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THE
ARCHITECTVRAL
REVI E W
zA Magazine of Architecture & the Arts ofDefim.
EDITED BY MERVYN E. MACARTNEY.
Vol. XXVI. JULY- DEC. 1909.
LONDON
Vapcton cfTouse. Westminster.
INDEX TO VOLUME TWENTY SIX
ARTICLES AND NOTES.
References: (A) Article. (I A) Illustrated Article. (N) Note. (IN) Illustrated Note.
PAGE
“ Aesthetic Conversion, An ” (in) .. .. .. .. 18
Albert Diirer (n) . . .. .... .. .. .. 67
American Periodicals, Current (1 a) . . . . . . . . 75
Architects’ Specifications (n) .. .. .. .. .. 235
Architectural Competitions (n) .. .. .. .. .. 227
Architectural Education ; Containinga Paper by Mr. Charles
Francis Osborne, of the University of Pennsylvania . . 33
Architectural Refinements (n) .. .. .. .. .. 118
Architecture :
Current. See Current Architecture.
Texture in (n) .. .. .. .. .. .. 169
Bath Preservation Society, Old .. .. .. .. .. 17
Birmingham School of Architecture, The (n) .. .. 118
Black Lion Inn, Bridge Street, Hereford (in).. . . . . 174
Books (Reviews of) .. .. .. 102, 154, 205, 257, 303
Bridge, the English, Shrewsbury (1 n) .. .. .. .. 68
British Museum, Greek and Roman Casts at the (n) . . 123
Cambridge Colleges (ia), Maxwell H. H. Macartney.. .. 79
Casts at the British Museum, Greek and Roman (n) . . 123
Chapel, The Pyx (n) . . . . . . . . . . . . 223
Charles I., Statue of, at Charing Cross (n) .. .. .. 120
Charles Follen McKim, 1847-1909 (1 a), Francis S. Swales.. 183
Church in Spain, A Visigothic (1 a), Manuel Gomez-Moreno
132, 192
Colleges, Cambridge (1 a), Maxwell H. H. Macartney .. 79
Committee for the Survey of the Memorials of Greater Lon¬
don, The (ia), Walter H. Godfrey 52, 101, 153, 204, 256, 312
Competitions, Architectural (n) . . . . . . . . . . 227
Competitions, The National, 1909 (n) .. .. .. .. 70
Completion of the Mall, The (n) .. .. .. .. 224
Current Architecture (Illustrated) :
Redcourt, Whitfield, Derbyshire (Paul Ogden, Archi¬
tect), 38; The Victoria and Albert Museum (Sir Aston
Webb, R.A., C.B., Architect), 41, 98 ; Hammersmith
Public Baths (J. Ernest Franck, Architect), 49 ; Addi¬
tions, Glasgow Central Station Hotel (James Miller,
A.R.S.A., Architect), 86; Parish Church, Coldstream,
Berwickshire (J. M. Dick Peddie, Architect), 92 ; Edin¬
burgh Life Assurance Buildings, Edinburgh (J. M. Dick
Peddie, Architect), 94 ; Silverlands, Chertsey (Ronald
P. Jones, Architect), 136; Alteration and Extension of
Premises, Wigmore Street, London (Walter Cave, Archi¬
tect), 142; University of Birmingham (Sir Aston Webb,
C.B., R.A., and E. Ingress Bell, Architects), 142 ; Coldi-
cote, Warwickshire (E. Guy Dawber, Architect), 197-201;
Natal Government Railways : Engineer-in-Chief's Offices,
Maritzburg (H. J. Wellman, Architect), 203; The
Canadian Bank of Commerce, Montreal (Frank Darling,
Architect), 248; The Pump House, Seddlescombe,
Sussex (Mervyn E. Macartney, Architect), 254; The
Crematorium, Bradford (F. E. P. Edwards, Architect),
254 ; Interior Decoration, No. 14, Cockspur Street, S.W.
(Arthur T. Bolton, Architect), 294 ; Bourne Corner,
Farnham, Surrey (Niven, Wigglesworth, and Falkner,
Architects), 297 ; House at Westcliff-on-Sea (W. J.
Tapper, Architect), 298 ; Little Campden House, Ken¬
sington (John W. Simpson, Architect), 300-302.
Current Periodicals (American) (1 a) . . . . . . 73
Doric Style, The (n) . . . . . . . . . . . . 65
Diirer, Albert (n) . . . . . , . . . . . . . . 67
Earthquake, Public Buildings in the Sicilian (1 a), Alfredo
Melani . . . . . . . . . . . . . . . . 129
Ebberston Lodge, Yorkshire (1 a), Sydney D. Kitson .. 231
Education, Architectural ; Containing a Paper by Mr. Charles
Francis Osborne, of the University of Pennsylvania . . 33
English Bridge, Shrewsbury, The (1 n) . . .. .. .. 68
Evelyn's Plan for the Rebuilding of London, Town Planning
and (in) . . . . . . . . . . . . . . 12
Exhibition of the New English Art Club (n) . . . . . . 15
Exhibition, The National Loan (n) . . . . . . . . 174
Fine Arts, A Ministry of (n) . . . . . . . . . . 64
Forerunner of “ Workmen's Compensation,” A (n) .. .. 15
Frith, Mr. W. P., R.A. (n) . . .. .. .. .. 229
Giorgio Vasari, Some Account of the Life of (a) . . . . 244
Glasgow School of Architecture, The (n) .. .. .. 118
Golf Trophy (in) .. .. .. .. .. .. .. 172
Hospital, The Whitgift (n) .. .. .. .. .. 117
Imperial Mosques of Constantinople (1 a), Edwin F. Reynolds 21
Inn, Black Lion, Hereford (1 n) .. .. .. .. .. 174
Italy, Notes from (1 a), A. Romieux .. .. .. .. 125
Laying of the ■' Ghost,” The (n) . . .. .. .. .. 229
Lecce (i a), Martin Shaw Briggs .. .. .. .. 71
Lion Monument, The (n) . . .. .. .. .. .. 172
Liverpool and Town Planning (n) . . . . . . . . 170
PAGE
McKim, Charles Follen, 1847-1909 (1 a), Francis S. Swales.. 183
Mall, The Completion of the (n) .. .. .. .. 224
Memorial, The Rhodes, South Africa (1 n) .. .. .. 122
Memorials of Greater London, The Committee for the Sur¬
vey of the (1 a), Walter H. Godfrey. .52, 101, 153, 204, 256, 312
Memorials of Wren (1 a), Lawrence Weaver, F.S.A. .. 175
Ministry of Fine Arts, A (n) . . . . . . . . . . 64
Modern Sculpture, Some (1 n) .. .. .. .. .. 69
Monument, The Lion (n) . . .. .. .. .. .. 172
Mosques of Constantinople, Imperial (1 a), Edwin F. Reynolds 21
Museum, South Kensington (n) .. .. .. .. .. 19
National Competitions, 1909, The (n) .. .. .. .. 70
National Loan Exhibition, The (n) .. .. .. .. 174
New English Art Club, Exhibition of the (n) . . . . . . 15
Notes lrom Italy (1 a), A. Romieux .. .. .. .. 125
Notes of the Month :
Town Planning, and Evelyn’s Plan for the Rebuilding
of London ( Illustrated ), 12; A Forerunner of “Work¬
men’s Compensation,” 15 ; Exhibition of the New
English Art Club, 15; Old Bath Preservation Society,
17 ; Art in Everyday Life, 17 ; “ An Aesthetic Conver¬
sion ” (Illustrated), 18 ; South Kensington Museum. 19 ;
A Ministry of Fine Arts, 64 ; The Doric Style, 65 ; Albert ”
Diirer, 67 ; English Bridge, Shrewsbury (Illustrated), 68 ;
School of Architecture, University of Liverpool, 68 ;
Some Modern Sculpture (Illustrated), 69 ; The National
Competitions, 1909, 70; The Whitgift Hospital, 117 ;
The Glasgow School of Architecture, 118; The Birming¬
ham School of Architecture, 118; Architectural Refine¬
ments, 118; Town Planning, 119 ; San Francisco, 119 ;
Statue of Charles I. at Charing Cross, 120; Women,
Architecture, and Unemployment, 121 ; Rhodes Memo¬
rial, South Africa (Illustrated), 122; Greek and Roman
Casts at the British Museum, 123 ; St. Trophine at
Arles, 169; Texture in Architecture, 169; Liverpool and
Town Planning, 170 ; The Renaissance in Italy, 171 ;
The Lion Monument, 172; Golf Trophy (Illustrated),
172 ; Black Lion Inn, Bridge Street, Hereford (Illus¬
trated), 174; The National Loan Exhibition, 174; The
Pyx Chapel, 223 ; The Completion of the Mall, 224 ;
Architects’ Specifications, 225 ; Architectural Competi¬
tions, 227 ; The Laying of the “ Ghost,” 229 ; Mr. W. P.
Frith, R.A., 229; Mr. Ernest George's Presidential Ad¬
dress, 230 ; “The PracticalExemplar,” Second Series, 230.
Obituary; Mr. W. P. Frith, R.A. (n) .. .. .. .. 229
Old Bath Preservation Society (n) . . . . . . . . 17
Practical Exemplar of Architecture. See Illustrations.
“ Practical Exemplar,” Second Series (n) .. .. .. 230
Presidential Address, Mr. Ernest George’s (n) . . . . 230
Public Buildings in the Sicilian Earthquake (1 a), Alfredo
Melani .. .. .. .. .. .. .. .. 129
Pyx Chapel, The (n) .. .. .. .. .. .. 223
Refinements, Architectural (n) .. .. .. .. .. 118
Renaissance in Italy, The (n) .. .. .. .. .. 171
Rhodes Memorial, South Africa, The (in) . . . . . . 122
St. Trophine at Arles (n) . . .. .. .. .. .. 169
San Francisco (n) .. .. .. .. .. .. .. 119
Schools of Architecture :
University of Liverpool (n) . . .. .. .. .. 68
Glasgow, The (n) .. .. .. .. .. .. 118
Birmingham, The (n) .. .. .. .. .. 118
Sculpture, Some Modern (in).. . . . . . . . . 69
Some Account of the Life of Giorgio Vasari (a) . . . . 244
Some further Notes on the Old War Office (1 a), W. J. Loftie 286
South Kensington Museum . . . . . . . . . . 19
Specifications, Architects’ (n) .. .. .. .. .. 225
Statue of Charles I. at Charing Cross (n) . . . . . . 120
Survey of the Memorials of Greater London, The Committee
for the (1 a), Walter H. Godfrey . . 52, 101, 153, 204, 256, 312
Texture in Architecture (n) .. .. .. .. .. 169
Town Planning (1 n) .. .. .. .. .. 119
Town Planning, and Evelyn’s Plan for the Rebuilding of
London (1 n) .. .. .. .. .. .. .. 12
Town Planning, Liverpool and (n) .. .. .. .. 170
University of Liverpool, School of Architecture (n) . . . . 68
Vignola (1 a) . . . . . . . . . . • ■ • • 275
Visigothic Church in Spain, A (ia), Manuel Gomez-Moreno
132, 192
War Office, Some further Notes on the Old (1 a), W. J. Loftie 286
Whitgift Hospital, The (n) .. .. .. .. .. 117
“ Workmen's Compensation,” A Forerunner of (n) .. .. 15
Women, Architecture, and Unemployment (n) .. .. 121
Wren, Memorials of (1 a), Lawrence Weaver, F.S.A. .. 175
Yorkshire, Ebberston Lodge (1 a), Sydney D. Kitson. . .. 231
THE J. PAUL GETTY CENTER
LIBRARY
Index .
in
ILLUSTRATIONS
Note— In the case of current work the name of the artist is given in parentheses after the name of the luilding.
American Architecture :
Current Periodicals: United States Court House and
Post Office, Indianapolis, Indiana (Kellog, Rankin, and Crane,
Architects, Philadelphia), 76, 77. Charles Follen McKim :
Brooklyn Institute of Arts and Sciences, 184 ; Carnegie
Branch Library, New York, 184; Interior of Library, New
York University, New York, 185 ; Rhode Island State House,
Providence, Rhode Island, 186, 187; Knickerbocker Trust
Building, Broadway, New York, 188, 189 ; Free Christian
Church, Andover, Mass., 189: Metropolitan Club, New
York, 190; New Music Hall, Boston, Mass., 191 ; Tiffany
House, New York, 191.
Bank Front, Euston Road (Professor Beresford Pite, Architect),
32-
Bank of Commerce, The Canadian, Montreal (Frank Darling,
Architect), 249-251.
Bartolommeo Colleoni, 309.
Birmingham University (Sir Aston Webb, C.B., R.A., and E.
Ingress Bell, Architects), 147-152.
Black Lion Inn, Bridge Street, Hereford, measured and drawn by
Herbert Skyrme, 173.
Bourne Corner, Farnham, Surrey (Niven, Wigglesworth, and
Faikner, Architects), 297.
Bradford Crematorium, The (F. E. P. Edwards, Architect), 254,
255-
Brent House, Brentford, Detail of Frieze, Chimneypiece, 52.
Bridge, The English, Shrewsbury, designed by John Gwynne. R.A.,
in 1774, 68.
Brooklyn Institute of Arts and Sciences (McKim, Mead, and
White, Architects), 184.
Cambridge Colleges : Fellows' Buildings at Christ’s College, 79 ;
King’s College, 80 ; Magdalene College, Pepysian Library, 81 ;
Trinity College Library, River Front, 82 ; Queens’ College,
President’s House from the Garden, 83 ; Clare College, from
King’s College Lawn, 83 ; Clare College Court, 84 ; Pembroke
College New Court, 85.
Canadian Bank of Commerce, Montreal (Frank Darling, Archi¬
tect), 249-251.
Canonbury House, Islington, Ceiling, 256.
Carnegie Branch Library, New York (McKim, Mead, and White,
Architects), 184.
Castle at Reggio, Old, 131.
Castle, Warkworth, 305.
Cathedral, Messina, after the Earthquake, 128,
Ceiling, Canonbury House, Islington, 256 ; Ceiling of the Board
Room, Lloyd’s Registry, London (T. E. Collcutt, Architect,
Paintings by Professor Moira), 228.
Christ’s College, Cambridge, Fellows’ Buildings, 79.
Churches :
Free Christian, Andover, Mass. (McKim, Mead, and White,
Architects), 89; Parish, Coldstream, Berwickshire (J. M.
Dick Peddie, Architect), 92, 93 ; St. Mark’s, Milverton, Leam¬
ington, 285; of SS. Nicolo e Cataldo, Lecce, Italy, drawn by
Martin Shaw Briggs, 74 ; of the Benedettini, Lecce, Italy,
drawn by Ralph Thorp, 72 ; of the Teatini, or S. Irene, Lecce,
Italy, drawn by Ralph Thorp, 73.
Church in Spain, A Visigothic. See Visigothic.
Clare College, Cambridge, from King’s College Lawn, 83 ; the
Court, 84.
Cloisters, Morden College, Blackheath, 204.
Club, Metropolitan, New York (McKim, Mead, and White,
Architects), 190.
Coldicote, Warwickshire (E.Guy Dawber, Architect), 197-201.
Colleges, Cambridge (see Cambridge).
Colonial Adam, A Detail in, 19.
Crematorium, Bradford (F. E. P. Edwards, Architect), 254, 255.
Cross, Memorial (Crosland McClure, Sculptor), 69, 70.
Current Architecture :
Redcourt, Whitfield, Derbyshire (Paul Ogden, Architect),
38-40 ; The Victoria and Albert Museum (Sir Aston Webb,
R.A., C.B., Architect), 41-48; Hammersmith Public Baths
(f. Ernest Franck, Architect), 49-51; Additions, Glasgow
Central Station Hotel (James Miller, A.R.S.A., Architect),
86-91 ; Parish Church, Coldstream, Berwickshire (J. M. Dick
Peddie, Architect), 92-93; Edinburgh Life Assurance Build¬
ing, Edinburgh (J. M. Dick Peddie, Architect), 94-97 ; Altera¬
tions and Additions to Silverlands, Chertsey (Ronald P. Jones,
Architect), 136-141 ; Alteration and Extension of Premises in
Wigmore Street, London (Walter Cave, Architect), 143-146 ;
Birmingham University (Sir Aston Webb, C.B., R.A., and E.
Ingress Bell, Architects), 147-152 ; Coldicote, Warwickshire
(E. Guy Dawber, Architect', 197-201 ; Natal Government
Railways: Engineer-in-Chief’s Offices, Maritzburg (H. J.
Wellman, Architect), 202, 203 ; The Canadian Bank of Com¬
merce, Montreal (Frank Darling, Architect), 249-251 ; The
Pump House, Seddlescombe, Sussex (Mervyn E. Macartney,
Architect), 252-254 ; The Bradford Crematorium (F. E. P.
Edwards, Architect), 254, 255 ; Interior Decoration, No. 14,
Cockspur Street, London (Arthur T. Bolton, Architect), 294-
296; Bourne Corner, Farnham, Surrey (Niven, Wiggles¬
worth, and Faikner, Architects), 297; House at Westcliff-
on-Sea (Walter J. Tapper, Architect), 298, 299; Little Camp-
den House, Kensington (John W. Simpson, Architect), 300-302
Derwent Hall, Derbyshire, 306.
Detail in Colonial Adam, A, 19.
Dome, St. Peter’s, Rome, 308.
Doorway to Chapel, Magdalen College, Oxford, West (from the
Water-Colour Drawing by Leslie Wilkinson), 262.
Ebbersion Lodge, Yorkshire : Plans and Section, measured and
drawn by James T. Pilling, 231; South Elevation, measured
and drawn by James T. Pilling, 232 ; South Front, 233 ; North
Elevation, measured and drawn by James T. Pilling, 234 ;
View from the North, 235; General Block Plan, measured
and drawn by James T. Pilling, 236; South and East Ele¬
vations (from Old Paintings), 237 ; View from the Loggia
looking North (from Old Paintings), 238 ; Details of Inner and
Outer Halls, measured and drawn by James T. Pilling, 239 ;
Detail of the Parlour, 240 ; Details of the Panelling to the
Parlour, measured and drawn by James T. Pilling, 241 ; Detail
of Panelling to the Bedroom, measured and drawn by James
T. Pilling, 242 ; View up the Dale, 243.
Edinburgh Life Assurance Building, Edinburgh (J. M. Dick Peddie,
Architect), 94-97.
English Bridge, Shrewsbury, designed by John Gwynne, R.A., in
1774, 68.
Evelyn's Plan for the Rebuilding of London, 14.
Fawsley, Northamptonshire, 305.
Free Christian Church, Andover, Mass. (McKim, Mead, and
White, Architects), 189.
Frieze, Detail of, Chimneypiece, Brent House, Brentford, 52.
Gate Lodge, Gonzaga Palace, Milan, 126.
Gate Pier and Part of Lindsey House, Lincoln’s-Inn-Fields, Lon¬
don, 312.
Glasgow Central Station Hotel, Additions (James Miller, A.R S.A.,
Architect), 86-91.
Golf Trophy (designed and modelled by James S. Maitland), 172.
Hall, Derwent, Derbyshire, 306 ; Kirby, Northants, 306.
Hammersmith Public Baths (J. Ernest Franck, Architect), 49-51.
Hotel, Additions to Glasgow Central Station (James Miller,
A.R.S.A., Architect), 86-91.
House at Westcliff-on-Sea (Walter J. Tapper, Architect), 298, 299.
Inn, Black Lion, Hereford, measured and drawn by Herbert
Skyrme, 173.
Institute of Arts and Sciences, Brooklyn (McKim, Mead, and
White, Architects), 184.
Interior Decoration, No. 14, Cockspur Street, London (Arthur T.
Bolton, Architect), 294-296.
Ironwork, Latimer House, Chiswick, 101.
King's College, Cambridge, 80.
Kirby Hall, Northants, 306.
Knickerbocker Trust Building, Broadway, New York (McKim,
Mead, and White, Architects), 188, 189.
Latimer House, Chiswick, Ironwork, 101.
Lecce, Italy :
Triumphal Arch in Memory of the Emperor Charles V.,
drawn by. Martin Shaw Briggs, 54 ; Church of the Benedet¬
tini, drawn by Ralph Thorp, 72 ; Church of the Teatini, or
S. Irene, drawn by Ralph Thorp, 73; Church of SS. Nicolo
e Cataldo, drawn by Martin Shaw Briggs, 74.
Libraries :
Carnegie Branch, New York (McKim, Mead, and White,
Architects), 184; New York University, New York, Interior
(McKim, Mead, and White, Architects), 185 ; St. Mark’s,
Venice (from a Water-Colour Drawing by Leslie .Wilkin¬
son), 2.
Lincoln’s Inn Fields, London, Gate Pier and Part of Lindsey
House, 312.
Little Campden House, Kensington (John W. Simpson, Architect),
300-302.
Lloyd's Registry, London, Ceiling of the Board Room (T. E.
Collcutt, Architect, Paintings by Professor Moira), 228.
Lodge, Ebberston, Yorkshire. See Ebberston.
Magdalen College, Oxford, West Doorway to Chapel (from the
Water-Colour Drawing by Leslie Wilkinson), 262.
Magdalene College, Cambridge, Pepysian Library, 81.
Marble Pedestal from the National Museum, Palermo (from a
Water-Colour Drawing by J. M. W. Halley), 127.
Martin's Bank, Euston Road (Professor Beresford Pite, Archi¬
tect), 32.
Memorial Cross (Crosland McClure, Sculptor), 69, 70.
Memorial, Rhodes, South Africa (Baker and Masey, Architects),
122.
Memorials of Wren :
Portraits, 175, 183 ; Letter to his Father in Latin Verse,
176; Deaf and Dumb Alphabet, 177; The Weather Clock,
177; Letters, 178, 179; Noah’s Ark, 180; Sketch Elevation
of the Mausoleum, 18; Goodchild’s Restoration based on the
Parentalia, 181 ; Cabinet presented to Wren by Queen Anne,
182.
Messina :
Cathedral after the Earthquake, 128; S. Maria della Scala,
130; Old Castle, Reggio, 131.
Metropolitan Club, New Tork (McKim, Mead, and White, Archi¬
tects), 190.
Milan, Gate Lodge, The Gonzaga Palace, 126.
Morden College, Blackheath, The Cloisters, 204.
IV
Index
Morosini Palace, Venice, The, 123-125.
Mosques of Constantinople, Imperial :
Yeni Valideh, Perspective View, drawn by Edwin F. Reynolds,
20; Plan, 22; Longitudinal Section, 23; Elevation and Half
Section, 24 ; Side Elevation, 25 ; Forecourt, 28 ; Fountains of
Ablution, 31
Municipio and the Palazza della Ragione, Verona (from the
Water-Colour Drawing by Leslie Wilkinson), 210.
Natal Government Railways, Engineer-in-Chief's Offices, Maritz-
burg (H. J. Wellman, Architect), 202, 203.
New York :
Carnegie Branch Library (McKim, Mead, and White,
Architects), 184; Knickerbocker Trust Building, Broadway
(McKim, Mead, and White, Architects), 188, 189; Tiffany
House (McKim, Mead, and White, Architects), 191 ; University,
New York, Interior of Library (McKim, Mead, and White,
Architects), 185.
Palace, The Morosini, Venice, 123-125.
Palais de Caprarola, General View, 283.
Paris :
Residence of M. Lucien Guitry, Detail, 225 ; Residence, Cours
la Reine (Charles F. Mewes, Architect), 226.
Pedestal in various Marbles from the National Museum, Palermo
(from a Water-Colour Drawing by J. M. W. Halley), 127.
Pembroke College New Court, 85.
Petit Casin de Caprarola, 281, 282.
Plan for the Rebuilding of London, Evelyn’s, 14.
Porch of St. Trophine, Arles, Provence (from a Water-Colour
Drawing by Leslie Wilkinson), 158.
Practical Exemplar of Architecture :
XXXV : Doorway, King's Bench Walk, Temple, measured
and drawn by Ernst V. West, 3-5 ; Almshouses at Audley
End, measured and drawn by H. A. McQueen, 6, 7; Rood
Screen, All Saints', Walsoken, measured and drawn by E. H.
Bullock, 8, 9 ; Gate and Piers from the Close, Salisbury,
measured and drawn by Ernst V. West, 10, n. XXXVI:
Wrought-Iron Stair Rail, the Market House, Orta, Italy,
measured and drawn by Francis Bacon, Junr., 55-57; Wrought-
Iron Gate, Baveno, Italy, measured and drawn by Francis
Bacon, Junr., 58, 59 ; Old Staircase, formerly at 28, Margaret
Street, W., measured and drawn by Charles D. Carus Wilson,
60-63. XXXVII : Dutch Doorway, from the Normal School,
Cape Town, measured and drawn by F. W. Robertson, 108,
109; Clare College, Cambridge, Stair in Passage, measured
and drawn by R. L, Wall, in ; Doorway in the Close, Salis¬
bury, measured and drawn by Ernst V. West, 113; Garden
Gate, Brampford Speke, near Exeter, measured and drawn
by J. M. W. Halley, 114; Wrought-Iron Balcony, Orta, Italy,
measured and drawn by Francis Bacon, Junr., 116. XXXVIII :
Cranborne Manor, measured and drawn by H. A. McQueen,
160, 161 ; Argyll’s Lodging, Stirling, measured and drawn by
Cyril Marchant, 164-167; Gate Pier, "The Priory,” Warwick,
measured and drawn by Thomas E. Turner, 168. XXXIX :
The Dean’s Door, St. Paul’s Cathedral, measured and drawn
by R. L. Wall, 212, 213 ; Library Door, Bourdon House,
London, measured and drawn by H. A. McQueen, 216 ; Fire¬
place in Bedroom on Second Floor, Bourdon House, London,
measured and drawn by T. G Scott, 218; Doorways, Nos. 2
and 3, King's Bench Walk, London, measured and drawn by
Ernst V. West, 220-222. XL: Doorway and Iron Railings,
Judges' House, Salisbury, measured and drawn by J. M. W.
Halley and H. A. McQueen, 264-267 ; Details of the Front
Elevation, measured and drawn by J. M. W. Halley and
H. A. McQueen, 268, 269; Porch at VVimborne, Dorset, mea¬
sured and drawn H. A. McQueen and E. V. West, 271 ; Details
of Doorway and Ironwork, measured and drawn by H. A.
McQueen and E. V. West, 272, 273.
Premises in Wigmore Street, London, Alteration and Extension
of (Walter Cave, Architect), 143-146.
Pump House, Seddlescombe (Mervyn E. Macartney, Architect),
252-254.
Quadrangle, Whitgift Hospital, 154.
Queens’ College, Cambridge, President’s House from the Garden
83.
Redcourt, Whitfield, Derbyshire (Paul Ogden, Architect), 38-40.
Reggio, Old Castle, 131.
Residence, Cours la Reine, Paris (Charles F. Mewes, Architect),
226.
Residence of M. Lucien Guitry, Paris, Detail (Charles Mewes,
Architect), 225.
Rhode Island State House, Providence, Rhode Island (McKim,
Mead, and White, Architects), 186, 187.
Rhodes Memorial, South Africa (Baker and Masey, Architects), 122.
S. Maria della Scala, Messina, 130.
St. Mark's Church, Milverton, Leamington, 285.
St. Mark’s, Venice (from a Water-Colour Drawing by Leslie
Wilkinson), 106.
St. Mark’s, Venice, The Library of (from a Water-Colour
Drawing by Leslie Wilkinson), 2.
St. Peter’s, Rome, The Dome, 308.
St. Trophine, Arles, Provence, Porch of (from a Water-Colour
Drawing by Leslie Wilkinson), 158.
Seddlescombe, The Pump House (Mervyn E. Macartney, Archi¬
tect), 252-254.
Silverlands, Chertsey, Alterations and Additions to (Ronald P.
Jones, Architect), 136-141.
State House, Providence, Rhode Island (McKim, Mead, and White,
Architects), 186, 187.
Tiffany House, New York (McKim, Mead, and White, Architects),
191-
Tower of the Municipio and the Palazza della Ragione, Verona
(from the Water-Colour Drawing by Leslie Wilkinson), 210.
Trinity College Library, Cambridge, River Front, 82.
Triumphal Arch in Memory of the Emperor Charles V., Lecce,
Italy (drawn by Martin Shaw Briggs), 54.
Trophy, Golf (designed and modelled by James S. Maitland), 172.
United States Court House and Post Office, Indianapolis, Indiana
(Kellog, Rankin, and Crane, Architects, Philadelphia), 76, 77.
Venice, St. Mark’s (from a Water-Colour Drawing by Leslie
Wilkinson), 106.
Victoria and Albert Museum, The (Sir Aston Webb, R.A., C.B.,
Architect), 41-48, 98-100.
Vignola :
Villa Papa Giulio, The Loggia, 274; The Wall Arcade, 275,
276; Details, 277,278; The Fountain Court, 279; Details,
280 ; Petit Casin de Caprarola from the Garden Side, 281 ;
General View, 282; General View of the Palais de Caprarola,
283.
Villa Papa Giulio, Rome, 274-280.
Visigothic Church in Spain, A: San Pedro de la Nave, Longitudinal
Section, 132; Plan, 133; The Transept, 134; Decoration of
the Central Arch and Capilla Mayor, Capitals in the Tran¬
sept, 135 ; Interior View of San Pedro de la Nave, 192 ;
Cross Section and Longitudinal Section, 193 ; South Side, 194 ;
Details of Ornaments and Inscriptions, 195 ; Church of Santa
Comba (Orense), 196.
Warkworth Castle, 305.
War Office, London, The Old: Ante-room, 287; The Committee
Room, 288; The Permanent Secretary's Room, 289; The
Oval Staircase Hall, 290, 291 ; The former Army Council
Room, 292 ; The Door of Gainsborough’s Studio, 293.
Whitgift Hospital, Quadrangle, 154.
Wren, Memorials of. See Memorials.
Yeni Valideh Mosque, Constantinople, 20, 31.
ARTISTS,
AUTHORS, CONTRIBUTORS. Etc.
PAGE
PAGE
PAGE
Bacon, Francis, Junr. ..
56. 57. 59. n6
Loftie, W. J .
.. 286
Robertson, F. W.
108, icg
Baker and Masey
122
Macartney, Maxwell H. H. ..
79
Romieux, A.
.. 124
Bolton, Arthur T.
294-296
Macartney. Mervyn E.
252-254
Scott, T. G.
.. 218
Briggs, Martin Shaw .. 54, 71, 74, 121, 223
McCluer, Crosland ’ . .
. .69, 70
Simpson, John W.
300-302
Bullock, E. H. . .
9
McKim, Mead, and White
184-191
Skyrme, Herbert
•• 173
Cave, Walter
143-146
McQueen, H. A. 7, 160, 161, 216,
265, 267-
Spencer, Edward
.. 142
Collcutt, T. E. . .
. . . . 228
269, 271-273
Swales, Francis S.
■ ■ 183
Darling, Frank
249-251
Maitland, James S.
172
Tapper, Walter J.
298, 299
Dawber, E. Guy
197-201
Marchant, Cyril
164-167
Thorp, Ralph
72. 73
Edwards, F. E P.
254. 255
Melani, Alfredo
• • 131
Turner, Thomas E.
. . 168
Evelyn, John
i4
Mewes, Charles F.
225, 226
Wall, R. L .
hi, 212, 213
Franck. J. Ernest
50, 51
Miller, James, A. R.S. A.
86-91
Watts, G. F.
122
Godfrey, Walter H. 52,
101 , 153, 204, 256,
Moira, Professor
. . 228
Weaver, Laurence, F.S.A.
• • i75
312
Niven, Wigglesworth, and Falkner.. 297
Webb, Sir Aston, C.B., R.A
, 41-48, 98-
Gomez-Moreno, Manuel
.. 132,192
Ogden, Paul
38-40
100, 147-152
Gwynne, John, R A.
68
Osborne, Charles Francis
34
Wellman, H. J.
202, 203
Halley, J. M. W. 114, 127
, 214, 265, 267-269
Peddie, J. M. Dick
92-97
West, Ernst V., 4, 5, 11, 113,
220-222, 27I-
Jones, Inigo
• • H9
Pilling, James T. 231, 232, 234,
236, 239,
273
Jones, Ronald P.
136-141
241, 242
Wilkinson, Leslie ..2, 106
158, 210, 262
Kellogg, Rankin, and Crane . . . .76, 77
Pite, Professor Beresford
32
Wilson, D. Carus
61-63
Kitson, Sydney D.
.. 231
Reynolds, Edwin F. . .
21
Wren, Sir Christopher
• • 3-5
Eyre & Spottiswoode, Ltd., His Majesty's Printers, Downs Park Road, Hackney, London, N.E.
THE ARCHITECTURAL
REVIEW, JULY,
I909. VOLUME XXVI.
NO. 152.
From a Water colour Drawing by Leslie Wilkinson [Arthur Cates prize , 1909).
The Practical Exemplar of Architectui
XXXV.
NO. 5, KING’S BENCH WALK, TEMPLE.
SIR CHRISTOPHER WREN, ARCHITECT.
VOL. XXVI. — A 2
4 The Practical Exemplar of Architecture. — XXXV.
NO. 5, king’s bench walk, temple.
BUILT OP GAUGED BRICKWORK. CAPITALS AND BASES OF STONE.
SIR CHRISTOPHER WREN, ARCHITECT. MEASURED AND DRAWN BY ERNST V. WEST.
The Practical Exemplar of Architecture. — XXXV.
NO. 5, KING’S BENCH WALK, TEMPLE.
BUILT OF GAUGED BRICKWORK. CAPITALS AND BASES OF STONE.
SIR CHRISTOPHER WREN, ARCHITECT. MEASURED AND DRAWN BY ERNST V. WEST.
6 Pile Practical Exemplar of Architecture . — XXX J/
VIEW OF FRONT OF ALMSHOUSES. VIEW OF FRONT OF ALMSHOUSES.
ALMSHOVSES . avdley end .
The Practical Exemplar of Architecture . — XXXV , 7
MEASURED AND DRAWN BY H. A. McQUEEN.
ALL SAINTS’, WALSOKEN, NORFOLK.
INTERIOR, LOOKING EAST. THE SCREEN, LOOKING EAST.
Photos : E. H. Bullock.
The Practical Exemplar of Architecture. — XXXV. 9
« S
SC
W0©u
9^©1
Kl P ££ £
MEASURED AND DRAWN BY E, H. BULLOCK,
io The Practical Exemplar of Architecture. — XXXV.
GATE AND PIERS FROM THE CLOSE, SALISBURY.
HE Close at Salisbury is singu¬
larly rich in Georgian work,
and gate piers with wrought-
iron gates of this period are
numerous.
The ironwork of the two
gates published in the Prac¬
tical Exemplar XXVIII and
XXIX is very similar, although the latter is more
simple in design, and is without the light and
delicate lamp-carrier that is so pleasant a feature
of the former. Scroll panels on each side of the
gate, a trifling ornamental cresting, and, for the
rest, straight bars, make the design, and fine
smithwork gives an added charm. Somewhat
similar, though on a larger scale, is the gate
XXXI. A fine rail extending for some distance
on each side is composed of plain bars, with
scroll panels at intervals, giving the gate import¬
ance. This gate is wider than the others, and
the fanciful cresting is not attached to it. The
gate illustrated this month is much more severe
in treatment ; it is also much larger, and opens in
two leaves. All this ironwork is extremely simple.
There is no elaborate beaten leaf-work, and all
the effect is got by nice distribution of straight
bars and simple scrollwork. In their finish there
is some diversity. Sometimes the scrolls finish in
a little ring, sometimes in a solid round, which
occasionally is beaten fiat like a coin, or, more
rarely, is worked out like a ram’s horn. The piers
to such gates show some variety of design and
detail. In Salisbury a common feature is the
ornamentation of their faces by sunk panels, and
The Practical Exemplar of Architecture. — XXXV.
i i
MEASURED AND DRAWN BY ERNST V. WEST.
12 The Practical Exemplar op Architecture. — XXXV.
for a bed mould to the cornice, a coved moulding.
Coigns in brick and stone are another kind of
decoration, and the finial may take the form of
ball or pineapple or lamp. These various finishings
are all exemplified in the gates already published.
The steps to the gate with the long wings is an
extremely interesting piece of design, also the fine
walling of brick and Hint with stone copings.
A fire in the Temple gave Wren in 1678 an
opportunity to display his hand in a quiet way of
design. Several fine doorways in King’s Bench
Walk are some of the results. Nothing could be
simpler than these quiet brick buildings, with
no more ornament than that on the entrances.
Built of gauged brickwork, a material of which
Wren was fond, they show considerable diver¬
sity, and are all excellent examples of workman¬
ship and design. It will be readily understood
that nice workmanship is required to build cor¬
nices and the various members of the entabla¬
tures of this material. But it has been done
well, and the joints to-day are quite close;
No. 5 is perhaps the best. The bases and
capitals are of stone; the rest is of gauged brick¬
work.
The Almshouses at Audley End are a good
example of brickwork of quiet design, suitable to
its purpose. The houses are built round two
courtyards, which are entered by arched gate¬
ways. 1 he brickwork of the windows, of the
small tnullions, and of the arched heads, is excel¬
lent, and so is that of the cornices. The gables
and chimneys of this small building are excellent
examples of brick design.
The Church of All Saints, Walsoken, is one
of the most beautiful in the eastern counties. It
belongs mainly to the Norman period. The
mouldings of the arches between the nave and the
aisles are enriched with zig-zag and fret ornaments,
and the piers which carry them are alternately
round and octagonal. Although the chancel arch is
pointed, the same enrichments have been used, so
that it is probably of much the same date. The
tower is partly Early English and partly of succeed¬
ing styles. The screen, of the Perpendicular period,
of which we publish drawings, was originally the
chancel rood-screen, but it now stands at the east
end of the south aisle, forming a chapel. On the
north side of the chancel arch the rood stair yet
remains. The detail and workmanship are both
excellent. Remains of colour are still visible on
the screen, a feature for which Norfolk work of
this kind is noteworthy. A fine font, of the octa¬
gonal sacramental type, is shown in the general
view of the church. The seven sacraments are
carved on the sides, and the eighth side bears a
prayer for the souls of the donors.
One of the entrance doors and the piscina are
good examples of Norman work, and the clerestory
is a characteristic Perpendicular example.
Notes of the Month.
Town Planning and Evelyn's Plan for the Rebuilding of London — AForerunner of “ Workmen s
Compensation " — Exhibition of the New English Art Club— Old-Bath Preservation Society
— Art in Everyday Life — “ An Aesthetic Conversion " — South Kensington Museum.
HESE days are not singular
in the way of Town-plan¬
ning improvement, as a
note in The Courier of
Friday evening, September 2,
1825, indicates. We pub¬
lish the extract in full, as
its purpose was to draw
attention to an improvement round St. Paul’s
which would have given that building a set¬
ting not unlike that shown on Evelyn’s plan.
On that plan the place is conceived as a vast
amphitheatre, in the midst of which the Cathedral
is set. The arrangement of the streets entering
the amphitheatre is also not unlike that given in
the following description : —
ST. PAUL’S.
{From a Morning Paper.)
Intended Improvement round St. Paul’s.
When the grand edifice which ennobles and adorns the
British metropolis was first contemplated by its illustrious
architect and his munificent patrons, a spacious area was in-
Notes of the Month .
tended to have surrounded it, but private interests and factious
■cabals prevented the accomplishment of so necessary an
accompaniment to the first Protestant cathedral in the world.
It has been the con stant theme of complaint and lamen¬
tation, with both natives and foreigners, that the profound
skill and exquisite taste of Sir Christopher Wren, “ the
pride and honour of English Art,” should have been so
thwarted, that the capo d'opere of modern ecclesiastical archi¬
tecture is crowded into an alley, and his entire design for the
new city has not been adopted, which had it fortunately been,
its streets would not have been, as they now are, lanes, and its
lanes, alleys.
It is not, however, too late to commence the reformation :
public spirit and private enterprise are rapidly improving our
wealthy metropolis ; and most of the houses which were
hurried up after the great fire are now in a state of consider¬
able deterioration, and capable of great improvement.
While other plans of magnitude, utility, and consequence
are going on, the attention of the whole British nation is
called to the improvement of the area and the streets which
surround the Cathedral of St. Paul, the just boast of a public-
spirited and liberal age.
Among the modern works of architecture which adorn the
world, this magnificent edifice holds a distinguished place-
second only to the splendid Basilica of St. Peter of Rome, it
has obtained a great and deserved celebrity among persons of
taste of every country.
A cultivation of the useful and decorative art of architecture
has its political as well as its moral use ; for public buildings
are the greatest and most durable ornaments of a country, and
testify the greatness of its institutions. It establishes a nation,
draws people and commerce, and makes the people love their
country, which passion is the origin of all great actions in
■commonwealth.
To improve this just pride of the British metropolis, to
accomplish as much of its great architect’s original intentions
as is possible, consistent at the same time with profitable
economy, is the aim of the present undertaking.
The proposed improvements consist in removing to a proper
distance, and rebuilding to a regular plan, all the houses round
the present churchyard, and constructing two or three neces¬
sary streets.
The leading feature in the new design is building a semi¬
circus at the west end of the edifice, divided by a handsome
square, and a splendid new street at right angles with the
meridian of the cathedral, which terminates nearly in the
centre of Crescent Place, New Bridge Street. The semi-circus
is then continued to the eastward on both sides of the
Cathedral, where, joining with St. Paul’s Schools on the
east, and to a grand opening near the south end of the new
Post Office, it forms an amphitheatre of splendid shops
and handsome houses, which it is proposed to name the
Amphitheatre of St. Paul’s. Near to the centre of the
amphitheatre, parallel to the meridian of the Cathedra],
and opposite to the transepts, are two other wide and hand¬
some streets. That on the north crosses Paternoster Row,
and terminates in Newgate Street, and that on the south a
little below Thames Street, where it is proposed to build a
new market, as midway between Hungerford Market and
Billingsgate. This market will be appropriated to the sale of
fish, poultry, fruit, vegetables, and other similar produce that
comes down the river from the neighbourhood of Chelsea,
Battersea, Fulham, Putney, Brentford, and Isleworth.
Another new street will be formed opposite to the Old
Bailey by widening the passage into Water Lane, and carry¬
ing it obliquely into Earl Street. The importance of this
street, leading as it will from Blackfriars Bridge to Smithfield
Market, is great and obvious.
13
Among the leading advantages of this improvement to the
public will be : widening all the approaches and avenues to
and round the Cathedral ; making the north side passable
for coaches as well as the south side ; and facilitating the
approaches to and from the new Post Office, by which means
the splendid Cathedral, which is so justly the boast of our
metropolis, will be then thrown open to a proper vista. At
the same time a due regard is paid both to profit and economy,
as the new streets and amphitheatre will form the handsomest
and best streets and sites for business in the city.
This improvement, as we all know, was never
carried out. St. Paul’s is still crowded in on the
north-east.
In some respects Evelyn’s plan is like Wren’s,
and it seems to suggest that some common prin¬
ciples underlie both schemes, although they were
drawn up independently. Wren’s plan was pre¬
ferred, and with reason, for it is more practicable,
more sane, and perhaps more beautiful. Still, as
before mentioned, the plans are somewhat similar :
the crescent west of “the New Channel, with
radiating and concentric streets ; the great ap¬
proaches to the Cathedral from the north-east and
south-west — these are contained in both. Evelyn,
however, has a third street bisecting these and
running due east, opening out into squares and
circuses of noble dimensions. In one of the
former was to be the Lord Mayor’s house, and
the latter was to be adorned with fountains. It
terminated at St. Dunstan’s-in-the-East. The
approach to London Bridge was treated some¬
what similarly by both. Evelyn’s streets debouch
in a circus at the head of the crescent ; Wren’s
radiate to the centre of the crescent itself.
The arrangement of the river front is dissimilar,
and although the position of the Custom House is
the same, the Royal Exchange is placed on the
quay by Evelyn, and is not made the magnificent
culmination of splendid vistas as it was by Wren.
From a consideration of these plans it is appa¬
rent that the picturesque holds no place in town
planning. It is an accidental quality, and must
not be striven after. Sanity and convenience alike
demand wide and straight streets for the main
thoroughfares, widening out at intervals into open
spaces to entrap the sun and enlarge the pro¬
spect.
The principle underlying both plans is simpli¬
city. The great buildings are made centres from
which to work; lesser public buildings are used to
give a rhythm to streets of uniform height which
might otherwise become monotonous ; churches
are carefully placed, and natural features are not
disregarded — witness the design for the river
front. This is true civic planning, that aims at
nobility of aspect as well as at utility, and that
is autocratic enough to draw a straight line
where it is necessary for grandeur, dignity, and
use.
Notes of the Month
EVELYN’S PLAN FOR THE REBUILDING OF LONDON AFTER THE GREAT FIRE OF 1 666.
Reproduced from an interleaved copy of the Parentalia
Notes of the Month.
HE Courier of Wednesday
evening, November 9, 1825,
publishes an extract from a
scarce tract of the late Isaac
Reed. It is headed “ St.
Paul’s Cathedral,” and reads
as follows : —
but it would not have been impossible to accom¬
plish this in the prescribed time.
After these were finished the only external work
undertaken was the erection, some years later, of
a balustrading round the building, contrary to
Wren’s wishes.
* * * *
An account of monies received and voluntary gifts at the
stair-foot going to the top of the church of St. Paul’s, from the
25th of March 1707, when the application of it to charitable
uses commenced, to the 22nd of March 1710-1 1, when the Dean
and Residentiaries put a stop to such a disposition of the said
monies, and directed the monies arising at that and some
other doors for the future to be divided among the minor canons,
lay vicars, and vergers. Gross receipt within the said time,
,£339 i8j. 4</., which has been paid as follows : —
To several surgeons and apothecaries for the cure
of men hurt and maimed in the works . .
To widows whose husbands were killed in the
works ........
Putting out and clothing several apprentices . .
To men disabled in the works and past their
labours, conveying some of them to the place
of their nativity ......
Coroners and funeral charges of men killed in
the works .......
£ s. d.
187 13 10
30 o o
75 0 o
35 o o
12 4 6
Z339 18 4
April 16, 1711.
(Signed) Richard Jennings, Master Carpenter.
Is this the record of an elementary forerunner of
the “ Workmen’s Compensation Act ” ?
Unfortunately no information is given as to the
treatment of the “ men hurt and maimed ” during
the preceding thirty-odd years in which the cathe¬
dral was building. But in the years between
March 1707 and 1710-11 the “surgeons and
apothecaries” seem to have done very well by
themselves, and the “widows” very badly.
Of course it may be that by 1711, when the
collected moneys were diverted from their chari¬
table uses, all the high scaffolding had been
removed, obviating the possibility of further
accidents ; and, for the sake of our estimate of the
characters of “the Dean and Residentiaries,” we
hope that this was the case.
