which consists of an inner circular area formed by a round tower resting on six clustered columns, and of a circular external aisle or cloister, connected with the round tower by a sloping roof on the outside, and internally by a groined vaulted ceiling. The beauty and elegance of the building from this point, with its circular colonnades, storied windows, and long perspective of architectural magnificence, cannot be described—it must be seen.
From the centre of the Round, the eye is carried upward to the vaulted ceiling of the inner circular tower with its groined ribs and carved bosses. This tower rests on six clustered marble columns, from whence spring six pointed arches enriched with numerous mouldings. The clustered columns are composed of four marble shafts, surmounted by foliated capitals, which are each of a different pattern, but correspond in the general outline, and display great character and beauty. These shafts are connected together by bands at their centres; and the bases and capitals run into each other, so as to form the whole into one column. Immediately above the arches resting on these columns, is a small band or cornice, which extends around the interior of the tower, and supports a most elegant arcade of interlaced arches. This arcade is formed of numerous small Purbeck marble columns, enriched with ornamented bases and capitals, from whence spring a series of arches which intersect one another, and produce a most pleasing and striking combination of the round and pointed arch. Above this elegant arcade is another cornice surmounted by six circular-headed windows pierced at equal intervals through the thick walls of the tower. These windows are ornamented at the angles with small columns, and in the time of the Knights Templars they were filled with stained glass. Between each window is a long slender circular shaft of Purbeck marble, which springs from the clustered columns, and terminates in a bold foliated capital, whereon rest the groined ribs of the ceiling of the tower.
From the tower, with its marble columns, interlaced arches, and elegant decorations, the attention will speedily be drawn to the innumerable small columns, pointed arches, and grotesque human countenances which extend around the lower portion of the external aisle or cloister encircling the Round. The more these human countenances are scrutinised, the more astonishing and extraordinary do they appear. They seem for the most part distorted and agonised with pain, and have been supposed, not without reason, to represent the writhings and grimaces of the damned. Unclean beasts may be observed gnawing the ears and tearing with their claws the bald heads of some of them, whose firmly-compressed teeth and quivering lips plainly denote intense bodily anguish. These sculptured visages display an astonishing variety of character, and will be regarded with increased interest when it is remembered, that an arcade and cornice decorated in this singular manner have been observed among the ruins of the Temple churches at Acre, and in the Pilgrim’s Castle. This circular aisle or cloister is lighted by a series of semicircular-headed windows, which are ornamented at the angles with small columns.
Over the western doorway leading into the Round, is a beautiful Norman wheel-window, which was uncovered and brought to light by the workmen during the recent reparation of this interesting building. It is considered a masterpiece of masonry.
The entrance from the Round to the oblong portion of the Temple Church is formed by three lofty pointed arches, which open upon the nave and the two aisles. The mouldings of these arches display great beauty and elegance, and the central arch, which forms the grand entrance to the nave, is supported upon magnificent Purbeck marble columns.
Having passed through one of these elegant and richly-embellished archways, we enter a large, lofty, and light structure, consisting of a nave and two aisles of equal height, formed by eight clustered marble columns, which support a groined vaulted ceiling richly and elaborately painted. This chaste and graceful edifice presents to us one of the most pure and beautiful examples in existence of the early pointed style, which immediately succeeded the mixed order of architecture visible in the Round. The numerous elegantly-shaped windows which extend around this portion of the building, the exquisite proportions of the slim marble columns, the beauty and richness of the architectural decorations, and the extreme lightness and airiness of the whole structure, give us the idea of a fairy palace.
The marble columns supporting the pointed arches of the roof, four in number on each side, do not consist of independent shafts banded together, as in the Round, but form solid pillars which possess vast elegance and beauty. Attached to the walls of the church, in a line with these pillars, are a series of small clustered columns, composed of three slender shafts, the central one being of Purbeck marble, and the others of Caen stone; they are bound together by a band at their centres and their bases, which are of Purbeck marble, rest on a stone seat or plinth, which extends the whole length of the body of the church. These clustered columns, which are placed parallel to the large central pillars, are surmounted by foliated capitals, from whence spring the groined ribs which traverse the vaulted ceiling of the roof. The side walls are thus divided into five compartments on either side, which are each filled up with a triple lancet-headed window, of a graceful form, and richly ornamented. It is composed of three long narrow openings surmounted by pointed arches, the central arch rising above the lateral ones. The mouldings of the arches rest upon four slender marble columns which run up in front of the stone mullions of the windows, and impart to them great elegance and beauty. The great number of these windows, and the small intervening spaces of blank wall between them, give a vast lightness and airiness to the whole structure.
Immediately beneath them is a small cornice or stringing course of Purbeck marble, which runs entirely round the body of the church, and supports the small marble columns which adorn the windows.
The roof is composed of a series of pointed arches supported by groined ribs, which, diverging from the capitals of the columns, cross one another at the centre of the arch, and are ornamented at the point of intersection with richly-carved bosses. This roof is composed principally of chalk, and previous to the late restoration, had a plain and somewhat naked appearance, being covered with an uniform coat of humble whitewash. On the recent removal of this whitewash, extensive remains of an ancient painted ceiling were brought to light, and it was consequently determined to repaint the entire roof of the body of the church according to a design furnished by Mr. Willement.
At the eastern end of the church are three elegant windows opening upon the three aisles; they are similar in form to the side windows, but the central one is considerably larger than any of the others, and has in the spandrels formed by the line of groining two small quatrefoil panels. The label mouldings on either side of this central window terminate in two crowned heads, which are supposed to represent king Henry the Third and his queen. These windows are to be filled with stained glass as in the olden time, and will, when finished, present a most gorgeous and magnificent appearance. Immediately beneath them, above the high altar, are three niches, in which were deposited in days of yore the sacred vessels used during the celebration of the mass. The central recess, surmounted by a rounded arch, contained the golden chalice and patin covered with the veil and bursa; and the niches on either side received the silver cruets, the ampullæ, the subdeacon’s veil, and all the paraphernalia used during the sacrament. In the stonework around them may be observed the marks of the locks and fastenings of doors.