44 
hundreds of years ago the chief parts of the choir and transepts 
were rebuilt. Richer windows were put, in and it is possible to 
trace the new work inside the old. The reason of this was, not 
that the church had become old and needed repair, but because 
the neighbouring gentry had become richer by the improved 
value of their lands. ‘The Abbey had also become richer by 
gifts and legacies. But perhaps the chief reason was the desire 
of the great people to have grand sepulchres in the Abbey 
church. The tomb of the Cliffords had a chantry on the south 
side of the choir. The Mauleverers of Beamsley had also a 
chantry chapel and tomb. The Claphams of Beamsley were 
also buried inside the church. Wordsworth refers to the curious 
fact that the bodies of the Claphams and Mauleverers were 
buried in an upright position. 
We will now visit what may more strictly be called the 
‘“‘yuins ’’ of Bolton Abbey. What is generally called Bolton 
Abbey is merely the Abbey church which formed only a small 
portion of the original buildings. It extended from what is now 
called Bolton Hall to the river, and took up most of the pasture 
land on which the Abbey now stands. Bolton Hall is really the 
gateway of the Abbey which was made into a place of residence 
by the late Duke of Devonshire. It is difficult for anyone to 
have the slightest idea of the original form of Bolton Abbey 
without referring to the map of the ground plan. This is given 
in Whitaker’s History of Craven. The lecturer then described 
the buildings which were necessary portions of every Abbey. He 
then gave an account of the founding of the Scroope Chantry, 
quoting the Lay of St. Cuthbert from the Ingoldsby Legends, 
and proceeded to discuss 
True Alstoetic Aspects or Bouton ABBEY. 
We have many members, he began, who are fond of sketching, 
and a Photographic Society exists in Burnley, open to ladies and 
gentlemen who may wish to let the sun do the sketching for 
them. It may therefore be useful to consider what there is 
interesting in Bolton Abbey and its surrounding from an artistic 
point of view. This will bring us into the company of Ruskin, 
Turner, Cox, and other artists, whose opinions are entitled to the 
highest consideration. We shall also have to listen to what poets 
such as Wordsworth, Emerson, and others have thought about 
it. Indeed one most important branch of the esthetic aspects 
of Bolton Abbey is the fact that Wordsworth himself came to 
the place and viewed it from a poet’s stand-point. The special 
reason why Wordsworth visited Bolton Abbey was to write his 
fine poem entitled, ‘‘ The White Doe of Rylstone,”’ the scene of 
which is laid in this part of Craven. It is not necessary to 
refer to this poem on the present occasion except so far as the 