The dome had been covered with lead some time
about 1708-9, and the last stone to the lanthorn
was laid by Wren’s son in 1710. It was pretended
that all the unfinished works about the cathedral
would be completed in 1711, for the “standing
salaries to any officers employed only for the
carrying on and finishing the said building ” were
to cease by the end of that year.
After the topmost stone of the lanthorn had
been laid, there were still the ball and cross to be
erected and various sculptures to be completed,
T may be that the Royal Academy
exhibition possesses one or two
pictures of surpassing merit; but
the New English Art Club has
just as many, and maintains
besides a high level in the bulk
of its work. The great differ¬
ence, however, is in the ideals
of the two societies — while the former is content
to follow a conventional track with eyes half shut,
the other is alert, wide-eyed with surprise at the
beauty of the universe, always serious, always
trying to win to new goals. In short the latter
exhibition is extremely interesting. It is no
weariness to go round these pictures ; rather a
great pleasure mingled with surprises. It is,
perhaps, invidious to single out work for first
notice, but it is necessary to make a beginning.
Mr. William Orpen’s portrait group is among
the important ones. A fairly large canvas, it shows
a group of men seated round a table. The compo¬
sition is fine, and the natural and unconstrained
attitudes of the sitters full of art. A subtle
atmosphere gives the whole arrangement unity,
and its delicate silver tones and quiet colour make
it an exquisite harmony in paint. The dead
ptarmigan, by the same artist, is extremely fine.
A man holds with his outstretched hand the dead
bird. Again the main scheme is a quiet grey,
enriched by the stronger colour of the man’s face
and heightened by the white feathers of the
ptarmigan. Strongly painted, the execution is
carried to a successful finish.
Mr. Sargent usually exhibits some of his most
vigorous work here. Really wonderful in exe¬
cution, dexterous and facile, his pictures are a
continual surprise. But, while we are carried
away by the dexterous technique, we always feel
that the sense for exquisite colour is lacking, and,
with this, the perception of subtle tone. “ The
Black Brook,” “The Solitary,” “Far niente,”
“ Under the Olives,” are amazing pictures, and
the handling of the paint in them is little short of
miraculous ; yet we miss the exhilaration in our
blood which fine colour would cause. Of these,
the first leaves the pleasantest impression — dark,
mysterious waters are in deep shadow, with a girl
sitting beside them, half in the shade and half in
the light. In “ Far niente ” there is a wonderful
Notes of the Month.
1 6
passage of painting — a figure lying in the fore¬
ground with head away from the spectator. The
face is covered with a veil, and the magic lies in
the foreshortening and the rendering of flesh
under a veil.
A place of honour has been given to Mr. Philip
Connard for his “ May Morning,” which is hung
over the mantelpiece in the large room. A lady
in white is placing a vase with mimosa on a
table dressed with a white cloth and with a few
dishes on it. At the far end of the room
two figures look out of a window. Perhaps
without Monet this picture had never been ; yet it
is no copy. The room is full of light, the white
dress of the lady dazzling, a wine-glass on the
table sparkling. Here is a distinct achievement.
Great dexterity in the managing of the paint is
displayed, but its great beauty is the painting of
light and air.
Several of his other canvases — as “A Spanish
Lady,” ‘‘An Dessert ” deal with similar subjects.
In the latter a woman is sitting at a table set
beside a window. The sun lights up the chintz
curtains, illumines one side of the sitter, picks
out spots here and there, and fills the room with
light.
1 he Way down to the Sea,” by Mr. A. E.
John, is a difficult picture to place. Curiously
enough, a first impression reminded us of Michel¬
angelo’s “ The Deposition from the Cross,” in
the National Gallery. In the main idea the
picture is a great one, the figures composing it
of noble mould, their pose statuesque and grand.
Put beyond this what can we say? — that the
painting rather repels us.
His portrait of Mr. William Nicholson is very
original in conception, and an attempt has been
made, with some measure of success, to get tonal
quality; but again the painting is crude. Of the
former picture many able studies are shown in
the black-and-white room. One, a nude (No. 172),
in pencil and charcoal, is most vigorous. The
figure is repulsive, but it is so true, is the result
of so keen an eye, that we cannot help admiring
it. The other studies are draped, and are washed
in water-colour.
“ Hunt the Thimble; or, the Little Cheat,” by
Mr. Henry Tonks, is a charming little picture.
As the name denotes, a group of figures are at
play in a room scintillating with firelight. The
effect is very good, and the colour is pleasant. The
portrait of Mrs. Gamble by Mr. Ambrose McEvoy
is striking, but it is rather spoilt by trifling
accessories at the base of the dress which might
with great advantage be entirely wiped out.
Painting from the nude is unfortunately much
neglected, and we should be glad to see more
of it. “ Carlina,” by Mr. William Nicholson, is a
graceful painting, with fine drawing of the nude.
But in colour it does not succeed, and the won¬
derful palpitating flesh has not been caught. Yet
it has much to recommend it ; the svelte contours
of the body are carefully rendered and with a good
deal of vigour.
An exquisite cabinet picture is shown by Mr.
F. H. S. Shepherd, “The Bach Player.” A man
is seated playing at a piano. The arrangement of
the picture, its quiet and lovely tones, give it a rare
distinction.
Some fine landscapes are to be noticed. “ Under
the Cliff',” by Mrs. Cheston, shows some figures
at the base of a cliff. The whole arrangement is
pitched in a high key, and the feeling of the open
air has been well suggested.
This quality is characteristic of much of the
landscape work exhibited. “ Nordenheath,” by
Mr. John Everett; “Pasturage,” by Mr. Mark
Fisher; “The River Wye near Chepstow,” by
Mr. Wilson Steer, are all excellent in their several
ways.
“A Woodland Pool,” by David Muirhead, is of
a dramatic nature. An arched opening between
trees shows the pool illuminated by the rays of
the setting sun. His picture of “ The Church in
the Fens ” is also good.
We should not like to leave the oil-paintings
without mentioning some very good still-life
studies. One of the best is called “ Iceland
Poppies,” by Mrs. Clive Bell. In tone and colour
it is perfect, and of the gentlest harmony.
Mr. Mark Fisher has a more robust painting of
flowers, and Mr. Gerard Chowne has one or two
pleasant studies.
In the water-colour room the same ability is
manifest, the medium is understood, and here is a
collecting of quite charming works. Mr. D. S.
MacColl has two very dainty drawings. Those
of Mr. P. Wilson Steer are more vigorous, and
Mr. A. W. Rich has a number of fine studies of
interesting bits of architecture.
“The Chalk Pit” and “Cloudy Weather,”
by A. H. Fullwood, are two exquisite ex¬
amples of work in the daintiest medium in the
world.
Some fine drawings are exhibited — among them
a red chalk study of the nude by Mr. W. G. von
Glen, and a study of the back view of a nude
by Mr. Philip Connard. Mr. Frank Dodd shows
several etchings, done in a fine manner of exe¬
cution.
An extremely interesting feature ot the exhibi¬
tion is a number of drawings by Mr. Max Beer-
bohm. They are in his usual mocking vein, and
are immensely clever. The title of one, “Trien¬
nial negotiations between Mr. Heinemann and
Mr. Hall Caine,” renders comment superfluous.
i7
Notes oj the Month.
HE Old - Bath Preservation
Society has issued two pam¬
phlets dealing with the pro¬
posed mutilation of Bath
Street. This society was
formed, in the first instance,
with the object of preventing
this occurrence ; but, to quote
from the foreword to the pamphlets, it further
contemplates :
1. Aiding the citizens to maintain their valu¬
able architectural heritage ;
2. Directing attention to places and objects
worthy to be preserved.
3. Fostering a feeling of pride in the historical,
literary, and artistic associations that cling
round the city.
It proposes to itself a wide field of action, and
should prove a useful institution. Fortunately
the day is past when only mediaeval architecture
was considered worthy of protection, and recently
a good deal of attention has been directed to the
study of Renaissance architecture by the general
public, the result of which seems to be a desire
on their part to preserve it as far as possible.
Isolated letters to the press have protested from
time to time, but usually in vain, against various
actsof vandalism. From want of organisation, how¬
ever, they have missed their full effect. The aim
of this society is to remedy this defect, and by a
powerful combination stop at least all unnecessary
violence to work of the seventeenth and eighteenth
centuries in Bath. The society proposes further to
publish from time to time “ pamphlets dealing with
Bath, its architecture, historical associations, and
objects of interest.”
It seems a curious anomaly if the Bath Corpo¬
ration, ostensibly acting for the citizens, should
be able to proceed with an act of destruction con¬
demned by an influential body of residents, who
are moreover powerfully supported from outside.
But such seems to be the state of affairs that the
Corporation cannot or will not withdraw from
their position.
The first of these pamphlets contains a brief
history of Bath Street and a full description of the
Council Meeting of March 2, at which a deputa¬
tion, headed by the Rector of Bath, protested
against the threatened mutilation of this street.
From the general tone of the discussion at this
meeting it was felt that future acts of vandalism
would be probable, even if Bath Street were saved,
and that it would be advisable to take further
steps to prevent them. A provisional committee
was instituted, with the Rev. Prebendary Boyd as
President, and it was decided to hold a public
meeting.
The matter was taken up in the leading London
journals, and a unanimous opinion expressed
against the proposed mutilation, and many sym¬
pathetic letters from influential sources were re¬
ceived by the Rev. A. S. Boyd.
At the public meeting held at the Assembly
Rooms on Saturday, March 27, letters were read
which had been received from some of the most
distinguished men in architecture and art, and
interesting speeches were made by Professor Beres-
ford Pite and Mr. D. S. MacColl, of all of which
the first pamphlet gives a full report. The second
gives at length “ The official statement of the
Bath Corporation, examined, criticised, and re¬
futed in every important particular.”
We wish the society every success, and are sure
it will do very useful work. “ As old Bath may be
tairly considered a national possession,” it was
thought advisable to make membership open to all
who are in sympathy with the objects of the asso¬
ciation. The minimum subscription is is. (to
cover necessary expenses), and contributions
should be sent to either of the honorary treasu¬
rers, Mrs. Dominic Watson, Bathampton House,
Bath, or Mr. Mowbray A. Green, 5, Princes Build¬
ings, Bath, by persons desirous of joining the
society.
* * * *
T is probably true that “ the dicta
of the authorities on art and
good taste are a little contra¬
dictory and confusing to the
lay mind.” But in spite of this
it could be shown that there is
a common meeting-place where
sane and reasonable critics are
in agreement ; and this consensus is the more
observable the nearer we approach to those phases
of art which are termed “ classic.” We doubt,
for example, whether two opinions have been
expressed, or are possible, about the “Maidens”
of the Erechtheum, regarded as sculpture. It is
true that architects have been known to condemn
them as being architecturally unsuitable ; but we
imagine that this criticism was still-born. For
ourselves, we can remember, in the whole range
of architecture, no more pleasing invention, none
more exquisitely wrought to a consummate con¬
clusion, than this portico. Never has sculpture
been used more beautifully for the adornment of
the Mistress Art. The figures are architectural;
they express little or no action ; they balance one
another. Yet there is nothing monotonous in the
arrangement, for the poses are slightly varied,
some of the figures leaning on one leg, some on
the other, and of course the draperies are different.
Of the positions of the arms it is impossible to
VOL. xxvi. — l!
i 8
Notes of the Month.
speak, as they have all been broken off. One of
the “ Maidens ” is in the British Museum, while
the other five remain in situ. Deprived of its
true setting, placed far otherwise than in the
luminous air in which it was born, it is yet one of
the finest sculptures in the world. Nothing could
be more beautiful than the way the draperies fall
over her breast, nothing more perfect than the
long vertical lines falling to her feet, forming
delicate flutings and concealing the leg over which
they hang. The draperies are tightly drawn over
the other leg, scarcely concealing it. Her mutila¬
tion cannot conceal her beauty nor can age defile
it. Eternal type of maidenhood, she will endure
with the terrestrial globe, guarding ever a sphinx-
like silence. Not only in Greek art, but in other
great periods of artistic activity, is there safe har¬
bourage for the lay mind.
Opinions differ about the roof of the Sistine
Chapel, just as they differ about the explanation
of natural phenomena ; but through all criticism
of the painting of the ceiling there is a note of
wonder. Few things that have been made by
man possess greater majesty, and there is nothing
that awakens a greater feeling of admiration and
awe. Michael Angelo becomes as a god, fashion¬
ing at will heroic figures of man and woman, fair
shapes of youth, of childhood, of motherhood.
One may object to the principle of painting a
ceiling and vault ; but here one thinks only of the
conception and execution.
It is not so well known as it should be that
there is a fine roundel of the Holy Family by
Michael Angelo in the Diploma Gallery of the
Royal Academy. It is a sculpture of great
beauty, unfinished alas, but possessing, perhaps
because of that, an elusive beauty. It is like
beholding the act of creation to contemplate this
marble ; to see, divinely figured, the limbs, body,
and arms of a child struggling into life. To study
the chisel marks developing round on round of the
body, disentangling expression out of the inert
stone, is to witness a miracle.
The picture called “ Sacred and Profane Love,”
in the Borghese Gallery, is another of those stu¬
pendous performances that make us cherish art
as the most beautiful manifestation of man’s
activity.
But these are the high places — the mountains
touching the sun — and about their altitude there
is little diversity of opinion. It is in considering
the work of our own day that criticism becomes
tentative and uncertain. In painting and sculp¬
ture there are many different schools, but for the
layman it is not necessary to take sides. He,
more easily than the artist, may see the good of
both.
But in spite of all drawbacks, of divided aims
and opposed methods, there is a steadily increas¬
ing body of enlightened public opinion interested
in the “arts of life,” if they may be so called —
the arts immediately connected with life. Build¬
ings of all kinds, furniture in all its diversity,
drawings, paintings, gardens, interest increasing
numbers year by year. To this growth of interest
the recent revival in craftsmanship, the Renais¬
sance in domestic architecture, the numerous
societies formed for the express purpose of repro¬
ducing drawings and paintings, all bear witness.
In recent work there is much with which fault
may be found ; yet, on the whole, the outlook is
more hopeful. There is a noble simplicity, the
outcome of consummate art, the expression of a
great idea ; but there is a baldness which is also
simple, and is a sort of negation of art. If the latter
is too prevalent in modern work, it is probably
a revulsion from the heaviness of Victorian
methods. It is certain, however, that we are
witnessing a renaissance of the “ arts of life.”
As a consequent of this revival, books in greater
number than ever before are published on all art
subjects, and there is no doubt that these will take
wider effect as time goes on, and that the apprecia¬
tion of architecture, so necessary to its develop¬
ment, will become general.
In the Renaissance proper, many sumptuous
books on architecture were published and directed
to amateurs, builders, and architects indifferently.
These helped incalculably to keep alive a healthy
taste in the art. The result can be seen in the
buildings left to us even from the eighteenth cen¬
tury. Leaving out the great buildings, there is
scattered all over the country a body of work
fairly level in the matter of achievement. It is
not necessary to claim for these buildings high
invention or genius in the designs. The point is
that they were possible because of the taste of the
builder and his lay brother.
A barren century intervenes; and now, instead
of a well-marked tradition and undivided aims, a
sort of anarchy reigns. This shows signs of pass¬
ing, as we suggested above. In the meantime it
behoves us all to endeavour to bring back unani¬
mity of aim — that art and architecture may flourish
proportionally with the more material activities of
life.
* * * *
HAVE, for instance, listened
to ravishing music, turned
over portfolios of prints rare
and beautiful, handled the
most exquisite of ivories in
rcoms the offence of whose
furniture was of the rankest,
and smelt, emphatically, to heaven.” It is a
Notes of the Month.
1 9
curious paradox, as the writer, Mr. Joseph T horp,
points out, that tine taste for many art pro¬
ducts does not always include a nice taste in
furniture. And although we have never “ handled
the most exquisite iv> ries ” in rooms that smelt,
we have, however, often listened to music,
feeling quite unashamed, sitting on “horse¬
hair.”
Most of us by this time have taken a de¬
cided dislike to Victorian furniture, and prefer
that from an earlier period. But it would be a
pity if our liking for the old and the antique were
to blind our eyes to the beauty belonging to our
own times. We do not want to be of those who
complain that “the time is out of joint.” Among
the recent revivals in the domestic arts none was
possessed of more vigour than that of the furni¬
ture craftsman. Its purpose has been fulfilled —
it has created a distaste for what was undoubtedly
a bad period, and an appreciation for a better.
That purpose served, it has vanished to unknown
limbos, and l’ art nouveau seems to us now, a weary,
old, and tiresome fashion, scarcely existing, if it
may even be said to do that.
The great drawback of much craftsman’s
work is invariably faulty workmanship. For
ourselves who love reasonable design, we
insist with most ordinary people on sound
workmanship.
We dislike mitres
that gape, drawers
that stick, and open
joints; and that
is why, for one rea¬
son, our preference
is given to furniture
about ahundred years
old.
The quotation at
the head of this note
is taken from a book
called “ An Aesthetic
Conversion,” pub¬
lished by Heal and
Son, which is well
worth perusal. Like
their work, it is a
sound production,
beautiful paper and
type being employed,
and the binding is
good. If the writing
is at times a trifle
“ high-falutin,” it is
English, at all events,
and the illustrations
are good.
HE new Victoria and Albert
Museum was opened by the
King on J une 26, and it is now
open to the public. A writer
in the Spectator records that
he overheard in the galleries,
“ I feel as if I had come into
a fortune,” and nothing could
give a better idea of the impression produced by
these vast collections.
The old arrangement gave one the same feeling
as an “ old curiosity shop,” where century is
heaped on century like Pelion upon Ossa.
It was almost a debauch of the intellect to feast
there, to enter in and lose oneself, as frequently
happened, among some of the most beautiful
things the hand and brain of man have devised.
We stand beside Elizabeth at her spinet, and
strains of music from that bright time steal over
our spirit with a movement like enchantment.
Then we are brought to a pause by a bagpipe or a
hurdy-gurdy, or it may be that a dagger or gun,
such as Benvenuto would have delighted in, severs
one train of thought and suggests another.
Trajan’s Column casts a heavy spell over us,
till it is relieved by the dainty carving of a bas-
relief.
The terribilita of the greatest master of the
Renaissance strikes
us dumb as his
“ David ” of heroic
mould, or his
“ Moses ” who sits
guarding an immortal
calm, rests on its
pedestal over us.
More gentle creations
of the infinite inven¬
tion of man lying be¬
side these Titans
take us in quieter
pathways of art.
Ever in one’s wan¬
derings there was
something strange
and beautiful to im¬
press the imagination
or move the senses
with a quiet plea¬
sure.
Now all is smooth¬
ed out in admirable
order and sequence
in spacious galleries,
where students may
cull at pleasure from
this treasure-house.
FROM AN AESTHETIC CONVERSION.
B 2
20
Imperial Mosques
of Constantinople .
YENI VALIDEH MOSQUE, CONSTANTINOPLE
DRAWN BY EDWIN F. REYNOLDS.
Imperial Mosques of Constantinople.
PART III.
The Yeni Valideh Mosque.
HE development of Turkish
mosque building — -changed
from its early traditions by
the conquest of Constanti¬
nople and the emulation of
S. Sophia, gradually involved
in such experimental adapta¬
tions of the design of the
church as the Bayezid Mosque, and arriving at
independent maturity and progressive accomplish¬
ment in the mosques Shah-Zadeh, Suleiman,
Ahmed, and Yeni Valideh — has been briefly
reviewed in the previous articles, but only in
general terms, and barely touching on many
essential questions. Perhaps the best way to
crystallize the generalities in more definite form
will be to select one of these mosques as typical
of the others, giving a more detailed description,
and illustrating it with more complete measured
drawings. For this purpose, I propose to choose
the Mosque Yeni Valideh, which has already been
mentioned, as summing up very completely the
normal characteristics of the fully-developed style.
The detailed plan shows many points more
clearly than was possible on the smaller scale
plans already reproduced. One of the features
which would first strike a practical architect is the
great flights of steps up to the various entrances.
The floors of the early mosques were raised above
the ground by a few steps, and these were gradu¬
ally increased until, here, the floor level of the
mosque and forecourt is raised about io ft. above
the surrounding ground. A fine approach and a
massive base is thus given to the building, but I
have failed to establish any more practical reason
for the custom. The Turks repeat vague tales as
to vast cisterns beneath the floor, and the well-
known cisterns under S. Sophia give point to their
probability; but these alone would not account
for the height of the floor, and it would seem that
aesthetic effect was chiefly considered.
The Forecourt.
The forecourt is set out in accordance with
traditional method, so that its outer walls form a
continuation of those of the mosque, their thick¬
ness, 6 ft. in., being practically the same also;
and their massiveness is somewhat surprising when
their comparatively small height is considered.
The court forms an exact square, but the wider
intercolumnition of the central entrances makes
some of the eastern and western bays rectangular,
and their cupolas oval in shape. The arcades are
raised above the general level of the court on low
platforms, which are interrupted for the entrances.
Each bay is defined by pointed arches set on
columns, and covered by a cupola on pendentives,
and the cupolas emerge from a slightly sloping
roof, the whole being protected with lead. The
cupolas are constructed with a thin shell of brick,
and are plastered internally; the wider bays over
the two central entrances are brought to the square-
by stalactite corbelling, and their cupolas are thus
raised above the others. Each bay has a window-
in the outer wall, filled with a grille of iron bars;
and the wall space above is relieved by a panel,
which is a traditional survival of a second window.
The floor of the court is paved with large stone
flags, and slopes down slightly to the fountain in
the centre.
Plan of the Mosque.
The setting out of the mosque is largely con¬
trolled by the relation of the semi-domes to the
domes, and the aisles are approximately half the
width of the central square, while the width of
the external galleries is about half that of the aisles.
The four central piers are cruciform in plan, each
measuring 13 ft. n in. across. The western aisle
is formed by moving the western wall outwards, its
place being taken by octagonal piers, and the com¬
partments are covered with four cupolas and two
groined vaults, the latter roofing those spaces
which remain after setting out the square bays of
the cupolas. A curious effect of the independent
setting out of the mosque and forecourt is that the
windows in the wall, which is common to both,
often occur out of centre with the bays of one or
the other. As in this case, the effect from the
forecourt seems usually to have been considered
most important, and the windows have been set
out in relation to its bays, with the result that
they occur irregularly in the mosque ; and on the
plan it is startling to see the main arches coming
recklessly over window openings. Another instance
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Imperial Mosques
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Imperial Mosques of Constantinople.
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24
Imperial Mosques of Constantinople.
of the same kind occurs in the porticoes of the
main north and south entrances. These till the
spaces between the minarets and the great but¬
tresses, and their three bays are set out quite
independently of the internal divisions. At the
east end of the mosque are two smaller entrances,
that on the north side being reserved for the
exclusive use of the Sultan. The external galleries
fill up the central spaces between the buttresses,
and apparently they have no other present use
than to shelter horrible beggars and still more
loathsome lepers.
In addition to the mihrab, or Mecca-niche, there
are only two other ritualistic fittings : the minber,
or pulpit, placed on the right of the niche and
used for the preaching of the Friday sermon ; and
the mastaba, a raised platform placed against one
of the piers and occupied by a choir of trained
elocutionists who recite the prayers. Low galleries
are set on light arcading around the outer walls,
and are used to increase the accommodation for
the crowds which assemble at the festivals of Beiram
and Ramadan ; while ordinarily the Mohammedan
professors teach their classes in them, for the
mosques are also educational establishments on a
larger scale, secular as well as religious subjects
being taught. These galleries were at first intro¬
duced with little relation to the main structure,
but in later mosques they were treated as a more
integral part of the internal design.
The interior is of high proportions, and the
general tendency from the first was toward in¬
creased height in preference to the broad ampli¬
tude of S. Sophia; so that the date of the various
mosques may be almost judged by their propor¬
tion of height. The lower gallery is 50 ft. 7 in.
from the floor, the gallery around the base of the
dome is 91 ft. 3 in. from the floor and the summit
of the dome rises to about 132 ft. from the floor,
or about 142 ft. from the ground. It should, of
course, be remembered that this is one of the
smallest of the imperial mosques.
The Central Square.
The walls, piers, and arches are constructed of
limestone, and the lower parts are faced with
marble and tile-work. The main piers have pro¬
jecting bases of stone, and are covered with blue
diapered tiles up to the springing of the aisle arches,
a level which is marked by a slight moulding re¬
turned around the whole interior. A deep cor¬
belled cornice marks the springing of the subsidiary
apses and follows their curves on plan, and stalac¬
tite corbelling, built out from the walls beneath,
prepares for their reception on the square outline of
the lower plan. The projection of the cornice is
utilised as a gallery which returns without inter¬
ruption around the whole mosque, and its path¬
way is protected by an iron railing.
25
Imperial Mosques of Constantinople.
26
I mperial Mosques
The subsidiary semi-domes are closed over by
low four-centred arches, and the pendentives
between them bring the plan to a true semi-circle.
The great semi-dome above is not a continuation
of the pendentives, and there is a distinct break of
surface at the junction. The lower part of the
semi-dome is buttressed externally and pierced with
a range of windows, and a slight cornice above
them marks a second break of surface. Above this
cornice the semi-dome springs afresh with a two-
centred curve, and is completed without further in¬
terruption. These changes from the form of a true
semi-dome are unnoticeable from the boor below,
and they may be seen properly only on close in¬
spection and especially by observing their inter¬
section against the backs of the main arches.
Their effect is to increase the spaciousness of the
semi-domes internally, and to give them greater
importance externally, and they were doubtlessly
introduced to counteract the foreshortening of
perspective produced by the high proportions of
the building. As may be expected, these refine¬
ments appear only in the later mosques.
The Dome.
The central dome is carried on four great pointed
arches, each 7 ft. 7 in. wide, which spring from
the lower gallery with a slightly^ stilted curve ;
and their square plan is reduced to a circle by
means of simple pendentives. A deep cornice of
stalactite corbelling is set above the pendentives,
and its projection forms a narrow gallery around
the base of the dome. Earlier domes usually
spring immediately above the pendentives with a
slightly stilted curve, having a range of windows
and buttresses at the base after the design of
S. Sophia. But with a desire for greater height
the dome was gradually raised in the successive
mosques until in this mosque the stilting has be¬
come a definite drum, and the windows and but¬
tresses are applied to it instead of to the dome
proper. The wall of the drum is slightly inclined
inwards and is pierced with twenty-four windows,
and above them the inner surface of the dome is
slightly projected on three courses of stalactite
corbelling. The internal diameter of the dome
is 52 ft.
The drum of the dome is built of brick, plastered
internally and with its external buttresses covered
with lead. The dome is also covered with lead
externally, and internally its material is concealed
by plaster or repeated whitewashing; but I should
surmise that it is also constructed of brick. The
pendentives of the dome and the four great arches
are built of stone. The semi-domes are covered
internally and externally like the dome, and are
probably built of brick, while their subsidiary
of Constantinople.
domes and pendentives are built of stone. Brick
was obviously used for the sake of its lightness
and adaptability, and it was invariably concealed
from sight. In the early instance of the Bayezid
Mosque the buttresses and windows of the dome
and semi-domes were built of stone and remain
uncovered. By constant experience of building,
the shells of these Turkish, like all Eastern, domes
had become reduced to the least possible thickness,
and their tenuity also reduced those difficulties of
abutment and erection which were experienced in
the massive and complex structure of such western
domes as those of the Duomo at Florence and
St. Peter’s at Rome.
The investigation of the real structure of these
great Turkish domes is a problem of the utmost
interest, and, at the same time, of the utmost
difficulty. In the earlier domes the springing of
the curve is considerably below the top of the ring
of buttresses, so that some of its possible thrust
is absorbed by them ; and certain additional flying
buttresses, introduced in many instances, point to
this intention. But in the Yeni Valideh Mosque
there are no flying buttresses, and the curve of
the dome springs above the buttresses around the
drum, so that the principle of abutting any thrust
is out of the question. The only alternative is to
regard the dome as constructed in such a way as
to exert no thrust, and I can offer no opinion as to
whether this is effected by means of a system of
bonding chains or courses of stone, or by some
adjustment of the jointing. Byzantine domes
were often constructed with their thin bricks laid
at a flat inclination, but this method seems to
have been employed only for facility of building,
for some additional precaution against thrust
was invariably adopted. Moreover, later Turkish
domes, with their full curve and independence of
abutment, are essentially different to the dome of
S. Sophia, with its low curve and direct abutment ;
and they are perhaps more nearly akin to that
general Saracenic type of dome which was de¬
veloped in Persia, Egypt and elsewhere. This
Saracenic form seems to have arisen from a
corbelled structure with horizontal joints, the
curve of the lower part stopping before its
excessive inclination would render corbelling
impossible, and being carried with a flat curve
or a tangential straight line to the apex. Such
a construction gives a dome without thrust,
and also dispenses with the elaborate centreing
necessary for an arcuated structure, the latter a
most important consideration where wood is
scarce. Many Turkish domes have this four
centred outline, but the great domes of the im¬
perial mosques are so slightly^ pointed that they
become practically spherical, and an entire system
of corbelling would seem to be impossible in this
27
Imperial Mosques of Constantinople.
case. It may be that the lower portion is corbelled
with horizontal joints and forms an abutment for
the arcuated upper portion,1 or the lightness of the
shell may allow some system of chainage to be
sufficient to confine the thrust2, but the conceal¬
ment of the structural surfaces by lead and plaster
prevent any inspection. Constant familiarity with
domical construction had given oriental builders
certain traditional methods which, to our inexpert
timidity, seem almost impossible; and these
methods become the more mysterious and tanta¬
lising in that they are practically inaccessible to
investigation, and that the school of dome-builders
who inherited the traditions has died out, leaving
their secrets hidden in their domes.
Returning to the Yeni Valideh Mosque, the
dome is crowned externally with a small solid
cupola in which is embedded the base of a large
finial of wood, covered with lead and gilded, and
surmounted by the crescent of Mohammedanism.
Four large octagonal turrets are built over the
main piers below the dome, and their weight
materially assists in securing the great arches.
Between them, the walls of the central square are
stepped down over the semi-domes, the steps in¬
tersecting with the circular wall below the drum
of the dome.
The Great Buttresses.
The great buttresses over the aisles are stepped
up to the octagonal turrets, a small cupola being
placed on each offset. A curious point may be
noticed with regard to these buttresses. As has
already been said, they had always existed within
the building, but in the Suleiman Mosque, with
its increased scale and height, they appeared for
the first time as a conspicuous feature above the
roofs. In that mosque, with its two semi-domes,
the buttresses were built on the north and south
sides only, and in the Ahmed Mosque, with its
four semi-domes, they extend on all four sides. In
the Yeni Valideh Mosque, however, they extend
on the north, south and west sides, but not on
the east side. This variation is curious, for if the
buttresses were necessary on any of the sides they
were equally necessary on all. It can hardly be
supposed that such great erections were built
merely for effect, and it becomes an interesting
question as to how they could have been dispensed
with on one side of the dome. The only reason
for their omission which suggests itself is that the
buttresses block up certain windows of the semi¬
domes, and that a complete range of windows was
desired in the eastern semi-dome towards Mecca ■
but, at the same time, this desire for the removal
of the buttresses does not provide the necessary
means.
The semi-domes have ranges of windows and
buttresses similar to those of the central dome,
and below them the subsidiary semi-domes and
the cupolas over the aisles rise from the flat roof.
The cupolas are here raised on octagonal drums
which are pierced with windows, but in earlier
mosques the drums were low and unlighted, and
were formed by raising the outer walls of the
cupolas above the springing, and not in the
manner of true drums. Byzantine builders had
employed such pseudo-drums to absorb the thrust
of their domes, both by direct abutment and also
by the weight of the drum walls (as in SS. Sergius
and Bacchus at Constantinople, and in S. Vitale
at Ravenna); and the Turkish usage was probably
derived from this tradition.
North and South Facades.
In all these mosques the square of the outer
walls is taken up to a cornice which returns round
the whole building at the same level, thus giving a
great cubical base from which the domical forms
of the roofs spring. At close quarters the north
and south sides of the mosque are its most con¬
spicuous fa9ades, for the west side is screened by
the forecourt, and on the east is a walled-in garden
containing the turbehs, or tombs, of the Sultan
and his family. The north and south fa9ades of
the Yeni Valideh Mosque are entirely typical in
design. The height of the floor level above the
ground gives a massive basement to the building,
and great flights of steps rise to the principal
entrances. On the north side is the entrance for
the Sultan, with an enclosed stairway approached
by a door, and the base wall between the two
entrances is occupied by a series of washing places
for ablution before prayers. The great buttresses
and the minarets rise from the basement, and the
spaces between them are filled with external
galleries and porticoes. The galleries are two
storeys in height, and their arcades are grouped
according to the spacing of the piers in the wall
behind them. The shafts are circular, the lower
arches are stilted and pointed, and the upper
arches four-centred ; and a solid parapet protects
the lower gallery, while a pierced balustrade is
fitted between the shafts of the upper gallery.
The upper gallery extends over the Sultan's en¬
trance, and the portico to the principal entrance
rises in a single height, with its triple arcade set
on octagonal shafts. The galleries and porticoes
are sheltered and covered by a great overhanging
roof, supported by iron struts and extending the
1 A parallel instance occurs in Gothic work, where the abutment of the vaulting is often increased by corbelling the lower portion
of the ribs.
2 Compare the universal Turkish practice of relying on iron tie-bars for absorbing the thrust of arches.
28
Imperial Mosques of Constantinople .
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Imperial Mosques of Constantinople .
29
whole length of the mosque ; and above it, the
main outer wall rises between the buttresses, its
windows grouped under arches which correspond
with those on the interior.
Windows.
The lower windows of the mosque are square
headed and set close to the floor. They are filled
with strong iron grilles and usually remain un¬
glazed, and during the colder weather they are
closed with wooden shutters. The windows in
the upper walls and the domes have arched heads,
and, on the inner and outer faces of the wall, they
are filled with plates of plaster tracery in which
small rounds of glass are embedded. This method
of glazing was employed by other Saracenic
builders, and also by the Byzantines ; and the
principle of minutely subdividing the areas of
lighting is characteristic of the east, and due to
the need of tempering the heat and excessive
brightness of the sunlight. The preference for a
large number of smaller windows, scattered more
or less equally throughout the building, carries
out the same principle on a larger scale.
This traditional tendency is shown in the fore¬
court, where each bay has two openings, although
only one storey in height. The lower windows
are similar to those of the mosque, square-headed
and filled with iron grilles. The upper windows
are here represented by an arched panel, but in
earlier instances they are open and glazed on the
outer face with plaster tracery. The walls of the
forecourt have a deep plinth below the floor level,
and rise unbroken to the cornice beneath the roof.
Owing to the height of the wall, the cupolas
emerge direct from the flat-pitched roofs and
without the usual octagonal drums. The three
entrances have great flights of steps up to the
level of the floor, and the doorways are framed
with broad architraves which rise to the cornice
and are crowned with a richly cusped cresting.
Minarets.
At the junction of the forecourt and mosque,
the two minarets rise from their squere bases,
a complex arrangement of deep splays producing
the polygonal plan of their shafts ; and freeing
themselves from the lower buildings they soar
upwards high above the dome. The minarets
give more character to the mosques and to the
whole city of Constantinople than any other single
feature. The aesthetic value of their slender
height, in contrast with the broad-domed mass of
the mosque, has already been mentioned; and
the city would lose half its beauty without the
fantastic elegance of their clustered groups. No
mosque was ritually complete without its minaret,
but their inherent distinction of design soon led
to a multiplication of number. Their primary
use was to elevate the mueddin who summoned
the faithful to prayer, so that his voice might be
heard above the surrounding roofs ; but they
quickly grew beyond this first necessity, and to
the original single balcony a second and a third
were often added. The minarets consist of an
enclosed winding staircase of stone, which emerges
at intervals on balconies projected on corbelling
and protected with a parapet. The shafts are
polygonal and are slightly reduced in diameter
above each balcony ; and above the topmost bal¬
cony they rise again to steeply conical roofs,
framed with wood and covered with lead, and
terminated with a finial bearing the crescent.
The construction is strong, and the minarets rise
to prodigious heights, but I have no dimensions
of the tallest instances. The minarets of the
Yeni Valideh Mosque are 9 ft. 1I5- in. in the
lower external diameter, and their total height is
about 240 ft. above the ground ; but several in
Constantinople must be considerably over 300 ft.
in height. The general design of all the minarets
to the Imperial mosques is practically the same.
The early examples of the Bayezid Mosque have
their shafts banded at intervals with a darker
stone, and those of the Shah Zadeh Mosque are
enriched with a slight carving of tracery ; but the
minarets of the Suleiman, Ahmed, and Yeni
Valideh Mosques are almost identical in detail,
and their settled tradition of design was only
broken by the introduction of Rococco variations
in the later mosques. The minarets are also used
for illumination, and on the nights of the great
religious festivals, their balconies glitter with
thousands of lamps all over the city, their white
shafts gleaming with a strange ghostly light in
the darkness.
It has sometimes been said that Turkish
minarets are the ugliest form of a singularly
beautiful feature, but I think that they may claim
to have the relative fitness which is the greater
part of beauty. Although in themselves they may
not lack the rich outline of Cairene minarets, yet
the mosques of Cairo have not that complexity of
cupola and dome to which the severer elegance
of the Turkish minaret acts as a necessary foil.
Forms of Arch.
The forms of arch used by the Turks varied
considerably. At Brusa the earliest form is the
two-centred pointed arch, while later arches spring
with two segments and are continued to the apex
with slight curves or tangential straight lines, a
form which was common to all Saracenic building
and probably derived from a corbelled construction
30 Imperial Mosques
as in domes already mentioned. In the early
mosques at Constantinople the Turkish builders
copied the arches of S. Sophia, and in the Bayezid
Mosque the four main arches under the dome are
semi-circular, although the arches of the forecourt
are pointed and described from two centres. In
the succeeding mosques all the large arches are
pointed, the two arcs meeting at an obtuse angle.
But in the smaller arches over the window, no de¬
finite rule was established for some time, and even
in the same mosque semi-circular and Saracenic
arches were used indiscriminately. Ultimately
the semi-circular form was abandoned, and the
Saracenic arch came into universal use for the
windows, although its proportions often approach
the two-centred or semi-circular forms. The
segmental arch was also employed, but was almost
entirely reserved for the doorways. The various
forms of arches were frequently stilted, but their
curves were never returned inwards in the manner
of the so-called “ Moorish ” arch.
Materials of Construction.
Although brick was used in some of the earlier
work at Brusa, yet the later mosques there were
constructed of stone and marble; and Turkish
building in Constant inople was essentially an art
of masonry, the Byzantine tradition of brick con¬
struction being carried on only in the domes. The
walls of the mosques are built with large blocks
of a limestone quarried from the banks of the
Bosphorus, a stone which is close enough in tex¬
ture to be worked with fine detail, and which
weathers to a hard snow-white surface. The
courses of the masonry are more or less continu¬
ous, and vary considerably in depth, and the
mortar joints are fine.
Marble was extensively employed in the mosques,
and its structural use is combined with a decora¬
tive intention ; for the same close texture which
gives it power to bear great weight also enables it
to take a polish which reveals its beauty of colour
and texture. The arcades of the forecourt are
almost always built wholly of marble, and the
shafts and arches of the external galleries and
porticoes are frequently of marble. The arcades
of the aisles which occur in the earlier mosques
have monolithic shafts of marble or porphyry, the
columns which sub-divide the aisles of the Sulei¬
man Mosque being some of the largest in Con¬
stantinople. The voussoirs of the arches fre¬
quently alternate with black or soft red varieties,
sometimes fitted together with elaborately joggled
joints ; and the same principle of alternation is
applied to the entrances and often carried down
the jambs. The stalactite vaulting over the
Mecca-niche and the entrances, the ritualistic
of Constantinople.
fittings and internal galleries, are almost invariably
constructed in marble. Turkish marblework
generally has a more structural character than
Byzantine marblework, and even where it is
applied as a facing to the walls it is worked as
masonry and not as a veneer.
The roofs, including the domes, are entirely
covered with lead, and some such material is
necessary to protect them from the violent storms
of rain which, at certain seasons, gather in the
Black Sea and sweep suddenly over the city.
The lead is cast in heavy sheets which assume a
beautiful silvery tone, and it is applied with rolls,
the water dripping from the edges without gutters.
Bronze and iron are used in the grilles of the
windows and fountains, but the most important
structural use of iron is in ties to the arches. The
tying of arches at the springing by bars of wood
or iron is a constant tradition throughout the
East, and although in many cases the method was
used to prevent thrust, it was probably practised
so universally as a precaution against the rocking
motion of earthquakes.
The mosques are constructed almost entirely
without timber. This, however, is due to no
scarcity, for there are vast forests within a short
distance of Constantinople, and the common
houses of the city are built of timber framing and
covered with weather-boarding. The complete
domical system of the mosques rendered timber
almost unnecessary, and, apart from their more
monumental character, the development of brick
or stone roofs was undoubtedly encouraged by the
fear of such fires as had destroyed earlier mosques
and churches. Thus it is only the pent roofs over
the external galleries and the conical spires of the
minarets which are constructed of timber, and the
chief use of wood is for the joinery of the doors
and the shutters to the lower windows. These
are usually of sycamore, divided into small panels
to withstand the damp and heat of the climate,
and often inlaid with ebony and ivory, and even
mother-o’-pearl.
The general setting out of the mosques is ex¬
tremely accurate, and has nothing of that free
compromise which is characteristic of western
building. The angles are true, and the repeated
dimensions agree almost exactly in all the mosques
which I have measured. This precision was per¬
haps necessary in view of the complicated inter¬
dependence of the various parts, but it also accords
with the natural eastern taste for applied mathe¬
matics. From the time when the subtle propor¬
tions of the Egyptian pyramids were calculated,
this quality has pervaded oriental art, and the
forms of the Turkish mosque of S. Sophia alike
were primarily founded on a basis of purely
geometrical combination.
M— L
Imperial Mosques of Constantinople.
3 1
FOUNTAINS OF ABLUTION, YENI VALIDEH MOSQUE.
32
I mperial Mosques
It may be useful to state the degree of accuracy
represented in the measured drawings which are
reproduced in illustration of these articles. The
small-scale plans may be taken as correct so far
as they go, that is to say in all the main dimen¬
sions, the thickness of walls, and the spacing of
windows and arcades. In some cases I will not
vouch for the accuracy of such details as the pro¬
jection of steps, &c., and the non-structural fit¬
tings of the interiors have been omitted. The
small-scale sections which accompany the plans
are mere explanatory diagrams. The more de¬
tailed drawings of the Yeni Valideh Mosque may
be taken as entirely correct in all essentials, and
also in such decorative detail as could be shown
on a scale of 12 feet to an inch. The dome was
measured up to the cornice of the drum, but above
that level its height has been judged by observa¬
tion and from distant photographs. The thick¬
of Constantinople.
nesses of the dome and the semi-domes at the
base are approximately correct, but the thickness
of the upper parts could not be measured. The
building generally is remarkably accessible, and
probably designedly so for the easy repair of the
roofs. Winding staircases are built in the great
buttresses, passing within them over the aisles, and
emerging from the octagonal turrets at the level of
the drum of the central dome ; and other doors at
various heights give access to the semi-domes and
the lower roofs. Nothing could give a more vivid
realisation of the scale and a closer insight into
the method of building than to climb among the
buttresses and cupolas as though exploring the
peaks and crevices of a mountain, or to wander
along the narrow internal galleries around the
semi-domes, peering downward at the distant
depths of the floor, and looking upwards to the
vast embracing curvature of the central dome.
Edwin F. Reynolds.
Photo: Bedford Lcmere and Co.
NEW BANK FRONT, EUSTON ROAD.
PROFESSOR BERESFORD PITE, ARCHITECT.
Architectural Education.
Containing a Paper by Mr. Charles Francis Osborne , of the University of Pennsylvania.
HE interest taken in theories
of Architectural Education,
the advent of so many well-
equipped schools devoted to
the training of architectural
students, seems to indicate a
feeling of discontent with
existing methods of teaching.
In this country at least, most of us, in the past,
received our education by some kind of apprentice¬
ship in the office of an architect, supplemented
by a course of study such as obtains at the Royal
Academy Schools. This supplementary course
has been in the main artistic. Design, drawing,
and modelling are the chief subjects, and we feel,
after all is said, that they are the most important.
All of them are life-long studies, and the earlier
they are started the better it will be for the
student. In early youth is the time to train the
eye to appreciate the nicest distinctions of form
required to draw and model from the life, and its
very subtlety makes it an excellent training to the
architect.
It is not expected, nor is it necessary for the
architect to be a fine figure draughtsman, but the
training is useful, giving to the eye added clear¬
ness of vision, to the senses susceptibility to pro¬
portion and form. More than this, he has for
fellows, painter and sculptor students, and natur¬
ally, without effort, he becomes familiar with the
technique of the sister arts, and is able, when the
time comes, to apply them with precision and
judgment. Most of all, the architect is working in
an atmosphere of art. Not less is it necessary to
begin teaching design when the student is young.
More severely intellectual than the other arts,
whose technique belongs to the hands, it requires
of its students long years of sheer hard think¬
ing before the immature blossomings ripen to
fruit.
It may be said that although inspiration is
essential to great success in design, it “ involves
a distinct intellectual process,” and therefore the
capacity of any student may be developed by his
being led to exercise his intelligence in problems
of design. And it seems to us that with a sound
training in design even the pedestrian kind of
ability should be able to scheme charming enough
work. One has only to recollect eighteenth-cen¬
tury work to be sure of this. Flitcroft, with his
churches of St. Mary’s, Hampstead, and St. Giles,
working on traditional lines, achieved distinct
successes.
Another study which becomes by its nature a
relaxation, a study undertaken in the sun and air,
and in many lands, is the sketching and measur¬
ing of ancient buildings. Than this there can be
nothing more fruitful provided it is undertaken
in a proper spirit, and certainly nothing more
pleasant.
A critical and analytical rather than an his¬
torical or archaeological spirit is the one in which
to work ; to endeavour to differentiate between the
essential qualities in great architecture and the
extraneous and non-essential things, to analyse the
structure as one would a piece of verse. The
knowledge drawn from this source is of vast
importance. Academic designs are but paper and
valueless if not inspired by it.
Our feeling for architecture is real when we
understand that it is a thing to stand unsubdued
through the centuries, washed and wrinkled by
rain and storm, bleached and toned by the sun
and wind, a thing of strength, and like the eternal
hills themselves, a part of the solid earth. Ima¬
gination will be disciplined to restraint, to use¬
fulness, to real beauty, by this study.
Architecture in its main features was settled
long ago, and in this respect the personal equation
can count for little, as the student soon discerns.
Genius has been the first to accept this limitation,
recognising that nevertheless there are fields wide
enough to require a man's utmost strength to
conquer ; and so genius has been able to impress
work with individuality just as the centuries do.
