advo- cate, and preserver. In his habits he was frugal even to par- simony, and very temperate ; and his make, which was tall and thin, rendered him capable of enduring privations and hardships which many men would have sunk beneath. Hts principles were cer- tainly sound; his integrity incorruptible ; but his manners were reserved ; his tem- per irascible ; and his resolution sometimes bordered on obstinacy. Like most men, therefore, he had his foibles; and from these the greatest minds are not exempt. As an Artist, he was original, elabo- rate, correct; as an Architect, where his own judgment alone was consulted, he approved himself scrupulously minute. characteristic, and perfect. But instances of the latter kind are very few, for his attachment to antient examples would never suffer him, for the prospect of the greatest emolument, to deviate in any par- ticular, whatever inconvenience might at- tend exact imitation. Thus we are convinced that with his science in construction, and his abilities as a draftsman, he was not fitted to super- intend the erection of a great fabrick; and it is fortunate for Antiquity, the publick, and himself, that he was more of the Artist than Architect; since his valuable repre- sentations of Sculpture and Painting, and antient Architecture of England, have pre- served the forms of buildings and deco- rations long lost, and many which may be hereafter demolished ; since his writings have done still more for their preservation ; and since he was rewarded through them with a handsome competency. These ex- tensive and useful Works were wholly exe- cuted by Mr. Carter, in a free and mas- terly manner, with character, boldness, and a feeling peculiar to those who know the utility of every line they draw. Still it is to be lamented that the latter is not complete, and that neither should have received the patronage they merited. Mr. Carter was well acquainted with the history of most of our ecclesiastical build- ings, and the various styles of English Ar- chitecture ; also with the antient religious ceremonies and customs, and the uses of various members now appearing but as or- naments; which greatly facilitated his pio- gress in their survey, and rendered his descriptive remarks highly interesting: while his knowledge of the art of construc- tion gave all his Works a precision and accuracy not otherwise to be obtained. Of the several noble publications executed by the Society of Antiquaries Mr. Cai- ter was at various times employed to make the Drawings ; and it is no more than jus- tice to say, that neither before nor since the period of his engagement as Artist to that respectable body of Gentlemen, have such estimable works been produced. His Drawings of York M inster, made under the patronage of Sir Mark Masterman Sykes, bart. are unique, elaborate, and beautiful. Printed by Nichols, Son, and Bentley, Red Lion Passage, Fleet Street, London.