Most difficult of acquirement is a fine and sure
taste, without which the greatest ability in design
is merely a snare. It is only necessary to ex¬
amine our street architecture to be amazed at the
riotous fancy of the inventions laboriously cut
out of solid stone or easily repeated in the plastic
terra-cotta.
This can be obviated by nothing so much as a
sure taste, and although this will be the result in
time from the study of old architecture, a general
culture also tends to this end. For “ a good tree
cannot bring forth evil fruit, neither a corrupt tree
good fruit.” So the soul must have clear percep¬
tions of all beautiful things, sound and colour and
form should be as palpable to the senses, and as
much pleasure-giving, as fine wine. Those who
have not been strangely moved by exquisite sound,
vol. xxvi. — c
34
4 rch itectura l Ed itca tion.
been given pause by the wonder of marvellous form,
or teased out of thought by the pageantry of
colour, cannot know the feelings of a creator !
No overwhelming Hood of inspiration will ever
sweep over his spirit, drowning it in an ecstasy of
pleasure !
As exercise is necessary to the health of the
body, so the mind has need of refreshment to
maintain its vitality. All the pleasure to be got
from the understanding of the sister arts is at
once its refreshment and its infinite reward. I hen
again, by understanding, may architecture become
the Mistress Art.
It is not our intention to underrate the mechani¬
cal part of architecture, but only to keep it from
occupying too high a place in our education. All
subjects in which exact knowledge is attainable
can easily be adjusted in a curriculum. The
cause of architectural education lies very much in
the hands of the present body of practising
architects who are continually in touch with great
numbers of aspirants, and who possess the power
and the judgment to put their pupils in the right
way of study. And the value of this system under
favourable circumstances may be judged by the
invariable success of the pupils of a few eminent
men. The office system also stands this test.
What kind of work has been its result ? As we
look around we have no need to feel ashamed — in
domestic architecture our superiority is manifest.
Good work of a semi-domestic nature is in suffi¬
cient bulk to justify us. It is in the grand manner
that we fail, and in this our neighbours, the French,
and the Americans excel. The French system of
education is magnificent. As M. Gaudet, a pro¬
fessor of the Beaux-Arts, wrote, “ chez nous en
effet l'enseignement de l'architecture est d’abord
avant tout artistique.” The chief element is the
concours, and the French students’ education, till
it culminates in the Grand Prix de Rome, is one
long struggle. M. Gaudet admits, “ C’est done
l’emulation, la lutte de tous les jours, qui est
i’ame de l’etude.”
In Germany, where education is reduced to an
exact science, architecture fares but ill, and the
tendency is to teach everything that touches it,
however slightly. The curriculum is, as a con¬
sequence, overburdened with mathematics, phy¬
sics, chemistry, technical mechanics, descriptive
geometry, and indeed theories of all kinds. And
there all the heaviness of the most wearisome
pedantry is expressed in stone, and for a contrast
the grotesque abandonment of l' art nouveau.
Modern public work in America possesses, as
we have endeavoured to show in these pages,
elements of high style, and the education which
engenders it is worthy of a great deal of attention.
So we direct attention to Mr. Charles Francis
Osborne’s paper on the training of an architect
which he read at the Annual Convention of the
Ontario Association of Architects, Toronto, on
January 13, 1909. Professor Reilly brought it
back with him from America, and wishes it to be
known that he agrees with the opinions expressed.
Mr. President, Gentlemen of the Association, —
If 1 venture to take part in your discussion this afternoon, it
is because your very kind invitation assures me that in
Ontario, as elsewhere, the best minds in the profession are
aroused to the importance of securing for the architectural
student a systematic course of training, and that when your
association is ready to suggest such a course, it will carry
with it all the weight of your official recognition and support.
I have, therefore, as my contribution to the occasion, en¬
deavoured to embody very briefly in the following paper
certain conclusions to which I have been led by my experi¬
ence in the field of architectural education, together with some
indications of the reasons which have seemed to support
them ; but as time and space alike forbid a detailed considera¬
tion of many difficult questions which are involved in the
solution of this problem, it is suggestion rather than argument
which I have the honour to offer for your consideration.
Whoever strives to formulate such a programme will soon
discover that no progress is possible until one’s objective is
clearly defined. It is not enough to say that the training of
the architectural student is our objective, because back of that
lies the question, “ What is he to be trained to do? ’’and
back of that again is the insistent demand for a fundamental
definition of architecture itself.
Architecture I would define as the art of building, contrast¬
ing it, for illustration, with engineering, which is the science of
building. As for myself, I cannot understand any other defi¬
nition of an architect which will clearly differentiate him from
all other professional men than that he is a designer of
compositions which are to be executed in building materials.
The fundamental difference between the architect and the
engineer may be made clear by two examples taken from that
vast field of building operations in which both the architect
and engineer are engaged at their respective tasks. Let us
first consider the case of a great dam, to be erected near the
headquarters of a river, miles away in the wilderness. This
is a typical engineer’s task, and the only considerations which
determine the lines of the structure are those which arise
from meeting the stern demands for resistance to the mighty
stresses of the stream in flood, taken in connection with
the materials available for its construction and the oppor¬
tunity for securing an adequate foundation. Every line of the
profiles in plan, section, and elevation is determined by the
strictest requirements of utility and economy. Let us take by
way of comparison some structure completely typical of the
architect’s work — say a memorial monument. Here neither
utility (in the engineer’s sense) nor economy is concerned.
Any materials the architect may regard as appropriate are at
his command, quite regardless, or negligibly so, of considera¬
tions ot the relative hardness or specific gravity of these
materials, to each of which qualities the designer of the dam
had to pay the closest attention. Every line of the memorial
is determined purely as a matter of feeling, the architect
having regard only to this question : “What effect or expres¬
sion in the finished monument and its setting will be most
appropriate to the time, place, and purpose of its erection ? ”
There is, of course, a neutral zone where the interests of the
architect and the engineer commingle, and where co-operation
is necessary. This has already taken place, under the pres¬
sure of enlightened public sentiment, in such matters as civic
bridges, harbour approaches, railway stations, and the like.
A rchitecturai Education .
35
It is interesting to note, for instance, in connection with the
gigantic operations of the Pennsylvania Railroad in New
York, that the company’s engineers, while engaged in their
underground affairs, have encountered some new problems of
construction on a scale of unusual magnitude, and have been
able to meet them in the most skilful manner, but that as soon
as they emerge to the surface, where their operations become
visible in the heart of a great city, they call to their aid one of
the most distinguished architectural firms in America to give
to the great terminal station an expression suitable to the
occasion. There were no constructive problems in the build¬
ing of the station which the engineers could not have solved,
but the feeling they sought for was beyond their powers of
expression, and so it was placed in the hands of men who
were professionally trained for such expression.
We are abundantly justified, then, in the conclusion that
the faculty which differentiates the architect from all other
men engaged in the field of building operations is the faculty
of imparting to his structures, by means of the attributes
•derivable from form, colour, and texture, such an expression in
each particular case as shall stir the beholder to an apprecia¬
tion of the fact that the building is pleasingly and appropri¬
ately indicative of its function. But when 1 say this, I do not
refer to the exterior or elevation of the composition alone ; for
the elevation is inextricably linked with the plan, and when
you have an orderly and convenient plan, a good elevation is
more than half accomplished. To those conversant with
design methods it is not necessary to call attention to this
detail, but I do so because I desire to avoid any interpretation of
my point of view as assenting to the idea that architecture is
■construction plus decoration. On the contrary, those qualities
which make for good design are fundamental to the solution of
the problem, and are developed in the original choice of scheme
quite as much as in any details of the plan or elevation.
If ability to design be the distinctive test of the architect,
the teaching of design must be the paramount objective of his
course. On this point some strange proposals have been
made. It has been suggested, for instance, that the theory of
design should be taught in the schools, and the practice of
design — that is, the working out of design problems— should
be under the direction of practising architects in the office.
It has not needed some recent experiments in this direction to
show that no good results can come from such a course of
procedure. It is based upon a fallacy which has been fully
exposed by the Engineering Record in a recent editorial
dealing with the subject of engineering training. I quote one
paragraph : — “ There is a ridiculous idea prevalent that a man
who is successful as an engineer is necessarily competent to
teach undergraduates in an engineering school ; the fact is, no¬
body can be a successful teacher who does not make a careful
study of pedagogics, a subject calling for as much thought and
detailed consideration as any course in engineering.” 1 This
testimony from an engineering source is specially significant.
Personally I am convinced from long observation that there
is only one effective method of stimulating the highest powers
of the undergraduate for the solution of any design problem,
and that is the method of teaching design which has unfortu¬
nately come to be known as the French method. I say
“unfortunately,” because this word “ French ” seems to act as
a curious irritant to many people who are not at all familiar
with the thing criticised. These, either through unfamiliarity,
or because of an inability to understand the system when it is
presented to their scrutiny, fail to discern its real spirit, and
suffer their attention to be distracted by such superficial
•characteristics of the method as might be likely to develop
under the skies of France.
This system is based upon the idea that the only way to
learn to design is to design. Theories of design are not for
undergraduates, and even when discussed by mature minds
are usually unfruitful. Good design is purely a matter of feel¬
ing, which eludes definition but which can be cultivated by
assiduous practice. Problem after problem must be presented
for solution to the student, who must work under the eye of a
master whose chief vocation is criticism in the atelier. The
problems may be of as practical a character as you like, but
worked out without too much consideration of how many
tenpenny nails go to a pound.
The second question is, “ What comes next in importance
after design ? ” The fact that the architect uses building
materials to develop his compositions might seem to place a
study of these materials and their combinations next on the
list. You may be surprised to hear that I relegate this subject
to third place in our curriculum, and rate drawing next. If we
assign, on the total number of hours in any undergraduate
architectural course, fifty percentum to design, I should
allot twenty to exercises in drawing from the cast and from
life, with an ancilliary course in modelling. Such prac¬
tice greatly increases the students’ powers in design, and
though it is not always true that a good draftsman is a good
designer, I have never known a poor draftsman who was so.
This fact has so often come under my observation that it is
impossible for me any longer to question it. Practice in
drawing from the figure and modelling should continue during
the entire course, so soon as the student, from his previous
practice from the cast, is prepared to take them up.
We now come to the subject of building materials and con¬
struction, and I will explain why I have placed it as third in
importance in the undergraduate course of study. Up to this
point the subjects in the course have been included in the
field of art. Construction, however, lies within the field of
science, and from a pedagogical point of view its teaching
must be undertaken in a different manner. Where the teach¬
ing of applied science is concerned, all experience goes to
show that in his undergraduate studies the student should be
thoroughly grounded in fundamental principles and theory,
and that no attempt should be made to render him expert in
the office sense in their application to all imaginable cases.
If we attempt to teach theory by the medium of manifold
examples, the average student proves unable to see the forest
for the trees. This subject is best taught in an undergraduate
course therefore, by courses of lectures, fully illustrated, and
supplemented by sketching in the student’s notebook of typical
examples. Building materials should be fully developed, so
that the student may know the characteristics of each, its
usual applications, and what may be expected of it in practice.
The study of building construction should proceed from
simple to the more complex assemblages in all materials, still
with continuous sketching. Finally, there should be a course
in theoretical and applied mechanics lasting a full year, with
special stress laid on graphical statics. The only stated
exercise in drawing that I should recommend in connection
with such a course (aside from the exercises in graphical
statics) would be just sufficient practice in scale and full-size
detail drawing as will enable the student to correctly grasp
the principles of such work, and prepare him to take up with
confidence that side of the office routine. No attempt should
be made to make him familiar with all kinds of possible
details, for it is futile to attempt to train the undergraduate,
even if it were at all desirable to do so, to a point where he
can produce working drawings and scale and full-size detail
under office conditions with facility and precision.
The fact should never be lost sight of, and especially in this
C 2
1 Eng. Rec., Dec. 12, 190S, p. 655.
Architectural Education.
36
connection, that the student’s training is to be obtained in
two places — one the school, but the other, and equally im¬
portant, the office. It is in the school that he will learn most
of his design, but it is in the office that he will acquire most
of his practical knowledge of construction. But his under¬
graduate course in this latter subject will enable him, if it has
been properly taught, to assimilate very rapidly the practice of
whatever office he may happen first to enter after his school-
work is completed, and by the end of three years’ office ex¬
perience he should be a first rate all-round man, far in advance
of a man of similar capacity who entered the office when the
student entered the school. It is matter of common observa¬
tion here that the school man ultimately attains a far higher
professional position than is ever possible for the office-trained
man. This fact is being so generally recognised with us, that
experienced office men are coming to the schools in increasing-
numbers, in an endeavour to overcome this handicap. They
labour under one disadvantage, however, with regard to the
study of design, and that is, most of them have waited too
long — for you must catch your designer young.
Allowing twenty per cent, to the subject of building materials
and construction, there yet remains ten per cent, of the under¬
graduate’s time to be accounted for. This I would allot for
the most part to the history of architecture and the allied arts,
reserving a small modicum of the time for a course of lectures
dealing with professional ethics, office organisation, contracts,
and kindred matters, and in a special course given by
practising architects of the highest professional standing, who
will present to the student’s attention instances chawn from
actual practice. It is of great benefit to the student to bring
him in contact with such men.
A brief word may be said as to the amount of preparation
which should be required of the student who presents himself
to undertake such a course of study as I have here outlined.
The lequirements are few, but insistent. Sound training in
English ; a good reading knowledge of French ; the funda¬
mentals of general history, ancient, mediaeval, and modern ;
mathematics up to and including trigonometry ; the funda¬
mental principles of chemistry and physics, and descriptive
geometry, including shades, shadows, and perspective. No
further instruction will be given, in any of these subjects, in
the professional school, but the student will make use of his
knowledge of them from the first.
My paper, gentlemen, would be incomplete, did I not in¬
clude some notice of another theory of architectural education
which has had some distinguished advocates, but which I am
unable to approve.
No one knows better than those of us who are engaged in
the field of architectural education how extensive are the
boundaries of that field. Indeed, it seems at times to some of
us as if no other profession could be so comprehensive and
inclusive.
Mother of the arts and issue of the elemental forces of
nature acting upon the varied materials of construction, archi¬
tecture springs from a vast historical background, and touches
on every hand the bounds of human knowledge. It is natural
therefore that, to some of those who have concerned themselves
about the adequate training of the young architect, it should
have seemed not only desirable but possible that such a course
of study should be devised for the undergraduate as will enable
him on its completion to meet any demands which the com¬
plexities of his chosen profession may make upon him. To
this end it has been proposed that he be taught not alone the
technicalities of his profession, but that he be brought into
sympathy, through courses in general academic subjects, with
all that is best and most broadening in the world of culture.
To carryout this comprehensive programme several expedi¬
ents have been proposed. It has been suggested, for instance,
that the usual four-year undergraduate course in architecture
be lengthened to five years, of which the first two shall be de¬
voted exclusively to academic and cultural subjects, and the
last three to professional subjects exclusively. Two, at least,
of our universities offer a six-year option in a combined course
in arts and architecture, whereby the A.B. degree may be
taken at the end of the sixth. This is accomplished
by permitting the student to take all of the elective hours
in the arts course in the course in architecture. The other
university requires the equivalent of two years’ work in
the arts course as a preparation for admission to its course in
architecture. Still another has the courage to carry this
doctrine to its extremest development, and now requires the
degree of A.B. of all its architectural matriculates. It is worth
while to note that the president of this last institution has
recently declared it to be his opinion that the future welfare of
that university demands that it be made the most difficult to
enter and the most difficult to remain in of any institution
of learning in America. Each of these tentative schemes of
education strives to attain the same end, viz., to prepare the
student not only for the practice of his profession, but for
speaking and writing with learning and discernment on all of
its collateral interests as well.
It is not difficult to picture for ourselves the paragon of
architectural virtues whom the well-meaning promoters of
these schemes of professional training have in mind — though
the vision of his activities is somewhat overwhelming. Pre¬
pared to discuss with the archaeologist the Semitism of the
Sumerians or the significance of the labrys supporting the
altar of the gate slab of Mycenae, he is equally at home with
the epigraphist in an interpretation of the dowel holes in the
Parthenon epistyle. Representing his profession at the annual
dinner of the Society of Painters, he takes an intelligent part
in a discussion regarding the inexplicable phenomenon of
Duccio’s art, and later in the evening makes a formal and
eloquent plea for the subordination of the mural decorator to
the controlling and directing mind of the architect. With the
general historian he holds his own in a discussion regarding
the correct definition and interpretation of universal history,
and yields nothing to the Egyptologist on the point of Ikna-
ton’s brilliant witness to the truth of the Semitic conception
of the oneness of the Divine Ruler of the Universe. Descend¬
ing from these transcendental realms to the sphere of practice,
at the office next day he learns from his morning’s mail,
though without too much surprise, that his design for the new
National Art Gallery upon the Mall in Washington has won
a famous competition. Annoyed by the appearance of an
extensive efflorescence upon the brickwork of his Carnegie
Library, to which he has endeavoured to impart a fifteenth-
century Veronese air, he writes forthwith to his brickmaker for
analyses of his clays and to his cement-maker for an analysis
of his cement in order that he may determine the source
of the annoyance, and apply the proper remedy. Pending
the arrival of this necessary data, he turns his attention to the
designing of the reinforced concrete cantilevers for one of the
walls of his Mining Building at the impending World’s Fair
at Jumeau — a difficulty having arisen from a pocket of quick¬
sand which has manifested itself in a most inconvenient
quarter of the site. In his fifty-four storey warehouse for the
Universal Providers (Limited) he has devised a new method
of wind-bracing for wide panel designs in structural steel,
which bids fair to revolutionise engineering practice in that
particular as soon as his method becomes known through
publication in the professional journals. He next reviews the
sketches of his head draughtsman for the ball-room of the
American Embassy at Paris, where he points out the incor¬
rect profile of the consoles of the rosace, which strike an
incongruous Louis Quatorze note amid a Louis Seize harmony.
Architectural Education.
37
He remembers also to caution his assistant to correct the
contour of the buttress weatherings of the new half-million-
dollar chapel of ease of St. Simeon-by-the-Waves, where the
full-size detail shows them to have taken on a too pronounced
Edward III character. Leaving his office for his daily exer¬
cise at the Racket Club, he ruminates on his way thither on
the essential points of his paper for the Electrical Engineers’
Club regarding a new method of closing the solenoid and
relay circuits of a type of remote control switch which he has
devised for large private installations. After a couple of
hotly contested games of squash and a bath, he dresses for
dinner, but forgoes an evening of relaxation at the opera to
dine with the Sculptors’ Society, where he may make an
address on the vitality of Donatello’s art, with special refer¬
ence to the qualities of architectural sculpture as exemplified
at Reims and Athens. On his return home he concludes his
day’s labours by revising proofs of a forthcoming article in
The Builder on “ The neutralisation of the action of atmo¬
spheric carbon dioxide on building stones ” ; after which he
retires to his virtuous couch, and is soon lost in a profound
and well-earned slumber. As he sinks to his repose we
awaken from our own dream to a realisation of the fact that
he has been but a product of our imagination ; for modern
conditions have made him impossible. We part from him with
reluctance, for he has been a stimulating companion ; but we
have taken his measure, and may allow him to depart in peace.
Do not mistake me, gentlemen : it is not the cultivated
architect I ridicule, but the impossible product of an imprac¬
ticable scheme of undergraduate professional training. There
is something more fundamental than modern in the condi¬
tions which make him impossible. There are two laws of
intellectual development which preclude him. First, because
critical ability — the power of mental analysis in any art —
bears an inverse relation to the power of execution in that art.
There are exceptions, it is true, but they remain exceptions.
Turner paints and Ruskin expounds. Whistler does both,
but his contemporaries are the first to admit that he w'as rara
avis , and posterity will confirm their judgment. If Berenson
has painted a masterpiece it has not yet been catalogued, and
we have yet to hear of an edition of Lhisle des Pingouins
w'ith illustrations from the pencil of the distinguished author.
In ancient Egypt the king’s architect was a man of war and
of affairs w'hose varied activities make his architectural
labours seem incidental. This is possibly where the art of
building, as in ancient Egypt, has been reduced to its low'est
terms. But as art becomes more complex and refined, it
compels undivided attention ; and we do not hear that Ictinus
distinguished himself in the Euboean campaign.
The operation of the second law is perhaps exaggerated
by modern conditions. It has to do with the direct relation
between efficiency and specialisation. It was my good fortune
during a recent journey to fall in with a distinguished army
officer on detached duty at one of the Government’s advanced
schools of instruction for officers. It was evident from his
conversation that he was not only a man of the highest
character, but very skilled in his profession. As a brother
pedagogue, I naturally inquired in what subjects he gave
instruction in the school. I must confess that I was momen¬
tarily taken aback by his unexpected reply, “ Retreats.” A
brief period of reflection served, however, to make clear the
vital importance to the soldier of knowing how to safeguard
his command in the event of not attaining his objective, and
that it is better to learn before rather than afterward. Napo¬
leon, doubtless, could have given valuable advice in this
matter on his return from Moscow, but the more modern is
the better way. So it is in our own profession, gentlemen.
Modern environment makes it a condition precedent to our
attaining the highest degree of success that, w'hile we may
know something of many things, we must endeavour to learn
everything of something.
A few words more and I am done. First, to remind you
that the vast majority of practising architects in America
to-day are men who have received no systematic course of
training whatever, and who are consequently forced to rely
more and more on the trained men from the schools for assist¬
ance. It is upon the skill of these assistants that they
specially depend when the importance of the work in hand
must meet the requirements of a rapidly-enlightening public
opinion in matters of design. Such a state of affairs should
make it quite clear that the immediate task of the architectural
school is to fit men for such positions and not to repel students
seeking a professional training by a prolonged and exacting
course of study containing much irrelevant matter, which,
if appropriate at all to such a course, should be relegated to
the post-graduate curriculum. Those who have proposed the
inclusion of such academic and cultural studies in an under¬
graduate course of architectural studies are evidently unaware
of the fact, well known to experienced teachers in that field,
that of all the courses of study offered in our universities
to-day there is none so well adapted to soften the asperities
which may have been acquired by the student in previous
unfavourable surroundings, and to develop in him a sym¬
pathetic appreciation of all that is best in the world of culture,
as is some such course in architecture as that I have proposed.
I repeat, with the greatest deliberation and confidence, that
as between a course in arts, for example, and a well-balanced
course in architecture, the latter will produce in the under¬
graduate student a much higher degree of fundamental culture
than the former. The two courses in design and in the
history of architecture and the subsidiary arts will have a
marvellous effect in that direction. This has been noted by
experienced observers in the Ecole des Beaux-Arts in Paris,
and striking cases have repeatedly fallen under my own
observation here in America. Moreover, to take the student
at the age at which he usually enters our professional schools,
and devote even two years to sociologic and cultural studies,
as has been proposed in one of the schemes I have recorded,
is to lose two of the most vital years at his most impressionable
age for artistic training. It is between the ages of fifteen
and twenty-one that the student can be taught the funda¬
mentals of design, and the earlier the better if he is ever
to develop a first-rate capacity in that field. After that it is
too late. And, again, men in the Freshmen and Sophomore
years in college are not mature enough to derive much benefit
from such “ cultural ” courses. If they are to be given at all
it should be in a post-graduate year. It is one of the soundest
of pedagogical principles that a student does his most effective
work in any subject if it is taught to him only after his
previous work has shown him his need of it.
In conclusion, permit me one word on the subject of foreign
travel No student should regard his professional training
as having completed its first stage unless he has spent at
least one year abroad, and has especially studied the archi¬
tecture of Italy. Next in importance I rank France and
England, but the student should take as wide a swoop at first
as is possible, and include in his preliminary survey Con¬
stantinople, Greece, Egypt, and Spain. At some subsequent
time he can look at Vienna and some of the German cities,
in order that he may make up his mind as to the real value of
the Art Nouveau movement ; but modern architecture in
German lands, outside of that influence, is a negligible
quantity.
Current Architecture.
“REDCOURT,” WHITFIELD, DERBY¬
SHIRE.
Paul Ogden, Architect.
HIS house was built for
Dr. and Mrs. Sidebottom
of bricks from the Hep-
worth Iron Co., Deepcar,
near Sheffield, with stone
dressings from C h u n a 1
Quarry, near Glossop (a local
quarry re - opened for this
house). The roof is covered with Yorkshire Grey
slate from George Vint Bros., Idle, near Bradford,
Yorkshire. The joiners’ work, including the oak
panelling, in the staircase, entrance hall, hall,
dining-room and drawing-room, and the mantels
in the drawing-room and morning-room, is in oak
left clean from the tool. This work, also the
stone mantels, was executed by the general con¬
tractors. The stone carving was executed by
J. J. Millson, City Road, Manchester. The lead
lights and iron casements and casement fasteners
and door hinges and dog grates and buckets, &c.,
<Yc., and the bells were all executed by R. L.
Williams, of Chester. Part of the furniture was
made by Pearson & Brown, of Weaste, near
Manchester; and Waring & Gillow, Ltd., Man¬
chester branch, supplied some of the furniture and
practically the whole of the drapery and carpets.
In addition to the work generally, the mantels,
hinges, fire-dogs, fire-irons, casement fasteners,
and the whole of the fitments were designed by
the architect and executed under his supervision
by the above firms. The general contractors were
Groom & Co., Ltd., of Bakewell, Derbyshire.
THE VICTORIA AND ALBERT MUSEUM.
Sir Aston Webb, R.A., C.B., Architect.
HE completing buildings were
formally opened by His Ma¬
jesty the King on June 26.
Designs for these buildings
were invited in 1891 from six
selected architects, and those
submitted by Sir Aston Webb,
R.A., C.B., were adopted.
No decisive step was taken, however, until 1898,
when the then Chancellor of the Exchequer, Sir
Michael Hicks-Beach (now Lord St. Aldwyn),
found himself in possession of a Budget surplus,
from which he allotted a sum for the erection of
the museum, and Sir Aston Webb was instructed
to proceed with the plans. The foundation stone
was laid by Queen Victoria on May 17, 1899.
The new buildings have a frontage of 720 ft. to
Cromwell Road, and 275 ft. to Exhibition Road.
The total length of the perimeter of the site is
occupied by three storeys of side-lighted galleries,
the fourth-floor galleries being top-lighted, while
the remainder of the site is covered with top-
lighted courts. The total length of these galleries
alone is three-quarters of a mile, and, including
the long gallery of two floors that runs down the
centre of the building, the galleries in the new
buildings are just one mile in length, while the
top-lighted courts have a superficial area of 6,500
square yards.
The Cromwell Road front, in the centre of
which the main entrance is situated, is in a “ flat ”
curve, following the line of the road, partly in
order to secure a right angle at the corner of
Exhibition Road, and partly to bring the building
into line with the Natural History Museum.
Other considerations that influenced the design
were the great mass and height of the old Science
building, which suggested the domes on the new,
in order to preserve the scale.
'Red court'. Whitfield , Derbyshire.
PAUL OGDEN, ARCHITECT.
Current A rchitecture
39
REDCOURT,” WHITFIELD, DERBYSHIRE.
4o
Current A rchitecture.
PAUL OGDEN, ARCHITECT.
Current A rckitecture,
4i
W
X
H
&
OO
VICTORIA AND ALBERT MUSEUM. GENERAL VIEW.
42
Current A rchitecture .
t irimmit
THE VICTORIA AND ALBERT MUSEUM. EAST HALL, LOOKING WEST.
SIR ASTON WEBB, R.A., C.B., ARCHITECT.
The front is faced with specially selected Port¬
land stone, red brick being freely introduced in
frieze and piers in sympathy with the buildings
already erected. The sculptured decoration in¬
cludes statues of thirty-two famous British artists
and craftsmen, statues of ten craftsmen being on
the Exhibition Road front, while facing Cromwell
Road are, in the centre, ten painters ; on the west
flank, six sculptors, and on the east flank, six
architects. The statues of Millais, Watts, Leigh¬
ton, and Constable were respectively executed by
four students of the College of Art under Professor
Lanteri ; and two each of the other statues were
entrusted to the following sculptors : Messrs.
Lynn Jenkins, Paul Montford, S. W. Babb,
G. Bayes, A. Broadbent, W. S. Lrith, J. Gamble,
E. G. Gillick, A. H. Hodge, A. B. Pegram, J. W.
Rollins, R. Shepherd, A. G. Walker, and O.
Curren t A rch itectu re.
43
Wheatley. The figure of Fame on the lantern,
and the two figures in the buttresses below — re¬
presenting respectively Architecture and Sculp¬
ture — are by Professor Lanteri, while Mr. Alfred
Drury, A.R.A., executed the statue of Queen
Victoria, with her supporters, St. Michael and
St. George; the statue of the Prince Consort,
under the arch; and the figures of Knowledge and
Inspiration, one on each side of the entrance; as
well as the carved panels in the archivolt, each
panel bearing, in letters of gold, a portion of a
quotation from Sir Joshua Reynolds’s Discourses :
“ The excellence of every Art must consist in the
complete accomplishment of its purpose.” The
carved spandrels representing Truth and Beauty
are by Sir George Frampton, R.A. ; the statues
of King Edward VII. and Queen Alexandra by
Mr. Goscombe John, R.A. ; and the general
architectural carving on the front has been done
by Mr. W. S. Frith.
In planning the interior the architect had by
no means a free hand, as he was under the neces¬
sity of “ linking up and adapting to the various
levels of the old building.” The vestibule, 40 ft.
by 40 ft., runs up through two floors of the build¬
ing. The walls are faced with Portland stone,
and the ceiling is of teak, carved and inlaid with
a holly motif. The floor, composed of Sicilian
black, Irish red, and Swedish green marbles, was
laid by Burke & Co., who also laid the mosaic
pavement in the Persian Court and in the libra¬
ries, &c. Right and left of the vestibule, the
staircases leading to the three floors of the side-
lighted galleries are lined with Pavonazza marble
in flat slabs. The columns are of Brescia, and
the steps of piastraccia. The walls of the gal¬
leries and courts, being intended for the exhibi¬
tion of objects, are of course kept perfectly plain,
but “ an attempt has been made to prevent weari¬
ness to the visitor by avoiding galleries of undue
First-floor Plan.
CROMWELL ROAD
Ground-floor Plan.
CROMWELL
VICTORIA AND ALBERT MUSEUM.
SIR ASTON WFBB, R.A., C.B., ARCHITECT.
44
C u rre nt A rch itectu re.
length, by providing vistas and glimpses through
the building in passing, and by varying the sizes,
proportions, and design of the various courts and
galleries.” The long gallery gives easy access to
all the courts on each side, and the courts on the
north side of the gallery neither oppose barriers
to the visitor, nor confuse him as in a maze.
Flanking the domed central hall are the long
eastern and western halls, 50 ft. wide, in which
the larger architectural exhibits are being placed.
The west and east central courts leading from the
central court that forms the main entrance to the
older portions of the Museum, have their naves
and aisles divided by arcades of Basilican types.
The naves have Hat ceilings, and the aisles are
vaulted. The great octagon court is no ft. in
diameter, and 65 ft. high in the centre.
AND ALBERT MUSEUM,
DESIGNED BY
SIR ASTON WEBB, R.A., C.B.
The galleries are 32 ft. wide and 20ft. high,
except in the lower ground floor, where they are
18 ft. high. The windows are carried up close to
the ceiling, and on this wall the glass area is
equal to the wall area, so that the opposite wall is
completely lighted. All the walls are lined with
Cranham bricks, so that objects may be easily
fixed to them, while all walls towards internal
courts are built hollow.
The floors of the galleries are of polished teak,
those of the courts being paved with marble
mosaic, laid out in squares to facilitate the arrange¬
ment of cases and objects. In all there are 7,000
super yards of the mosaic, each yard representing
5,184 cubes. The whole was carried out by the
Art Pavements and Decorations, Ltd.
Naturally, the heating and ventilating arrange¬
ments have been devised with extreme care. The
heat will be derived from six Lancashire boilers,
which have been placed in the basement between
the north-west entrance and the College of Science.
The Atmospheric Steam Heating Co.’s vacuum
system of heating has been installed. Ventilation
is on a plenum system, by means of which the air
can be changed four times an hour, or more fre¬
quently if necessary.
The whole of the glazing on the roofs of the
various courts, including the domes, was carried
out by W. E. Rendle & Co., on their “ Invincible ”
system mounted on moulded teak bars. The
domes were glazed without the use of bent
glass.
The general contractors for the foundations
and up to the ground floor were Leslie & Co.,
of Kensington ; and Holliday and Greenwood,
of Brixton, erected the superstructure, exe¬
cuted all the woodwork, including the fine teak
ceiling, already mentioned, with its carved and
inlaid holly decoration, and all the plumbing
work.
The show-cases, made by Gardiner, Sons & Co.,
Ltd., have frames of steel, welded by the Oxy-
Acetylene process, and covered with polished
bronze facings. They are designed to be abso¬
lutely dust-proof.
The electrical installation was carried out by
T. Clarke & Co., and embodies approximately
5,000 lights, 75 miles of wire, and 95,000 ft. of
screw galvanised steel tubing. A feature of the
wiring is that any of the cables can be easily with¬
drawn and new wires substituted without inter¬
fering with the decorations or flooring. The
electric fittings made by the General Electric Co.,
comprise 300 six-light coronal electroliers in
bronze designed by the architect. An illustration
of one of these is given ; the lamps are Osram
lamps of special shape. In addition there are
over 150 brackets of beaten bronze and many
single pendants. The narrower galleries are lit
by two-light pendants suspended over the cases,
and the whole of the fixtures are arranged specially
to light up the cases.
Rapidal water paint, in subdued green and
ivory tints, has been very largely used for the
interior wall-colour effects.
The chief clerk of works was Mr. H. W.
Tanner and the general foreman was Mr. J.
Farndon.
The following are some of the sub-contractors : — -
Mack fire-resisting partition slabs, J. A. King &
C u rre n t A rch i tectu r e
45
THE VICTORIA AND ALBERT MUSEUM. WEST CENTRAL COURT.
46
Current Architecture,
THE VICTORIA AND ALBERT MUSEUM. ENTRANCE HALL, SHOWING STAIRCASE.
SIR ASTON WEBB, R.A., C.B., ARCHITECT.
Co., London ; stoneware pipes, &c., Leeds Fire¬
clay Co., and Doulton & Co. ; interior brick
lining to walls, Sankey & Sons ; cement, Asso¬
ciated Portland Cement Co. ; electric installation,
including the fixing of fittings, arc lamps, &c.,
T. Clarke & Co. ; electric fittings, General Electric
Co., Ltd., and Strode & Co. ; ornamental metal¬
work and casements, Hart, Son, Peard & Co. ;
ironwork, St. Pancras Ironwork Co.; ironmongery
and sliding doors, Chas. Smith, Sons & Co. ;
drainage, Burn Brothers ; rain-water pipes, &c.,
W. Macfarlane & Co. ; armoured fireproof doors,
Mather and Platt ; hydrants, Simpson & Co. ;
suspended ceilings and steelwork encasing, A. &
j. Main, Ltd.; ornamental plasterwork, Broms-
grove Guild of Applied Arts, G. P. Bankart,
J. Bickley ; paint, R. Gay & Co., Ltd.; water
paint, Rapidal Paint Co. ; granite entrance
C urren t A rch it e ctur e.
4 7
THE VICTORIA AND ALBERT MUSEUM. GALLERY ON FIRST FLOOR ( I 1 4 ON PLAN).
SIR ASTON WEBB, R.A., C.B., ARCHITECT.
steps, Fenning & Co. ; slates, Old Delabole
Slate Co. ; roof glazing, W. E. Rendle & Co. ;
general glazing, Pilkington Brothers ; electric
lifts, General Electric Co., R. Waygood &
Co. ; fireplaces, Shuffrey & Co. ; service lifts,
George Johnson ; revolving doors, Van Kannell
Revolving Door Co. ; outside paving, Hard
York Non-slip Paving Co. ; marble, Farmer and
Brindley, Walton, Goody & Cripps, Burke &
Co.; show-cases, Gardiner, Sons & Co.; mosaic
work, The Art Pavements and Decorations, Ltd. ;
the atmospheric steam heating system, by Jeffrey
& Co. ; expanded metal lathing for plasterwork,
and three-inch mesh lathing for concrete reinforce¬
ment, Expanded Metal Co. ; “ Silex ” stone for
staircases, Brookes, Ltd.
Current A rckitecture
48
THE VICTORIA AND ALBERT MUSEUM. MAIN ENTRANCE.
SIR ASTON WEBB, R.A., C.B.,
ARCHITECT.
Current A rchitecture.
49
HAMMERSMITH PUBLIC BATHS.
J. Ernest Franck, Architect.
HE Public Baths and Wash¬
houses built for the Borough
Council of Hammersmith
occupy a site that is of irre¬
gular shape, though of ample
area. While the total depth
of the site is about 520 ft.,
the frontage on the east side
is only 70 ft., whereas the width on the west is
nearly twice as great ; and the difficulties of plan¬
ning were increased by the necessity for observing
certain prescriptive requirements with respect to
rights of light, as well as several conditions of an
agreement between the London County Council
and the Borough Council.
The accommodation comprises : First - class
swimming pond, 105 ft. by 34 ft. ; second-class
swimming pond, 100 ft. by 30 ft.; sixty-three
slipper and lassar baths ; public washhouse fitted
with thirty washing stalls, thirty drying horses,
and three hydro extractors, ironing room, estab¬
lishment laundry, boiler-house with coal bunkers,
engine room, engineers’ workshop and store, three
ticket offices, male and female staff mess rooms,
club and waiting rooms, superintendent’s resi¬
dence, and engineer’s residence.
The bold design of the main arched-roof princi¬
pals over the first-class pond was rendered possi¬
ble by the adoption of reinforced concrete. The
use of steel stanchions would have necessitated
projections from the wall ; but with the adoption
of reinforced concrete the stanchions or continua¬
tion of the main ribs were divided at the level of
the roofs of the corridors, were carried across them
in an arched formation, were continued to the
ground-floor level on each side of the corridor, and
joined again beneath the ground-floor, the lower
portions of these stanchions thus becoming box¬
shaped. The architect considered that even if the
roof trusses had been carried out in steel and
covered with 2 in. of some non-conducting exter¬
nal coating, such a structure would be less fire-
resisting than ferro-concrete, and the ribs showing
in the ceiling of this bath are true structurally.
Moreover, steel roof trusses would have required
periodical painting ; but with reinforced concrete
the necessity for maintenance hardly arises.
The frontages are faced with red brick with
Portland stone dressings. The roof is covered
with Precelly slating. The inner wall-faces of the
swimming-bath, the public washhouse, and the
establishment laundry, are of glazed brickwork,
while the cornices, architraves, and dressings to the
windows of the first-class bath are of Carrara Ware.
The private baths, corridors, and other rooms are
finished with dadoes in glazed bricks to various
heights, the upper portions of the walls being
finished in sirapite. The front portion of the en¬
trance corridors in Lime Grove, and the entertain¬
ment entrance hall and corridor club-room No. 1,
have dadoes carried out in plain coloured tiling from
special designs by the architect. The gangways of
the swimming-baths are covered with non-slipping
rubber tiles.
In the washousesthe sides and backs of the par¬
titions to each stall are constructed for an ex¬
haust vapour pipe to be carried the whole length
of each range of stalls into extract ducts formed
in the wall, the floor of the washhouse being
formed to give a fall to this pipe for draining any
condensation water. A separate connection is
taken from each boiler into the main exhaust pipe,
and by this means the washhouse is kept entirely
free from steam.
The general contractors were Dearing &
Sons, of Clarence Works, Halliford Street, N.
The following are some of the sub-contractors :
The Expanded Metal Co., Ltd., of Westminster,
were the sub-contractors for the whole of the
reinforced concrete construction, except the con¬
crete foundation rafts under the chimney and
other portions of the building, which rafts were
reinforced with expanded steel, and constructed
by the general contractors. The reinforced con¬
crete work comprised the two swimming ponds,
an elevated storage tank of 22,850 gallons capacity;
nine arched roof principals (50 ft. clear span),
cantilever gallery round the pond (without any
column supports), and the floors and flat roofs
throughout the building. The reinforcement
throughout was expanded steel of various strengths,
and Kahn trussed bars supplied by the Trussed
Concrete Steel Co., of London. The “ Ferro-
crete ” brand of Portland cement, supplied by the
Associated Portland Cement Manufacturers, Ltd.,
was used throughout. The whole of the bath
fittings were supplied by Doulton & Co., of Lam¬
beth. The electric light fittings were supplied by
F. & C. Osier, and Fittings, Ltd. Glazed
bricks, lining to swimming ponds, and porcelain
baths, The Farnley Iron Co. ; T.L.B. facing bricks
to front, T. Lawrence & Sons, Bracknell ; tiling
to entrance corridors, Craven Dunnill & Co. ;
tiling to bath gangways, Pilkington Tile & Pottery
Co. ; plasterwork to barrel ceiling over main
baths, F. de Jong & Co., Camden Town ; fire¬
grates and mantels, Bratt Colbran & Co. ; light¬
ning conductors, Joseph Lewis; drainage fittings,
John Jones (Chelsea), Ltd. The whole of the
general engineering scheme, and the fittings to
the public washhouse, establishment laundry,
ironing room, etc., were in the hands of J. & D.
Tullis, Ltd.
50
Current A rclntecture.
ERNEST FRANCK, ARCHITECT.
Current A rchitecture ,
Si
ERNEST FRANCK, ARCHITECT.
The Committee for the Survey of the
Memorials of Greater London.
E of the most useful hand¬
maids to all scientific re¬
search, next in importance
to the indispensable art of
printing, is that arrangement
and classification of writings
which is known as biblio¬
graphy. Of recent institu¬
tion it has yet had a phenome¬
nal growth, and has become a minor science in
i i self with its own special laws and conditions.
No sure advance can be made in any department
of knowledge unless the great mass of information
which has already been collected in printed volumes
is made easily available for reference, and although
a universal library, arranged in the most perfect
manner, will not of itself produce genius or even
intelligence in the student, jet the greatest minds
need this aid, in order to use profitably the com¬
plicated literature of the present day.
One of the newest sciences, the science— or
should we say the philosophy — of history has the
greatest need of the help of bibliography, and it
is the one that is perhaps the most ill supplied.
It is true that there are immense bibliographies of
special periods and special personalities, and it is
no doubt because of its vast range that historical
work still requires so much from the compiler of
indexes and calendars. But perhaps nowhere in
the whole field of historical research is this lack
so much felt as in the department that deals with
topography. From their very nature topographi¬
cal writings are spasmodic and ill-arranged. The
associations which linger about places and build¬
ings, from the people and the events that have
been known or seen within them, have always had
sufficient interest to find their chroniclers, but
these local historians have hidden their informa¬
tion in obscure books, or have dis| ersed their
observations among volumes dealing with widely
different subjects. Yet the facts which have been
thus relegated to an undeserved obscurity are
often such as serve to determine important points
in general and national historv.
The topographical history of London has been
written in a thousand different ways. From the
time of Stow, unnumbered citizens, who have
felt an interest in their great city exceeding that
of the parsing moment, have added to its records.
And beside this, maps, plans, engravings, and —
in the past few years — photographs have been
made illustrating the changes that are always
taking place. Some efforts have been made, too,
towards collecting these things. We have at the
British Museum the Crace collection and the
numerous drawings in the King’s Library. At
the Guildhall is the wonderful grangerised edition
of Lysons’ Environs, full of original information.
Among the contents of the Soane Museum is a
large collection of topographical drawings, and
the “ Fauntleroy ” Pennant, another grangerised
edition. And at the libraries of the Society of
Antiquaries, the Royal Institute of British Archi¬
tects, and those of such local bodies as the
Bishopsgate Institute and the Borough of
Chelsea, there is a great store of these valuable
illustrations. And in addition to these there
are many private collections of first-rate if not
of paramount importance, such as that left bv
the late Mr. Gardner, which even rivals the
Crace.
This work of illustration and record, of which
the past results are in so many repositories of
learning, is still being done by many different
organisations, and the need for some attempt at
bringing it all together for practical use is becom¬
ing every day more pressing. It is a question
that our Survey Committee is anxiously consider¬
ing, and in our notes of next month
we may perhaps discuss some possi¬
ble method of solution. Our mostdiffi-
cult task is to convince those who
are sceptical of the value of this work.
It isoften said that the current fashion
of admiring the “ antique,” and of
treasuring the legacies from past
ages — whether of art or of mere ob¬
jects of utility — will die away and
give place to a keener interest in the
present. But there is something of
more permanent and real signifi¬
cance underlying this homage to the
past. History is the only teacher of
the world, for it is experience writ
large, and generalised into great and
lasting principles. And as we have
said before in these notes, there can
never be any true conception of the
present without a proper conscious¬
ness of what the past can teach us,
when it is intelligently and sympa¬
thetically studied.
Walter H. Godfrey.
Photo : F. R. Taylor (Survey Committee).
DETAIL OF FRIEZE, CHIMNEYPIECE : BRENT HOUSE, BRENTFORD
(RECENTLY DEMOLISHED).
THE ARCHITECTURAL
REVIEW, AUGUST,
I909. VOLUME XXVI.
NO. 153.
LECCE: TRIUMPHAL ARCH IN MEMORY OF THE EMPEROR CHARLES V.
DRAWN BY MARTIN SHAW BRIGGS.
The Practical Exemplar of Architecture
xxxvi.
VVROUGHT-IRON STAIR RAIL. THE MARKET HOUSE, ORTA, ITALY.
VOL. XXVI. — D 2
56 The Practical Exemplar of Architecture. — XXXVI.
Plan.
WROU GHT-IRON STAIR RAIL. THE MARKET HOUSE, ORTA, ITALY.
MEASURED AND DRAWN BY FRANCIS BACON, JUN.
The Practical Exemplar of Architecture. — A AAY 1/ I. 57
Im?
2
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WROUGHT-IRON STAIR RAIL. DETAIL OF PANEL. THE MARKET HOUSE, ORTA, ITALY.
MEASURED AND DRAWN BY FRANCIS BACON, JUN.
58 The Practical Exemplar of Architecture. — XXXVI ,
WROUGHT-IRON GATE, BAVENO, ITALY.
The Practical Exemplar of Architecture. — XXXVI.
59
£
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WROUGHT-IRON GATE, BAVENO, ITALY.
6o The Practical Exemplar of Architecture. — XXXVI ,
OAK STAIRCASE FROM 28, MARGARET STREET, W.
DETAILS OF PLASTERWORK, ETC.
PLcrfAQ CSILIJVG.
The Practical Rxemplar of A rchitecture. — XXX VI. 6 1
MEASURED AND DRAWN UV CHARLES D. CARUS WILSON.
62 The Practical Exemplar of Architecture. — XXXVI.
SCCTIGX af XT- B.
OAK STAIRCASE FORMERLY AT 28, MARGARET STREET, W.
MEASURED AND DRAWN BY CHARLES D. CARUS WILSON.
The Practical Exemplar of Architecture. — XXXVI. 63
UCTX1LS afXCWCL , KJILVSTE%S eft
OAK STAIRCASE FORMERLY AT 28, MARGARET STREET, W. MEASURED AND DRAWN BY CHARLES D. CARUS WILSON.
64 The Practical Exemplar of Architecture. — XXXVI.
HE wrought-iron stair rail from
Orta shows what can be done
with limited means. Nothing
could be much simpler. Curi¬
ously interesting is the diver¬
sity shown in the design of
the panels, and the shifts to
work it to the rake of the stair,
keeping the middle scrolls horizontal. Clasps
fasten the scrolls to the uprights and to one
another. A pleasant feature is the little copper
hnials. From a constructional point of view
the bottom rail is a good idea, doing away with
much cutting into the stonework, as only inter¬
mediate standards require to be mortised into the
stone. The gate from Baveno is an extremely
fanciful piece of ironwork ; the scrollwork at the
foot is pleasantly designed, but it is the disposi¬
tion of the great sweeping scrolls that gives the
gate its individuality. As a rule Italian ironwork
is much more playful than English work, and dis¬
plays an abandon beyond the scope of our black¬
smiths. 1 he window balcony, “ Practical Exem
plar XXV,” from Orta, is typical. Here both on
plan and elevation the ironwork runs riot, yet
the effect is extremely pleasant. Where the
scrolls cross one another they are halved and
riveted, and where they merely touch a clasp
joins them. Unlike much Georgian ironwork,
a bottom rail is always introduced. The railing
of the bridge near San Lio, Venice, “ Practical
Exemplar XXXI,” is another interesting ex¬
ample. One piece of metal is used to form the
main scroll, and little circles are introduced
under the handrail, making a kind of border.
To-day in many Italian towns blacksmiths are
forging iron to these traditional designs.
A fair example of an eighteenth-century stair¬
case is that formerly at 28, Margaret Street. It
has been re-erected in Mr. Mervyn Macartney’s
house at Woolhampton. The balusters are ar¬
ranged in the usual way in groups of three, and the
carved spandrel is another typical feature. A poor
section has been used for the handrail. The
whole is in oak. Unfortunately the plasterwork
was entirely ruined in removal.
Notes of the Month.
A Ministry of Fine Arts — The Doric Style — Albert Diirer — English Bridge ,
Shrewsbury — School of Architecture , University of Liverpool — Some
Modern Sculpture — The National Competitions , 1909.
T the International Congress of
Architects held in Vienna last
year one of the subjects of
debate was the advisability
of establishing a Ministry of
Fine Arts, and it wasresolved :
“ That every government be
urgently requested to establish
a Ministry of Fine Arts, or at least a Section which
shall deal with subjects relating to the arts. To
such Ministry or Section shall be attached artists
of reputation. Since Architecture can be con¬
sidered the leading art, architects shall be in a
majority. The work of this Ministry or of this
Section shall be the advancement and encourage¬
ment of the Fine Arts in all their branches.” We
did not allow ourselves to entertain any hope for our
country, but we did for America. And we think
with good reason : for towards the end of the year
President Roosevelt took the first step towards the
institution of a Bureau of Fine Arts by asking
the American Institute of Architects to nominate
thirty men of national reputation to form a Coun¬
cil of P'ine Arts. It was recommended that it
should be composed of architects, painters, land¬
scape architects, and laymen, and should have for
an executive head the supervising architect of the
Treasury. A selection was made immediately by
the Institute, and the President issued an execu¬
tive order directing that “all heads of departments
take no steps towards formulating plans for any
buildings or grounds, the erection or location of
any statue,” without first submitting the question
to the Council of the Fine Arts.
It should be of interest to us to know the
names of the men who compose this Council.
We may add that we think the selection a wise
one. A few of the names are not exactly of the
kind called household, but the majority are more
than familiar. They are as follows : — Architects :
Cass Gilbert, C. Grant La Farge, Walter Cook,
William A. Boring, S. Breck Trowbridge, John
Galen Howard, Thomas R. Kimball, George B.
Post, Arnold W. Brunner and Charles F. McKim,
Notes of the Month .
of New York ; John Rush Marshall and Glenn
Brown of Washington ; John L. Mauran and
William S. Eames of St. Louis ; Daniel H.
Burnham and William Bryce M undie of Chicago;
John M. Donaldson of Detroit ; Robert S. Pea¬
body and C. Howard Walker of Boston ; Abram
Garfield of Cleveland ; Frank Miles Day of Phila¬
delphia. Painters : John La Farge, Francis D.
Millet, Edwin Howland Blashfield, and Kenyon
Cox. Sculptors : Daniel Chester French, Herbert
Adams, H. A. MacNiel, and Karl T. Bitter.
Landscape Architect: Frederick Law Olmstead,
junr.
The province of this body is to advise upon the
character and design of all public works of archi¬
tecture, painting, and sculpture, all monuments,
parks, bridges, and all works of which design forms
an integral part, and to make suggestions and
recommendations for all historic monuments.
We have waited eagerly to hear of the enact¬
ment of a law which would have given permanent
effect to the President’s order. But instead we
hear of the abolition of the Council at the instance
of the new President. Whether its abolition is
intended to be permanent, or whether President
Taft is justifying his reputation for diplomacy,
and purposes only a change in methods, time
alone will show. We understand there was much
opposition to the measure in Congress, and perhaps
policy necessitated its withdrawal.
The advisability of the creation of a Minister of
the Fine Arts has been considered in this country,
but opinion was much divided among architects.
We certainly should not like to see the authority
this post would confer in the hands of one man,
but in those of a committee we think it would be
beneficial and altogether to the advancement of
architecture.
* * * *
N nothing more than in the
choice of her sites did Greece
display her love for the beauti¬
ful. To her, beauty was a vivi¬
fying influence like the sun,
therefore she set her gleaming
temples high up upon a hill-side,
as in Sicily, or on the summit
of a rock, as in Athens, to be seen shining from
afar off, bestowing a gracious pleasure on the
dwellers beneath.
The Akropolis at Athens, the wonderful sites
at Girgenti, Segesta, and Silenus in Sicily,
show how wise was her choice. The former is a
long narrow rock raised above the city. Temples
from time immemorial had been built here before
the crowning glory of the Parthenon. Segesta was
built on a lonely rock nearly a thousand feet above
65
the sea. At Silenus the temples were placed on
two hills looking over to Africa, and Girgenti lies
on a great hill-side overlooking the Mediterranean.
All were chosen to the end that the temples
might be splendidly founded, that the noblest
spots on the earth might become their pedestals,
whence were raised their fair unsullied fronts
facing the dawn.
To no other nation has an aesthetic sense of so
much keenness been dowered. In the case of
the Greeks their clearness of vision amounted to a
new sense.
Rome, with seven hills from which to choose,
placed her buildings in a valley. To-day we hide
our churches in the midst of mean surroundings.
But to the Greeks beauty was a palpable thing,
as we have said, necessary to their life like the
sun, and no colony considered itself settled until
it had raised a temple to itself. If inferior to
the Athenian examples in the last refinements of
art, the colonial temples were scarcely less
beautiful.
Quite recently a remarkable series of drawings
by M. Hulot showing a restoration of Selinus were
exhibited in London, and were reproduced by the
Royal Institute in their Journal. The temples
were in the Doric style, and one of them, probably
the largest ever built, was of colossal dimensions,
the pillars were over fifty-three feet in height and
some eleven feet in diameter.
Now they all lie bestrewing the earth, archi¬
trave, cornice, capital, and pillar, bleaching among
the olives and the asphodel. Sitting by the ruins
one wonders how they were raised up, how these
huge capitals (the abacus and echinus in one) were
swung into position sixty feet from the ground,
how those gigantic architraves were placed on
them, how the crowning cornice and pediment were
fixed. Now, where once the bustling activity of
man reared these great monuments, silence reigns,
and the lizard blinks sleepily on antique marbles
under the blazing noontide.
The Doric, the great style of the Greeks, wherever
it is found, is marked by a noble simplicity, a
quiet grandeur and a lucidity of articulation, which,
like all sublime things, impresses the imagination
at once.
Other nations have built more ambitiously, none
ever half so beautifully. The simplest elements
were chosen — a pillar and a beam (the tomb of
Beni-Hassan may be a prototype, as may any pre¬
historic builder’s shed raised on two posts) — and
out of these raised up a marvel.
The full wonder and beauty of these edifices was
scarcely appreciated till Penrose published his
elaborate measurements of the Parthenon, which
revealed a refinement of proportion and design
undreamed of before. A Greek temple has the
66
Notes of the Month.
simplest plan it is possible to conceive — a paral¬
lelogram divided into two unequal chambers
and surrounded by a peristyle. The arrangement
of the elevations, too, is of the last simplicity, but
behind this lies a subtlety far surpassing anything
to be found in the art of any other people. Vaster
buildings of a more grave simplicity, with gigantic
pillars in close serried rows, were raised by the
Egyptians to overpower the imagination ; the
Romans spanned great spaces with soaring vaults
and made vast aqueducts which ran like Titanic
galloping horses over leagues of country, and the
mediaeval builders, with their aspirations, were al¬
lowed to touch the heavens with their spires ; but
only the Greek builders were able by sheer beauty
of proportion, by the just disposition and balance
of parts, to move the soul, through the senses, to
great conceptions of harmony, proportion, sweet¬
ness, and light.
The constructional problem which Greek archi¬
tects set themselves was a simple one and easily
solved, but workmanship more accurate than had
ever been before or since was required to compass
its complete expression. The nice adjustment of
stone to stone in the secret chambers of the Great
Pyramid is elementary compared to the exactitude
displayed in the setting of the marble of the
Parthenon. To fit accurately the marbles
forming the podium to a rise of a fraction of an
inch ; to make the blocks meet accurately, bearing
at all points like the voussoirs of an arch ; to com¬
pass the marvel of the gradual curved progression
in the reduction of the columns, must have neces¬
sitated a skill in the workmen more perfect than
that required to fit the most intricate machinery.
A like refinement is everywhere visible. No¬
thing is exactly what it seems. The pillars appear
to be vertical ; in reality they lean inwards.
To the eye their spacing is equidistant, but the
angle pillars are set closer to their fellows. The
sides and ends of the podium on which the peristyle
stands is formed with a slight upper curvature
(we have always thought the mitring of these
two curves an extremely nice undertaking), to
which the underside of the architrave runs paral¬
lel in the form of a flat arch. It can easily be
imagined that these refinements were not under¬
taken without reason. It had been observed that
a long straight line appears to sag in the middle,
and the actual convexity given to the platform was
to make it appear straight. Pillars with straight
sides would appear top heavy, and even if reduced
at the capital would seem concave without the
added graciousness of an entasis.
These alterations were made to correct a
carefully analysed optical illusion.
The labour, the expense, the trouble entailed
by these refinements is hardly possible to estimate,
but it was undertaken in that search for perfection
which the keen vision of the Greeks demanded.
We should expect from this to find the same
subtlety displayed in the created forms of the Doric
style.
If we examine it we shall find every part inspired
by this search after perfection. The curves of the
crowning members of the cornice, of the echinus,
of the flutes of the pillars, are cut to exquisite
profiles. The design of the entablature, its details
of triglyph and guttae, are of the utmost reserve
and beauty.
It has been said that a Doric temple without its
sculpture were nothing ! We cannot admit it.
Even lifeless copies — the monument on Calton
Hill, Edinburgh, and the front of Euston Station — •
are not without dignity.
And the ancient buildings themselves, shorn of
their sculpture, riven in sunder by earthquakes,
wrecked by the thoughtlessness of man, by their
majesty, the lucidity of their expression, still fill
us with infinite pleasure.
It may be asked what it will profit a man to
study this style. For one thing he will learn to
distrust so-called originality. This style was not
evolved in a night’s vague dreaming ; for before
the Parthenon the Hekatompedos was built, and
before that — who knows ?
To one educated in the exuberant fancies of
Northern architecture, the Doric style is at first a
mockery — till with contemplation its utter naked¬
ness becomes a symbol of the highest art. It is
useful to know that by subtraction instead of
addition (almost the invariable rule of modern archi¬
tecture) great conceptions are possible, and that
through simplicity the senses may be exquisitely
moved.
No more beautiful sculptures than those of
Phideas have ever been made. His great statue
of Athenae has perished, but the external sculp
tures exist at our very doors. At present we
do not intend to write of these calm and stately
figures. They were added graces to the Doric style.
The column itself rising direct from its marble
platform, soaring upwards in a fine sweep and
spreading out delicately under the square abacus,
always suggests to us the hand of some huge Titan,
for strength ; for beauty we can think of few things
to which it may be compared. The curve of the
flutings filled with light and shade, their finish
under the capital, the contour of the echinus, the
strange fancy of the annulets, move us like music.
A master-touch is the disposition of the triglyphs
at the angle missing the centre of the outermost
pillar.
Beyond its refinements a Doric temple is bound
together by the noble sweep of its unbroken cor¬
nice and its ends accentuated by the pediments.
Notes of the Month.
The deep shadow steals down among the me¬
topes, across the triglyphs, then the long unbroken
sweep of the plain architrave interposes between
that shadow and the greater one under the peri¬
style. Lucidity and a calm grandeur are the very
essence of the Doric style ; they are qualities
which we should endeavour to add to our work.
* * * *
W artists have given more
pleasure to generations of
men than has Albert Dtirer;
certainly no signature in
the whole world of art is
so familiar as his monogram,
the large and wide A with
a small D placed within it,
with which he invariably signed his work.
He was born at Nuremberg in 1471, some twenty-
six years before his great contemporary — Holbein.
In the print-room of the British Museum there is
at present exhibited a fine collection of Dtirer’s
works, consisting of original drawings, engravings
on metal, etchings, drypoints, and woodcuts.
Engraving and woodcutting are become to-day
purely mechanical, and photography is fast super¬
seding them for the reproduction of paint ings, &c.
Such things as original engravings and woodcuts
are almost unknown. What splendid vehicles
they were in the hands of Dtirer the present
exhibition shows.
Melanchthon said that his least merit was his art.
The great soul of the artist is expressed through
his work ; his devoutness and kindness of heart are
apparent in all of it.
Although the new learning holds him in thrall,
mediaeval ideals are still strong, and much of his
work shows the two influences side by side. That
fine engraving, “The Knight, Death, and the
Devil ” (1513), is in some sort a memento mori, which
it was the desire of the Renascence to forget ;
but the delight and power shown in depicting the
glorious trappings of life, and the knowledge of
form, are far beyond mediaeval strivings. A Knight
armed cap-a-pie and strongly mounted on a beau¬
tifully caparisoned horse, both vibrant with the
pride and joy of life, is riding out to war, and
behind him two ill-favoured attendants ride on
equally ill-favoured animals. Death is first, his
horrid skull grinning out on the Knight ; behind,
grotesque and terrible, comes the Devil, and under
the horse the Knight’s dog is running. The
background is composed of a fantastic landscape,
trees and hills and houses and castles perched
perilously on jutting rocks of the kind that Dtirer
loved so much.
There is a fine dignity about this work — the
serene and noble bearing of the Knight, his courage
67
not to fear Death, his strength to resist the Devil,
carry it out of the region of the morbid and terrible.
Splendid in conception, it is in execution no
less fine ; power of drawing, power of imagining,
power of execution in a most difficult medium,
make it one of the memorable things in art.
“Adam and Eve ” is another splendid engraving.
A great rarity, a trial proof is shown, and nothing
could give a better idea of Diirer’s power of draw¬
ing. Part of the engraving is fairly well advanced
— the background and the figure of Adam ; but of
Eve only the outline is engraved. There are few
things that can vie with this outline, at once so
firm, so true, so delicate. The French Ingres had
a fine sense for line, but nothing quite so exquisite
as this.
Nothing beyond the outline is suggested, yet
we feel the pliant Eve to be there. Many of the
engravings depict religious subjects — the Virgin on
a crescent, with a crown, with a child, &c., all
inspired by a tender and devout imagination and
a splendid technique.
Dtirer understood the limits of the various
vehicles of his expression, consequently he never
attempted to reach the minute finish in his wood-
cuts that he attained to in his engravings on metal,
nor in either of these did he attempt to rival the
freedom of his drawings on paper. The largest
woodcut is about ten feet by nine feet, made up of
ninety-two blocks. This “ Gate of Honour,” in
the form ofa Roman triumphal arch, was designed
in honour of the Emperor Maximilian and the
Hapsburgs, and is a huge monument of mistaken
industry. But the others, portraits, history pieces,
designs, many and varied as they are, are all
excellent. Some drawings copied from the
“ Tarocchi di Mantegna,” a series of Ferrarese
engravings, are shown, together with engravings
made from them. It is curious to notice how
much the drawings lose in freedom in their trans¬
lation to the metal.
There are some fine life-studies, “Apollo and
Diana ” among them. There is a study in ink for
the engraving of “ The Prodigal Son,” and a sheet
of drawings of the arms and hands of Adam. A
portrait of “ Veronica, wife of the wood engraver
Hieronymus Andrea ” (1525), with a black back¬
ground, is characteristic, although it reminds
one somewhat of Holbein’s portrait-drawings at
Windsor. Three excellent portraits in silver point
are also of the collection. He was extremely
interested in all manifestations of life, and curious
after monstrosities. The “ Monstrous Pig ” is a
kind of joined twin animal with additional legs
sticking in the air, not at all pleasant to look at.
He was, besides, a designer of exuberant fancy in
gold and silver — spoons, vases, and ornaments of
various kinds he devised ; and his designs for a
68
Notes of the Month.
boathook, a life-belt for a swimming horse, a fan¬
tastic leather shoe, amply testify to the curiosity of
his nature.
There is little doubt that the collection is most
representative of this great artist, the “ evangelist
of art,” and well worth study. There is an oil-
painting by Utirer in the National Gallery, but it
is necessary to travel to Berlin, Munich, and Vienna
to see this side of his genius.
■JK1 ■?[£■
E proposed widening of the
English Bridge, Shrewsbury,
gives rise to serious misgiv¬
ings. It consists of seven
arches with rusticated vous-
soirs, with acornice and balus-
trading and projecting piers
between the arches. The
centre of the bridge is marked by a small pedi¬
ment, and each arch is accentuated by an orna¬
mental keystone. It was built in 1774 from
designs by John Gwynne, R.A. (whose portrait, by
Zoffany, is in the local museum), and is a tine
specimen of an eighteenth-century stone bridge.
It is purposed to widen it by throwing out canti¬
levers of reinforced concrete and carrying on them
the footwalk and balustrading. It is sincerely
to be hoped that before proceeding with the
alteration authoritative advice will be sought and
that the aesthetic point of view will be considered.
The cost of widening the arches and refacing with
the old stone is said to be prohibitive. We hope,
in spite of this, that some method will be discovered
by which utility may be served without any artis¬
tic loss to the ancient town of Shrewsbury.
E have just received the pro¬
spectus of the School of
Architecture of the University
of Liverpool. The teaching of
design at this school is based
on the methods of the Ecole
des Beaux-Arts in Paris and
on those of the great American
Schools of Architecture, adapted to meet our
somewhat different requirements. For while' the
student is taught design on the basis of academic
monumental planning in order to equip him to
attack great problems when occasion offers, an
attempt is also made to give him an intimate
knowledge of materials and construction, which
count for so much in our domestic work.
With this double end in view, the student, after
his first year spent in the study of construction and
the elements of architectural proportion, passes to
problems of design, alternately of a constructional
and monumental character.
This part of the work is carried out in the studio
under instruction, and lecture courses are arranged
to run parallel to it.
We feel that too much attention cannot be
given by teachers to monumental planning, for by
continual practice in this mode of design their
students will inevitably acquire an alertness of
conception, an easy expression, and a grasp of the
essentials of architecture. And they will learn to
despise the meritricious and the merely clever.
Almost certainly in these days, without the sure
direction given by a school such as this, the student
will become enamoured of these latter qualities,
for most of the work with which he comes in con¬
tact is inspired by them. Professor Reilly is
ENGLISH BRIDGE, SHREWSBURY, WHICH IT IS PROPOSED TO WIDEN.
DESIGNED BY JOHN GWYNNE, R.A., IN 1 774.
69
Notes of
certainly to be congratulated on the lead he is
taking in these matters. The architecture of the
future lies to a great extent in the hands of
teachers, and at least in Liverpool the reins are
being admirably guided. A new departure this
year is the department of Civic Design, of which
Professor Adshead is chief. So that we think
we are justified in expecting well of this school,
and we shall expect to see its students among the
prize-winners at the Royal Institute.
In a great many ways the system of education
is a vast improvement on the older one. For
nothing here is left to chance, whereas in the
other the success or failure depends less on the
ability of the individual student than on that of
his master; and as he is seldom in a position to
judge, in nine cases out of ten he is left to pick
up what knowledge he can from working among
inferior or bad work. Professor Reilly is an
enthusiast, and judging from the work of his
students brings them along with him.
# * * *
OT only in the conception of
great schemes of building,
but also in the smaller
designs, in which sculpture
forms the chief part, do we
lag lamentably behind the
French. Our national as well
as our individual memorials
are as a rule feeble in conception, and there
is only one monument of the nineteenth century
to which we could direct the attention of a dis¬
criminating foreigner with any feeling of pride.
We refer to Stevens’s monument to the Duke of
Wellington in St. Paul's Cathedral. Here is a
noble architectural conception, with fine sculpture
subordinate to its main idea. A monument of
this nature is usually taken by the sculptor as an
excuse for an equestrian statue, with, if funds per¬
mit, detached figures placed at random round the
base. The Wellington monument at Hyde Park
Corner is essentially Britannic in its uninspired
dullness. In the St. Paul’s monument, while
retaining the usual feature of the equestrian
statue, it is made the culminating point of a
splendid design. In his conception Stevens was
twice able to introduce the figure to whom the
monument is dedicated. The recumbent effigy
under the canopy fits its position and helps to build
up a great design, while the symbolic figures mid¬
way up on either side complete a noble conception.
From a study of this monument, as of all the
great ones of which we have knowledge, it appears
that the idea of a memorial must be in the main
architectural, to which the figures give point and
the Month.
meaning. This is not a plea for the architect, but
for architecture. The sculptor should realise the
necessity fora knowledge of monumental architec¬
ture, for with this his sculptor’s conception would
have twice its value.
As a rule detached figures do not make effective
monuments, and the French practice of setting
a portrait bust on a pedestal gives the sculptor a
chance to decorate his base with symbolic figures.
Another advantage of this method of design ob¬
viates the necessity of portraying the garments
of to-day. Sculpture since its beginning con¬
cerned itself only with beauty of form and ex¬
pression.
To Phideas violent emotion and action seemed
incompatible with beauty, and he eliminated it.
It is true the scope of sculpture in this respect is
enlarged. Strong action and a personal element
were added, but its chief end — -beauty of form — is
the same for all time.
Thin draperies do not hide, but sometimes
enhance form ; but a frock coat hides and destroys
-5 * ry I
1
-HOOKIOKffle I
nwiasFcw I
or nit . 1
- rHflMOfW. I
«0»U)»CO*E
>Y v-7 ?. I
TOTHEKlOVffl
MtWSVOf |
PpijyARs. I
MEMORIAL CROSS.
CROSLAND McCLURE, SCULPTOR.
VOL. XXVI. — E
7 o
Notes of the Month.
it. This is a fetish of the British public, to see
its public men perpetuated in this abominable
garment. The French system, while satisfying the
public, also fulfils the function of art.
Our war memorials are equally distressing.
Soldiers in khaki, posturing violently, disfigure
most of our towns, and it is pleasant to find one
which departs from these methods. T he Leices¬
tershire Memorial was unveiled at Leicester
recently by Field Marshal Lord Grenfell, who
found it unusual and the most beautiful with which
he had been associated.
The centre figure represents Peace taking away
the sword of War and offering the olive branch.
The side groups represent War and Grief — in the
garments of the first Fire and Famine are hiding,
and two figures, one in wild appeal and the other
dumb with grief, represent the latter.
The whole idea of the design is, we think,
extremely good. The memorial cross, too, is
excellent in design, and is a welcome change after
the tiresome marbles to which we are accustomed.
Mr. Crosland M'Clure apparently owes some of
his inspiration to the French School. Perhaps
it is a sign of change, and that we are entering
a phase of art when the limits of sculpture are
properly understood ; perhaps only a detached
performance. In the meantime we congra¬
tulate this young sculptor on his taste and
ability.
N exhibition of considerable
interest to architectural stu¬
dents is that of the drawings
and designs entered for the
National Competition 1909.
Unfortunately the archi¬
tectural works are not of
great merit, but the student
will see much that may serve as a warning. The
ability to make clever coloured drawings does not
make an architect. Unfortunately mere cleverness
is rampant, and several drawings are quite absurd
examples of misdirected tuition. In other de¬
partments much excellent work is shown. Mr.
Frederick Carter is the author of some extremely
imaginative pen-and-ink drawing, which shows
the greatest promise. Fine modelled studies of a
grape-vine from nature by William Harding and
of the foxglove by Alice Dickinson are exhibited.
Some of the jewellery is very good, notably some
brooches by Thomas Cuthbertson, Constance
Carter, Evelyn Frank, and Bernard Instone, a
silver coffee-pot by Albert Gladman, a silver-
mounted comb set with stones by Herschel Warnes,
and a pretty pendant by Florence Milnes, a silver
sugar basin by Clarence Frayn, and a silver
cream jug by Kathleen Cavenagh. The exhibits
gain by being made in a workmanlike manner,
and the usual epithet of amateurishness can¬
not be applied. They are besides inspired by
MONUMENT TO THE MEMORY OF THE LEICESTERSHIRE MEN WHO FELL IN SOUTH AFRICA.
CROSLAND MCCLURE, SCULPTOR.
Notes of the Month.
traditional methods of design and are really
pleasant things.
A pretty embroidered cut work is exhibited, a
coverlet by Alice Warner, and a pleasant design
for an embroidered portiere by Malcolm Gray. A
railing of wrought iron by George Skilbeck, a
piece of heraldic glass by Margaret Rope, and
wine glasses by Amy Greenfield, show the scope
of the exhibition. Alfred Hill has a fine tile
panel, well painted and glazed, after the manner
of De Morgan.
We have mentioned only a few of the exhibits
7 1
that more particularly caught the eye. With mere
designs for things we have little interest, for trifles
of jewellery, leather works, and all the more dainty
manifestations of art depend to a great extent on
workmanship. Great ability is displayed in crafts¬
manship, and traditional work is being used more
and more for models. L’art nouveau is quite dead.
We feel it to be a great pity that all this talent
cannot be organised to the improvement of our
domestic arts. Many of these exhibits we would
willingly possess, to the end that a fragrance be
added to our immediate intimate surroundings.
Lecce.— III.
HE church of the Benedettini
(Fig. 12) was founded by the
Jesuits in 1575 ; it passed
to the Benedettini Neri of
Montescagliose in 1784, and
by various decrees at the sup¬
pression of religious orders,
between 1807 and 1816, was
given to the city as law courts. The Benedettini
on their arrival built the beautiful walnut choir.
Thefaqade is saved from the defects of SS. Nicolo
and Cataldo by the connecting cornice, and has
many good points. The detail is less eccentric
than in some of the other buildings, and except
for the large broken pediment is very pleasing.
Fig. 13. — Church of the Teatini, or S. Irene.
This church was erected between the years
1591 and 1639. After the last suppression of
monasteries, the city took possession of it, and
the buildings are now used as the principal state
girls’ school. Over the portal is a statue of S. Irene
by Mauro Manieri, an artist of whose work no
other example remains. This is one of the best
churches of the city, and, although baroque, retains
much of the pure cinquecento style.
[Other churches of note not illustrated in this
paper are S. Chiara, S. Matteo, the Church of
the Rosary, and of the Madonna della Carmine.
They fluctuate from the correctness of S. Irene
to the flamboyance of S. Croce, and, generally
speaking, are superior to the work of the same
period in Rome and the larger cities. The
interiors usually are light, lofty, and lined with
stone.]
Fig. 14.' — ■ Church of SS. Nicolo and Cataldo.
This is historically the most interesting church
in the Lecce district. It stands in the Campo
Santo, a little way outside the city, and is ap¬
proached through avenues of cypress trees. It
was built, as has already been said, by King
Tancred of Sicily in 1180, at a time when he was
Count of Lecce but had not ascended the Sicilian
throne. Formerly the home of the Benedettini
Neri, it has now become the poorhouse for the
district, and has been created a “ national monu¬
ment.” The church has three aisles, and above
it rises a small cupola, oval on plan, and a bell-
turret of the same type as prevails in Lombardy.
There are some rude and ancient frescoes within,
but to an architect the most attractive feature is
the magnificent ornamented portal which has been
incorporated with the baroque front erected in
1710. This doorway is indeed one of the finest
in existence, the sculpture being in excellent pre¬
servation, and bears the following inscription : —
Hac in carne sita quia labitur irrita vita
Consule dives ita ne sit pro carne sepita
Vite Tancredus Comes eternum sibi fedus
Firmat in his donis ditans hec templa colonis.
South of the church lie the cloisters, entered
thence by another doorway very similar to the
above, now a garden of orange trees. These
cloisters, too, are in a debased but picturesque
style, and in the middle is a little tempietto. The
drawing shows the faqade of yellow stone erected
in 1710. Here again the figures are well executed
and the other carving is good. For the rest the
illustration explains itself. A baroque frontispiece
has been attached to a mediaeval building without
much necessity and without any success. There
is a lack of connection between the two sides of
the composition which is explained by these cir¬
cumstances, but which should not have proved an
insuperable difficulty. From the back or side
this facade is distressingly ugly with its rough-
hewn masonry and its shapeless statuary. Here
is an example of slack workmanship which would
make Ruskin turn in his grave.
Martin Shaw Briggs.
(To be continued.)
j i mil in • ' . . . . - !■
72 Lecce — III.
DRAWN BY RALPH THORP.
Lecce. — ///
73
FIG. 13. — CHURCH OF THE TEATINI, OR S. IRENE, LECCE.
DRAWN BY RALPH THORP.
74
Lecce. — III.
FIG. 14. — CHURCH OF SS. NICOLO E CATALDO.
DRAWN BY MARTIN SHAW BRIGGS.
Current Periodicals
A Review of Some Recent American Publications.
N a recent issue of The Western
Architect are published photo¬
graphs and a plan of the
United States Court House and
Post Office, Indianapolis, In¬
diana, which are all here repro¬
duced.
It would be difficult for us to
point to a modern budding in the architecture of
which there is more vitality. The tradition of the
Renaissance seems to be alive and rejuvenescent.
What could be more dignified, more imposing, than
the range of great Ionic pillars carrying the
weighty entablature and the delicate balustrade !
What could be managed better than the strong
end features to stop the colonnade, which while
strengthening the corners also give the necessary
importance to the entrances, emphasised still
V
J
Current Periodicals
7()
From “ The Western Architect."
DETAIL OF FRONT. UNITED STATES COURT HOUSE AND POST OFFICE, INDIANAPOLIS, INDIANA.
KELLOGG, RANKIN, AND CRANE, ARCHITECTS, PHILADELPHIA.
From “ The Western Architect."
DETAIL OF POST OFFICE CORRIDOR.
DETAIL OF ENTRANCE CORRIDOR FROM LOBBY.
Current Periodicals.
77
From “The Western Architect."
VIEW OF THE NORTH FRONT.
further by the flights of steps flanked by groups of
statuary ! The wide terrace with the heavy balus-
trading, ornamented with finely designed lamp-
pillars, makes an admirable podium for the build¬
ing. A fine air of distinction is the characteristic
of this facade ; there is no indiscreet trifling, no
futile excrescences to destroy the unity of the
main idea; everything is in harmony.
If the north front is less pleasing it is no less
skilful in design. The sloping roadway for postal
vans and heavy traffic is a useful device, allowing
of this front being managed in an academic manner.
Bold wings flank a recessed centre part, which is
composed of a range of small Doric pillars with
round-headed windows placed between ; there is a
contrast here, which is very pleasant, between the
strong protecting wings and the low nestling build¬
ing lying between, it should be noted in passing
From “ The Western Architect."
DETAIL OF ENTRANCE CORRIDOR.
how well the corners are designed ; instead of
coupled pilasters a heavy mass of masonry is used
and capped after the manner of Greek ants,
very successfully to our idea. In the French and
American Renaissance there is often a strong
feeling for Greek detail, visible in the present ex¬
ample in the square-headed window of the main
facade, the Greek capitals, but more particularly
in its exquisite unity and simplicity. The plan is
excellent : the carefully-planned approaches, the
domed octagonal spaces at their intersections, the
long post-office corridor, the great staircases, are all
thought out in an architectural way. Of these
the photographs give an excellent idea — of the
staircase with its winding wrought-iron baluster
and handrail, of the marble-lined corridors with
their vaults and decorations. Marble and mosaic
are used lavishly with fine precision of taste. To
the full effect of mosaic rounded surfaces are
necessary, so that the vault and dome are ideal
shapes for its application. Generally speaking
the pictorial panel is never successful, while the
play of light and shade caught by rounded sur¬
faces makes it a decoration of the greatest value.
Another mark of sure judgment is the manner
in which the angles of the vaults are treated,
slightly rounded and without any hard bound¬
ing line or architectural moulding of stone or
plaster.
The names of the architects are Kellogg,
Rankin, & Crane, of Philadelphia, who are to be
congratulated on their achievement.
From “ The Western Architect."
DETAIL OF MAIN STAIRWAY.
78
Cambridge
Colleges . — II.
Photo : Arch. Review Photo Bureau.
FITZWILLIAM MUSEUM.
Cambridge Colleges. — II.
E now come to a series of
illustrations which, for lack of
any specific term, may be
grouped together under the
general heading of “ Build¬
ings.” The first photo¬
graph (13) shows the large
range known as the Fellows’
Buildings at Christ’s College, and though un¬
fortunately the photograph does not take in the
whole block, it includes enough to show that the
doorway with its ironwork is the centre of the
building. The parapet especially is to be noted,
being well designed, with solids over solids and
voids over voids. The little semicircular pro¬
jections are quite characteristic of Cambridge
parapets, and a comparison may be made in
this respect with the river front at St. John’s
College. In detail the building is not unlike
the Pepysian Library at Magdalene College, but
the Christ’s College building was completed some
sixtv years the earlier. It was called by the
diarist Evelyn “ a very noble erection ... of
exact architecture,” and “it presents (say Willis
and Clark) a facade of masonry on both sides, the
design of which is traditionally attributed to Inigo
Jones. It is scarcely in his style, but nevertheless
is manifestly the work of a great architect within
and without ; and is so completely detached from
the other quadrangle as to preclude the slightest
effect of incongruity of architectural style.” The
two following illustrations (14 and 15) are of
the Gibbs buildings at King's College built in
1724, and show respectively the court and river
fronts. It will be seen that the two sides are very
nearly similar, but the river front is certainly more
dignified than the other owing to the wings con¬
taining only seven windows each as against the
nine in the court front. The building, it should
be added, was part of a plan by Gibbs for an
entire court, and it had originally been intended
to put recumbent figures on the pediment of the
13. — FELLOWS’ BUILDINGS AT CHRIST’S COLLEGE.
Photo: Arch. Review Photo. Bureau.
So
Cambridge Colleges. — II.
<3 <3
-KING’S COLLEGE. Photo : Arch. Review Photn, Bureau.
Cambridge Colleges. — II.
portico and also a statue upon each of the piers
sub-dividing the balustrade. A curious story con¬
cerning the foundation stone is quoted by Willis
and Clark from the antiquary Cole. “ When ye
News came of ye Founders Deposition ye Labourers
who were sawing ye stone in halves and not having
finished it, imagining that there would be no
further proceeding in y° design by his Successors
left of yir work and ye Stone remaining half sawed
in two. This was always ye Story ab* ye Stone
wch I myself have seen before any design of making
ye use of it wch was afterwards thought on ; and a
Cut of y4 Stone is in ye Print of this Chapel
engraved by David Loggan : in ye cleft part was
ye Plate and Inscription, wth ye different Coins
put.” The general quaintness of the design is
perhaps the thing which most strikes one in
the Pepysian Library (16) at Magdalene Col¬
lege. The detail appears to be of the early
seventeenth century, but apparently the building
was not commenced until about 1670, and was
certainly not completed, as the inscription itself
shows, until 1724. There was, we know, an
intention on the part of the college authorities to
build a second court, and the library gives one the
impression of having been designed for three sides
of a court and of the wings having subsequently
been pressed back against the end building so that
there is only some four inches projection. Samuel
Pepys had contributed to the building, and when
8l
he bequeathed his library to the college he directed
that it should be put in this new building. His arms
are to be seen in the pediment of the middle window
with his motto mens cujusque is est quisque
and the inscription bibliotheca pepysiana 1724.
Trinity College Library, of which the river
front is seen in 17, is quite an early work of
Sir Christopher Wren, and is much superior in
the logical qualities of design to the more showy
front of Nevile’s Court. The exterior here exactly
expresses the interior with the low loggia beneath,
the blank space for bookcases, and the great row
of windows over the bookcases. The library is
built of Ketton stone, which is yellow with stains
of pink, but the crowning balustrade and the
entablature to the ground-floor doorways are, for
some reason which it is not easy to perceive, in
Portland. Wren evidently took considerable pains
over the building, designing even the chairs and
tables and giving full-sized sections of all the
mouldings. The plaster busts, it may be noted,
which stand over the “ classes ” or bookcases and
the lime-w'ood wreaths and arabesques were
executed by Grinling Gibbons. There is not,
perhaps, a pleasanter example of domestic archi¬
tecture in Cambridge than the President’s House
at Queens’ College (18), the view shown being
that from the garden. When one finds upon
analysis of how many very dissimilar features
it is composed one is forced to admire the breadth
16. — MAGDALENE COLLEGE, PEPYSIAN LIBRARY.
Photo : Arch. Review Photo. Bureau.
82
Cambridge
Colleges . — II.
■TRINITY COLLEGE LIBRARY, RIVER FRONT.
83
Cambridge Colleges .-—1 1 .
Photo: Arch. Review Photo. Bureau.
l8. — QUEENS’ COLLEGE, PRESIDENT’S HOUSE FROM THE GARDEN.
of treatment, and one can only wish that a photo¬
graph could do the warmth of colour and variety
of texture the justice which they deserve. The
fish-scale roof over the bay window on the left is
particularly worthy of attention, and much more
successful than such treatment usually is. The
length of the house is traversed by a gallery which
is extremely charming, with nicely panelled walls
hung with portraits and very pleasantly lighted
from either side. On the opposite side to that
here shown the gallery is carried over a quaint
old cloister by carved brackets springing from the
cloister walls. Of our next illustration, the south
front of Clare College as seen from King’s College
lawn (19), it may be simply said that anybody
who can appreciate the success of such very
simple means is well on the way to understanding
what architecture is, and that anybody who can
obtain such good results is a master in architec¬
ture. For the range of buildings here shown has
good claims to be regarded as the noblest specimen
of Renaissance architecture which this country
19. — CLARE COLLEGE, FROM KING’S COLLEGE LMVN.
Photo : Arch. Review Photo. Bureau.
Cambridge
Colleges.
II.
20. — CLARE COLLEGE COURT.
Cambridge Colleges . — II.
can produce. The present form of the buildings
is, however, distinctly altered from the original
design as completed in 1642. The walls then
were finished with battlements which gave way to
the balustrade a hundred and twenty years later,
and the windows were originally arched instead of
being square as at present. It is a thousand pities
that we do not know the author of the original
design, if only to wonder how such a man could
have been guilty of such a blunder as 20
displays. This photograph of the eastern range
from inside the court illustrates the folly of trying
to be clever. The architect had all the materials
to hand, and then spoilt everything by the stupid,
pretentious gateway. Few colleges have been
more painfully unhappy in their new buildings
than Pembroke College, and one is therefore pro¬
portionately pleased at being able to point with
pride to her most recent venture. The New
Court built in 1883 (21) is a good example of
Gilbert Scott, junior. But though Scott has
caught the spirit and detail of old work he has
85
spoilt the feeling of repose by making the stair¬
cases far too obtrusive with their windows at a
different level from those of the actual “ keeping”
rooms, and so cutting through the lines of these
other windows. The illustration at the beginning
of this article is a rather unusual view of the
Fitzwilliam Museum. It brings out how carefully
the grouping has been considered and how scho¬
larly the detail is, and it also reveals how entirely
the bombastic front is a screen and adjunct to
the working part of the building. The design
differs somewhat from that originally conceived
by Basevi, for the entire structure is in Portland,
whereas Basevi had intended to use Bath stone
for the facade and white brick for the sides and
back. Certain minor alterations were also made
in the decoration and arrangement of the entrance
hall owing to Basevi being killed by a fall through
the floor of Ely Cathedral west tower and his
work being completed by Cockerell and Edward
M. Barry.
Maxwell H. H. Macartney.
{To be continued.)
Photo : Arch. Review Photo, Bureau
21. — PEMBROKE COLLEGE NEW COURT.
VOL. XXVI. — F
Current Architecture
SERVICE ROOMS
SERVICE WINDOWS
*
I
-a
EXISTING WALLS _ -L _ EXTENSION
ADDITIONS, GLASGOW CENTRAL STATION HOTEL. PLANS.
JAMES MILLER, A.R.S.A., ARCHITECT.
Current Architecture.
8
7
Photo : Bedford Lemere and Co.
ADDITIONS, GLASGOW CENTRAL STATION HOTEL. DINING SALOON (FIREPLACE).
JAMES MILLER, A.R.S.A., ARCHITECT.
ADDITIONS TO GLASGOW CENTRAL
STATION HOTEL.
E additions recently made to
the Central Station Hotel
consist of a large new dining
saloon, billiard-room, and
lounge, together with 120 bed-
100ms and suite rooms. The
three large apartments are
situated on the first floor.
The dining saloon is 105 ft. long by 48 ft. wide
and 30 ft. high, and is panelled in Italian walnut
to the height of 14 ft., the carving being in lime
tree. The walls above are panelled in Keene’s
cement with carton pierre ornament, the ceiling
being finished in fibre plaster. The main columns
are of pavonazzo marble with the exception of
the two at musician’s gallery at end of dining
saloon, shown in photograph, which are of Greek
cipollino. The fender shown in one of the
f 2
88
C urren t A rch i tecture.
Photo : Bedford Lemere and Co.
ADDITIONS, GLASGOW CENTRAL STATION HOTEL. DINING SALOON (ENTRANCE WITH MUSICIANS’ GALLERY OVER).
JAMES MILLER, A.R.S.A., ARCHITECT.
fireplaces in the dining saloon is not the perma¬
nent one.
The lounge is elliptical in shape, the shape
being determined by the outline of buildings under¬
neath which are occupied as offices in connection
with the station accommodation. This apart¬
ment is 66 ft. long by 27 ft. wide, and is panelled
its full height in Austrian oak. The ceiling is of
fibre plaster. The small quadrant of a circle
which forms part of the lounge in the angle ex¬
isted previous to these alterations, but its internal
finishings were renewed to correspond with the
new lounge. The floor of the lounge is executed
in coloured marbles.
Current A rchitecture.
89
Pho.o : Bedford Lemere and Co.
ADDITIONS, GLASGOW CENTRAL STATION HOTEL. LOUNGE.
JAMES MILLER, A.R.S.A., ARCHITECT.
The wood-carving of lounge and dining saloon
was executed by Messrs. H. H. Martvn & Co.,
Cheltenham.
The fibre plasterwork in lounge was executed
by the Bromsgrove Guild, and the ornamental
work of plaster ceiling in dining saloon was
executed by Messrs. George Jackson & Sons,
London.
The contractors for the whole works were
Messrs. P. & W. Anderson, Glasgow, and the
following were their sub-contractors: — Joiner
work, Mr. John Cochrane, Glasgow. Plumber
9°
Current Architecture
JAMES MILLER, A.R.S.A., ARCHITECT.
Ciirrent Architecture.
9 1
ADDITIONS, GLASGOW CENTRAL STATION HOTEL. GRAND LOUNGE.
Photo : Bedford Lernere and Co.
JAMES MILLER, A.R.S.A., ARCHITECT.
work, Mr. William Anderson, Glasgow. Plaster-
work, Messrs. McGilvray & Ferris, Glasgow.
Slater work, John Anderson, Glasgow. Painter
work, Messrs. C. Carlton & Son, Glasgow, and
Messrs. John Orr & Sons, Glasgow. Steel case¬
ments, Messrs. H. Hope & Sons, Birmingham.
Marble work, Messrs. Galbraith & Winton, Glas¬
gow. Tile work, Messrs. Haddow, Forbes & Co.,
Glasgow. Heating and ventilating, Messrs. Ash-
well & Nesbit, Ltd., Glasgow and Leicester.
The glass work of cupola in lounge was exe¬
cuted by Messrs. Oscar Paterson & Co., Glasgow.
The buildings are of steel construction through¬
out, the contractors for the steelwork being the
Motherwell Roof & Bridge Co.
The sanitary fittings throughout the building
were supplied by Messrs. Doulton & Co. and
Messrs. Shanks & Co.
Architect, Mr. James Miller, A.R.S.A., 15,
Blytheswood Square, Glasgow.
92
Curren t A rch i lecture,
PARISH CHURCH, COLDSTREAM, BERWICKSHIRE.
Current Architecture ,
93
PARISH CHURCH, COLDSTREAM, BERWICKSHIRE.
94
Current A rckitecture
EDINBURGH LIFE ASSURANCE BUILDING.
Current A rchitecture .
95
Photo : Bedford Lemere and Co.
EDINBURGH LIFE ASSURANCE BUILDING. BOARD ROOM.
J. M. DICK PEDDIE, ARCHITECT.
PARISH CHURCH, COLDSTREAM.
IS building, situated in the
High Street, Coldstream, re¬
places the old parish church,
of which the tower and bel¬
fry are incorporated in the
new building, whose exterior
style is similar to the old
building — round-headed win¬
dows with architraves and projecting keyblocks,
and the wallhead finished with a simple cornice
and parapet. The dressings are of Blackpasture
stone, filled in with random rubble. The floor of
the church is wood, but the passages and chancel
are paved with stone in squares laid diagonally.
Whitsomenewton stone columns are used in the
interior to support the steel principals carrying
the plaster barrel-vault. Doors, seating, &c., are
of yellow pine stained and wax-polished, the stalls
and communion table in the chancel being oak,
and the pulpit is of stone.
The builders were R. Hall & Co., Galashiels,
and the following is a list of the other contrac¬
tors : — Steelwork, A. Mather & Son, Edinburgh.
Slate and asphalt roofs, Alex. Ogilvy, Leith.
Plumbing and sanitary work, Hugh Weir, Edin¬
burgh. Plasterwork, John Walker, Alloa. Joiner
and special woodwork, A. Inglis & Son, Hawick.
Gas fixtures, Martin Van Straaten, London (these
gasfittings are from Dutch models). Door furni¬
ture, locks, &c., Bell, Donaldson & Co., Edin¬
burgh. Heating apparatus, Mackenzie & Moncur,
Edinburgh. Ventilating, R. Boyle & Son.
THE EDINBURGH LIFE ASSURANCE
COMPANY’S NEW HEAD OFFICE,
EDINBURGH.
J. M. Dick Peddie, Architect.
HE facades of this building,
which is situated at the south¬
east corner of George and
Hanover Streets, are built of
Portland stone with the ex¬
ception of the base course,
which is of Norwegian granite.
Messrs. Percy Portsmouth and
H. S. Gamley, AA.R.S.A., were the sculptors
employed, the former doing the figure of “ Pru¬
dence ” on the dome and the latter the carving on
the fa£ades. Offices for the company are pro¬
vided on the ground and part of the first floor and
96
Current Architecture.
Photo : Bedford Lem ere and Co.
EDINBURGH LIFE ASSURANCE BUILDING. GENERAL OFFICE.
J. M. DICK PEDDIE, ARCHITECT.
basement, while the remainder of the building is
divided into chambers.
Reinforced concrete was used in the construction
of the floors, which are finished with flooring-
boards on shallow joists except in the public office
and basement, where doloment is laid on the
concrete.
Black and white rubber flooring has also been
used in the entrance hall. Panels of rose numi-
dian, separated by bands of pavonazzo marble, are
used to finish the walls of the vestibule, and the
columns in the public office are made of the latter
marble with gilded caps. The woodwork of the
manager’s and secretary’s rooms and the staircase
is of Spanish mahogany, French polished.
The building is heated on the “ Barker ” patent
system, and the public office has a special arrange¬
ment for extracting air; the incoming air is passed
through an ozone-generating apparatus.
Mr. Thomas Macrae was clerk of the works.
The following were the principal contractors : —
Mason work, R. Thorburn & Son, Edinburgh.
Joiner work, J. Lownie & Son, Edinburgh.
Plumber work, Burn & Baillie, Edinburgh.
Plaster work, David Fisher, Edinburgh. Glazier
work, Dickson & Walker, Edinburgh. Heating,
Mackenzie & Moncur, Edinburgh. Painting,
Geo. Dobie & Son, Edinburgh. Marble work,
Allan & Son, Edinburgh. Marble columns in
public office, Galbraith & Winton, Glasgow.
Electric lighting, Middleton & Townsend, Edin¬
burgh (Mr. Norman A. Thomson, Edinburgh,
consulting engineer). Electric Fittings, Singer
& Son, Frome ; Gray & Son, Edinburgh. Lifts,
Archibald Smith & Steven, Ltd., London. Lift
enclosure, Mackenzie & Moncur, Edinburgh.
Grates, Gray & Son, Edinburgh ; Fraser Walker
& Co., Edinburgh. Ventilation, Ozonair, Ltd.,
London. Furniture and Furnishings, J. & T. Scott,
Edinburgh.
VICTORIA AND ALBERT MUSEUM.
Sir Aston Webb, C.B., R.A., Architect.
E give three further views of
this building, supplementing
those that appeared last
month. The first is a detail
of the centre portion of the
principal fafade, the second
a detail in the entrance vesti¬
bule, and the third a view of
one of the ceramics galleries.
Current A rchitecture.
97
Photo : Bedford Lemerc and Co.
EDINBURGH LIFE ASSURANCE BUILDING. GENERAL OFFICE.
J. M. DICK PEDDIE, ARCHITECT.
Among other items of interest it may be men¬
tioned that the building is equipped with four
hydraulic lifts, and three non-automatic basement
ejectors are also supplied for various purposes.
The hre service is supplied by two sets of
Ellington’s patent automatic injectors, which will
discharge through hydrants a total of five hundred
gallons of water per minute. The power for these
services is supplied from the mains of the London
Hydraulic Power Co.
98
Current Architecture
VICTORIA AND ALBERT MUSEUM.
Board of Education.
DETAIL OF CENTRE PORTION OF CROMWELL ROAD FRONT.
SIR ASTON WEBB, C.B., R.A., ARCHITECT.
Current Architecture .
99
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Photo : Graphic Photo. Union.
VICTORIA AND ALBERT MUSEUM. DETAIL IN THE ENTRANCE HALL.
SIR ASTON WFBB, C.B., R.A., ARCHITECT.
IOO
Current A rchitecture
THE VICTORIA AND ALBERT MUSEUM. ONE OF THE CERAMICS GALLERIES.
The Committee for the Survey of the
Memorials of Greater London.
CARCELY had last month’s
notes been written whpn the
news came to hand that the
famous Gardner collection
of topographical prints and
drawings relating to London
was to be sold. We were
reviewing the chief reposi¬
tories of information and
illustration regarding the appearance of London
in the past, with the idea of suggesting some
method of co-ordinating and indexing this in¬
formation for easy reference. It is obvious that
if this is to be done, we shall have to make sure
that collections which have been made with so
much care and expense as that left by the late
Mr. Gardner shall not be dispersed or lost to
public usefulness. We hear with regret that the
City Corporation is not prepared to add this
valuable possession to the treasures in the Guild¬
hall Library, and we fear that the London County
Council is at present too seriously pledged to
economy to consider the purchase, which is never¬
theless the plain duty of such a public body, for
the education of our contemporaries, as much as
for the information of the future. If, then, failing
a purchaser, the collection should be dispersed,
would it not be possible to split it up topographi¬
cally, and for each district possessing a public
library to acquire the prints and drawings that
relate to the streets and buildings within its area ?
In this way London might still possess the fruit
of Mr. Gardner’s labours, and each neighbourhood
Photo: Ge ■>. Trottnan (Survey Committee). J
IRONWORK, LATIMER HOUSE, CHISWICK.
would find the story of its past made ampler by
the possession of these valuable docum nts.
Our discussion of the practicability of making
a bibliography of London topography must wait
over another month. Meanwhile the Survev
Committee desires me to issue a revised list of
the local secretaries who have undertaken the task
of initiating our work in individual parishes. We
hope in this way to cover shortly the whole
London area, and enlist more representative
support. Walter H. Godfrey.
The City.
Parish of St. Helen, Bishopsgate : —
A. W. Clapham, Cobden Hill, Radlett, Herts.
County of London (North of the Thames).
Hammersmith (with Brentford) : —
George Trotman, 244, Camberwell Road, S.E.
Kensington : —
Philip Norman, 45, Evelyn Gardens, South Kensington,
S.YV.
Chelsea : —
Walter H. Godfrey, 11, Carteret Street, Oueen Anne’s
Gate, S.W.
Westminster : — •
Percy W. Lovell, 23, Old Oueen Street, Westminster,
S.W.
Paddington : —
A. Wyatt Papworth, Town Hall Chambers, 374-8, Old
Street, E.C.
Marylebone and Soho : —
A. H. Blake, Blenheim Club, St. James’s, S.W.
St. Pancras (with Hornsey) : —
Percy W Lovell, 18, Hampstead Lane, Highgate, N.
Parishes of St. Andrew, Holborn, and St. George the Martyr,
with Gray’s Inn : —
F. W. Reader, 5, Lamb’s Conduit Street, W.C.
Islington and Clerkenwell : —
H. W. Fincham, 70, Hillfield Avenue, Hornsey.
Shoreditch and Bethnal Green : —
Gilbert H. Lovegrove, Town Hall Chambers, 374-8, Old
Street, E.C.
Hackney : —
Ernest A. Mann, 89, Ber.thall Road, Stoke Newington, N.
Stoke Newington (and Tottenham) : —
Fiancis W. Reader, 17, Gloucester Road, Finsbury
Park, N.
County of London (South of the Thames).
Clapham : —
W. Plomer Young, 3, Lavender Gardens, Clapham
Common.
Lambeth and Camberwell : —
Frank T. Dear, 210, Lambeth Road, S.E.
Deptford, Greenwich, and Lewisham : —
P. K. Kipps, 93, Lewisham High Road, S.E.
Greater London.
Ealing : —
J. O. Foster, 12, Woodville Gardens, Ealing.
Brentford : — •
George Trotman (see above).
Acton and Chiswick : —
Francis R. Taylor, 12, Pleydell Avenue, Stamford
Brook, W.
Hendon : —
Edwin Gunn, 27, Richborough Road, Cricklewood, N.W.
Hornsey
Percy W. Lovell (sec above).
Tottenham : —
Francis W. Reader (see above).
Leyton and West Ham : — -
A. P. Wire, 168, Birkbeck Road, Leytonstone.
Books
THE RENAISSANCE IN ITALY, BY
THE LATE W. J. ANDERSON.
An Appreciation.
The Architecture of the Renaissance in Italy. A general
view for the use of students and others. By William
J. Anderson, Architect, Associate of the Royal
Institute of British Architects. Fourth Edition,
revised and enlarged, with 70 collotype and other
plates , and 110 illustrations in the text. Price
125. 6 d. nett. London: B. T. Batsford, 94, High
Holborn. mcmix.
E do not know of any pleasanter
introduction to the study of
the Italian Renaissance than
this book, nor one illumi¬
nated by so much imagination
and first - hand knowledge.
Although in bulk little bigger
than a handbook, it is no
mere compilation, no pouring of water from a
large vessel into a smaller one, but a genuine book
inspired by contemplation and study of the actual
buildings of the Renaissance.
We had the fortune to sit under Mr. Anderson,
and we remember the enthusiasm which invariably
was aroused among his students, as he, with words
carefully chosen, carried them with him along the
path of the centuries from Egypt to Greece, to
Rome, and to Italy. One lecture, the finish of
which still lingers in our memory, awakened his
class to the wildest enthusiasm. He had been
lecturing about the church of St. Mark’s at
Venice, and towards the close of his paper he
spoke extempore of the glory of the front of this
building, rising like a fair vision by the margin of
the sea — “ ‘ a stately pleasure-dome ’ pricking
with golden cupola and pinnacles the deep blue
of heaven.”
Imagination and a nice choice of words became
the vehicle of a great deal of knowledge, and his
delivery had a power to attract the most indifferent
student to attention and enthusiasm. This charm
has to a great extent been preserved in his book.
Mr. Anderson won the “Greek Thomson”
Scholarship with a measured drawing of one of
Thomson’s churches, which took him to Italy for
the first time, and it was this visit which saw the
genesis of the book under review.
Of all periods of great artistic activity, perhaps
that of the Italian Renaissance is the most fasci¬
nating. It may lack the mystery and austerity of
the Egyptian, it possesses less of “ sweetness and
light ” than the age of Pericles, and it has not the
great power of the Augustan era ; but it can claim
to possess elements of freshness, of growth, of
modernity, which make it a peculiarly engrossing
study.
For the first time the architect steps into the
light of day and walks the stage of history. It is
true these periods are all steps in a sequence
leading to Italy of the fifteenth and sixteenth
centuries, but this last touches us; its very near¬
ness brings it home to us.
“ II primo rinascimento,” as the Italians call it,
that first fanciful, wayward view of conceiving
the Roman manner, possesses a naivete, entirely
lacking in later work. Mr. Anderson understood
this charm, and devotes about one-half of his book
to its exposition.
Brunelleschi makes the prime entrance. “ First
in time, he was not second in intellect, in per¬
tinacity, in achievement ; and wherever the arts of
form are understood and beloved, the genius of
Brunelleschi will not fail of honour and renown.”
His dome at Florence will ever be considered his
master-work, but it was in his lesser and more
intimate work that he laid the foundation of the
Renaissance. In those days there was only “one
art.” Brunelleschi lost in competition to Ghiberti
the commission to execute the Baptistery doors,
and, in despite of fortune, set out for Rome with
a young friend called Donatello. There he studied
for some four years the buildings of ancient Rome,
and afterwards crowned St. Mary of the Flower
with its great and abiding glory.
The church of the Badia di Fiesole is a perfect
little building, and is typical of the early Renais¬
sance, when traditional methods of workmanship
still dictated certain forms, in spite of all the zeal
for the new learning.
Gothic shapes still linger in the splayed reveals
of window and door, but now delicate fanciful
arabesques trail a dainty finger over the stone,
giving it a wonderful texture. The church of
Santo Salvator del Monte, at Florence, is another
exquisite example of “ il primo rinascimento ” ;
very plain both outside and inside, it is charming
because of its fine proportion. Michelangelo called
Books .
[03
it a “fair country maiden.’’ Think of a time
when it was possible to speak of architecture in
words like these ! Is it any wonder that the best
intellects of that age turned to art for their
expression ?
Alberti was one of these: an accomplished
gentleman, a man of the world, sportsman and
author, and gifted with a high genius. One of
the three giants of the Renaissance, he, with
Leonardo and Michelangelo, gave himself up to
art. His great work was his book, “ De Re
AEdificatoria,” which until recently was looked on
“ as the foundation of all that had been written
about architecture and building.” Although he
approached architecture from a scholar’s point of
view, he was a capable architect, and his church
of Sant’ Andrea, at Mantua, is nobly designed,
showing a fine appreciation of scale, and possessed
of some of the quality of a Roman temple.
Alberti was a law to himself in the matter of
learning, but the usual education was somewhat
different from ours. The first great Renaissance
architect “ came from a Florentine goldsmith’s
shop.” In the bottega he was employed in all kinds
of art works, making statues and busts, painting the
fronts of cassone for Italian brides, painting sign¬
boards for merchants, and generally helping in
the production of all beautiful things. In this
way a dexterity in design was acquired, a sure
taste, and a love for sound workmanship. But the
real school of architecture was Rome, and the
men of the Renaissance were obsessed by the
antique.
We have seen how Brunelleschi learnt in Rome
to make his dome; and the antique remains
have continued to be the chief school of archi¬
tecture to within the last hundred years. We
have, perhaps, dwelt too long on the early work,
but the tendency to-day is to glorify Palladio and
Vignola, and to forget names and examples like
Baldassare Peruzzi, and Bramante. Yet, of all
the architects of the Renaissance, Peruzzi was
perhaps the finest, and his masterpiece, the Palazzo
Massimi alls Colonne, at Rome, one of the chief
monuments of that time.
Mr. Anderson’s work pretends to be a general
view. It is such a one as might be taken from a
high hill ; nothing of moment escapes. In this,
notable names are the chief features, and great
buildings their pointers. What a rich galaxy do
not the names make! Brunelleschi, Bramante,
San Gallo, Peruzzi, &c., who in their lives were
considered the peers of kings and popes, and
whose glory far outshines those whose reigns they
adorned. They, indeed, were the salt of the earth,
these artists of the Renaissance, full of great
ideals, and plentifully endowed with vitality and
strength.
In this edition several changes have to be noted.
The new plan of the Palazzo Strozzi does not
agree with the old one, and we must confess that
we miss the pictures of bronze panels from Sant’
Antonio by Donatello, and one or two illustrations
from Mr. Anderson s own sketches ; but on the
whole the work is improved by additional drawings
and photographs. 1 he arrangement of the four
early plans of St. Peter’s on one page is good for
purposes of comparison. The book is addressed
to “ students and others,” and to all who do not
know it we heartily recommend it.
ARTS CONNECTED WITH BUILDING.
7 he Arts connected with Building : Lectures on Crafts¬
manship and Design delivered at Carpenters'1 Hall ,
London Wall, for the W or shir fu l Company of Car¬
penters. By R. W. Schultz , C. F. A. Voysey , E. Guy
Dawber , Laurence A. Turner , F. W. Troup , A.
Romney Green , AT. H. Baillie Scott , Chas. Spooner ,
and f. Star hie Gardner . Edited by T. Raffles Davison.
With 98 illustrations of old and modern work.
Price 5-v. nett. B. T. Batsford , 94, High Holborn ,
London. 1909.
mg, as
E are indebted to Mr. Batsford
for the publication of a very
excellent and able series of
lectures on “ The Arts con¬
nected with Building,” given
at the instance of the Ancient
and Worshipful Company of
Carpenters. It is encourag-
Mr. Weir Schultz mentions in his first
lecture, to find that the Guilds of London are
taking up the question of the education of crafts¬
men. For all our labour as architects is in vain
if we are not seconded by an able and intelligent
body of workmen. And it is the more necessary
to emphasise this point of view, as apparently
apprenticeship is doomed, and some new system
must be devised to take its place. Whilst these
lectures were originally written for craftsmen, they
may with advantage be read by architects, who,
whatever their natural ability, cannot but profit
from a knowledge of the various crafts that make
up building. They must also be familiar with
materials, for to get the best use out of them they
must understand their possibilities and limitations.
Yet we cannot but feel that to-day we are
inclined to make a fetish of the mechanic part of
architecture in our education. Since the sixteenth
century in Italy, when the architect appears for
the first time in the light of day, he alone has
been responsible for the design of buildings, and
the workmen who built Brunelleschi's dome in
Florence, and the men who worked under Wren
at Greenwich, had nothing to do with the effect of
104
Books.
these buildings. It is true they contributed to their
strength, and this is the proper function of the
workman — to build strong. We willingly admit
that the workman had a wider range in mediaeval
times, but these are past. And the futility of the
late Gothic revival shows how impossible it is to
resuscitate them.
Modern architecture is a conscious thing, pre¬
conceived before a stone has left the quarry, and
depends for its effect on the skill of one man. The
workman, with his materials, is his medium, with
which he builds up his conception, just as a painter
does his with paint. This, we think, is the
greatest quality of the modern architect — to be
able to conceive in imagination some great scheme
of ordered building, and to give it bodily form in
our streets or in the country. This is no mean
goal to which a youthful architect may aspire, and
if he does not find in these lectures these views,
he will at least discover much food for reflection.
Mr. Troup’s lectures dealing with “ External
Leadwork,” and “The influence of material on
design in woodwork,” are written in a scholarly
way and are very fascinating. We cannot help
quoting a passage from the latter, as it contains
much good advice for us all : “ In designing,
above all things avoid being clever merely for the
sake of effect. Cleverness is not art— more often
it is mere licence and a want of restraint.” Rather
be “commonplace ” than “ attempt the clever, the
smart, the ‘ up to date.’ ”
But then we find we are all at sea with regard
to his meaning, for the lecture is brought to an
end by the following sentence: “The theatrical,
the inessential, the superficial rules, and leads on
to the same end that has been described by a
great writer as the vile torrent of the Renais¬
sance.”
Apparently, something very uncomplimentary
to the Renaissance is intended, but the sentence
as it stands is rather curious, and we leave it to
readers to decipher its meaning.
The theatrical, the inessential, the superficial,
are qualities which we cannot think belong to the
Renaissance, which demands for its success ab¬
stract proportions and reticence of treatment.
We wish Mr. Gardner had given us more infor¬
mation about the smiths contemporary with
Tijou. “ If the Roberts or Edney in their more
daring flights occasionally lay themselves open to
criticism, their work is always grand and impres¬
sive, and as expressive as the best English art in
contemporary architecture and painting.” How
can we judge ? Bakewell, Robinson, are the names
of other smiths, who are introduced in the most
airy way as if we knew all about them. Some of
the lectures are inclined to be metaphysical, others
simply historical. And it goes without saying
that they are all earnest, sincere, and on the
whole the book is well worth reading. If there is
throughout a strong bias of the craftsman it can¬
not obscure the real issues of architecture.
WESTMINSTER ABBEY.
Visitors' Guide to Westminster Abbey. By Francis Bond,
M.A., F.G.S., Honorary Associate of the Royal
Institute of British Architects , author of “ Gothic
Architecture in England “ English Cathedrals
Illustrated ,” “ Screens and Galleries in English
Churches ,” “ Fonts and Font Covers,” &*c. Illus¬
trated by 1 2 plans , 36 photographs , and other
illustrations. Price \s. nett. Henry Frowde, Oxford
University Press, London, New York, Toronto, and
Melbourne. 1909.
This is an excellent little textbook, and well worth
consideration by those who take an intelligent interest in the
Abbey. For so small a volume, the amount of information
it contains is very great. Mr. Bond is to be congratulated
upon having successfully introduced into it an interesting
element of history. The notes in small print, which, as is
suggested in the preface, may be read at home, should make
the visit to the Abbey both more profitable and more
interesting.
The Key Plan and the numerous small ones are extremely
clear and easily read, though in the former we would suggest
that a dotted line with occasional arrows would probably be
found a clearer guide than the method used; but in every other
respect the book is admirable. The information given is
concise and to the point, and a word of special praise must be
said of the plates at the end ; the subjects are well chosen, and
illustrated by very good photographs. The indexing should be
revised, as it is not quite accurate. Mr. Bond makes an
admirable effort to direct the public taste by pointing out what
among the sculpture and architecture is good and what is
bad. To some this may seem outside the province of a guide
book, but the lay mind is so easily led astray on both subjects
that a little guidance in the right direction is of great value.
To the architectural student also this book should prove
useful, giving him a brief and accurate description of the
notable features of the Abbey ; but we venture to suggest that
a welcome addition would be a short sketch of the history of
the Abbey itself, with the few important dates and names
connected with it. This would enhance its value to both
student and visitor, and we hope to see this slight defect
remedied in a future edition.
ART IN 1908.
The Year's Art. Published by Messrs. Hutchinson
& - Co., 34, Paternoster Row , E.C. 1909.
THIS is the thirtieth annual issue of this extremely useful
publication, which comprises not only an epitome of the past
year’s doings in painting, sculpture, engraving, and architecture,
but also lists of the art sales and of the engravings published
during the year, a concise description of the various important
art institutions at home and abroad, and a directory of artists
and art workers. There are also several illustrations and a
diary in which the memoranda are useful and appropriate.
The editor is Mr. A. C. R. Carter, who, in a breezy prefatory
note, describes the Franco-British Art Exhibition at Shepherd’s
Bush as “ the most dominating feature of the exhibition year.
THE ARCHITECTUR A I
REVIEW, SEPTEMBEP,
1909. VOLUME XX vr.
NO. 154.
FROM A WATER-COLOUR DRAWING BY LESLIE WILKINSON (ARTHUR CATES PRIZE).
The Practical Exemplar of Architecture.
XXXVII.
DUTCH DOORWAY. FROM THE NORMAL SCHOOL, CAPE TOWN.
VOL. XXVI.— G
io8 The Practical Exemplar of Architecture . — XXXVII.
Scale of Feet
Section
Brass Key Plate,
very tmejy engraven,
me tat /s thick
DUTCH DOORWAY. FROM THE NORMAL SCHOOL, CAPE TOWN.
MEASURED AND DRAWN BY F. W. ROBERTSON.
The Practical Exemplar of Architecture. — A A AVI I. 109
DUTCH DOORWAY. FROM THE NORMAL SCHOOL, CAPE TOWN.
MEASURED AND DRAWN BY F. W. ROBERTSON.
1 1 o
The Practical Exemplar
of A rchitecture. — XXX VII.
CLARE COLLEGE, CAMBRIDGE
STAIR IN PASSAGE,
The Practical Exemplar of Architecture. — XXXVI 1 .
i i i
14
a
jsj
rs
£
MI'ASURIlD and drawn by
I I 2
The Practical Exemplar
of A rch i lecture . ■ — X X X I II.
POORWAY IN THE CLOSE, SALISBURY- GARDEN GATE, BRAMPFORP SPEKE, NEAR EXETER,
DGOE^W FfJ TE
CLOSE. SAIISBW
The Practical Exemplar of Architecture . — X X XV 1 1 .
i i
MEASURED AND DRAWN HY ERNEST V. WEST.
14 The Practical Exemplar of Architecture. — AAA/ II.
GARDEN-GATE
BRAMPFORD SPEKE
near EXETER
7f 4 f c3
MEASURED AND DRAWN BY J. M. W. HALLEY.
The Practical Exemplar of Architecture. — XXXVII. 115
WROUGHT-IRON BALCONY, ORTA, ITALY.
i 1 6 The Practical Exemplar of Architecture. — XXXVII.
Ground Line
WROUGHT-IRON BALCONY, ORTA, ITALY.
MEASURED AND DRAWN BY FRANCIS BACON, JUNR.
The Practical Rxemfilar of Architecture. — XXX V 1 1 . 1 1 7
ST-EN-VREUDE ” (Rest-
in-Delight) is the name of
the old Dutch building to
which this doorway be¬
longs. It stands on a wide
stoep to which a flight of
steps at the end gives ac¬
cess. Four pillars of the
Corinthian order at the front support a balcony.
It is difficult to imagine a more charming or more
fascinating doorway ; set in the shadow of the
balcony, and speckled with brilliant light flecked
with shade, it is exquisite, and truly an entrance to
Rest-in-Delight. The tracery of the fanlight is
of a playfulness to match the dancing shadows
on the wide stoep. The house was built as a
Governor’s residence in the late eighteenth century
and is now used as a Normal School. Andreas
Andrydt is the name of the sculptor who did the
carving of the doorway — the wood of which is teak.
A very unusual feature is the external stair from
Clare College, Cambridge. It is obviously an
addition of the eighteenth century, and is a charm¬
ing arrangement for a corner entrance. The design
is one of some delicacy and quaintness, to the
effect of which the slender pillars and the omission
of the architrave and frieze under the cornice no
doubt contribute. It was this very abridgment
which allowed of the former being attenuated to
their frail dimensions.
It is extremely likely, however, that the cornice,
having to abut against the window at the side,
required the other parts of the entablature to be
omitted to make a satisfactory finish, and from
that concession to necessity the slender columns
took their proportion. The door is unusual — it
is not framed; the styles, &c., are quite thin, and
are nailed on to the boards forming it.
This doorway from the Close, Salisbury, is
another good example of the Georgian work of that
town. It is more simple and much more robust
in execution than most of them, and if less interest¬
ing, possesses a quality of its own. The pedi¬
ment, ornamented with plain console blocks, is
extremely effective, and the Doric capitals are
excellent. But the bases are meagre and ineffec¬
tive. A curious feature of the pilasters is the
omission of the flutes at the sides. The deep
panelled reveals and the door itself are effective.
The effect is gained by the distribution of the
panels, which is nice, and is helped by an ex¬
tremely fine moulding.
Of the accessories to gardens, nothing is
pleasanter than a wrought-iron gate; nothing can
open up a view half so well, and form a sufficient
bar, at the same time, to separate the various parts
of a garden. The little gate from Brampford Speke
is a lovely piece of wrought-iron work. Generally
these things are quite simple, but here the smith
has given his fancy rein and achieved a little gem.
The scantlings of the iron are small, and would
scarcely be applicable to a larger design ; but in a
small gate they give an effect of lightness and bring
it akin to the delicacy of the flowers and the phan¬
tasy of the curving of slender tendrils of hedge
and tree in the midst of which it is set. The
scrollwork is beautifully wrought and forged to¬
gether, and finished in tiny volutes of solid metal ;
the small cross pieces are tenoned and riveted
through the uprights, and clasps join the scrolls
where they come together.
The balcony railing from Orta, Italy, is of a
different type of design, for much of the scroll¬
work intersects, and is halved at the crossings.
The manner in which the same design is adapted
to fit panels of varying sizes is interesting ; and
the use of stone forming the base, coping, and
piers is a pleasant feature.
Notes of the Month.
The Whitgift Hospital — The Glasgow School oj Architecture — The Birmingham School
of Architecture — Architectural Be fine meats — Town Planning — San Francisco — Statue
of Charles I at Charing Cross — Women , Architecture , and Unemployment — Rhodes
Memorial , South Africa — Greek and Roman Casts at the British Museum ,
E are reviewing elsewhere Mr
Sherrill’s book on English
stained glass. Meanwhile he
has rescued a fragment ol
history which has a topical
significance. He quotes
Aubrey’s “ History of Sur¬
rey ” as follows : — “ At a
later date, one Blesse was hired for half a crown
a day to break the painted glass windows of
Croydon.” How queerly history and local man¬
ners repeat themselves ! Mr. Sherrill is very
angry with those Croydon Puritans, and with such
gentlemen as “ Blue Dick ” Culmer of Canterbury
Cathedral. Culmer was the minister during the
Commonwealth, and took some pleasure in “ rat¬
tling down proud Becket’s glassie bones ” from
the north transept window. Mr. Sherrill, in his
Notes of the Month.
1 1 8
frank American way, discusses remedies for modern
vandalism — for instance, the cutting up of medi¬
aeval glass by modern glaziers. “It is one of the
instances,” he says, “which cause one to query
if it be always wise to impose a punishment for
murder.”
But we must get back to Mr. Blesse, who
earned half a crown a day at Croydon. His pay¬
masters and “ Blue Dick ” had the motive of
religious enthusiasm. It was unhappy in its
operation, but nowice disrespectable. The atti¬
tude of the City Fathers of Croydon in the
matter of the Whitgift Hospital seems to lack
every ground of defence not essentially ignoble.
It can only be hoped that the time will, by per¬
sistent agitation, be made far distant, when they
will be able to hire their Blesses at half a crown
a day to break down Croydon’s greatest interest,
and with it to destroy the town’s reputation for
possessing some rags of common sense.
* * * *
HE Glasgow School of Archi¬
tecture is one of the most
advanced in the kingdom.
A great deal of the credit for
its formation and growth is
due to Mr. Fra H. Newbery,
an artist-painter and director
of the School of Art. He
has gradually built up one of the most vital
schools of art, and the School of Architecture is no
less vital. The Diploma course, admittance to
which is gained by examination in English,
mathematics, drawing, and Latin or a modern
foreign language, is a four years one. An
idea of the course of study which is pursued
may be gained from the following figures : —
In each week of the first year, nine hours is
given to architectural design, eight hours to
the history of architecture, six hours to drawing,
five hours to mathematics, two hours to de¬
scriptive geometry. In the last year the pro¬
portion of time given to design is much larger
(twenty-one hours), and mathematics disappears
in the second year and its place is taken by
other science subjects less academic. In April
a fortnight is set apart (daily from nine o’clock till
twelve) for modelling, and architectural measur¬
ing is taught on six afternoons in May and June.
M. Eugene Bourdon, who was trained in Paris
and had the rare advantage of two years’ practice
in the United States, is the Director of Architec¬
tural Studies and Professor of Design.
The subjects of design vary from simple prob¬
lems to complex problems such as Parliament
Houses, Exhibitions, &c. One great feature of
this school is the excellent tuition given in drawing
along with painting and sculptor students, so
that the arts are brought together and under¬
stood by all. Another excellent feature is the
admission, to certain of the architectural classes,
of furniture designers, garden and landscape
architects, scenic artists, students of painting and
sculpture, and students from certain departments
in the Technical College — surveyors, engineers,
&c., who might benefit by some instruction in
architecture.
On the whole an excellent school, and one to be
congratulated on its staff and achievement. The
late W. J. Anderson, author of “ The Renaissance
in Italy,” &c., was one of the first lecturers in
this school.
* * * *
)AY School of Architecture
has been founded at the Muni¬
cipal School of Art, Birming¬
ham. The school course will
be spread over four or five
years, of which the first two
will be composed of day
classes. These first years will
take the place of articled pupilage for the same
length of time, and the latter two or three years
will be spent at evening classes concurrently with
attendance at an office. Architectural history,,
building construction, elementary physics and
geometry, demonstrations and practical work in
stonemasonry, carpentry, &c., will be taught dur¬
ing the first year. The subject of design is intro¬
duced in the second year, and becomes the main
subject of the later years. The general director
is Mr. ]. L. Ball; Mr. E. F. Reynolds is the
assistant director and lecturer in design ; lecturer
in history, Mr. W. H. Bidlake ; lecturer in
physics, Mr. F. B. Andrews. A good deal of the
work done by Birmingham architects is excellent,
and we hope this new school may be the means of
widening a good influence.
N the Architectural Record (New
York) for August an article is-
published on “ Architectural
Refinements in Mediaeval
Churches Computed,” by Mr.
Charles S. Hastings, Professor
of Physics in the Sheffield
Scientific School at Yale Uni¬
versity. This gentleman has become a convert to
Mr. Goodyer's views, and he writes to establish a
method of investigating, from the photograph, the
extent of these so-called refinements.
It will be remembered that 1 he Architec¬
tural Review (Volume XVIII) published photo-
Notes of the Month.
graphs of Italian and other mediaeval churches
which Mr. Goodyer had been exhibiting in various
places. Mr. Goodyer has done for the architecture
of the Middle Ages what Mr. Penrose did for the
Parthenon — discovered refinements. Alas ! as we
have learnt from the Greek temple, the skill
required to adjust their subtle variations to
correct certain definitely analysed optical illusions
was infinite. This skill was beyond the dreams
of mediaeval workmen, and the refinements reduce
themselves into accidents caused unconsciously by
different generations of workmen, by settlements,
inaccurate setting out and the like. And we
cannot help quoting Mr. Prior: “Yet on any
conscious examination of the question, I incline
to the thought that exactness, smoothness, and
certainty are the refinements which come into
the making of a great work of architecture, as in
everything else. And I believe the mediaeval
builders just thought so too. They had no
aesthetic ambition in making walls knock-kneed
and facades round-backed. They made the best
of their conditions; and as practical men do now,
they concealed the ugliness of accident, and still,
in spite of it, and in disregard of it, strove after
perfection. No more then than now could the
craftsman be persuaded to bungle his work.
There are two classes of mind to whom the
appeals of art are made — the practical and the
mystic. Has not the connoisseurship of modern
art in our days unhealthily stimulated this
latter? . . . Mr. Goodyer’s gospel will be good
tidings to the mystic and the idealist, but to the
craftsman it is foolishness.”
For ourselves we feel this to be right. The
more apparent refinements of classic art — the
entasis of pillars, their proportion and so on — have
been grafted on to art, but those delicate curv-
ings of stylobate and entablature by their very
subtlety have proved unnecessary to our grosser
vision. Now to be asked to build piers and walls
out of the plumb, walls on a bulge, is too much,
and would but give scope to that enemy of true
architecture — the lover of the picturesque.
However, to whose who are converted to this
new gospel Mr. Hastings’s essay may prove inter¬
esting.
* * * *
HE example set by Washing¬
ton in civic planning is being
rapidly followed by many
other cities in America. Pitts¬
burg, Cleveland, St. Louis,
and Chicago, cities whose
populations increase by leaps
and bounds, have met the
issue fairly, and are preparing plans for present
I l9
and future development. Cities like Washington,
St. Paul, and Baltimore, which have already been
admirably planned, are no less awake, and even
the less important centres are alive to the neces¬
sity for comprehensive planning. But under the
leadership of men such as Messrs. McKim, Gilbert,
Burnham, Carrere, Brunner, Nolen, and Manning,
much is possible. And if the fame is posthumous,
all the more credit is due to these pioneers in what
promises to be the greatest movement in architec¬
ture of the twentieth century — -in America at least.
We are content to muddle along with petty
utilitarian schemes of improvement in our cities
on the one hand, and very self-conscious “garden
suburbs ” on the other. And ihe great issues of
city planning are lost. Stateliness, dignity, and
restraint we have bartered for the licence which is
called cleverness.
We can only hope to get these qualities back by
the right education of our students. Schools like
those at Liverpool and Glasgow, where methods
of education are similar to those of the Ecole des
Beaux-Arts, will, we hope, in the future, help to
raise the standard of taste among architects them¬
selves. We do not lack ability, but it is too often
misdirected.
*•¥■*-*
HERE is a probability of Burn¬
ham’s plan for San Francisco
being revived, to the extent,
at least, of the creation of a
Civic Centre. In the evolu¬
tion of the plan it was found
impossible, after a great deal
of study, to use the old City
Hall as a focal point, and eventually Mr. Burnham1
gave it up, and worked his scheme regardless of it.
And then it was destroyed in the great earthquake.
At a dinner of the Merchants’ Association held
recently in San Francisco, it was pointed out that
in locating the New City Hall and its accom¬
panying Civic Centre, there was a great chance of
realising the crux of Burnham’s plan. This asso¬
ciation represents an important section of public
opinion, and the advocation by them of this
scheme carries great weight. It was pointed out
by one of the speakers at the dinner, Mr. Thos.
Magee, who before deemed the plans imprac¬
ticable from a financial point of view, that the
suggested bond issue to carry out the Civic Centre
would make a net addition of one cent a year to
the tax rate. And he added : “ Who would object
to paying a penny to start for San Francisco the
very hub of the Burnham plans ? ” Closing his
speech, he said : “ I beg you to hitch your wagon
to a star, and rise, and rise.” The vote on the
bond issue takes place this summer.
I 20
Notes of the Month.
While we have from time to time pointed out
that America, in the matter of public spirit, is far
ahead of England, we do not wish it to be thought
there is no ignorance in high places. There is
both crass ignorance and strong opposition to be
overcome. The opposition to the revival of
L’Enfant’s plan of Washington is a case in point.
But America’s great advantage lies in the fact that
she possesses an increasing number of highly-
trained architects, who, in the pursuit of the
“ Grand Manner,” conceive the necessity of town
planning on grandiose lines more than we do.
We sincerely hope that San Francisco will go
forward from the Civic Centre in a manner worthy
of its magnificent situation. In The Architec¬
tural Review (Volume XX) are given plans and
a description of this “ City Beautiful.”
E hope the proposal to remove
the statue of Charles 1 which
looks down Whitehall to
the Banqueting House from
Charing Cross will be opposed
by everyone who loves his
London. Croydon is not
alone in being in the hands of
vandals. Barnard’s Inn, off Holborn, a quiet quad¬
rangle surrounded by pleasant old houses with
exceptionally interesting doorways, is threatened.
But that is not so drastic a piece of vandalism
as the proposed removal of the equestrian statue.
Besides, we have still much Georgian work, and
in the gradual reconstruction of our streets much
of it is bound to go.
We have few statues of real merit in London,
and this weather-worn pedestal with its rather
stiff horse and rider is one of the best we have.
The stone base with its vigorous carving is from
the design of Sir Christopher Wren, and the
carving itself is in the style of Grinling Gibbons.
The statue suffered many vicissitudes. It was
cast in the reign of Charles, but the outbreak of
the Civil War prevented its erection. A trades¬
man bought it as old metal and made a large sum
by the sale of bronze ornaments purporting to be
taken from its substance. The statue, however,
was kept intact and set up after the Restoration on
the site of Old Charing Cross. There can be
little doubt that to remove this memorial would
be to destroy utterly the pedestal. For nearly two
and a half centuries the statue has stood there, and
time has worn and bleached the Portland stone to
such an extent that any attempt to take it down
would be fatal to the old carving and stone.
Day by day old buildings and memorials dis¬
appear at the instance of so-called improvements,
which are at most disfigurements, and the quiet¬
ness, the charm of old streets gives place to
restlessness and vulgarity.
Until recently nothing later than the sixteenth
century was considered worthy of preservation,
but to-day Ruskin’s strictures on the Renascence
are discounted and the dignity and essential use¬
fulness of this style are being more and more
understood, with a consequent reviving of interest
and appreciation.
It is a curious thing that most English guide
books entirely neglect this period of architecture,
and charming examples of domestic architecture,
which are invariably in this style, are passed over
in silence or dismissed as unworthy. When most
modern work gives a version of the Renascence
the omission is noteworthy.
But to return to the statue. There are in
London several equestrian statues, and the more
recent they are the more uninteresting they become.
The equestrian statue to the Black Prince opposite
Henry the Seventh’s Chapel shows a modern
“ blood horse” carrying a heavily armoured man.
Apart from the anachronism, the whole composition
is restless, the execution poor and uninspired.
And the new statue opposite the Horse Guards is
no better.
The whole trend of art is towards “ the life.”
Sculptors and painters spend laborious apprentice¬
ships studying from nature, and apparently neglect
tradition ; otherwise why is it that in all this
scientific preparation and study Art flies away ?
We do not wish to suggest that “life and
nature ” should be neglected. On the contrary, we
realise that the neglect of these leads inevitably to
the brown tree ; but, on the other hand, their too
scientific pursuit, taking no account of that vivi-
fying quality which may be termed the soul, leads
to nothing.
For ourselves, twice in the realms of art has the
horse been realised magnificently and superbly.
When the poet was inspired to say “ he clothes
his neck in thunder ” he for all time fixed an ideal
to which our aim continually points. With thought
it were possible to discover a figure to express his
fleetness of foot, the nobility of his movement ; but
the old quotation, with its brevity, its imagination,
brings before the mind’s eye the horse, his speed,
his nobility of cast, heightened by the suggestion
that in his neck resides a power like that of
Nature’s most awe-inspiring manifestations.
The horse's head from the east pediment of the
Parthenon is of ideal mould. He draws with
Selene beneath the horizon so that little more
than the head is shown, but the poet might have
contemplated it when his inspiration suggested
“ thunder.” In that neck is hidden a power as
of thunder, the nostrils dilate with the breath of
life, the wide eye contains lightning.
I 2 I
Notes of the Month.
Verrocchio’s horse in Venice is perhaps an¬
other, and Leonardo’s, which perished. The neck
clothed with thunder is one of the great essentials
in a horse, not the careful delineation of protruding
veins. Modern art is troubled too much with
accessories, which not only do not count, but
detract the attention from essential qualities.
The horse from Charing Cross is a far-off
descendant of Verrocchio’s noble charger — much
diminished in grandeur and fire, but still retaining
traces of the “grand manner.’’ And we hope
that the utmost opposition will be offered to its
removal.
* * * *
N the Daily Chronicle for
August 19 appears an article
with the significant title —
“Woman as an Architect: a
profession that calls for re¬
cruits.” It is placed on the
page usually devoted to femi¬
nine matters, is apparently the
work of a lady, and is adorned with a fanciful pic¬
ture of the damsel working at her drawing-board,
certainly attractive and workmanlike enough.
There is so much in this article that is sound
and sensible that an architect’s view may interest
those who have read the views of the Chronicle's
•contributor.
The time has passed when men could claim a
monopoly of intellect, and most of us have to
confess a reverse in our university or professional
career, where we found some maiden’s name a few
places higher than our own on college or institute
examination list. We no longer take a futile
revenge by accusing these fair victors of spectacles
or blue stockings, but recognise them as fair
competitors. We have admitted them to the
ranks of our Institute, although the Law still bars
its doors.
Nevertheless there is a great deal to be said in
reply to this anonymous writer’s invitation to her
sex to swell the vast army of architects. She
fortunately spares us the necessity of misty gene¬
ralising or of odious comparisons. She does not
mention that much-abused word “ intuition ” —
which seems to allow a woman perfect freedom
of speech on any subject to which she has devoted
no attention whatever.
In fact she defines her position clearly enough,
that a woman possesses by instinct and training
certain knowledge in regard to a certain class of
building which a man, by reason of his mode of life,
cannot have in the same degree, and that on this
account she is particularly fitted to bean architect.
She instances as an example of lack of male fore¬
sight the following frequent defects in house design :
omission or insufficiency of cupboard accommoda¬
tion, arrangement of hot-water pipes against
larder wall, steep stairs between basement and
ground-floor, bathroom being near scullery (and
hence in a chilly situation), omission of lobby or
passage at front door, and use of small window-
panes involving heavy labour in cleaning. An
architect has no difficulty in replying to these
charges. The first three points are time-worn
complaints. We have heard of the lady critic at
a recent housing exhibition who wrote to the
papers reviling architects in general, setting forth
ideas for improvement (chiefly cupboards) which
would have added 20 per cent, to the cost of
building these designedly cheap cottages, and
which must have been obvious to an architect’s
office boy. The Chronicle writer in this case
has evidently been unfortunate enough to have
only seen houses designed by architects of no
repute or more probably by a speculative builder.
No man can afford to make mistakes of this sort
habitually, nor is it conceivable that he could so
far forget the elementary rules of domestic plan¬
ning. The fourth and fifth defects plainly refer
to cottages which are seldom designed by architects
and are usually the work of an untrained builder’s
clerk. Her last point is a tacit admission of a
popular preference for plate-glass over small panes,
for after all the architect plans his building
with the full cognisance of his client. The latter
does not awake some morning to find that his
new home has suddenly blossomed forth into
leaded lights. To think that the said client’s wife
cannot persuade her husband to adopt her plate-
glass ideal would imply a loss of the influence
which has been hers since the days of Eve; to
imagine that she had not grasped “ the full
meaning and intent of the plans ” would indeed
argue her unfitness for the practice of archi¬
tecture.
But there is a stronger answer still which must
not be overlooked. The unknown contributor
bases her claims on the hypothesis that women
are fitted by domestic training to practise house¬
building. Yet she admits that a long course of
training in an office is necessary. How then can
a girl whose life is spent in office-work have any
more intimate knowledge of such things than her
brother in like case, the very personification of
“ male ignorance ” ?
She makes no mention of the relatively small
part that is played by design in the routine of an
office, of the drudgery of specification-writing,
tracing, and similar mechanical work. And as
she limits her remarks to domestic architecture
there is happily no need for us to hazard sur¬
mises as to feminine suitability for any other class
of building.
VOL. xxvi. — H
1 22
Notes of the Month.
We are told that “already many fully-qualified
men cannot find anything to do to-day” ; we are
reminded of the remarkable experience of “ one
young fellow who has lately emigrated to Canada
because there seemed no opening for him in
England ” ; and finally that “ I don’t think any
woman should enter the profession unless she has
genuine talent and is prepared to work exceedingly
hard.” All of which is perfectly true, but is under¬
drawn. She should have spoken of the shocking
conditions in the architectural world to-day, of
the long lists of unemployed capables at the
Institute or the A. A. ; of the hundreds of qualified
applicants for a minor post in an unhealthy climate
abroad. She should have described the piti¬
less scramble of competitions, the vain striving of
the man without influence to found a practice,
the awful and increasingly frequent tragedy of
the superannuated assistant. The present is no
time for idle doubts as to whether our venerable
calling is sufficiently attractive for new recruits.
The stern fact confronts us that there are no
vacancies.
We have welcomed women into the Institute,
and it is significant that after some years’ experi¬
ence of office-life they have decided “ to confine
their attention to the literary and abstract side of
the profession.”
A man assumes no air of intellectual superiority
when he brings forward such admitted obstacles
to an aspiring lady architect ; he may point to
hundreds of his colleagues who cannot afford to
marry, and to thousands who are married and in
straitened circumstances, and he may without
fear of appearing pessimistic or unsympathetic ask
her if she fully realises that this seductive art has
a graver side, that it is recognised to be the most
overcrowded profession in England.
M. S. Briggs.
* * * #
HE Rhodes Memorial, South
Africa, is situated on high
ground commanding an ex¬
tensive view, and is backed
by mountains. It is such a
site as the Greeks would have
loved. The architects have
conceived their memorial in
an Attic style, quiet and dignified, and suitable to
its noble position. The great flight of steps
enhances the design, and the placing of the statue
of “ Physical Energy,” by the late G. F. Watts,
is well chosen.
We understand that a South African granite is
used in the building, and that the details are very
simple, as a hard stone requires. The monument
is extremely effective, and the architects are to be
congratulated on making a departure fromVictorian
ideals in the design of monuments.
BAKER AND MASEY, ARCHITECTS.
THE STATUE OF “PHYSICAL ENERGY IS BY THE LATE G. F. WATTS.
1 23
Notes of the Month.
NEW gallery was opened the
other day in the British
Museum for the exhibition of
Greek and Roman casts. Five
and twenty years ago Mr. W.
Copeland Perry presented a
collection of casts to the South
Kensington Museum, and it is
from this that the casts are taken. They are arranged
in chronological order so as to show the develop¬
ment of ancient sculpture. There is much of
interest to architectural students. One of the
earliest pieces is a fine cast of the Lion’s Gate at
Tiryns. A group of metopes from the Thesion at
Athens — somewhat like those from the Parthenon,
in little — give one a good idea of the scale of the
Temple. Some of the fine sculptures from the
balustrade of the Temple of the Wingless Victory
are shown — exquisitely draped figures — one of them,
“ Victory unloosing her Sandal,” is justly famous.
Her graceful attitude, the grace of the draperies,
remind one of the noble Demeter, or the fragment
of a charioteer from the Mausoleum. A metope
from the Temple of Zeus, which contains a bull’s
head executed with great vigour, and models to a
small scale of the two pediments of this temple,
should be interesting to students.
La Dame d’Elcbe, in facsimile, finds a place
in this gallery. We published a photograph, in
Vol. XXIV, page 158, of this strange and bewitch¬
ing bust. No sculpture found of late years has
given rise to more discussion. It is held by some
to be a brilliant forgery — like Michelangelo’s
Cupid — but the general consensus of opinion is
that this unique fragment belongs to the fifth
century B.C., and is the work of some Iberian
sculptor. However that may be, it is a strange
and fascinating work, and somehow, in our mind,
ranks with “ La Giacondo.” Both are inspired
with a kind of cynical melancholy and an elusive
charm.
Many fine casts of Greco-Roman copies of origi¬
nals by Praxiteles are shown — two of Aphrodite, in a
pose suggestive of the Venus de' Medici, but more
beautiful, and in a way approaching the dignity of
the Venus de Milos. The Apollo Sauroktonos,
from the original of the same sculptor, is also
incomparably lovely. Specimens of the work of
Scopas, Polyclitus, and Myron are also exposed.
A cast of Laocoon, and a fine panel from
Pergamon, of somewhat barbaric splendour, are
worth study. A reproduction of the massive
sarcophagus of Alexander Severus is one of the
most important exhibits. Some fine sculpture is
wrought round the base, and reclining figures of
the Emperor and his lady are placed on the top.
The original is now in the Capitoline Museum.
The collection is one of vast interest, and should
prove a useful addition to the splendid collections
already housed in the Museum.
4. — PLAN OF THE COURTYARD OF THE MOKOSINI PALACE, VENICE. [See next page.)
The parts blacked in are the remains of the original work, and the hatched parts show the succeeding
alterations and changes.
11 c
Notes from Italy.
THE COURTYARD OF THE MOROSINI
PALACE, VENICE.
E buildings of Venice have a
peculiar charm, in perfect har¬
mony with the atmosphere
of the place ; their disappear¬
ance would be a calamity,
and all praise must be ac¬
corded to the work of pre¬
serving these artistic trea¬
sures. The Morosini Palace is well known as the
finest and most celebrated house in Venice, the
centre in the sixteenth century of the intellectual
life of the Republic. The courtyard of this palace
has become a public right of way and deplorably
neglected, so that it is scarcely possible to see the
vestiges of its former grandeur.
Professor Aristide Naccari, of Venice, a clever
architect and a jealous guardian of the beauties of
his town, presented a project for restoration, which
is now in hand. He carefully examined, for data,
the documents of the epoch, and diligently studied
and compared contemporary buildings ; for some
of the work he found evidences in the building
itself, as, for instance, the embattled wall, the
limits of the courtyard, the window on the left
hand, and the acroteria of the door upstair-. The
5. — PERSPECTIVE VIEW OF STAIRS.
I. — COURTYARD OF THE MOROSINI PALACE, VENICE. PRESENT STATE.
Notes from Italy.
\ 25
( OI(TC- C- S( AlLSl '0(4. \'<MM7A) WOI(()SIMs<l>|MVIlMl
'oiSHWrekLki i:oi{®vi
ir/ pomitewi s.hiovhom lvith(viivi) m vi-r/t-L'isi
I’lji^mvvi ik-'l sekuj) xiv xv.
mesa
MM
2. — COURTYARD O K THE MOROSINI PALACE, VENICE.
ORIGINAL STATE OF THE FIFTEENTH CENTURY.
ORIGINAL STATE OF THE FIFTEENTH CENTURY.
Notes from Italy.
i 26
illustrations we publish give an exact idea of this
interesting project. Fig. 1 represents the present
and bad condition of the courtyard ; Fig. 2 shows
the original state in the fifteenth century, which
it is desired to restore ; Fig. 3 shows sections, and
will give an idea of the construction ; Fig. 4 (p. 123)
is the plan, on which may be seen the various
alterations and additions introduced at different
dates; the parts blacked in are the remains of
the original work, and the hatched parts the
succeeding alterations and changes ; Fig. 5 is a
perspective study of the stairs rid of the under¬
lying wall and of the wooden enclosure seen in the
photograph No. 1.
A. Romieux.
GATE LODGE : THE GONZAGA PALACE, MILAN.
PROFESSOR ARPESANI, ARCHITECT.
(For Views of the Palace, see page 102, Vol. XXIV.)
E architecture of the later
Renascence, which is called
Barocco, has often been stig¬
matised as degraded. Judged
on its merits, however, how
much of it seems the reverse !
Santa Maria della Salute,
the gem of the Decline, stands
almost as much for Venice as St. Paul’s does for
London. Not without reason this fine church is
celebrated. In one of the fairest cities of the
world it raises its shapely dome over the limpid
waters of the Grand Canal, from which the eye
rises in sheer delight, tracing its fine pyramidal
form from plinth to finial, tarrying by the way in
a plenitude of ornaments. In Venice the exuber¬
ance of the Barocco finds expression in multitu¬
dinous line and decoration, to which is added in
some Palermitan churches the most gorgeous
colour.
San Salvatore, in the Corso Vittorio Emanuele
in Palermo, was built (1628) by Amato a few years
before the Venice church, and is a good example
of architecture in colour in the interior. In plan
it is oval with a recess on each axis, the entrance
being in one opposite the high altar, in the length
of the church. The side recesses are made use of
as chapels. Between each opening are two smaller
Notes from Italy
i 27
PEDESTAL IN VARIOUS MARBLES FROM THE NATIONAL MUSEUM, PALERMO.
FROM A DRAWING IN WATER-COLOUR BY J.
M. W. HALLEY.
i 2 8
Notes from Italy.
MESSINA CATJiEDRAJj AFTER THE EARTHQUAKE,
Notes from Italy.
ones, with square windows above protected by
grilles. Up to the dome everything is marble of
different colours, the pilasters being inlaid with
garlands and scrolls and angels, and indeed every¬
thing that a Barocco invention could fancy. There
is a great lustre candelabra hanging in the centre.
Usually the church is dimly lighted, and then the
effect is most fantastic, for the pilasters seem to
be full of little climbing angels, climbing in a fan¬
tastic wilderness of flowers; yet not in a sunlit
garden, but one subterranean, where each flower
makes its own light — making the dimness visible
only to discover untold richness. And the lighted
candles at the altar gleam out with a quietness in
keeping with the dim light, scarcely illuminating
the high arch over it, above which, under the cor¬
nice of the dome, are vaguely seen dim crowds of
waving figures. In the spandrels over the arches
are figures; in the frieze under the cornice are
more figures. The painting of the oval dome is
not particularly good, but the effect is one of great
richness and splendid beyond words ; and it
seemed to us, as we looked at it, to be a kind of
fairy palace, wrought by magic in a night — of the
Arabian Nights.
On saints’ days the effect is different; the great
central lustre gleams with a hundred lights, and
I 29
candles sparkle from each corner, so that every
cornice and niche and figure has a new value —
perhaps more fantastic. The marbles take on
definite hues and shine like precious stones. What
a material is this for the architect, that gives him
a palette like a painter’s — rainbow-hued !
An idea of this kind of decoration may be ob¬
tained from the water-colour drawing of a pedestal
to a pilaster, taken from the museum in Palermo.
The “ putti ” are carved in full relief in white
marble, so is the eagle and riband, while the back¬
ground is black, the flames red, and the flowers
yellow and red. The carving itself is in very good
style, vigorous and well executed, and the inlay is
finished with great precision.
In these decorations the sacred and profane
are mingled together in the true manner of the
“ Humanistic ” Renascence — virgins and saints,
gods and goddesses, in a riotous confusion — just
as when the bishop in the ordering of his tomb
commands —
“ The bas-relief in bronze ye promised me,
Those Pans and Nymphs ye wot of, and perchance
Some tripod, thyrsus, with a vase or so,
The Saviour at his sermon on the mount,
St. Praxed in a glory, and one Pan
Ready to twitch the Nymph’s last garment off.”
Public Buildings in the Sicilian Earthquake.
( Concluded from page 131, Vol. XXV.)
HE church of S. Maria della
Scala, erected in 1347, imme¬
diately after the completion
of the cathedral, is in ruins,
as well as that of S. Francesco,
dating from the thirteenth
century, which had been mal¬
treated by restorations ; and a
sculpture of Antonello Gagini, which was specially
worthy of notice. S. Niccolo, a church of the
sixteenth century, with chapels covered with rich
mosaic decorations, is in ruins; and so are the
beautiful church of Catalani and the elegant church
of the “ Alemanna,” both of the thirteenth century.
The curious clock tower of S. Gregorio (six¬
teenth century), however, remains standing, look¬
ing as forlorn as the unsubmerged mast of a
sunken ship.
You must also be aware that Messina contained
an unheard-of number of frescoes of the eighteenth
century in the churches of S. Caterina de Valverde,
S. Biagio, S. Elia, S. Maria e Gesu in S. Leone,
S. Maria la Nuova, and S. Elena. The decorative
beauty of these is not referred to in the guide-books,
and yet they are worthy of attention for the very
reason that they were characteristic features of
the unfortunate city.
As regards civil buildings, scarcely anything of
interest from the archaeological and artistic point
of view remains in Messina. The “ Mont de
Piete,” in seventeenth-century style, can claim
for its authorship one of the masters of Italian
architecture of the “ Baroque” and Rococo
period, a scion of artistic Messina, P'ilippo Juvarra
(1685-1736), who laboured principally at Turin,
where he played an important pare in the renova¬
tion of the Piedmont capital.
This might conduct us to Antonello of Messina,
four of whose works belong to the National Gallery
in London, as well as the supposed portrait of
130 Public Buildings in the Sicilian Rarthquake.
the master, possibly the fruits of British sovereignty
over Messina exercised from 1806 to 1815. His
powerful art of portraiture is marked bv a wealth
of paintings in the Venetian Giambellino style,
which are fortunately preserved outside Messina,
the master’s home, whose history has been com¬
pletely reconstituted by researches recently con¬
ducted in the archives of his place of birth.1
Two fountains by Fra Giovanni Angelo Montor-
soli (1506-1565), a Florentine sculptor, who was a
pupil of Michael Angelo, and who came to Sicily
after working at the celebrated fountain on the
Piazza Pretoria at Palermo, have been destroyed.
Near Messina lie places such as Ali, Caronia,
Casalvecchio, Castelmola, Castroreale, Condro,
Frazzano, Galati, Mamertina, Giardini, Milazzo,
Mistretta, Patti, S. Angelo in Brolo, and Taormina.
Taormina more than the other spots mentioned,
which retain monuments of local rather than general
interest, is rich in monuments of art. The ancient
Greek theatre of Taormina, situated beside this
town, which is the most peaceful one in the island,
has not been ravaged by the frightful disaster. Taor¬
mina, in the immediate vicinity of these archaeo¬
logical masterpieces, has brought together some
exquisite mediaeval monuments, from the palace of
Corvaja to that of the Duke of S. Stefano, with¬
out mentioning the Badia Vecchia (sixteenth
centurj), the “ Porta Catania,” and the cloisters of
S. Domenico (seventeenth century).
And as these places carry us across the Straits
to Reggio in Calabria, and into the region bearing
1 Happily the Antonello paintings preserved at the Civic Museum of Messina were not numerous, and some of them were
even disputed. Of two Virgins attributed to the Messinese master, at least one may not have been his at all, although one of
them is reputed to be the first painting painted in oils in Italy towards 1450.
S. MARIA DELLA SCALA, MESSINA (DESTROYED IN THE SICILIAN EARTHQUAKE).
Public Buildings in the Sicilian Rarthquake. i 3 1
that name, we must rejoice, knowing that here
the beauty of Nature is dominant above man’s.
Reggio, on the other side of the water, which is
the principal town of the department, preserves a
limited number of buildings exciting our interest.
The remains of a thermal establishment of the
Roman period will not be forgotten by archaeo¬
logists ; artists will rather be interested in
the fate of the church of S. Gregorio Magno
and of its chapel named the “Ottimati,” which,
according to the inspector of the monuments of
the district, has had a different fate from the
thermal baths which have been destroyed, as
well as the Castle of Reggio, which had a certain
amount of fame attaching to it. The same un¬
happy fate has overtaken Reggio Cathedral, beauti¬
fied with a chapel called after the Sacrament,
which is worthy of notice. In the vicinity
of Reggio, as well as near Messina, some
spots of the greatest artistic interest are not re¬
cognisable to-day. We have Caulonia, with the
tomb of the Carafas in the parish church ; we
have Gerace with the tower of that name, and an
Ionic temple ; above all we have Gioiosa Ionica,
with Roman traces, which are not of prime im¬
portance, viz. the Roman theatre, a Roman temple
(remains), a Roman bathing establishment (traces).
And if from Gioiosa Ionica we travel to Mammola,
Delianova, Portigliola, Pellaro, Villa S. Giovanni,
San Luca, Seminara, Sinopoli, Stilo, although
sight and thought may suffer, it is not proved
that what was accidentally destroyed here reduces
the monumental heritage of Italy in any appreci¬
able degree.
In conclusion, Messina represents the most
serious artistic loss. For it is not necessary to
confine oneself to ancient monuments ; and with
the glance turned towards modern buildings, one
must deplore the overthrow of the streets and
squares of Messina, of this city built in the form
of an amphitheatre, of its old mansions, its white
villas, and of the famous “ Palazzata,” a long and
regular line of modern buildings on the quay, a
line not without grandeur, with its sun-lit back¬
ground of mountains, of which rough spurs pro¬
ject into the sea, which widens here to unite two
equally unfortunate towns, Messina and Calabrian
Reggio.
Alfredo Melani.
OLD CASTLE, REGGIO.
A Visigothic Church in Spain.
HE little Church of San Pedro de la
Nave stands on a small plateau be¬
neath the shelter of rugged over¬
hanging cliffs, almost encircled by
the River Esla. In the neighbour¬
hood on the right and left banks of
the river are five poor little villages
which acknowledge San Pedro as
their parish church and cemetery.
The name of ‘‘La Nave” probably does not arise from the
boat {nave) which is stationed there for the crossing of the
Esla, but is more likely topographical, meaning a nava, or
plain between heights. From Zamora on a summer’s day it
is possible to go and return easily if well mounted, or even by
carriage, though this last route is somewhat exposed. It is
about twenty kilometres distant, following the Alcanices road as
far as the hill of Consejo, and thence about half the distance is
by an unused road over level ground, following a mere track
until you reach the little village of Campillo, thence by a steep
descent with beautiful views to the end of the journey. At
the first turn here we come in sight of the reddish-coloured
building, the graceful lines of which are spoiled by an ugly
bell-tower. It is partly surrounded by the rude walls of the
cemetery ; on the right is the Rectory, on the left a huge mul¬
berry tree, at the back is the River Esla, while in front the
ground rises, wild and uncultivated, showing the windings of
the river to the right, where the horizon widens, and in the
distance is La Pueblica, one of the dependencies of San
Pedro. Higher up the river, on the high ground of San
Martin, have been found ancient bronzes and coins.
The first notice of this church, that of Yepes (“ Cronica de la
Orden de San Benito ”), tells us that in 902 Alfonso III gave to
it the property of Valdeperdices, which it still holds ; later on
the Priory was annexed to Celanova. Both circumstances are
corroborated by a compact made in 1222 between the Abbot
of this great monastery and the Archdeacon of Zamora
(Archives of Zamora Cathedral), concerning the tributes of
“ Llaldeperdizes ” and “ Sco Petro de Estula,” thus called, as it
would appear, from its proximity to the Esla. Eventually it
became a dependency of the Cluniac monks of Zamora.
The knowledge of this edifice among the learned is confined
to two engravings in the “ Monumentos Arquitectonicos de
Espana,” signed by R. Arredondo. On these depend the short
and erroneous description of Quedrado, and the very summary
references of Oliver, Serrano Fatigati, Tubino, Lamperez,.
Ltizaro, Agapito, Hiibner, &c., not one of whom speaks from
personal knowledge, or anything more than is gained from
these two prints. So far good, if these illustrations had been
correct ; but if the decoration of the church has been reproduced
with some amount of fidelity, the same cannot be said for the
ground plan, for the sectional drawings, nor for those of the
exterior. It is sad to see the knowledge of so monumental
a work confined to mere sketches, at once deficient, incorrect,
and therefore misleading ; many of the details, in fact, relating
to ideal restorations more or less fanciful.
On this basis there is an admirable concordance of opinion
among our critics when they pass judgment on the building as
being of the tenth century, without a single inscription or
document which might serve as authority. They are, how¬
ever, quite unanimous. The problem, according to them, is
absolutely clear ; but it never appeared to me to be so, and if
now, after two visits and a most careful study of the building
on the spot, I have arrived at some sort of certainty on the
subject, it is in contradiction both to the dictum of the
learned and the vulgar tradition which ascribes the foundation
to Saints Julian and Basil during the ninth century.
I am convinced that it belongs to the seventh or the begin¬
ning of the eighth century. It is impossible to suppose it to
have been built during the Mussulman occupation and before
the Duero formed the Christian frontier and Zamora was
repopulated in 893. There is therefore a distinct dilemma :
either it was built by the Goths, or between the years 893 and
907, when, as we know, it was in existence.1 Churches of this
second period are not wanting, and are well known ; but I find
it difficult, in comparing them with San Pedro, to infer a prox¬
imity of date. The masonry of all these later buildings is of
rubble, brick, or earth ; San Pedro is of wrought stone of the
Roman type, even in the vaulting. In the one case there is
either no ornament at all, or it is of an extremely barbaric
type with traces of Saracenic influence, or it has been taken
from other Visigothic buildings ; in San Pedro the decoration
is abundant, it has been wrought on the site, and resembles
the Italian work of the seventh and eighth centuries.
In the later edifices the horseshoe arch follows the Arab type.
1 Since this was written I have been able to see the “privilege ” of Alfonso III cited by Yepes in the tomb at Celanova (fol. 149,
Archivo historio r.acional). Its date is 907 — not 902, as he states. It relates that it was then a monastery, and describes it
in these terms: in locum quern dicitur Tunis, territorio Camore. The name Tunis is unknown and is difficult of explanation, but it is
evident that what the King gave at that time is the site of the existing church.
SAN PEDRO DE LA NAVE.
LONGITUDINAL SECTION.
i33
A Visigothic Church in Spain.
PLAN OF SAN PEDRO DF. LA NAVE.
while in this church it is identical with those of San Juan
de Banos, and of Santa Comba. In those the inscriptions are
Mozarabic, in this Visigothic. San Pedro reveals a style which
-was still full of classical tradition, mixed with a tinge of
Byzantine influence ; the Asturian churches of the ninth cen¬
tury show the first dawn of mediaeval architecture, the taste
for the antique already lost ; those of the tenth century still
greater irresolution in their variation from tradition, which
arose from the interposition of monks emigrating from Anda-
lucia. Everything would thus lead to a conclusion that the
hypothesis referred to is based only on a paucity of exact
information and the consequent following of a routine opinion;
-while in place of it we are justified in attributing this edifice
to the closing years of the Visigothic kingdom of Toledo, as
-we shall be able to show later on.
Its isolated position saved it from the fury of the Mussul¬
man, and its poverty from modern patchings and restorations ;
but it has very nearly come to ruin through defects in con-
-struction, misfortunes which only at the cost of serious
mutilation has it been possible to remedy. Apart from these
it has remained sound enough, and we may gladly overlook
the tawdry ornaments of an uncivilised village, its abandon¬
ment, damp, and defects, with complacency in finding it at
least free from inartistic restoration.
The ground plan is founded on one of the primitive types
of early Christian architecture, that of a cross with arms
slightly unequal, like the Mausoleum of Placida at Ravenna
and Santa Cruz de Nona (Istria); also, according to the old
records, similar to San Roman “ with its cross of four arms,”
the beautiful Romanesque Church of Santa Marta de Tesa,
■erected probably over an older foundation, and that of Santa
Comba de Bande near Orense, which dates from the seventh
century. But the fact that the cross in San Pedro is enclosed
-within quadrangular walls gives it a certain singularity, and it
vaiies from the usual Byzantine model in being much lighter.
Its length is 1975 metres and the width i6'oo, with 81 cen¬
timetres depth of the walls added — dimensions which, though
small, equal if they do not surpass those of other vaulted
churches erected in Spain and in France at the same date,
jts symmetry is absolute and its plan perfect.
From the wall, which faces exactly east, stands out a rect¬
angular chapel, according to Spanish custom, with small
windows in its side walls, having no recess ; these must have
been closed with slabs of perforated marble as in the basilicas
and churches just mentioned. It is to be noted that the recess¬
ing of windows in the inside was a general custom in the tenth
century. On the north and south sides are two porches corre¬
sponding to the two arms of the cross, with small lateral
windows divided into two arches, and this form of entrance
doorway is, so far as I know, only to be found in the Byzantine
churches of the Caucasus. The north porch has been closed,
and now forms the sacristy.
Of the naves which form the cross, the central one measures
3-45 m., and the transepts 3-20 in width ; the crossing is
squared with four massive arches, above which has been a sort
of “ cimborio ” 2 or lantern, the excessive thrust of which, badly
provided for, has caused great displacement, especially at the
base, with deformation, and even probably the fall of parts of
the arches and vaults. It appears that the vaulting of one of
the transepts has fallen, and one of the arches been rebuilt.
That at the entrance to the Capilla Mayor appeared so dan¬
gerous some eleven years ago that it was thought necessary to
rebuild its centre. The lantern at some time disappeared, and
the base of the column which was weakest suffered a recon¬
struction which has disfigured it altogether. The doorways
made at this time, having arches slightly pointed, suggest that
these works date from the end of the twelfth or the beginning
of the thirteenth centuries, but the mutilations of the transept
might be of much later date. The nave and aisles of the
lower end evidently had wooden, not vaulted roofs, because if
there had been such there must be some indications of them
on the flat surface of the lateral walls above each of the
arches which used to open to the transept, but which are now
built up. The other arches dividing off the aisles, three on
each side, can only now be traced by their bases ( arranques ),
and by one of the square piers from which they sprang, the
immense displacement of which is sufficient evidence of the
urgent necessity there was for their removal. At this time the
falling portions were rebuilt, leav.ng the two doorways already
mentioned, and above them were built up massive walls with
the stones of the decayed building and slate, with small win¬
dows splayed towards the inside ; these became useless later
on when the w alls of the aisles were raised so as to come under
the pitched roof of the nave. The main east walls have been
rebuilt in many places with the old hewn stones badly put
together, and have narrow lancet windows in them, and the
surface of the flooring, showing little trace of the original woik,
makes one doubt whether there may not have been another
entrance with its corresponding porch. Personally I incline
to the negative, believing that the want of it determined the
ruin, since had it existed its inert mass would have checked the
excessive thrust from the crossing.
The two lateral portions of the east end of the church now
open from the wide arches which are indubitably modern,
which gives them the appearance of chapels ; their vaults are
not of great height, and they are lighted by three windows in
their outer walls. Originally they must have been more com¬
pletely closed in, like those at Pehalva, with entrance provided
with wooden doors, and at the side an opening with three
arches, giving a view of the interior from the church, which
would make one suspect that they were intended to be used
as cells for anchorites rather than as a sacristy.
The little rooms or cells which appear to have been above
the vault of the capilla and over the porches are another
notable peculiarity of this church. In effect the walls of these
rise a metre and a half above the others, leaving a space
which has had an entrance from the inside through a small
arch still to be traced, although built up above the main arch,
and they have been covered by a roof, the traces of which are
still to be seen on the wall in form of a “cartabon,” set
square, or tympanum of hewn stones, in line with the extrados
of the vaults of the interior of the building. With regard to
the entrances, on each side within are stones jutting out from
A “ cimborio ’’ is not quite the same as a lantern, being peculiar to Spain (see Street).
134
A Visigothic Church in Spain
THE TRANSEPT, LOOKING TOWARDS CAPILLA MAYOR. THE TRANSEPT, SHOWING FLOORING.
A Vi si got hie Church in Spain.
3 5
DECORATION OF THE CENTRAL ARCH AND CAPILLA MAYOR.
the masonry to form supports for the rafters of a floor — not for
the roof frame, for the walls are wide enough for this. It may
be presumed therefore that there has been a kind of loft with
access by the little arches over each doorway, whose use on
any other hypothesis is very questionable. Furthermore, we
know that other primitive churches of Asturias, such as San
Julian de los Prados, Valdedios, Tuhon, and Priesca, had above
the vaults of their respective chapels cells which had no
other opening than a window of two or three arches in the
inner wall, which were only accessible by rope or ladder.
There is this difference, that the latter have some ventilation
and have external openings ; but these may have been im¬
provements made with time, and what in the beginning served
only as a loft or cupboard for storing things belonging to the
church, or in which to secrete its treasures, or to serve as a
temporary hiding place for a man in times of peril, might later
on be transformed into a dwelling, more or less penitential, for
ascetics, recluses, or fugitives.
This general description of the church serves to explain
the accompanying drawings of the ground plan and section,
which show it free from all restorations, the dotted lines
marking where such have probably been made ; beyond these
the photographs represent the present condition of the building.
Both materials and workmanship show the leisurely care with
which this church was built. Neither have the slate dabs used
for the flooring, nor the broken quartz of Zamora, been used in
the main building, but throughout a very fine sandstone of a
slightly reddish-yellow tinge, resembling the soft stone of
Salamanca, very pleasant to work, especially while it retains
its natural moisture. The quarries of this stone, in fact, still
exist on the other side of the Duero, about five leagues dis¬
tant. Herein we find another argument for the antiquity of
the building, since in the tenth century, according to the
description of the battle of Zamora by el Masudi, the bridge
of the old Roman road across the Duero no longer existed.
Manuel Gomez-Moreno.
Translated from the original Spanish by L. Higgin.
{To be concluded.)
CAPITALS IN THE TRANSEPT.
Current Architecture
SILVERLANDS, CHERTSEY.
HE additions and alterations to
Silverlands, Chertsey, for the
Rt. Hon. Sir John Brunner,
Bart., M.P., consist of a new
entrance porch and vestibule
on the north side, an extension
of the garden loggia, and the
rebuilding and enlargement of
the billiard-room. Several small rooms were de¬
molished to form a large entrance hall, rising
through two lloors, with a broad central stair¬
case. New doors were provided in the dining-room
and corridors, and the interior of the loggia was
panelled. In the billiard-room some of the old
panelling had to be reused ; its extension west¬
ward was fitted up as a library, and a case was
provided for an organ. The ceiling was entirely
reconstructed, and decorated with fibrous plaster.
All the interior woodwork is in oak, elaborately
carved and enriched. Cipollino and white marble
floors are used in the vestibule and loggia. The
whole house was renovated inside and out. A
complete new system of electric wiring, sanitation,
and heating was installed. Fixed lavatory basins
and hot towel-rails were fitted in each bedroom
and dressing-room. An electric lift was placed in
the well of the back stairs.
Architect, Ronald P. Jones, M.A., 7, Stone
Buildings, Lincoln’s Inn. General Contractor,
J. A. Hunt, Hoddesdon, Herts. Woodwork¬
carving by A. Aumonier. Stone, Bath Stone
Firms. Plumbing and sanitary work, heating and
ventilating, Matthew Hall & Co., London.
Mosaic, marble and stone, marble-work, mantel¬
pieces, Farmer & Brindley. Electric wiring,
Easton Courtney & Darbishire, London. Plaster-
work, G. Jackson & Sons, London. Art metal
work, Artificers Guild, London. Art metal work
and door furniture, Birmingham Guild of Handi¬
craft. Electric light fixtures, Veritys. Electric
lifts, Wavgood & Co., London.
SILVERLANDS, CHERTSEY.
RONALD T. JONES, ARCHITECT.
Current A rchiteciure
'37
VOL. XXVI. — 1
GARDEN ENTRANCE TO BILLIARD-ROOM, SILVERLANDS, CHERTSEY.
133
Current Architecture
VESTIBULE, SILVERLANDS, CHERTSEY.
RONALD P. JONES, ARCHITECT.
Current A rc kite dure
139
UPPER HALL, SII.VERLANDS, CHERTSEY.
RONALD P. JONES, ARCHITECT.
I
140
Cu rren t A rch 1 tec tit re ,
RONALD P. JONES, ARCHITECT.
Current Architecture ,
141
IHLLIARD-ROOM, SILVERLANDS, CHERTSEY. RONAl.D P. JONES, ARCHITECT.
142
Current A rckitecture.
ALTERATION AND EXTENSION OF
PREMISES, WIGMORE STREET,
LONDON, FOR MR. C. PECHSTEIN.
Walter Cave, Architect.
HE works consisted of altera-
tionstotheold premises of this
firm, No. 40, Wigmore Street,
and the addition of Nos. 38
and 36 to the business pre¬
mises, with show-rooms, of¬
fices, &c., on the ground and
first floors, and music-teach¬
ing rooms above. Steel and concrete construction
was adopted, with hollow “ Mack ” partitions sup¬
plied by J. H. King & Co. The terra-cotta facings
were supplied by Doulton & Co., and the steel
construction work was carried out by Richard
Moreland & Son. Oak floors have been laid on
the ground floor, and maple floors in the show¬
rooms and on the first floor, &c. The ground
floor rooms are panelled in mahogany, inlaid with
ebony and satin-wood. Pavonazza pilasters, sup¬
plied by Farmer and Brindley, Ltd., have been
introduced into the decorative scheme. The
first-floor show-rooms have white woodwork and
modelled plaster ceilings, &c. The general con¬
tractors were Simpson & Son, of Paddington
Street, W. The casements and fittings were
supplied by George Wragge, Ltd.; the special
grates and the art-metal work by W. Bainbridge
Reynolds, Ltd.; the lifts by the Otis Elevator
Company; the modelled plaster-work and the
stone-carving were executed by Mr. Frith; the
electric wiring by Middleton Brothers; and the
heating and ventilating by R. Crittall & Co.
Mr. E. Wingfield Bowles was the consulting
engineer.
UNIVERSITY OF BIRMINGHAM.
Sir Aston Webb, C.B., R.A., and
E. Ingress Bell, Architects.
E buildings are situated at
Bournbrook on a site of
39 acres, the gift of Lord
Calthorpe, the main entrance
being from University Road.
In the centre of the frontage
is the library, the gift of
Mr. Charles Harding and
family, with the Chamberlain tower, the gift of
an anonymous donor, commemorating the in¬
ception of the scheme by the Right Hon. Joseph
Chamberlain. The tower forms a landmark
for miles around. Facing this is the Great
Hall, with the various blocks branching east
and west. When completed there will be nine
blocks ; at present only six have been erected.
Situated on the north-west portion of the site is
the power station, comprising engine and boiler-
house, with steel-melting laboratories, foundry,
smithy, battery-house, gas plant, &c.,and connected
with the main building by a subway carrying the
electric mains and pipes. The whole of the space
formerly occupied as a rifle range, 14 acres in
extent, has been laid out as a sports ground for
cricket, football, hockey, and tennis.
The stone figures for the entrance are the work
of H. Pegram, A.R.A. The ceramic frieze for the
entrance was done by R. Anning Bell. The stone
carving is the work of W. S. Frith. The general
contractor for the main buildings was T. Row-
ELECTROLIER DESIGNED BY EDWARD SPENCER.
Pendants for light are things in the design of -which we do not
as a rule excel. In America they order these things much better
than we do, and several excellent hanging lamps may be seen in
some of the American interiors which we have published recently.
The pendant illustrated, from the design of Mr. Edward Spencer,
is made of brass and steel, pierced and chased, for a modern
house of a Georgian character. The dimensions are 2 ft. 3 in.
across by 18 in. high. It is quite simple in design, slightly
reminiscent of Dutch candelabra, and makes a charming fitting.
Current Architecture,
M3
BftU.1
imkr Conans
V «-l CW'U
JARTET
BECHSTEIN HALL'
mutortv
Of. 15 Si
Ktfm SEAUOsj
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! 1
ALTERATION AND IXI'ENSION OF PREMISES IN WIGMORE STREET, LONDON.
WALTER CAVE, ARCHITECT.
UMI
r44
Current Architecture
ALTERATION AND EXTENSION OF PREMISES, W1GMORE STREET, LONDON. THE HALE
Current Architecture
145
ALTERATION AND EXTENSION OF PREMISES, WIGMORE STREEP, LONDON. DETAIL IN SHOWROOM.
WALTER CAVE, ARCHITECT.
Current Architecture ,
1 4^
ALTERATION AND EXTENSION OF PREMISES, WIG MO RE STREET, LONDON. DETAILS.
Current Architecture.
147
148
Current A rchitecture.
BIRMINGHAM UNIVERSITY. GENERAL VIEW OF THE FRONT.
Photo: Topical.
SIR ASTON WEBB, C.B., R.A., AND E. INGRESS BELL, ARCHITECTS.
botham ; for the tower, Waring & White, Ltd. ;
for the power station, Smith & Pitts ; and for the
grounds and roads, Currall Lewis & Martin.
The quantity surveyors were Corderoy & Co. ;
surveyors for roads and grounds, Thomas & Bet-
tridge ; electrical engineers, Henry Lea & Sons;
experimental electrical engineer, G. A. Steinthai.
The testing of steel and other materials was
carried out by R. H. Harry Stanger, and the con¬
sulting engineer for the steelwork was E. L. Hall.
The clerk of the works was H . Gray, and C. Laven¬
der was foreman of the works. The following are
some of the sub-contractors : — Terra-cotta, Gibbs
& Canning, Tamworth ; asphalt, Pilkington & Co ;
gates and railings, Hart, Son, Peard & Co., Ltd.,
and Bayliss, Jones & Bayliss. The entrance
gates, by Hart, Son, Peard & Co., Ltd., are of
wrought iron, with panels in cast bronze on either
side showing the arms of the University. The
gates are 13 ft. 6 in. high in the centre. The
organ in the Great Hall was built by Norman &
Beard, of Norwich. Facing bricks, The Accring¬
ton Brick Co.; building bricks, Hadley & Co. and
Johern & Son ; glazed bricks, Burmantofts Co. ;
stone (generally), the Dailey Dale Stone Co. ;
York stone, Powson Bros. ; stone granolithic
paving, Stuart's Granolithic Co. ; steelwork (steel
construction, girders), Eastwood, Swindler & Co.,
Hill & Smith, C. Wade & Co. ; fireproof parti¬
tions, C. Picking & Co. ; slates, the Tilberthwaite
Green Slate Co., Kendal ; casements and case¬
ment fittings, Henry Hope & Son ; patent glazing
and fittings, Henry Hope & Son ; stoves, grates,
mantels to architects’ designs, Shuffrey & Co. ;
sanitary ware and fittings, Doulton & Co.,
W. George ; marble flooring, Arthur Lee & Bros.,
Hayes ; plasterwork (enriched), The Bromsgrove
Guild ; stained glass and leaded lights, T. R.
Spence; art metal-work (special designs), The
Birmingham Guild of Handicraft, Bromsgrove
Guild ; electric light fixtures, The Birmingham
Guild of Handicraft, Bromsgrove Guild ; door
furniture, Charles Smith, Sons & Co., throughout ;
marble-work (not floors), Arthur Lee & Bros. ; lifts
and cranes, Otis Elevator Co., G. Johnson (service
lifts) ; laboratory fittings, benches, tables, &c.,
T. Rowbotham ; clocks, clock bells, &c., Joyce
& Co. (clock), Taylor & Son (clock bells) ; special
furnishings, Lucy & Co. (book fittings), Brown
& Co. (laboratory fittings, i.e. taps, &c.), Hamp¬
ton & Sons, W. Harris, Harris & Sheldon, Cham¬
berlain, King & Jones, Lee, Longland & Co.;
pavement lights, St. Pancras Ironworks Co., Ltd. ;
cement, Associated Portland Cement Manufac¬
turers, Ltd., Greaves, Bull & L.akin ; lime, Buxton
Lime Co., J. Board & Co.
Curve n t A rch i iectu re .
149
BIRMINGHAM UNIVERSITY. 'I HE MAIN ENTRANCE. DETAIL OF MAIN ENTRANCE.
!5o
Current A rchiiecture ,
Photo; Topical.
BIRMINGHAM UNIVERSITY. THE ENTRANCE HALL.
SIR ASTON WEBB. C.B..
R. A.
AND E. INGRESS BELL, ARCHITECTS,
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BIRMINGHAM UNIVERSITY. THE GREAT HALT.
SIR ASTON WEBB, C.B., R.A., AND E. INGRESS BELL, ARCHITECTS.
Photo : Topical.
Current A rchitecture
i
3
BIRMINGHAM UNIVERSITY. THE ENTRANCE GATE,
The Committee for the Survey of the
Memorials of Greater London.
RCHBISHOP WHITGIFT’S
“ Hospital of the Holy
Trinity” at Croydon is now
not only threatened, but is
actually “ scheduled for de¬
struction ” by the vote of the
Borough Council, which will
seek parliamentary powers
before the end of the year to sacrifice the hospital
to the supposed needs of the town. We have
already, in these notes, pointed out the peculiar
value and significance of this beautiful building to
the Croydon of the present and the future, and we
have shown how needless was the policy which
has been pursued in the widening of the streets —
a policy which went out of its way to prepare the
fatal blow at the continuance of Whitgift’s trust,
and the existence of the little quadrangle in North
End. But the enemies of the hospital have done
their work only too well, and we have to consider
the problem as it stands to-day.
The accompanying plan will show, however,
that notwithstanding what has already been done,
there is really no case for those who demand the
setting back of the frontage in North End. The
street curves at this point, and the hospital is on
the outside of the curve, so that the line of the
present revised frontage, if continued, actually
coincides with the outside wall of the old building.
Clearly therefore the proper course would be to set
back the frontage of the Crown Hotel opposite,
from the practical considerations of utility as well
as from those of aestheticism.
George Street presents, however, quite a dif¬
ferent problem. The widening, commenced on
the wrong side of the street, has been carried right
down to the hospital archway, and the chapel
and south wing project into the street. But if it
were possible for the people of Croydon to realise
the value of the building to them and their chil¬
dren, it would not be difficult to devise a way to
meet the requirements of the traffic. There is
i 54 Committee for Surrey of Memorials of Greater London.
already a wide passage between the
hospital and the buildings which ad¬
join it on the east, and if this were
continued round the angle into North
End, it would provide a safe and in¬
teresting course for all foot passen¬
gers. A little widening on the south
side of the street would then be all
that would be required for ordinary
vehicles and even for trams.
It is hardly to be expected, perhaps,
that a town of the size and nature of
Croydon should have much corporate
consciousness of what has been called
the historic sense. But this is a case
in which public opinion must tell, and
it is incumbent upon those who feel
these things, and upon those who re¬
flect upon the value of our ancient
monuments, to do their utmost to
ward off the hand of destruction.
Some public authorities have been
influenced already by the arguments
of those who defend these objects of
beauty from the violence offered them,
and even Parliament has shown a
languid concern in establishing a Royal
Commission on Ancient Monuments.
A little more effort will turn the scale,
and then the unbelievers will be
ashamed that they ever stood in the
opposite camp, in which sheer ignor¬
ance and insensibility had detained
them.
Walter H. Godfrey.
QUADRANGLE, WHITGIFT HOSPITAL.
DRAWN BV EDMUND L. WRATTEN, SURVEY COMMITTEE.
Books.
A PAGEANT OF GARDEN WORDS.
On the Making of Gardens. By Sir George Sitwell ,
Baronet. 8i in. by 5J in. pf. viii, 109. 5.?. nett.
London : John Murray , Albemarle Street , IV.
IR GEORGE SITWELL has
taken up his parable in praise
of Italian Gardens with so
great a wealth of phrase and
with so expansive an appre¬
ciation of beauty in all its
forms, that the practical
value of his sermon is a little
hidden. In effect, however, he sends us to Italy
that we may be purged on the one hand of the
dreary futilities of Capability Brown, and on the
other of “ the baneful influence of Versailles.”
As far as the landscape heresy goes, he is surely
preaching to the converted, but we can hardly go
so far as to believe that “ Le Notre stole the
formulas of garden-making from Rome and Flor¬
ence, but left the poetry behind.” “ The great
secret of success in garden-making is the pro¬
found platitude that we should abandon the
struggle to make nature beautiful round the house,
and should rather move the house to where nature
is beautiful.”
We rather doubt whether our author is giving
us very helpful advice. Doubtless in more Utopian
times architects will be allowed to roam over
England and Italy, and choose ideal sites where
Nature shall “call the tune and the melody be
found in the prospect of blue hill or shimmering
Books.
r 5 5
lake, or mystery-haunted plain ...” We would
humbly represent that a long-suffering profession
has to build on the site their clients provide, with
a prospect not so much of “ mystery-haunted
plain ” as of increment tax on undeveloped
gardens exceeding five acres.
1 he next maxim is directed more specifically to
the architect’s address. The house must be sub¬
ordinated to the landscape, not the landscape to
the house. Here we are plunged into generalities.
The house is to be
vast and austere where the note is one of grandeur or rugged¬
ness ; sweet and low where nature is in a smiling mood ; tall
in a level plain ; rich with coupled shafts and sculptured friezes
and cool colonnades if it faces a quiet prospect ; great and
dignified in a country of mighty trees.
We have the feeling that Sir George Sitwell’s pen
a little runs away in the pursuit of rolling phrases,
and could have desired a greater economy of
epithet. It was Rossetti who used to read at the
British Museum to find “ stunning words” to use
in his poems. We frankly enjoy Sir George’s
stunning words, but we do not see why coupled
shafts belong more to a quiet prospect than (say)
to a country of mighty trees.
We trust it is not harsh in another matter to
apply the test of the deadly parallel : —
Page 6.
Over the countryside in the
neighbourhood of the great
houses there broke out a dread¬
ful eruption of Gothic temples
and Anglo-Saxon keeps . . .
Page 94.
(If it be that you desire)
a wall garden, throw round
it a grey ring of castle walls,
for in art it is only appear¬
ances that matter, and for¬
gery is not a crime, unless
it fails to deceive.
We agree with Sir George Sitwell’s page six
dislike of Gothic temples and the like shams, but
we must therefore repudiate the Sir George
Sitwell of page gq.
It is perhaps unreasonable to be critical, for
our author’s pleasure in the effects of garden
craft is so obvious that he infects us with his
own rich appreciation. Of the use of sculpture
in the garden he writes with dignity and a just
intuition. Winding through the pages is a sense
of wonder at the psychological mysteries which
are behind our perception of the beauties of
nature. Sir George Sitwell is a student of the
type of Grant Allen and Maeterlinck, who does
not allow his sensor)' pleasure to overcome his
intellectual grasp and to dull his search for the
springs of knowledge. His aim is to inspire the
making of great gardens that shall enshrine great
ideas and conquer magnificent opportunities.
We may read him therefore for the stimulus
that is born of his large pleasure in things beauti¬
ful, and use our own judgment to translate it into
practical applications.
We will close this review with a strong word
of praise for the following happy tribute to the
mistress art : —
Architecture, the most unselfish of the arts, belongs to the
passer by, and every old house and garden in which the
ideal has been sought is a gift to the nation, to be enjoyed by
future generations, who will learn from it more of history, art,,
and philosophy than may be found in books.
THE MAKING OF THE CITY BEAUTIFUL.
Town-planning , Past , Present , and Possible. Dy H. Iniga
Triggs, A.R.IB.A. With 173 illustrations. Price
15.S'. nett. Methuen Sr* Co., 36 , Essex Street , London ,
W.C. 1909.
NCREASED attention has of
late been given to the question
of town-planning, to which the
imminent passing of the Hous¬
ing and Town-planning Bill
gives point. In its scope, how¬
ever, the Bill is utilitarian, and
there is danger of the aesthetic
side being overlooked. Yet it seems to us that the
latter is quite as important, for most of us spend
the greater part of our lives in towns, and there is
no doubt but we are affected by our environ¬
ment.
Mr. Triggs does not neglect any aspect of the
question, and his book is inspiring to all who are
interested in the making of the City Beautiful.
He has a wide knowledge of the towns of Europe,
and speaks with some authority of their various
aspects. Paris, Vienna, and Berlin all furnish
numbers of examples of monumental planning,
and (we admit it with shame) London not a single
one.
Mr. Triggs shows how South Kensington might
have been designed in a great manner if some
forethought had been taken. Town-planning
amounts to this — foresight. Nothing can be done
in a day, and any improvement must be the work
of years. Paris has not arrived suddenly at its
magnificence of aspect, but in the course of a
century. Although the author seems to approach
his subject with a bias for the picturesque, he
makes a strong case for monumental planning
■ — straight streets and uniform buildings — for
his numerous and best examples display this
quality.
He asks us to compare the Rue de Rivoli with
the High Street, Oxford, to the detriment of the
latter. We ourselves love the High Street, but,
as we have pointed out before, it has nothing to
do with conscious effort — it has really grown in
that way. It is this mistaken admiration for the
picturesque that continually works our undoing —
Books.
156
it is responsible for much of the artificiality cf
modern design (by artificiality we mean a breaking
away from the natural course of tradition). Real
picturesqueness is begotten by time. We hope
common sense will guide the direction of new
thoroughfares and drive them straight. We do
not admire streets like those in the Hampstead
Suburb, which if they are straighter than a cork¬
screw are less so than a rainbow.
The best examples of to-day — Paris, Vienna — -
show the effectiveness of wide and straight streets
taken home to great focal points ; the finest plans
■ — that of Wren for London and of L’Enfant for
Washington- — show the same. Unfortunately the
literature of this subject is small and is chiefly
confined to the Continent, so that this new
volume is a welcome one; for the civic spirit,
which alone is able to overcome the obstacles
placed in the way of all improvement, requires to
be developed, and the possibilities which this
book opens up should help to do this. At present
municipalities are content to confine themselves
to matters of hygiene only, instead of attempting
the larger issues of providing for wide streets,
open spaces, gardens, &c., which in the nature of
things bring sweet air, cleanliness, and health
along with them.
Town-expansion, street-planning, the radiation
of traffic, squares and open spaces, are all dealt
with, and the whole work is splendidly illustrated
with many fine views and plans, and should prove
immensely useful to all interested in this most
fascinating subject — the making of the City
Beautiful.
HAMPSTEAD GARDEN SUBURB.
Town Planning and Modern A rchitecture at the Hampstead
Garden Suburb: with contributions by Raymond
Unwin and M. H. Bail lie Scott. 1 1 in. by 9 in. pp. 106.
Illustrations 121. ij. nett. London : T. Fisher Unwin,
Adelphi Terrace , IV. C.
Perhaps the title of this publication is a thought too pre¬
tentious. It is really a trade catalogue setting forth the merits
of the Garden Suburb Development Company (Hampstead)
Ltd. This company is the buffer state between the Trust
Company, which owns and leases the land of the suburb, and
the tenants. It has proceeded on very wise lines by employ¬
ing architects of standing only, with admirable results. The
suburb is yet in the making, but enough has been done to
show that in architectural quality and coherence it is greatly
in advance of previous experiments in this direction. It has
an air of reasonableness. The Garden City at Letchworth is
too experimental. Bournville is admirable, but the type and
value of the houses is somewhat restricted. Port Sunlight
has the air of an architectural museum, and was not built with
a view to economic rents. Hampstead, we think, is the best
that England can yet show, and we doubt not will prove the
harbinger of a better order.
STORIED WINDOWS RICHLY DIGHT.
Stained Glass Tours in England. By Charles Hitchcock
Sherrill. C)in. by 6 in. pp. xvi, 254. Illustrations
and maps 2r. ys. 6 d. nett. London: John Lane ,
The Bodley Head , Vigo Street , W.
Mr. Sherrill’s enthusiasm for stained glass, which pro¬
duced a book on French windows last year, has led him into
print again, on English work this time, and with agreeable
results. We can hardly accept his views as authoritative, but
he claims to give no more than a guide-book to those who are
as keen as he is. Were we critical, we should point out that
it is hardly accurate to say that the Renaissance reached
England through France. We think that Mr. Sherrill has
overlooked one very potent influence that worked for grisaille
as against heavily-coloured glass. He regards it as simply a
question of illumination. The Cistercian statutes forbade
colours in windows, and as the Cistercian influence on archi¬
tectural development was strongly marked, their views as to
glass doubtless travelled beyond their own buildings.
Mr. Sherrill also might have mentioned that the brilliance
of some old windows, their jewel-like quality, is due to their
very misfortunes. Small breakages here and there have been
repaired in careless times with white glass, and these give a
sparkle that is lost after careful restoration. Our author has
manfully resisted Americanisms, but our eyebrows were fain to
lift at the reference to twining vine tendrils as “bits of flora.”
Among excellent features of the book are maps for tours and
brief and handy rules for differentiating the main periods of
glass.
TWO GALLERIES AND SOME SPLEEN.
Notes from a Painter’s Life : including the founding of
two galleries. Bv C. E. Halle. 8 in. by 5 h in. pp.
viii, 254. Illustrations 9. 6s. nett. London : John
Murray, 50^, Albemarle Street , IV.
“ Campbell is a good man, a pious man. I am afraid he
has not been in the inside of a church for many years ; but he
never passes a church without pulling off his hat. This
shows that he has good principles.” (Dr. Johnson.)
“ In all Christian charity one could wish that all literature
upon Art might be collected, and a huge bonfire lighted with
it in the middle of Hyde Park, on which the writers might be
roasted.” (C. E. Halle). When Mr. Halle tells us that he avoids
reading what these sad fellows, the art critics, have to say, it
is apparent at once that he has good principles.
However, his book is not made up entirely of these examples
of his Christian charity. He has done real service in setting
out the story of the inception of the Grosvenor and New
Galleries, for the founding and management of which he was
largely responsible. That these galleries have been of im¬
mense importance to the English art and artists of the last
thirty-four years is apparent enough. It is largely to Sir
Courts Lindsay, who found the money for the Grosvenor
Gallery, and to Mr. Halle and his coadjutors who managed it
so successfully, that Rossetti, Burne-Jones, and Holman Hunt
have taken that place in the admiration of the public which
they could hardly have won if the walls of the Royal Academy
alone had been open to them.
Of his own life and friends, of his friendship with Ingres and
others, of his hatred of impressionism, etc., Mr. Halle talks
with a pleasant forcefulness and egotism which make his book
eminently readable and informing.
THE ARCHITECTURAL
REVIEW, OCTOBER,
1909. VOLUME XXVI.
NO. 155.
PORCH OF ST. TROPHINE, ARLES, PROVENCE. (See p. 169.)
FROM A WATER-COLOUR DRAWING BY LESLIE WILKINSON (ARTHUR CATES PRIZE).
The Practical Exemplar of Architecture.
XXXVIII.
CRANBORNE MANOR. WEST WING.
CRANBORNE MANOR. WEST WING. CRANBORNE MANOR. WEST WING.
INIGO JONES, ARCHITECT.
VOL. XXVI. — K 2
160 The Practical Exemplar of Architecture. — XXXVIII.
CRANBORNE MANOR elewion of west wing.
MEASURED AND DRAWN BY H. A. M°QUEEN
DETAIL of WINDOW.
The Practical Exemplar of Architecture. — XXXVIII. 161
MEASURED AND DRAWN BY H. A. MCQUEEN.
1 62 The Practical Exemplar of Architecture. — XXXVIII.
ARGYLL'S LODGING, STIRLING, A.D. 1632. GENERAL VIEW TOWARDS COURTYARD.
The Practical Exemplar of Architecture.
XXX VII I. 163
ARGYLL’S LODGING, STIRLING, A.D. 163
164 The Practical Exemplar of Architecture — XXXVIII.
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MEASURED AND DRAWN BY CYRIL MARCHANT.
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"There is no doubt that he [Inigo Jones] did design many additions and alterations to existing houses, of which no
documentary record exists ; but in the case of such tradition the evidence of the building itself is the only clue.
This at once eliminates the Jacobean work at Cranborne Manor, executed for Cecil soon after 1604, but will include
among the list of Ms works the west wing with its great quoins and boldly projecting eaves, which in scale can only be
compared with St. Paul’s, Covent Garden. This wing was built in 1647, and is almost certainly by Inigo Jones.” —
Blomfield.
[N the arrangement of every line
of this small building the
greatest skill is displayed — ‘the
[•tarn fPflW TOj contrast between the delicate
Pi! JJBJJ Sis mullioned windows and the
bold coigns and splendid cor¬
nice is very marked, but there is
no incongruity in their arrange¬
ment — the delicacy of the one rather enhances
the vigour of the other. The roof is stone nearly
three-quarters of the way up, tiles forming the
upper part. However, it is to the cornice and the
coigns that the building owes its character of
strength and restraint. The chimneys belong to
a later date.
Argyll’s Lodging was built in 1632 by William
Alexander, first Earl of Stirling, whose arms are
carved over the porch. The late William David
M ‘Gibbon considered it “probably the finest
specimen of an old town residence remaining in
Scotland.” Anthony Alexander, who was emi¬
nent in his day and Master of the Works to King
James for Scotland, was the architect of the build¬
ing. The house fell into the hands of the Duke of
Argyll in 1664, who added to it extensively in
1764, and who was beheaded in 1685. Charles II
lived in it in 1650, and the Duke of York, after¬
wards James II, in 1681.
The old Glasgow College which once stood in
the High Street was built in 1658, and in many
respects is very similar to Argyll’s Lodging. The
design of the heads of the dormer and other win¬
dows is in both cases curiously alike, the panel con¬
taining the arms over the entrance is very like the
Stirling example, and various details are similar.
The gate pier from “the Priory,” Warwick,
is a simple and effective piece of eighteenth-cen¬
tury design — its panels, imitated from woodwork,
make a charming effect, and are curiously reminis¬
cent of some of the Salisbury work.
Notes of the Month.
St. Trophine at Arks— Texture in Architecture — -Liverpool ana Town Planning— The
Renaissance in Italy — The Lion Monument— Golf Trophy— Black Lion Inn ,
Bridge Street , Hereford — The National Loan Exhibition.
HE porch of St. Trophine at
Arles in Provence is one of
the most interesting examples
of French Romanesque work.
It was built in the eleventh
century and possesses a great
wealth of fine sculpture. In
the tympanum is represented
Christ enthroned, with the symbols of the Evan¬
gelists on either side and contained by the pointed
arch, the main member of which is beautifully
decorated with a choir of angels. On the quasi¬
frieze is illustrated the procession to the Last
Judgment, the lost souls being dragged towards a
dragon with gaping jaws. And in the arches
between the detached columns are placed statues
of the Apostles. The whole composition is
curiously like what is known as the motif -Palladio ;
but its chief claim to distinction is the carving,
which is wonderfully effective. The triple door¬
ways to the neighbouring church of St. Gilles are
still more rich, although similar in design.
F proportion may be called
the soul of architecture, the
texture of its walls may well
be the body, through which
its immediate appeal to the
eye is made. The latter
becomes a medium to express
more or less clearly the idea
at the back of it. That perfection to which the
Greeks attained in their architecture is clearly
exposed in the texture of the walls of their temples
- — -nothing so fresh or beautiful has ever been
elsewhere attempted — the flutings of the pillars,
the grace of the Attic base, the Doric capital,
have a new meaning when executed in white
marble and placed in the translucent air of
Greece.
A like perfection of surface was attained in
Sicily, where the rude stone, found unsuitable to
the perfect sight of the Greeks, was coated with
plaster. The texture of white marble, or plaster
wrought to an equally hard and fair face, would
No/es of the Month.
i 70
seem to us, under Southern skies, perfection. But
the Greeks chose to tone down its glare by the
addition of colour, and consequently the pediment
sculpture gleamed forth from a blue ground as if
it were set against the sky ; fretted ornaments were
picked out in black, yellow, and red from capital
and cornice, to the infinite delight of the eye.
That and the play of light and shade was alone
capable of expressing exquisitely the soul of that
architecture.
In all architectures the hand of man working
intimately in stone, brick, or marble was found
sufficient to express beautifully the idea contained
in it. As long as the workman worked intimately,
texture came as a matter of course.
Only in these latter days have materials been
so degraded by machinery that texture requires to
be carefully sought. We do not write despond-
ingly, but rather to congratulate our contempo¬
raries on the stand they are making for sound
materials.
In the recent Building Trades Exhibition hand¬
made bricks and tiles of fine workmanship and
colour were shown, proving there is a market for
these things. As a matter of fact the possibility
of getting fine material is reacting on our archi¬
tecture to its simplification. For it follows that
if interest can be imparted to the walls of a
building, fewer ornaments are required, and in
smaller buildings at least the plain materials
themselves are sufficient to speak intimately like
music.
If this truth were more generally grasped it
would tend more than anything else to the
improvement of our domestic work — this and the
necessity for reasonable workmanship. It would
entirely kill the type of villa called by a humorist
“ Queen Anne in front and Mary Ann behind ” ; and
it would obviate the self-conscious efforts of the
very young man, who with some precious natures
never contrives to grow up, and whose immaturity
grows nauseous with age.
Lately in London an attempt has been made
to introduce colour into architecture. Glazed
bricks, tiles, and various forms of terra-cotta are
used frequently in public buildings. But, however
interesting theexperiment, we find it too artificial — -
artificial in the sense that it does not follow a
natural course or tradition, and is a complete break
with the past. And although this innovation is
the result of an attempt to get texture, we think
it defeats its object. For these highly glazed
surfaces, if impervious to the weather and indiffer¬
ent to the passage of time, are supposed to possess
the gift of eternal youth, and will remain always
cold and frigid. Neither the sun nor the rain can
make any impression ; the sun cannot warm it, nor
the rain delve wrinkles in it. As a matter of fact,
it becomes shabby. Its cast-iron rigidity can
never move us with any pleasant emotion ; it will
always be disappointing.
In architecture, nothing we can remember that
is of much value is outre either in design or
material, and it is scarcely likely that any real
development is possible along other lines.
The traditional materials — marble, brick, and
stone — are of the very texture of the globe, various,
durable, and lovely to a great degree in their proper
use, and impart to building something of the dura¬
bility of the earth. With these materials man
has raised up in every corner of the habitable globe
fair creations in architecture ; and although the
fine texture given by marble to Greek buildings is
separated by ages from the homely texture of our
quiet brickwork, each in its own way was sufficient
to its purpose. The marble veneer of Venetian
palaces has toned and weathered to a lovely
colour. Like an antique beauty, it is but a faint
ghost of former loveliness — the life-blood is faded
like an aged cheek ; but it still pulsates quietly,
the feverish passion is almost burnt out, and a
quiet peacefulness reigns in its place.
On lonely hillsides pale ghosts of Greek temples
are mellowed to a golden hue like the sky at the
twilight — pale and majestic they lie out under the
blazing sun and through the quiet nights for ever.
These materials, being akin to the earth, take the
weather kindly and the passage of time, and mel¬
low to exquisite beaut}' of texture. Whether in a
garden, in a city, or in now uninhabited regions by
the sea, they have become one with their surround¬
ings, and impress us, we know not why, like works
of Nature.
After the main conception of a building is settled
it should be the architect’s endeavour to raise it
so that every brick and stone may build up
beautifully the main conception, and clothe it as
the web of harmony does a central melody, to the
end that, out of the whole, may arise that com¬
pleteness which is a work of art.
% * *
T will be no longer possible, in
a few years, to reproach us
with being ignorant of the
whole art of Town Planning.
For the University of Liverpool,
thanks to the generosity of
Mr. W. H. Lever, M.P., has
founded a School of Civic
Design, and next term the school will begin its
work. The matter is one of great importance,
alike from an aesthetic as from a sociological
point of view. This school is the first of the kind
Notes of the Month .
in England. As a matter of fact — as a school
exclusively designed to give instruction and
stimulate research in the problems of civic design
— we believe it to be the first of its kind in the
world. It is magnificently equipped, and the
machinery of the school is very complete and
comprehensive.
Two courses are provided, a certificate and a
diploma course ; and — -an unusual arrangement —
these courses are designed not only for archi¬
tectural students, but for laymen sufficiently
interested to undergo lectures and instruction in
the studio. The lectures will include Town
Planning (the development of cities and the
influences affecting their growth), Civic Architec¬
ture (composition, materials, &c.), Civic Decora¬
tion (dealing with statuary, monuments, street
refuges, &c., and other incidents of the streets,
squares, and parks), and Landscape Design.
Instruction in allied subjects, Civic Engineer¬
ing and Civic Law, will also be included in the
syllabus. It will be seen therefore that it is
proposed to treat town-planning not merely
as a department of aesthetics, but as a matter
intimately connected with sociology of the most
practical nature. It is now recognised that in the
general laying-out of our cities we are behind
France, Germany, and America. We are too
much inclined to let towns develop at random — a
growth which may be picturesque, but too often
results in disorder.
All those who wish to see the English nation
possessing cities worthy of its greatness realise
that they must grow, and where necessary and
possible be reformed, according to the dictates
of common sense and beauty. And it is much to
the credit of the University of Liverpool, and of
Mr. Lever, that the first organised attempt towards
rational and beautiful town-planning should be
initiated in that city. To quote from the school’s
prospectus: “Just as it is necessary for the
medical officer of health to obtain his diploma
before taking an official position, so it is hoped
that the possession of the diploma in civic design
will be regarded as the necessary qualification for
those officials engaged in the making of the town
plan.” The school possesses in Professor S. D.
Adshead as desirable a head as could be imagined.
Three schemes of his for the improving of town
sites — two of them in London, the space in front
of the British Museum and the Marble Arch,
and one in Liverpool, a proposed laying-out of
St. Michaels and F ulwood Park — are reproduced in
the prospectus. As showing the kind of work the
Liverpool school will stimulate, these designs are
extremely gratifying ; and they also give to the
prospectus a value to anyone who is concerned
with town-planning.
i 7 i
We are glad that at last we have wakened from
our lethargy, and hope that the movement will
gather momentum as it proceeds, and take away
the stigma from our national character.
* * * *
LTHOUGH it is probably true
that no city possesses such a
collection of Renaissance
monuments as London, we
continually turn our eyes to
Italy. Fascinated perhaps by
its very remoteness, we send
our youth to study there, and
hope in our maturity to return thither to walk
again the old familiar ways, with eyes dimmed
perhaps, but no less critical. Besides, in art there
is no nationality. We can claim kinship with
Peruzzi, Raphael, and Michelangelo; and if we be
only pigmy relations, it is even something to be
of that race — to be able to walk in their footsteps,
humbly as is the wont of poor relatives, but not
without pride. For we, if we may not impress
emperors, popes, and kings, may yet give pleasure
to infinite numbers of ordinary people, the chief
thing — to ourselves. That is the reward of art —
the pleasure to ourselves in its execution.
The English Renaissance, too, falls naturally
into its place after the Italian — the beginning of
modern architecture. It has become our heritage
to-day along with the Western nations. In the
Italian Renaissance, for the first time, the archi¬
tect steps into the light of history, and his buildings
bear a stamp of personality, as if his passions were
able to impress themselves on the dumb stones,
or through rules fixed, yet elastic enough to the
master, express his character, whether rugged or
urbane. It is this quality which gives vitality to
what were otherwise a mere petrification of the
past. It is affirmed with truth, that the rebirth
of the day, that exquisite dayspring when nature
awakes out of its deep sleep, surpasses in freshness
and in beauty the rest of time. So in architecture.
That rebirth in Italy possesses a fragrance, a sweet
freshness, a melodiousness, that no fortunate con¬
junction of circumstances can ever compass again.
So we have reason to turn our thoughts thither.
What a galaxy of names does not Italy spell for
us ! — names household in the realms of art. They
become realities to us, more than the Heroes, for
we have their work, manifold, personal, and beau¬
tiful, to delight our eyes. We do not slight our
own masters — Inigo Jones and Wren — by turn¬
ing our eyes to Italy. We learn to understand
them, and to read of temperament expressed in
stone.
172
Notes of the Month.
We must not be supposed to deprecate medi¬
aeval architecture ; but its study does not equip us
adequately to our practice as architects. Its
recent revival has proved its futility, and pseudo-
mediaevalism is now as dead as the Dodo. What
good the movement possessed has survived, and
renewed strength now invigorates the handi¬
crafts.
Modern architecture seems more and more to
point to the tradition which was inaugurated in
the fifteenth century in Italy, and which fizzled
out during the eighteenth in this country, and it
will be well for the future if this fact is ac¬
cepted.
We can see with what vigour the Renaissance
tradition in America is animated. Splendid build¬
ings and great schemes of building are being
inaugurated in all the great cities, each emulating
the other which shall be first, and a greater
unanimity prevails than here. For, to the Ameri¬
can student, Europe, and Italy especially, are
pointed out as the happy hunting-grounds.
Unfortunately we have fewer prizes to take our
students away; but on the other hand — for us in
England it is but a stone’s throw to Italy. F'or our¬
selves, we cannot help thinking of Italy without
a great longing to return there — to walk again the
old familiar paths, and let the beauty of it en¬
wrap the senses with joy.
GOLF TROPHY.
DESIGNED AND MODELLED BY JAMES S. MAITLAND.
HE famous Lion Monument
executed from the design of
Thorvaldsen by the Swiss
sculptor Ahorn is stated to
be in such a dangerous condi¬
tion that little hope is enter¬
tained of its preservation.
The figure of the lion, which is
twenty-eight feet in length by some eighteen feet
high, is carved out of the solid rock, and it was
thought to be an eternal monument like the
Sphinx, which nothing but an earthquake could
move. But the action of the water falling over
the sandstone in which the figure is cut is fast
wearing it away, and large pieces of stone have
become detached and broken, threatening the
memorial with destruction. Hitherto all efforts
to stay the ruin have proved ineffectual. It has
been the custom for some time to board it up in
the winter to minimise the danger to which its
exposure makes it liable, but all precautions have
hitherto proved in vain. A suggestion for its
removal to a museum, which at one time was
mooted, would preserve it, but its whole effect
would be lost under cover.
The monument was erected in memory of
the Swiss Guards who fell defending the Royal
family of France during the attack on the
Tuileries in 1792, at the time when the Swiss
were still smarting from the French revolutionary
invasion.
For nearly a century it has commemorated a
gallant action, and with its countless models in
wood and ivory is one of the best known of me¬
morials and of Thorvaldsen’s works. We hope some
scheme may be found which may at least retard
its ruin, but it is far better for the noble animal
to perish slowly than to board it up like something
exotic. For in its utter ruin it will not cease to be
a lasting monument to a noble action.
^
ROPHIES, cups, &c., are usu¬
ally of the kind called trade.
Lately, however, the design¬
ing of such things has got
into better hands, to their
great improvement. In the
design of this trophy for
a golf club in Lanarkshire,
N.B., free use has been made of the arms of that
county — the double-headed eagle, the lions, fish,
and rings ; and twenty discs, about the size of six¬
pences, are appended to the circuit to take the
names of successful competitors. 1 he whole
trophy is only ten and a half inches high, and was
designed and modelled by Mr. James S. Maitland,
a pupil of Mr. Wm. Leiper of Glasgow.
Notes of the Month.
173
BLACK LION INN, BRIDGE STREET, HEREFORD.
MEASURED AND DRAWN BY HERBERT SKYRME.
VOL. XXVI. — L
1 74
Notes of the Month.
Jkk,
BLACK LION INN, BRIDGE STREET, HEREFORD
(SHOWING THE OLD TIMBER WORK).
RATHER interesting dis¬
covery was made at Hereford
some few months ago. An
old public-house known as
the Black Lion Inn was
undergoing repairs, part of
which consisted of taking off
the decayed lath-and-plaster
front facing the street, and renewing the same.
During the building operations an oak half-tim¬
bered front was exposed to view (see photograph),
showing four small mullioned windows which are
rather unique ; there is no doubt they are the
original windows of the inn, as they are framed up
together as shown in the detail ; the mullions are
moulded and the intermediate bars are of oak. The
lions’ heads from which the old inn takes its name
are introduced in the apex of the gables in plaster-
work painted black. Before the new plastering
to the front was commenced an effort was made
to induce the owner to restore and expose the old
timber framing, but this was unsuccessful : the
new plasterwork has been carried out, and the
old work is again hidden from view.
'HAT promises to be one of the
most important exhibitions of
Old Masters held in this
country, in recent years, will
be opened this month at
the Grafton Galleries. The
National Loan Exhibition
is inaugurated in aid of the
National Gallery funds, and it will probably re¬
main open until January. Although the owners of
many notable pictures have expressed their in¬
ability to contribute, there is no doubt that the
exhibition will prove a notable event to all picture-
lovers in bringing together a number of inacces¬
sible pictures.
A final selection has not yet been made by the
committee, but the pictures hitherto unexhibited
will include a “Portrait of a Doge of Venice’’
by Bellini, lent by Mr. Lewis Harcourt ; a “ Por¬
trait of a Man selling Fish’’ by Juan de Pareja,
from the collection of Mrs. Bischoffsheim ; and a
“ Pieta ” by Moretto, in the possession of Sir
Frederick Cook. Lady Cowper has sent her two
Raphael “ Madonnas,” of 1505 and 1508 respec¬
tively, which have not been exhibited for nearly
thirty years, as well as three portraits by or
ascribed to Andrea del Sarto. Other contributors
include the Duke of Leeds, the Duke of Welling¬
ton, the Duke of Grafton, the Duke of Abercorn,
Earl Bathurst, the Earl of Ilchester, the Earl of
Plymouth, Lord Darnley, Sir J. Stirling-Maxwell,
the Hon. Edward Wood, Lady Wantage, Sir
Julius Wernher, Mrs. Joseph, Mr. Herbert Cook,
the National Gallery of Scotland, the Glasgow
Gallery, Mr. J. P. Heseltine, Sir Hugh Lane,
Mr. Fairfax Murray, Mr. Edmund Davis, Captain
Abdy, Mr. Leopold Hirsch, the Dilettanti Society,
Mrs. Lionel Phillips, and Sir Edgar Vincent. A
selection of the pictures of the recently dispersed
Kann collection will also be shown.
An edition de luxe of the catalogue, which is
being compiled by Mr. Herbert Cook and
Mr. Maurice W. Brockwell, will be published by
Mr. Heinemann in due course.
It is to be hoped that the exhibition will be
supported by the public as it deserves, and that it
will be a real aid to what are certainly very neces¬
sitous — the National Gallery funds. It gives a
chance to everybody to subscribe in a small way to
the purchase of notable pictures for the nation.
Memorials of Wren
FIG. I.
HE Parentalia, or memoirs of
the Wrens, by Christopher,
the son of Sir Christopher, is
as ill-constructed a book as
one may meet, yet it possesses
a charm of its own. Christo¬
pher’s idea of a biography
seems to have been to print
notes, letters, and discourses as they came to his
hand, without any thread of text to give coherence
to very diverse material. The result is a rather
forbidding publication, which demands of the
reader no little resolution. The Parentalia deals
not only with Sir Christopher, but with his father,
Dean Christopher, and his uncle, Bishop Matthew.
The father as Registrar of the Order of the Garter
and Dean of Windsor, and the uncle as Bishop of
Ely, filled no small parts in the Church history of
their day ; but we are not concerned with them
here.
The life and works of Sir Christopher are dealt
with by his son under the following main head¬
ings : — (i) Mathematics (including all manner of
experiments in physics), (2) Anatomy, and (3)
Architecture (including notes on St. Paul’s, the
City churches, &c., and tracts on architectural
questions).
This ill-compiled miscellany was completed by
the younger Christopher, who died in 1747, and was
published by his son Stephen in 1750. It served
as a mine for Elmes, Miss Phillimore, and Miss
Milman, in their biographies of Wren, and has
necessarily been consulted freely by all who have
made him the subject of their pens. In 1903
that part of the Parentalia which referred to Sir
Christopher was reprinted by Mr. C. R. Ashbee
at the Essex House Press, and twenty drawings of
Wren’s churches by E. H. New were reproduced.
It is finely printed, but the editing (by Mr. Ernest
J. Enthoven) was confined to ensuring an accurate
transcript of the original edition as published by
Stephen Wren. Now Stephen was unmarried, but
contrived to beget a daughter, Margaret, who took
the name of Wren. For her a copy of the Paren¬
talia was bound sumptuously in red leather,
tooled and gilt. It bears the initials “ M. W.,” and
Margaret's autograph appears on the title page.
Interleaved in this delightful and unique volume
are many manuscripts, autograph letters, and en¬
gravings. Some are in connection with the Dean
and the Bishop. This article deals with those
that relate to Sir Christopher.
On the death of Margaret the book came back
into the direct line, and is now in the possession
of Mrs. Pigott, nee Miss Wren-Hoskyns, the last
survivor of Sir Christopher's lineage. To her
kindness I owe the permission for my recent ex¬
hibition of the volume at a meeting of the Society
of Antiquaries, and for the reproduction here of
the more important of the inserted matter.
I cannot claim entire novelty for these personal
memorials of Wren, for both Miss Phillimore and
Miss Milman had the great advantage of access to
the book while engaged on their biographies of
the master. I believe, however, that none of the
autograph letters has been produced in facsimile,
and in one important particular, the sketch of the
Mausoleum of Halicarnassus, the significance of
the volume has been overlooked, even by those
careful biographers.
It is necessary, so that these memorials may be
fitted into their place, to set out a few dates.
Wren was born in 1632 at East Knoyle. His
early education he received (by reason of tender
health) at home. In 1642 he was entered at West¬
minster School under the redoubtable Dr. Busby.
In 1643 his sister Susan Wren married Dr. William
Holder, afterwards a Canon of St. Paul’s, who
initiated the boy (presumably during his holidays)
in the principles of mathematics. That an “ un¬
common Genius ” (to use the words of Paren¬
talia) made its early appearance is obvious from
l 2
M emon a Is of If rren .
i 76
the excellence of some Latin and English verse
which young Christopher wrote to the Dean in
1641, when he was nine.
In 1645 he is writing again to his father in
Latin verse (reproduced in Fig. 2). The MS.
differs slightly from the version printed in Paren-
talia. The rising scientist dedicates to the Dean
an instrument called “ Suum Panorganum Astro-
nomicum,” anda tract, “ De OrtuFluminum.” His
views on the rise of rivers are lost, and the nature
of the Panorganum does not appear.
Pasted alongside the verses in the interleaved
copy is the drawing which forms part of Fig. 2.
There is nothing save juxtaposition to connect
that Wren made friendships which flung him into
the world of science, and his wide and eager mind
was soon astir with every sort of physical experi¬
ment. A list of fifty-three inventions “exhibited
by Mr. Wren at the first Assemblies at Wadham
College ” is printed in Parentalia.
The original MS. states that these assemblies
took place “about the year 1650 and after,” but
these words have been erased, and while 165- is
clear, the last figure may or may not be -0 ; it is
little more than a guess.
It is an amazing catalogue of inventions, start¬
ing with views about the Pleiades, and ranging
through embroidery for beds, hangings cheap and
OZ CfrPWr.
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P Zt'cvSx }<aptce 'PralU Octet',
irfu. ego Sj tieneJS lzn.fa.vi ping^crc PTo/us
y onHicaJ ,m. tnoJuljs ctnuiFia-re breves.
Qupfj’V-O CxpsaFP-u, Kerunie n.-hcr'Tcnipora qyrv,
S ectu.li.j.,K Menses, impdn/csPDus;
Qjira: n)c Sol a. St ah n^ca.frd,&- tc ftipz-ref Aieiui'm. j
‘'Fix !J*jf>tarn centra.) yircnnet Iter.
C/vx A£isctnt trxcih, piaie Qrbt rc^uiur AAuUa,)
Pur jirxr axnacrtj MeustvuiT,utid Jcuti.
Hi; ejo Ppt-mtnLtuA ^u.m U TO, a.4^ A.tyiea. Mup}?
Scries 0 Tj (fe \^lqn_;,i£ijt-OKOr inert ‘p’mj ,
Jlitfu 0-fa.VttrSl Pdtcr. succum voL.enit
. -v. .
eSbcnju.ni i»rp turns Jrnje Prolis (Jterr
X nuiPe, priLCiV’i-, mmeteni pro. viriptes duciiy
S>vi: Ju.ii i.-XVCA. ; al1 Axe vxcun :
tfulre tLe^cjir.i Tibi lefc-ro >nzce Fluinuut; Pulclirc
Deny did suum rcspic.it Vnda Caput:
Tc Due eje >-r Jni mui JuPFinitFui Kisce
'PiiiciPdu.rn fu.bc.ra.FPc4u.r- aAire 'Damns . vj
FIG. 2.
verse with drawing, but it may be that the well-
developed lady is holding up the Panorganum.
Equally possibly, however, this may be the
sketch for a design on the ceiling of a room which
he did when he was sixteen. It included “ two
figures representing Astronomy and Geometry and
their Attributes, artfully drawn with his pen.” I
cannot affirm that the lady is a piece of his
artful drawing, but it seems more than likely*.
In Wren's day boys went to the University
early, and in 1646 he was entered at Wadham
College when fourteen years old — at the age when
a modern boy is in the fourth form of a public
school. By 1650 he was B.A., and in 1653 M.A.
and Fellow of All Souls. It was at Wadham
fair, new musical instruments, and so on, to easier
ways of whale-fishing and ingenious devices for
making folks vomit.
Oddly enough there is no reference to a deaf
and dumb language, but in the interleaved copy
there are two sheets of sketches for one, and the
smaller is illustrated here. The notes on the larger
drawing show the method Wren invented. Though
more complicated than the system now in use, it
is another evidence of the agility of his mind
and of his practical interest in varying problems.
The drawing in ink of the weather clock (Fig. 4)
brings us to a subject which seems to have
interested Wren over a long period.
In 1647 Christopher wrote to his father that he
Memorials of Wren.
1 77
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was enjoying the society of Sir
Charles Scarborough, the famous
physician, and had imparted to
him “ one of these Inventions of
mine, a Weather clock namely,
with Revolving Cylinder, by means
of which a Record can be kept
through the night.”
Scarborough asked to have an
example in brass constructed at
his expense. Birch’s “ History of
the Royal Society,” Vol. I., re¬
cords that on January 8, 1661-2,
“ Dr. Wren brought in a scheme
of a Weathercock.”
Under date December 9, 1663,
Birch notes “ Dr. Wren’s descrip¬
tion of his weather clock con¬
sisting of two wings that may be
added to a pendulum clock was read.” The en¬
graving published by Birch shows a far simpler
arrangement than that now illustrated.
The printed Parentalia gives a description of a
device more complicated than Birch’s description
of Wren’s communication of 1663, and refers to
a circular thermometer designed to correct the
error caused by the weight of the liquid.
This, however, does not appear in our drawing,
for the thermometer is the ordinary air type. The
printed Parentalia refers to Robert Hook’s im¬
provements on Wren’s design, but they only partly
appear in the drawing. It would seem that this
drawing shows an intermediate development
between Wren’s original device and Hook’s latest
achievements.
The MS. reproduced in Fig. 5 has a peculiar
interest, as being the only extant writing of Sir
Christopher’s in the nature of a love letter. It is
undated, but we may assume it to be of about
1669, as on December 7 of that year Faith
Coghill became his wife. The letter is so well
written that it need not here be transcribed, par¬
ticularly as Miss Milman has done so. It is con¬
ceived in a spirit of stately humour with a
euphuist touch which is altogether charming.
Unhappily we know nothing of its answer, and
indeed nothing of the lady herself. The letter
FIG. 4.
Memorials of Wren.
i 78
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perhaps is to be dated rather early in Wren’s
courtship. His subscription is hardly passionate,
and we know from the enchanting letters of
Dorothy Osborne that even in Puritan days such
letters were signed, “ I am perfectly yours.”
The interleaved copy contains two letters to the
younger Christopher (both transcribed by Miss
Phillimore). One is undated, but as it is addressed
to him in Paris, it must be of 1698. The other is
reproduced in Fig. 6, and shows the young man
again on his travels in 1705. The 1698 letter is
not without a note of rebuke, for Paris had led
apparently to extravagance, and the father replied
to a request for more money as fathers will. By
1705 his taste had changed — Holland wooed him
rather to the buying of “ good Bookes,” a traffic the
Memorials of Wren.
‘79
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ft tx tiivd at-™'* OM t, f fvm $ftL>rh/n. J&y. zf
a^taKt-r fritter) * AJl ft fefi. 'I ft ft .S'. « ffrffh ftfOxf.ij.ftS'.
(y *& to ft ft) rejpifeP m filfur- fiaah jf/?a£f/C 9A J(*u r r^njrarft -
from aJAttr r/ffi , O /tm. art ’’ft waff J.tArt-ifiJA you ffttrft
fit* h-rriefnt^ fl»f fnS. yfrmy ; noAnft^ft ffet'nji.sr ,/ffi) #0f I
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<j ca-n-n sbch jJitlfiPr>^< yerd ttuls franco if x up if -2$' V»TnmS/y,
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Trxt-y cyf-mTt-nt ftn+V five, fpcrchttfifS fpnrfttfc if c>cc- nem-crxftift
flotc. mute ft frTPtt-fttt. Alf f/rtPttfi w«f fit ft 9h ft Jfowtr-'ff ft
imps ft? rtxs nft PPft Cft§ft<i 9n*-r~ f/tuse^., ft firpo fjfix >ka y ft
jjTVVt/ iftftf > rl)j-ft£<H. <-» h "il /"•>3 far t*fahft'4£u0L
yc if- £*VUL*j fftxyt- nof 'hneff "its ftf tcn^trt a h£ fay)
(J fp ant,: Txjl—nifitf.f 1-%*- ftxtox v-&»x- yft r*h ft> /WjCorfia-yf $
r/e/t c/tf utc, -m Jhr- pf ftcr) ft cu.f$n eftf i fti'nt- vifi ftrprcy /zt,
I7]r‘fj{»m AK. % fftnfts f&< JTft rrnifriu/ Jo ftn .. (ft *>n
i» £*& a ttftJfttxJLmy f* P'ft Cottn ?-7 UHfS/tf rjfh'ykrt fUr~
g ft Jap . ‘roR - (ft p" THtf ft) J>_ ?f ' JMx.r'/eJen’y/ /L
qciH? iv Vi-fn^,, (cf H i<’xitoA
/Tim (£/*»-« 7^0 fftt-* r y // ^ fth-tet, fttlft. *fy,
ixfi-T 4-£a, ft il pjperiv fifty fp ythirfix->r 7-wkadh
n (;.W. frft mety 6*.{»ye*i if Jtu- earn*, j^iHC
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FIG. 6.
old man cannot disapprove. It is pleasant to
think that we need no longer contemplate the
buying of Gronovius in twenty-six volumes.
At the end of the interleaved copy, bound among
the tracts on classical architecture which appear
in the printed Parentalia, is a long MS. Discourse
■on Architecture in the writing of Sir Christopher’s
son. It has been printed by Miss Phillimore in
an appendix. The interleaved illustrations include
drawings of Noah’s Ark (see Fig. 7), the Tower
of Babel, the Pyramids, the Sepulchre of Absalom,
a plan of Solomon’s Temple, and a view of the
City of Babylon. These appear to have been cut
out of other publications.
Miss Phillimore thought that Noah’s Ark and
the Tower of Babel were engraved by Wren him-
Memorials of Wren.
180
self or from his drawings, as they “tally so exactly
with the descriptions in the Discourse .” As they
are engraved Plates 7 and 9 respectively, they
obviously belong to a series, and there is no
evidence that Wren ever prepared such a series
of prints to illustrate any projected book. I do
not find, moreover, that they tally so closely with
the text as Miss Phillimore suggests.
A more reasonable explanation is that they were
bound in as appropriate illustrations by Margaret
Wren or whoever grangerised the book. We may
also dismiss the claim made for Wren in the
Parentalia that he was the inventor of mezzotint
engraving.
The most interesting feature of the unpublished
documents, from the architectural standpoint, is
the sketch of Wren’s conjectural restoration of the
Mausoleum of Plalicarnassus.
The last note of the printed Parentalia is headed,
“ Of the sepulchre of Mausolus, King of Caria.”
It ends with the words, “ The plate of the above
is omitted, on account of the drawing being
imperfect.”
This imperfect drawing is now brought to light
(Fig. 8). It is pasted on the last page of the
Discourse, and so neatly that at first sight it
appears to be drawn on that page, but it is
quite distinct and in an ink of a different
colour.
We must admit at once that Wren shows him¬
self by this restoration to be less sound as an
archaeologist than might have been anticipated.
Incidentally we get further and pungent proof of
the extreme difficulties and pitfalls that await
those who rely on literary evidence for the restora¬
tion of ancient buildings. “ The Sepulchre,” says
Wren, “ is so well described by Pliny that I have
attempted to design it accordingly, and also very
open, conformable to the Description in Martial,
Acre vacuo Pcndentia Mausolea, and yet it wanted
not the solidity of the Dorick order,” and he goes
on to say, on very insufficient grounds, “ I con¬
clude this work must be the exactest Form of the
Dorick.”
The odd thing is that Wren had not noticed
the statement of Vitruvius that Pythios, the
architect of the Mausoleum and the sculptor of
the chariot group, gave up the Doric order
because of the incongruous arrangements which
arose in its use. Wren’s great blunder, however,
was in the misreading of one word in Pliny’s
description, “ Pteron.” He says it is an unusual
term. Russell Sturgis gives its meaning as “that
which forms a side or Hank, as the row of columns
along the side of a temple, or the side wall itself.”
It is the odder that Wren boggled over the word
Pteron, seeing that he used the word dipteron in
his description of the Temple of Diana at Ephesus.
At Ephesus there was no question in his mind of
an “ Attick order rising above the cornice,” but
he takes the Pteron at Halicarnassus to have that
meaning, and to be “ a word of Greek Authors of
Architecture now lost.” Anyhow, it pleasantly
exemplifies on how insubstantial a foundation can
rest architectural criticism which is based on
literary evidence alone.
FIG. 7.
Memorials of Wren.
1 8 1
r*~"~ ~ ^ '10 7
■ iai/1 b-jipjAr1 eh- ‘ofJ'fch> f*- Jeie&dLa^
,^yilSC4W- (ybryt//>j <fo furh-O- (rU yhe^,
p^ftr^. cr </ ff\e_, fO-f' $%**->
4 G, . jj? ,, 7
(Tv (%/A ;
i 4 4^ U*- <A /fey ^ (fo tyovya^ke^c
fu &ML W Wf ffyf/W
/X*' Jh*- ih flffi 6 k ;W//^
; (y/yh-t)
FIG. 8.— WREN’S SKETCH ELEVATION OF THE
MAUSOLEUM.
His mistake naturally vitiates the whole restora¬
tion, apart from the fact that the Mausoleum was
of the Ionic order. The late Mr. j. J. Stevenson
published in 1899 a conjectural restoration of open
type without a cell a, a feature which Wren also
omitted on the strength of the epigram “ hanging
0_o_.©- _0_ 0.
jah
in void air,” and the Stevenson sche ne, though
quite different from Wren's, wa-, to use the latter’s
words of his own scheme, “ very open.” Perhaps
I may add here that the consideration of Wren’s
drawing has sent me again, and with renewed satis¬
faction, to Professor Lethaby's illuminating mono¬
graphs on “ Greek Buildings represented by frag¬
ments in the British Museum.” They make one
FIG. 10. — GOODCHILD’S RESTORATION BASED
ON the Parentalia.
realise again, and more sensitively, the importance
of going to the stones, and setting aside even
Pliny (or perhaps especially Pliny) if he does not
confirm their evidence.
On the wall of the Mausoleum Room at the
British Museum is a drawing lettered “ Design by
Sir C. Wren from Pliny’s description of the Tomb
of Mausolus copied from Wren’s book, the Paren¬
talia ,” and signed J. E. Goodchild, 1893 (Fig. 10).
HG. 9.
182
Memorials of Wren .
Goodchild is dead. He was a pupil of Cockerell,
who also did a restoration represented at the British
Museum both by a drawing and a model. In the
MS. of the Parentalia at the Royal Society is a
sheet with a rough sketch-plan, a copy of which is
reproduced in Fig. 9. It is doubtless from Wren’s
hand. From it and from Wren’s description,
Goodchild presumably made his drawing. The
sketch elevation in the interleaved copy gives an
infinitely better proportioned and more reasonable
building than Goodchild’s. Wren’s “ Attick
storey,” as he calls it, is very open, whereas Good-
child shows it solid and dreary to a degree. Wren,
moreover, shows the building on a platform, where¬
as Goodchild, without any authority from the rough
plan, starts the descent of steps from the bases of
the columns. There is the possibility that the
imperfect drawing referred to in the Parentalia is
the sketch-plan bound up with the MS., but I feel
sure the elevation bound with the interleaved
copy is indicated. Anyhow, it seems clear that
Goodchild had access to the plan and built up his
drawing on that. His description on the drawing
suggests that he had merely copied from the
Parentalia. It would have been more correct had
he said “based on indications in the Parentalia.”
While on the subject of Wren’s restorations,
perhaps a word may be added about Wren’s
description (printed in the Parentalia ) of the Arte-
mision at Ephesus. There are bound in the ordi¬
nary copies engravings of a plan and elevation of
the Temple, and also a plan and elevation of
Wren’s conjectural restoration of the shrine of the
goddess.
The odd feature of this restoration is again
Wren’s reliance on Pliny’s figures, which would
have made what Professor Lethaby calls a temple
of “ enormous and impossible size.” In order to
fit in Pliny’s 127 columns, Wren has to make the
fronts decastyle. To absorb the odd number of
columns he invents a quite enchanting shrine
which has small claim to credibility, and rather
FIG. II. — CAEINET PRESENTED TO WREN BY QUEEN ANNE.
Memorials of Wren.
183
recalls the garden temples of the eighteenth cen¬
tury. He again neglects the safer guidance of
Vitruvius, who states that the temple was octa-
style.
Amongst various heirlooms remaining in Mrs.
Pigott’s possession are two, of which photographs
are reproduced here. One is an early portrait in oils
of Sir Christopher, of a day when his whole attention
was given to matters scientific and mathematical,
and his genius had not yet found its true vocation.
The other is a cabinet presented to Wren by
Queen Anne.
It is symptomatic of the gratitude of the Stuart
kings and queens that the glories shed on their
reigns by the architectural triumphs of Sir Chris¬
topher Wren should have no more costly or
enduring monument of royal appreciation than an
inlaid cabinet. The magnificently brief appeal of
the epitaph in Saint Paul’s Cathedral, however,
the universal admiration of his contemporaries in
science and art, and the verdict of Time, are surer
witnesses to the outstanding gifts and personality
of the English Leonardo.
FIG. 12. — PORTRAIT OF SIR CHRISTOPHER WREN
AS A YOUNG MAN. LAWRENCE WEAVER, F.S.A.
Charles Follen McKim.
I 847—1909.
HE death of Charles Follen
McKim, which occurred on
the 14th of September, is a
great loss to the world of Art.
To him perhaps more than
almost any other architect of
the present generation justly
belongs a niche in the hall of
fame. He was born in Chester County, Pennsyl¬
vania, 24 August 1847. Twenty years later he
graduated from the Scientific School of Harvard
University and proceeded to Paris to study in the
Ecole des Beaux-Arts and the Atelier Daumet,
where he remained for three years, and then re¬
turned to America to enter an office of a New York
architect to obtain some practical experience before
commencing practice on his own account. In
this office he met his partner Mead. In the year
1880 the late Stanford White returned to America
from Europe, and the architectural firm of McKim,
Mead and White was founded.
The work of the firm of which McKim was
senior partner has perhaps exceeded in extent and
cost that of any other architect of the present
time. It includes every class of buildings, from
the tiny bungalow of the late Madame Modjeska,
in California, to the vast pile of buildings for the
New York Depot of the Pennsylvania Railway; as
to style, from the rugged, picturesque Casino at
Naragansset Pier to the grave and stately Library
of Columbia University; as to use, from the gates
of Harvard University to the skyscraping new
Municipal Offices of the City of New York.
It comprises the rebuilding of the University
of Virginia, the several buildings of Columbia
University, and the University of New York,
gates and buildings at Harvard University, some
of the buildings of Brown and Cornell Uni¬
versities ; several public libraries, of which that
at Boston is the most popularly known, and one
of the best of their earlier designs ; the mag¬
nificent houses of the University, Metropolitan,
Harvard, Lamb’s, Freundschaft, and Century
clubs at New York, the Mount Royal Club at
Montreal, and the Algonquin Club at Boston ; the
Brooklyn Museum of Arts and Sciences, the
Walker Art Museum at Bowdain College, Maine,
the New York Post Office, the War College, and
the interior designs of the Executive Mansion at
Washington ; the Rhode Island State Capitol at
Providence, Nangatuck High School, the Madi¬
son Square Garden buildings, Boston Symphony
Music Hall, the Washington Arch ; Farragut,
Cooper, and Hale monuments in New York, Logan
Charles Fallen Me Kim.
i 84
BROOKLYN INSTITUTE OF ARTS AND SCIENCES.
McKIM, MEAD AND WHITE, ARCHITECTS.
and Lincoln monuments at Chicago, the Battle
Monument and Culloni Hall at West Point;
churches at Stockbridge, Mass., Nangatuck, Rhode
Island, Chattanooga, Tennessee, Morristown, New
Jersey, and the Judson Memorial and Dr. Park-
hurst's churches in New York. Two of the best
buildings at the Columbian Exposition at Chicago
in 1893 — the Agricultural Palace and the New
York State Building — were from their designs.
Numerous city residences in New York, such as
the Villard, Robb, Morton, Vanderbilt, and Tif¬
fany houses, and at Buffalo, Chicago, Boston, and
Washington, as well as almost countless country
houses, testify to their artistic skill. Among the
latter the houses of Mrs. Elliot F. Shepard at
Scarborough, N.Y., of Mrs. Herman Oelrichs and
Mr. E. D. Morgan at Newport, Rhode Island,
of Mrs. Clarence Mackay at Roslyn, N.Y., of
Mr. Frederick Vanderbilt at Hyde Park, N.Y., and
of Mr. Ogden Mills at Staatsburg, N.Y., may be
numbered among the most notable of America’s
modern palaces. A list of their most important
commercial buildings and hotels includes the
original Imperial Hotel, the Savoy, and the Yose-
mite Apartment House in New York, the office
buildings of the New York Life Insurance Com¬
pany at New York, Kansas City, and Omaha ;
the Goelet and Warren buildings, the Tiffany and
Gorham shops, the New York Herald and Judge
buildings in New York, the great Niagara Power¬
house at Niagara Falls, N.Y., the printing house of
the Cosmopolitan at Irvington-on-the-Hudson, the
Cable Building, the huge “ Sherry’s ” restaurant
at Forty-fourth Street and Fifth Avenue, New
York, the Girard Trust Company's bank at
Philadelphia, the State Savings Bank at Detroit,
the Bank of Montreal in Canada, the National
City Bank, the Bowery Savings Bank, and the
two buildings of the Knickerbocker Trust Com¬
pany — one in Wall Street and the other in Fifth
Avenue, New York.
Such a list as given above, long as it is, is,
however, necessarily very incomplete — it is only
the more prominent works which are easily re¬
membered. Yet what a list it is ! What is most
impressive in this long moving picture of impor¬
tant modern structures is the evidence, in almost
every instance, of a real genius for design, of
intelligence, of resource.
The earlier of their works seem to have been
influenced somewhat by those of both Hunt and
Richardson, but possess a charm not always so
apparent in the work of either of the latter;
at a later time — there are perhaps a half-dozen
examples — their designs showed a marked resem¬
blance to well-known European models of the
time of the Renaissance ; but, as one writer at that
time said, “ Whatever criticism has been made at
length on the use of precedent in their buildings,
separately considered, it must be acknowledged
that the firm of McKim, Mead & White have
always possessed an exact estimate of the value of
ancient forms as stimulants to the imagination.
Theirs is a method of selection — a choosing of the
beautiful and useful- -a rejecting of the inartistic
and commonplace of former architectures. It is
not, as some would suggest, a blind groping after
a harmonious effect, but it is marked by the
scientific element which distinguishes the artist
CARNEGIE BRANCH LIBRARY", NEW YORK.
McKIM, MEAD AND WHITE, ARCHITECTS.
Charles I'ollen McKim.
'85
INTERIOR OF LIBRARY, NEW YORK UNIVERSITY, NEW YORK.
McKIM, MEAD AND WHITE, ARCHITECTS.
1 86
Charles Pollen Me Kim.
RHODE ISLAND STATE HOUSE, PROVIDENCE, RHODE ISLAND.
McKIM, MEAD AND WHITE, ARCHITECTS.
from the artisan. They seem able “out of a
senseless Nothing to evoke a conscious Some¬
thing . . . their adaptations have taught them in
their maturer work to add soul and grace to purely
modern products.” The work of the firm for
some years past, whatever its source of inspiration
— whether harking back to Greece or Rome,
France or England, or to America's own “ Colonial
style ” — has taken a place in the front rank with
the best modern architecture of the world, and for
much of its great qualities the credit was due
to McKim personally — at least the writer has
had so much said to him by more than one of the
former leading assistants in the office whose judg¬
ment could be relied upon. It was he who suited
foreign successes to American needs, and drew
the attention of America to the riches of European
architectures — especially of the adaptability of
Classic and Renaissance design to modern prob¬
lems. With all attempts to relate the best there
is of the past to the present, Mr. McKim’s interest
in the progress of the world about him was unfail¬
ing. He was patriotic, as was his father — James
Miller McKim, a prominent anti-slavery leader —
before him; he was at once an American and an
artist to the core. In painting and sculpture his
taste was as discriminating, his valuation as exact,
as in architecture. He introduced mural decoration
into America by providing for it in the halls of the
Boston Public Library, and made the opportunities
for Sargent, Abbey, and Puvis de Chavannes of
which they acquitted themselves so well. The
sculptor, Augustus St. Gaudens, was an intimate
friend from his student days until his death, and
the work of McKim, Mead, and White and this
artist is inseparable — there are so many instances
of joint authorship. Martiny and MacMonnies
also owe much of their fame to the early recog¬
nition of their abilities by McKim. It was he who
offered the beautiful “ Bacchante ’’ by MacMonnies
as an ornament to the court of the Boston Library
which the Puritanical section of the population
was possessed of enough “ pull ” to have refused.
The judgment of McKim was endorsed when the
French Government ordered a replica — which
stands just outside the museum— for the Luxem¬
bourg. It is with the Boston Library, the Library
of Columbia University, the University Club, the
Metropolitan Club, and the Brooklyn Museum that
the name of McKim is especially associated by his
American confreres.
It would, however, be improper to ascribe to
him alone any of the work of the firm, because the
influence of the opinion of his partners, Mead and
Charles Follen McKim
187
n
if ■
II
j
DOME OF THE RHODE ISLAND STATE HOUSE.
McKIM, MEAD AND WHITE, ARCHITECTS.
1 88
Charles Follen McKnn
KNICKERBOCKER TRUST BUILDING, BROADWAY, NEW YORK,
McKIM, MEAD AND WHITE, ARCHITECTS.
Charles Follen Me Kim
i 89
KNICKERBOCKER TRUST BUILDING, OFFICERS’ ROOM
McKIM, MEAD AND WHITE, ARCHITECTS.
FREE CHRISTIAN CHURCH, ANDOVER, MASS.
McKIM, MEAD AND WHITE, ARCHITECTS.
VOL. XXVI. — M
Charles Follen McKim.
1 90
METROPOLITAN CLUB, NEW YORK.
McKIM, MEAD AND WHITE, ARCHITECTS.
the late Stanford White, must always be reckoned
with. At the time of the death of White his
admirers seem to have sought to attribute to him
practically the whole artistic ability of McKim,
Mead, and White, but the work of the firm since his
death has undergone no perceptible change of
character. To either McKim or White has been
given the credit of one or another design, the
work of Mead being seldom if ever mentioned; it
being accepted as a matter of course that his time
is fully occupied and his attention centred in the
organisation of the large office and business
management of their extensive practice ; but I
predict, even now that Mr. McKim has passed
away, that as long as Mr. Mead lives the work of
McKim, Mead, and White will continue un¬
changed; but it will not be solely due to the
native artistic abilities of Mr. Mead. He and his
partners have worked beautifully together in life —
at least, during the years since the completion of
the Boston Library. The whole of their work
must be known to posterity as that “of McKim,
Mead, and White.”
But the prying, questioning mind must be
answered upon one point : it must know who took
the lead — who had the final, determining word —
whose judgment was deferred to by his associates.
The truth would probably reveal the answer:
“ Sometimes one, sometimes another; but if any¬
one more than the others it would be that of
Charles Follen McKim.”
McKim’s life was a full and busy one; work,
honours, distinctions, were crowded upon him ; he
was not less distinguished as a patron of art,
connoisseur, and clubman than as an architect.
He was a friend and patron of Columbia Univer¬
sity and a founder of the American School at
Rome. As a benefactor of art in the most mate¬
rial way he took a leading part, and deserved the
greatest praise for what he accomplished. He
has advanced a few stages further the taste of
the whole of the practitioners of architecture in
America. He has had a mighty part in laying
out the straightest path to the throne of Beauty,
and pointed the way that is being followed by
many of the young American architects of to-day.
F. S. Swales.
Note. — In our recent articles on American architecture several
other buildings by McKim, Mead and White were illustrated,
viz. : — New York Life Insurance Buildings, September 1908 ;
Tiffany and Gorham Buildings, February 1909 ; National City
and New York City Banks, March 1909 ; State Savings Bank,
Detroit, May 1909.
Charles Follen McKivt.
191
NEW MUSIC HALL, BOSTON, MASS.
McKIM, MEAD AND WHITE, ARCHITECTS.
TIFFANY HOUSE, NEW YORK.
McKIM, MEAD AND WHITE, ARCHITECTS.
M 2
A Visigothic Church in Spain.— II,
( Concluded .)
iNG the fine sandstone, we find the
masonry not poor and rough like that
of the Middle Ages, but preserving all
the regularity and grandeur of Roman
building in hewn blocks of 50 cm.
in height, many of them of great size,
very well hewn, and placed probably
by weight only, at any rate without
mortar. The columns appear to
have been wrought specially for the church ; the large ones
of the chancel arch are of greyish marble with extensive
black veins ; those of the crossing, four in number, are of
excellent quarried marble, but they are very imperfectly
rounded, each having its upper moulding. Of white marble
also are the small columns of the arched openings into the
chancel already described, having base, shaft, and capital
all worked in one piece of marble. Those of the same kind
in the entrance porches are of soft stone.
Exhibiting their Spanish origin, the arches are of horseshoe
form, but not with the hideous curve of the tenth century,
which reached its extreme in Mazote, but with a moderate
curve not extending more than one-third of the radius beyond
the semicircle ; this proportion may be observed in all the
arches of this description dating earlier than the ninth century.
The same proportions will be found also in the arches of the
transept, in the central arch, and in the twin arches of the aisles,
as well as in the small double windows in the porches and in
those admitting to the chancel, which have no imposts, the
jambs falling in line with the arch like those of San Juan de
Banos, which may be taken as another sign of their early date.
INTERIOR VIEW OF SAN PEDRO DE I.A NAVE.
i93
A Visi gothic Church in Spain. — II.
The external arches of the porches are not alike, one being
of a very slight horseshoe form, the extension beyond the
half-circle not being more than one-sixth of the radius; the
other, though stilted, has its curve simply and evenly carried
out.
The joints of the voussoirs radiate towards the centre, with
the exception of the lower blocks in those of the chancel,
which are directed to a point somewhat lower down without
altering the number of the voussoirs. The extrados, in place
of following the curve of the intrados, diverges into right
lines towards the spring of the arch, thus increasing the size
of the springers and the stability of the work, as in the
entrance arch of San Juan de Banos and in one of the gates
of Cordoba. Lastly the imposts which project somewhat
beyond the face of the arch are wide bands covered with
ornament, or else returning towards the arch with the graceful
“nacela” or semi-scotia, the only moulding used in the
edifice.
The entrance arches, which used to have wooden doors,
appear now of a strange form, with stilted arches set back as
much as 30 cms. on the jambs, which I can only understand
by supposing that originally there were lintels on which the
sockets for the hinges were fixed, and that, the part above these
having been built up, the arches have served only to carry the
weight — a device not without precedent, and having advantages
easy to imagine. One of these doorways, that of the south
transept, is enlarged in segmental form, but otherwise preserves
the original dimensions ; its voussoirs are widened towards the
springers, and being built without a keystone its safety is thus
provided for.
The workmanship of this edifice does not go beyond the
Roman system in providing resistance for the thrust of the
vaulting, which is of small well-cut stones, trusting everything
to the well-wrought masonry of its walls, and to the equilibrium
of all the parts, without the addition either of the makeshifts
of the Byzantines or the visible squinches so prodigally used
later under the successors of Pelayo in Asturias. Although
there are supports in all the angles, in the majority of cases
they are idle and useless. Nevertheless, the result of the
calculations was disastrous, both arches and vaults having
cracked, owing to the displacement of the walls, and, as we
have seen, a considerable portion has fallen.
The vaults are barrel-shaped, that of the Capilla Mayor
being somewhat stilted, and set back on a graceful frieze which
serves as an impost. Those of the lateral chapels spring at
once without this ornament, and those of the arms and head
of the cross from a “ nacela ” moulding, now mostly destroyed.
With regard to the centre of the crossing, I think it must have
had another kind of vault, because that of a barrel gives no
justification for the work that has been done in restoring the
base with quadrangular supports when the arches on which
it was erected gave way ; and with this its columns probably
agree. We have an exactly analogous example in Santa
Combade Bande (p. 196), a simplification of that of San Pedro,
having as plan a cross with vaulted nave and transepts and
horseshoe arches like the lateral ones of this church, enclosing
a quadrangular lantern or surrounded by a cornice, with windows
above and a groined vault : the lantern of San Pedro may very
well have been similar to this. Neither it, Santa Comba, nor
San Juan preserves any sign of an external cornice for support
of the roof.
The decoration corresponds absolutely to the style of the
seventh and eighth centuries, balancing between the Classic
form still in use in the time of Justinian, and the Byzantine
which arose in the Carlovingian period, and it develops
into two very distinct styles. The first is shown in the frieze
which runs from the capilla to the arms of the cross, also in
the wdndows of the former, the capitals, or more properly the
mouldings of its arch, the imposts of its doorways, and the
small columns of its windows, in all of which the style is of a
barbaric and poor character, but having an affinity with that of
Andalucia, examples of which may be seen in some parts of
the Mosque and the Museum at Cordoba. This ornament is
all based on intersecting circles, combinations of crosses,
rosettes, stars, spirals, and bunches of grapes which hang from
undulating bands. These are accompanied by scales, reels,
and chevrons, most of them chiselled in the stone, and within
the capilla itself there are even representations of men and
animals of the rudest and most barbaric description ; such as
a nude figure attacking, lance in hand, and some kind of
creature on a horse with a small quadruped by the side
(Figs. 3, 4, p. 195).
The work of the other decorator, who came later, on the
contrary, commends itself by good taste, richness, and ability,
being in fact the most notable that has been preserved in
Spain, also as being the only example of pictorial relief. As
these decorations are localised in the upper portions of the
transepts (see September number, pp. 134, 135) they probably
denote a restoration which rendered useless the frieze previously
existing lower down, and perhaps added the four columns not
contemplated in the original plan, whose utility is obvious.
This style has much of Oriental in the elegance and rhythm
of its composition, recalling Italian work of the same period,
and more especially the Visigothic fragments of Guerrazar,
others of Toledo and Merida, and the rich marbles found at
Escalada. They chiefly show graceful undulations of branches
with large leaves, flowers, and bunches of grapes, with birds
among them picking ; some have human heads, others peacocks
and lambs surrounded by foliage. Of the same class of orna¬
ment are the sculptured bands which serve as imposts to the
arches of the crossing. The “nacela ” from which the vaults
spring, and a fragment built into the outside wall of the
church near the ground, all have similar decoration, though in
these last only vegetable forms are used. As to the columns
194
A Visigothic Church in Spain. — //.
above mentioned, they are prototypes of those which adorn
the Asturian churches built by Ramiro I.
The very original pyramidal bases are ornamented with
leaves, palms, and huge human heads between decorated
bands of thoroughly Visigothic character. The capitals follow
the form of those of the main arch, and deviate from the
Classical type towards the Byzantine; two of them are covered
with foliage, birds, heads surrounded by a shell as nimbus, and
busts with crosses. The other two are wholly iconographical ;
on one is represented Daniel praying between two lions
which are licking his feet : the inscription above his head
explains the situation ; the other illustrates the sacrifice of
Isaac, who is laid on an altar which is upheld by columns ;
on the other sides of the capitals are the Apostles, Peter with
cross and book, Paul with a volume and in act of speaking,
Philip holding a label above his head, and Thomas with
another book. These subjects, the same as those sculptured
on the sarcophagus at Ecija, correspond with the era of
Constantine, typifying by the story of Daniel the resurrection
of the just, and the sacrifice of Isaac that of the Eucharist ;
the interpretation of the latter being evident by the altar on
which the victim is laid. We need not wonder at the poverty
of the figures, seeing the absence of even the most rudimentary
trace of classical culture, and the miserable condition to which
the plastic arts were reduced, at this period.
The iconographical value of these capitals as regards
Spain is very great, for with the exception of the sarcophagi,
generally imported, I know of no sculptured representations of
scriptural subjects anterior to the eleventh century, giving ex¬
pression to one of the most remarkable and profound distinc¬
tions of Spanish religious culture, already sanctioned by the
Council of Eliberri. Moreover, historical capitals did not be¬
come general, even in Italy, until the Romanesque period, so
that these early ones of ours constitute a most valuable prece¬
dent. It is worthy of note that the fibulas and brooches of
the Merovingian Period published by Le Blant represent in
identical form the scene of Daniel, and with the same form
of lettering.
The descriptions on the capitals are as follows, transcribed
literally : —
-f VBI DANIEL MISSVS EST IN LACVM LEONVM.
+ HVBI ABRAAM OBTVLIT f ISAC Sfr FILIVM SVVM
OLOCAVPSTVM DNO f
+ ALTARE (in which Isaac is about to be sacrificed).
+ SCS PETRVS APOSTOLVS
(Fig. 2, p.195) LIBER (which S. Pedro holds in his hand).
+ SCS PAULUS APOSTOLVS (Fig. 6, p. 195).
+ SCS TOMAS
Most of these were included by Hiibner in his “ Inscrip-
tiones Hispaniae Christianae ” under the number 466, with
errors for which the blame rests on the “ Monumentos Arqui-
tectonicos de Espana,” from which he copies. Note the form
“ hubi,” and also that of the correct “ ubi,” in the phrase which
is repeated in a contemporary diptych in the Museum of
Antiquities in Brussels, whose legend begins : “ Ubi dns am-
bulabit super aspidem,” &c. More remarkable is it to find
“ olocaupstum ” for “ holocaustum,” and “ Eumanuel ” for
“ Emmanuel.”
The type of letter offers another argument for the antiquity
of this church, which is easily corroborated by simply com¬
paring its epigraphy with that of dated inscriptions. There
a close analogy will be found with that of Bailen, A.D. 691
which shows it to be earlier than others in Castile. The very
well-marked triangular tops always ending the vertical strokes,
are peculiarly characteristic of the epigraphy of the Visigoths
and the Merovingians, the lenticular or rhomboidal form of
O is proper to the seventh century, the square D is of the sixth
and seventh, the P with its somewhat open and low curve is not
seen after the beginning of the eighth, and the interpositions
in form of leaves are already very rare in the Asturian in¬
scriptions of that date. Another proof is to be found in that
after the beginning of the reconquest these letters are not
found in Asturian inscriptions later than that of Cangas, A.D.
738, nor in those of the Mozarabes ; for example, the recti¬
lineal C, the T with large crossing hanging down on the left¬
side, the lunar E, the A without crossing, &c., &c.
SOUTH SIDE OF SAN PEDRO DE LA NAVE.
1 95
A Visigothic Clmrch in Spain. — II.
Cut in the stones on the outside wall of the Capilla Mayor
may be read some epitaphs hitherto unpublished, the charac¬
ters of which show them to be of about the date of the erection
of the edifice (Fig. i below). The word which has been purposely
half obliterated was certainly “ Celanova ” ; but there is this
difficulty : that no Alvaro is known as Abbot of Celanova at
any time, still less in that century, when the history of the
monastery is perfectly known. In 950 a “Caballero Alvaro”
made a donation to S. Rosendo, of which he was founder, of
certain property in Moreruelo, which Yepes supposes to have
been annexed to San Pedro de la Nave.
The monogram, which may read “ Stevano,” may be older
(Fig. 5). The form Stevano is found in a signature of Escalada
of the tenth century. On the same stones may be seen in four
places the five-pointed star so common later as a mason’s
mark.
San Pedro is not at present considered a national monument;
but as its great merits make it well worthy of being regaided
as such, no doubt before long the competent authorities will
concede it the title, and sooner or later will fall into the temp¬
tation to rebuild or restore the edifice, making with its stones
something of what I have done on inoffensive paper.
We need be under no illusions, however. The church is
unrestorable ; remembering the enormous expense it would
involve, and the small means at our disposal, it will continue
in its present condition until it finally falls to ruins. The
enormous bulging of its walls obliges it to be left untouched or
rebuilt almost entirely, and this is neither possible nor desir¬
able at a time when the mystifications of archaeologists, how¬
ever learned they may be, are becoming worse and worse. It
would be very much better to build a copy with all the details and
restorations possible. I recommend the suggestion to any one
having sufficient good taste and the requisite means, and who
wishes, for example, to build a private chapel or a mausoleum.
This is by no means to say that it should be left in statu
quo. Its present condition is disgraceful, whether considered
as an artistic treasure or simply as a parish church ; but any
interference would have to be of the most careful and artistic
nature if it were to be entirely satisfactory. We might be
content with cleaning the lime off the inside walls (a very
simple task if the friezes and capitals are left untouched), filling
up all the old cavities, taking down the bell tower and stair¬
case and one modern doorway, renewing the parts of the roof
which are falling, restoring as far as possible the old lines,
and removing all accessories which are not indispensable to
worship.
As regards the significance of this edifice to our national art,
it is decisive. It serves to confirm what we already know of
Visigothic architecture, the peculiar type of which was some¬
what uncertainly defined while we had only San Juan de
Banos to serve as authority. It shows a tendency to repulsion
against the basilica and progress towards the pitched roof,
a number of wholly new departures, and a plethora of inven¬
tion and of freedom of treatment in our early artists. Among the
twenty churches which are in existence, dating from before the
eleventh century, scarcely any grouping is possible, and from
that date forward no fixed form of development, only a number
of happy indications, which if they had been well carried for¬
ward might perhaps have eclipsed the Romanesque style by
anticipating it. It is very curious that in Auvergne, where the
Romanesque architecture seems to have had its birth, one
finds a moulding which, in spite of the ingenious suggestion of
origin by Viollet le Due, we must recognise as an evident pla¬
giarism of our Cordovese art of the tenth century, which spread
to the Mozarabic churches in Leon, and this not being the
only point of contact leaves one to infer some kind of Spanish
influence in that region. But if in the case of San Pedro we
find signs of great workmanship, it was neither collective nor
fecund, owing to internal dissensions and the want of disci¬
pline — always the fault of our nation — which stood in the way
of our establishing a distinctive Christian art ; while France, so
backward throughout the Merovingian period, and lacking in
initiative later on, did develop one by insisting upon a form at
once methodical and progressive, so that if its monotony often
wearies, at last it reached its apogee of perfection.
In our first attempt at a distinctive style a certain originality
appears, not only in the disuse of the semi-circular apse and
the use of the horseshoe arch, but in originating the cruci¬
form church ; not despising the basilican form as at Banos
and Cabeza del Griego, at Bamba we find an advance
already more harmonious and free, in Santa Comba,3 or
with the two types perfectly combined, as in San Pedro de la
s Referring to Santa Comba de Bamba being an advance on San Pedro, Seiior Gomez-Moreno writes: “According to studies
made since this was written, this church appears rather to be of the tenth century than of Visigothic origin.”
Fig. 1
DETAILS OF ORNAMENTS AND INSCRIPTIONS.
A Visigothic Church in Spain. — II.
1 96
Nave, where both ideals are concentrated. As regards the
vaulted roofs, they entered on the scene as the basilica left it,
showing conclusively the influence which we have agreed to
call Byzantine.
The question is, then, do we owe to the East directly this
development of Gothic architecture ? No single edifice can
be said to demonstrate the assumption definitely, but as those
existing are so few and of so secondary a type we may suppose
the destruction of many which might perhaps have done so.
Moreover, Andalucia shows proofs of Byzantine influence very
marked and capable of explanation, seeing that the Roman
imperialists dominated the country until the end of the sixth
century, and even much later on we find that the intercourse
with the East was not closed.
In effect, the workmanship of the jewellery of Guarrazar,
so superior to the other jewels of the Barbarians, carries
this influence to their date. Also the decorative sculpture at
Banos is full of Latin reminiscences ; but, on the contrary, at la
Nave the grace and rhythm is altogether Oriental, and even the
figures show an exotic origin.
It is not necessary, however, to suppose that the hand of a
stranger intervened in the actual workmanship, for a sufficient
education would have been obtained from the pieces of white
marble brought from beyond the sea to adorn the rich edifices
which show the like designs, as we have already pointed out.
The Asiatic type of ornament is to be seen most completely
in a series of capitals dispersed, or made use of in other build¬
ings which recall Syrian work, such as the Golden Gate of
Jerusalem, in the modelling of the foliage leaning towards the
Acanthus of the Greeks. Among those in the Museum at
Leon which came from Sahagun are some typical ones, others
in Hornija are more in character with the period in which they
were executed, and there are others in Escalada, Maxote,
Penalba, Zabeho, Ayoo de Vidreales, Toro, &c. The rich
columns of Hornija, similar to those of Cordoba and Carta¬
gena, are evidi ntly Byzantine.
To conclude, San Pedro de la Nave represents perhaps
the last phase of Visigothic architecture in Spain with special
characteristics, on which are founded local traditions, traces
of Latin instruction, and echoes of the East, and is a faithful
embodiment of the social vitality which was in full develop¬
ment in Spain when it was cut short by the Arab invasion.
Manuel Gomez-Moreno.
Translated from the original Spanish by L. Higgin.
Current Architecture
COLDICOTE, WARWICKSHIRE.
HIS house is situated some
few miles from Moreton in
Marsh, on a slope overlook¬
ing a wide tract of undulating
country backed by a range of
hills which rise from the
plain to the west. It is built
of the local oolite stone,
quarried near the site, which laminates freely
into thin layers. The walls are in coursed rubble
with similar stone for the angle quoins and dress¬
ings, with the joints raked out with a stick to
emphasise the character of the local walling.
The only dressed ashlar work is in the entrance
porch and gable over, with a carved panel by
Mr. A. Broadbent. The roofs are of stone slates
from the Eyford pits, coarse in texture and varied
in colour, and the chimney-stacks are of red sand¬
faced bricks from Berkshire.
All the windows are of oak, with lead lights and
iron casements from Mr. John Pye, of Moreton
in Marsh.
The floors, fittings, and joinery, &c., to the
principal rooms are of oak, and the ceilings are
emphasised with modelled plasterwork.
The stable buildings, entrance lodge, garden
buildings, and terrace walls, &c., are all treated in
a similar manner, so that the whole scheme is
complete. The builders were Messrs. Hayward &
Wooster, of Bath, and Mr. E. Guy Dawber was
the architect.
COLDICOTE, WARWICKSHIRE. GROUND PLAN.
E. GUY DAWBER, ARCHITECT.
198
C nrren t A rch itecture .
COLDICOTE, WARWICKSHIRE. GARDEN FRONT.
C urren t A rch i teciure.
199
COLDICOTE, WARWICKSHIRE. THE ENTRANCE FRONT,
E. GUY DAWBER, ARCHITECT.
2 00
Curren t A rch i tcctu re
• * •
p™
_ JvAx» \ v
.
mm m
Photo : A rch. Review Photo. Bureau.
Current Architecture .
20 i
COLDICOTE, WARWICKSHIRE. THE LODGE,
202
Current Architecture.
WELLMAN, ARCHITECT.
Curren t A rch itecture.
203
NATAL GOVERNMENT RAILWAYS: ENGINEER-IN-CHIE b :S OFFICES, MAR1TZBURG.
H. J. WELLMAN, ARCHITECT.
The Committee for the Survey of the
Memorials of Greater London.
HEN Dr. Emil Reich, the well-
known professor of history,
published his historical atlas,
he prefaced his work with the
significant motto : Est locus
in rebus. The student of
topography could have no
better aphorism to sum up
the true inwardness and meaning of his work.
The genius of the Latin language confines in a
few words ideas of great magnitude, and by the
very simplicity of its form controls the central
meaning without limiting the sphere of its appli¬
cation. To the trained and educated mind every¬
thing has its proper locus, its position in time and
in space, and the application of this is the test of
such training and education. And even those
transcendentalists who deny the existence of time
Photo : G. H. Lovegrove ( Survey Committee).
THE CLOISTERS, MORDEN COLLEGE, BLACKHEATH.
and space, arrive at their conclusions through a
very real sense of these qualities which they inter¬
pret as the necessary conditions of human thought.
Certain it is that to the historian the place —
whether in time or space — of any given action or
occurrence is all-important, and constitutes the
kernel, as it were, of his knowledge. The mere
statement of a fact does not imply in itself the
possession of real knowledge, but the ability to
place that fact in its proper environment and in its
proper perspective is the real proof of the under¬
standing. The place — its character, surroundings,
and inherent possibilities, and the time— its posi¬
tion as the outcome or the forerunner of entirely
different events, these give a fact its true signifi¬
cance, and it is in this spirit that we should read
the words Est locus in rebus.
There are two stages of freedom in thought,
the one that precedes and the one
that follows a proper course of train¬
ing. The former being untrained is
for the most part unfruitful, in that it
does not perceive the limitations of
its subject, and cannot discover any
coherence in the things which the
mind has not grasped. No better
illustration of this is to be found than
in the unfettered foolishness that pro¬
ceeds from the lips of the man-in-the-
street when he criticises architecture.
He has no knowledge to guide, re¬
strain, or liberate his thought. The
well-trained architect has, however,
studied the limitations and conven¬
tions of his art. He has sought the
locus, the meaning, the form of every
style ; and having gained that know¬
ledge, he enters a world wherein the
mind has freer play of imagination,
fancy, and criticism than was ever
known to him before he passed its
threshold.
The training which an architect has
in precision of thought should fit him
in a special way for the topographical
research which our Society has under¬
taken. So many historical writers
are still in the first stage of which we
have spoken ; they seem possessed of
no power to make their writings lucid ;
north, south, east, and west are alike
to them, and they describe buildings
Committee for Survey of Memorials of Greater London. 205
with no reference to a plan. There are many
articles in the Dictionary of National Biography
which do not trouble to identify their subjects with
the districts in which they lived. But an architect
has been trained to feel that he does not grasp any
material object until he can draw it in plan, eleva¬
tion, and section ; and since he can control the
whole form and design by these three things, so he
learns to control historical facts by their place and
time. In this way he should make the best topo¬
grapher, and the infusion of architectural blood into
the “ body topographical ” should be attended with
very great results. We are well aware that beyond
the mere mechanical grasp of things attained by
this training in precision, there is required some
power of intelligence and even of genius. But of
this we do not speak now, except to say that the
locus in rebus needs much hard work — with or
without genius — for its discovery.
Walter H. Godfrey.
Books.
CHELSEA.
The Parish of Chelsea (Part /.). By Walter H. Godfrey ,
Architect ; being the Second Volume of the Survey
of London , and the eleventh publication of the Com¬
mittee for the Survey of the Memorials of Greater
London. Price to Non-Subscribers , i guinea {Free
to Subscribers). Published in England by the C 0711-
mitt ee for the Survey of the Memorials of Greater
London , 23, Old Street , Westminster, S.W., and to
be obtained from B. T. Batsford, 94, Pligh Holborn ,
W.C. Only 600 copies have been printed.
HE object of the Committee
for the Survey of Greater
London has been made plain
in these pages month by month,
but it may be pointed out
again that its object is to
register or record whatever
may be deemed of historic or
sesthetic interest. In this connection a large and
fine collection of drawings, photographs, sketches,
and measured drawings has been compiled by the
active members of the Committee. Besides this
work, the Committee also publish monographs of
more important work, and it is intended to write,
from the extensive survey being made, volumes on
the different parishes. The first of these dealt with
that of Bromley, and the second (that under re¬
view) deals with Chelsea.
It may be pointed out that the work of the
Committee cannot be carried out without money,
and therefore a large body of honorary or sub¬
scribing members is wanted. The active mem¬
bers, besides their subscriptions, help in the
preparation of drawings, &c. Too much praise
cannot be given to this society, and to the
members of it who have devoted so much time in
a voluntary way. The delays experienced in the
preparation of a book like this will be understood
when it is realised that eight years have gone to
its completion.
No part of London is more fascinating than
Chelsea ; it, more than perhaps any other parish
of comparatively confined area, guards still the
eighteenth century — a century beginning to be
highly prized. To architects especially it is a
period full of suggestion and interest, and this
Survey should appeal very strongly to them.
“ This first volume of our Survey of Chelsea in¬
cludes all that part of the parish looking towards
the river which lies between the Royal Hospital
on the east and the Old Church on the
West.”
The method adopted in the Survey is to illus¬
trate by photographs and drawings all that is
of historic or sesthetic value. Brief letterpress
accompanies the illustrations, and the historical
references are placed as footnotes. The text is,
however, of secondary importance to the plates,
which are of unusual interest, and show very fully
how charming the work of the eighteenth century
can be. Interiors and exteriors are illustrated by
photographs, and a few measured drawings give
additional interest.
Besides these plates a few illustrations of plans
are set with the text, which is further enhanced by
heraldic drawings placed in the margins. The
bulk of the examples are taken from Paradise Row
and Cheyne Walk, and we know of no streets
where such a wealth of quiet and delightful archi¬
tecture is to be found. Besides the general views
of the houses, many excellent illustrations are
shown of doorways, ironwork, lead cisterns, in¬
teriors of panelled rooms, staircases, fireplaces, &c.
And one cannot hope to find anywhere more de¬
lightful examples of panelled rooms than those
from No. 6, Cheyne Walk and the Queen’s House.
A beautiful spiral stair is illustrated from the
latter house. The ironwork of Chelsea is as good
as the rest of the work, and some fine gates and
railings are shown.
On the whole the book is a noteworthy achieve-
2o6
Books.
ment, and brings together in small compass
much to interest and a great deal to instruct
those of us who care for unobtrusive and gentle
architecture.
MODERN DOMESTIC ARCHITECTURE.
Modern Homes. By T. Raffles Davison, pp. 248. Illus¬
trated with sketches by the Author. 15^. nett.
London : George Bell Sons.
is a pleasant task to one who
remembers the domestic archi¬
tecture of thirty and forty years
ago, when good work was
scarce, to look through the
pages of Mr. Raffles Davison’s
“ Modern Homes,” and com¬
pare the houses that are built
now with the bulk of those built in the seventies.
Yet, great though this advance has been, we cannot
shut our eyes to the fact that the great body of
the public still remains unmoved. Architecture,
sacred or profane, is a matter of supreme indiffer¬
ence to the man in the street, and the speculating
builder provides all he needs or asks.
If the history of a nation is inexorably written
on its buildings, future ages may be puzzled to
account for the fact that, contemporary with a
domestic architecture expressing the highest
refinement of individual taste and a character
peculiar to its time, is found a type of house build¬
ing which is its direct antithesis. It may perhaps
be that in every age these two streams have flowed
side by side, and that only the worthy buildings
have survived. It would be comforting to believe
this : to believe that all the abominations which
now offend the eye would be swept away, leaving
not even a memory behind. But evidence is all
against such an assumption, and our successors
will see the good and the bad together. It will
no doubt be clear to them that serious architects
of to-day are really, and in a sense consciously,
outside the current of modern ideas, and are
keeping alive with some effort the traditions and
ideas of the past.
It is impossible to forecast the future of our
domestic architecture. An architect can have no
influence except through the medium of his build¬
ings, and he cannot build without a client. The
whole matter is in the hands of the public.
To architects Mr. Davison’s book will appeal
strongly, as they will be able to see how different
men have handled the problems which have also
been presented to them ; but to the building public
the book is invaluable. Mr. Davison has made
it clear that the client gets something by em¬
ploying a competent architect which he gets in no
other way. This is an excellent first lesson. He
then leads him by easy stages to a clear under¬
standing of the principles underlying good house
design, and shows how these principles have
guided the architects whose work he illustrates.
It is difficult not to believe that this book must
have a great educative influence on the public. It
is just possible, and it is a danger to be guarded
against, that we are a little too apt to identify
simplicity with what may be called the “ farmhouse
tradition.” Roughly adzed oak, coarse wobbly
plaster, cavernous fireplaces, and an exterior
naive sometimes to the verge of childishness,
have of course a certain charm, the charm of the
sampler and the little story in words of one syllable.
It is a form of art which makes a very direct
appeal to the homely emotions, and it is quite
legitimate, as far as it goes ; but for all that it is,
or should be, strictly limited to small and really
simple houses. It is wilfully curtailing our powers
of design, and altogether too easy, just to take the
cottage form and blow it out bigger, like a bladder,
for a bigger house. Of course there are a good
many people who like this sort of thing; but there
is something a little pathetic in the spectacle of
an ordinary large commonplace Briton sitting, a
little forlorn, in a sort of kitchen with a gritty
stone floor and a ceiling so low and heavily beamed
that it only wants the dangling hams to prevent
his standing upright in any part of it. It is one
of our conditions to make the house fit the man :
to have one type of house for many types of men
is to ignore this condition.
Mr. Davison has produced a most interesting
book — interesting as a record of the architectural
achievement of the present day, and no less inter¬
esting in that all the sketches are from his own pen.
It is inevitable, of course, in these circumstances,
that a little flavour of the draughtsman attaches
itself to each of the houses illustrated — we see them
through Mr. Davison’s own eyes, and it is quite possi¬
ble that some of them gain by being seen through
so good a medium. It is, too, a matter for con¬
gratulation to British architects that in no other
country in Europe could so interesting a collec¬
tion of current domestic architecture be gathered
together, nor could we find anywhere on the
Continent a draughtsman with just the peculiar
gift of representing architecture which Mr. Davi¬
son exhibits. No doubt in subsequent editions
the few little mistakes which have crept in, such
as the plan of one house with the title of another,
and a drawing here and there referred to in the
text but absent from the book, will be corrected,
and it might also be possible to include the work
of some architects who are conspicuous by their
absence, and even to add a few plates, so as to
give rather more representative work of some of
the architects whose characteristic work is not
perhaps quite adequately presented.
Books.
207
HERALDRY.
A Coz/iplete Guide to Heraldry. By Arthur Charles Fox-
Davies. g| in. by 6\ in. ftp. xii, 647. Illustrations
by Graham Johnston, 800, in chiding 9 plates in colour.
ioj. 6 d. nett. London : T. C. &= E. C. lack, 16, Hen-
rietta Street. IV. C.
Mr. Fox-Davies appears to write on the principle of never
using one word when two will do. Hence his book is bulky,
and the reading of his more than 600 pages has been a labour.
Mr. Fox-Uavies’s attitude to the Heralds’ Collegein this volume
is more reasonable than in his earlier writings. He does not
now make such high claims on its behalf.
The College acts for the Sovereign, who is the Fountain of
Honour. If, let us say, a contractor desires to be granted a
shield blazoned with a Scotch derrick, he may get it on paying
the proper fees to the College, and may not properly use such
a device armorially without a grant from the College.
We have, however, always been impatient with those who
denied to ancient families, whose ancestors bore arms for
generations before the College was invented, the right to use
such arms unless they have been at some time registered or
confirmed by the College.
As to modern grants, we may be allowed a laugh at one
made in 1898 to the Great Central Railway. The shield of
arms is uninteresting but innocuous. The crest, “ a representa¬
tion of the front of a locomotive engine proper, between two
wings or,” if mounted on the top-hat of the chairman of the
line (for crests are intended to be worn on helmets), would
create interest at some Pageant of Rapid Transit. We confess
to surprise that Mr. Fox-Davies should gravely illustrate and
describe so preposterous an example of commercial heraldry.
ROME.
The Monuments of Christian Rome. By Arthur L. Fro¬
th ing ha zn, Ph.D. 7% in. by 5J in. pp. viii, 412.
Illustrated. 10 s. 6d. London: Macmillan cF5 Co.,
Ltd.
This is one of a series of archaeological handbooks for
American students. Professor Frothingham has a wide field,
from Constantine to the Renaissance, and his facts are neces¬
sarily condensed. The arrangement of the book is good.
Part I. consists of a rapid historical survey; Part II. of a
classification of the monuments ; while the indexes are suffi¬
ciently full. In days when the arts trip tremulously down the
side streets of modern life, and have so little influence on the
people, it is refreshing to remember that the eighth century
made a revolution out of an aesthetic controversy, and empha¬
sised its arguments by the slaying of an imperial duke. The
modern, when he feels iconoclastic, writes in the Evening
Standard. Perhaps it is better so. If we felt strongly on art,
as a nation, our Dreadnoughts might cost us more.
Professor Frothingham lias produced a useful reference
book which will be of practical value to the visitor to Rome.
FOR THE ANTIQUARY.
The Reliquary and Illustrated Archceologist : Vol. xiv.
10 \in.by q\in. pp 302. Illustrated. 12 s. nett. Lon¬
don : Bemrose iS-5 Sons, Ltd., 4 Snow Hill , E.C.
The bound volume of our interesting contemporary contains
many good things. “ The Dawn of Architecture ” deals with
the Pueblo region of New Mexico and thereabouts. From it
one may learn how the climax of aboriginal architecture at
Taos is a building to house over 400 persons. And yet blocks
of flats are thought to be modern !
Other useful papers on out-of-the-way subjects are on the
Alaoui Museum, Tunis (a fine example of A’-ab stucco work is
illustrated), and on the Cathedral of Abo, Finland.
We suggest that a table of contents would be a desirable
addition, and the index could with advantage be fuller.
STEVENSON ON HALICARNASSUS.
A Restoration of the Mausoleum at Halicarnassus. By
f.J. Stevenson, F.S. A. 10 in. by 6f in. pp. 35. With
plan, elevation , section, and coloured plate. 2.f. 6 d. ziett.
Lo7ido7i : B. T. Batsford, 94, High Holborn , W.C.
The late Mr. Stevenson was an enthusiastic antiquary as
well as an architect of scholarship and taste, and while his
restoration of the Mausoleum is unlikely to win a wide assent,
this republication of his views will be welcomed as a pleasant
memorial of an interesting and able man. The essence of his
scheme is the adoption of the small plan with a double row of
columns, as against the large plan with a single row. In this
he differs from the majority of students, and in our opinion is
wrong. He is obliged to admit that the stones at the British
Museum prove that part of the pyramidal roof was to a flat
slope, and as his contracted plan would not allow for the
twenty-four steps mentioned by Pliny, he is driven to postu¬
late a break in the roof line and to treat the meta as separate
from the pyramid and built to a steeper pitch. The idea is
ingenious, but it seems based on too subtle an interpretation
of Pliny’s words, on which too great stress surely ought not to
be laid, and it produces a disposition of roof lines which seems
anything but Greek in idea. We are especially grateful for
the printing of Guichard's account (first published in 1581) of
the destruction of the Mausoleum by the Knights of Rhodes
in 1522 in their last struggle against the Turks before Solyman
purged Asia of Christian presence. It is a dreadful thought
that the priceless marbles carved by Scopas, Bryaxis, Timo-
theus, and Leochares were burnt to make lime, but the whole
story takes its place among the Arabian Nights of architecture.
THE PORTLAND ART CLUB.
Portla7ul Art Associatio7i. Portlazid Architectural Club
Year Book. Second Amiual Exhibitio7i in the
Galleries of the Museu/zi of Fi/ie Arts, March izzid
to April 10 th, 1909.
This book is a kind of souvenir of the exhibition. It is well
got up, and the work itself is of a fairly high level of excellence
with the exception of the Gothic work. Fine Renaissance
work in public buildings is illustrated by a few notable designs.
Considerable vigour of setting out is shown in some of the
plans, notably in that of the Wisconsin State Capitol, by
George Post and Sons, and the Pacific Union Club Building,
San Francisco, by Macdonald and Applegarth. This latter
building has a fine fagade, a great colonnade of coupled half
pillars raised upon a strong basement or stylobate. Over the
cornice a balustrade half hides the attic. Another fine design,
in a somewhat similar manner, is the competitive drawing for
the U.S. Custom House, San Francisco. A single pillar is
substituted in the colonnade, large windows are introduced in
the stylobate. It is broadly treated, with the result of some
dignity. Whidden and Lewis are the architec.s. Bliss and
Faville show a view of a singularly handsome dining-room
in the Hotel St. Francis.
We cannot recommend American domestic architecture,
but the interior of a room in F. H. Ranson’s residence strikes
us as quiet and restful. Jos. Jacoberger is the architect of
this last.
We do not pretend to have noted everything of merit in
the book, and our chief desire here is to congratulate the
Western architects on their esprit de corps, and to wish their
architectural clubs every success.
208
Books
PALACES AND PICTURES.
The Private Palaces of London : Past and Present. By
E. Beresford Chancellor , ALA. 9! in. by 7\ in.
pp. xx, 390. Illustrations 44. Price 20 s. nett.
London : Kegan Paul, Trench , Triibner and Co., Ltd.,
Gerrard Street, W.
A VAST amount of industry has gone to the making of this
book, but it is not altogether satisfactory. Mr. Chancellor is
so interested in the splendid figures who have inhabited the
great houses, and in the multitudes of pictures which adorn
their walls, that the houses come in for rather slight attention.
The book is rather for the “ nobility and gentry ” on one side,
and for the student of pictures on the other, than for the archi¬
tect. This is not a complaint in the manner of “ nothing
like leather,’’ but fair comment, when it is noted that only
three of the forty-four illustrations are of exteriors. The interior
views are excellent, but we think the illustrations hardly
generous in number.
Mr. Chancellor should have read his proofs. We are
grieved to know of “ Sweet Molly Lepel, who married
Lord Hervey, and who resided in a house built for her in
1747, but was subsequently divided into two residences” — but
perhaps it was the house and not sweet Molly who suffered
this drastic operation. We suspect Mr. Chancellor is more
interested in the pictures than anything, and we confess that
we did not realise the amazing artistic wealth that is treasured
in the not too beautiful houses of London. The poverty of
the metropolis architecturally is nowhere more marked than
in the houses of its great families. Perhaps Mr. Chancellor
has worked on the principle of the least said the soonest
mended. The index is of palatial proportions.
OLD LONDON.
The Gilds and Companies of London. By George Unwin.
(. In the “ Antiquary's Books ” Series .) 8f in. by 55 in.
fp. xvi, 397. Illustrations 37. 7s. 6 d. nett. London :
Messrs. Methuen, 36, Essex Street, Strand, llr.C.
Old London. Compiled by Walter L. McNay. 9 in. by 6f in.
Fifty reproductions of Old Engravings illustrative
of the London of our Ancestors , with Notes and
Index. 3 s. 6 d. nett. London: Alex. Aloring, Ltd.,
De La More Press , 32, George Street, Hanover
Square , W.
London Topographical Record, Vol. V. 8f in. by 5 h in.
pp. 190. Illustrations 15. Issued by the London
Topographical Society, 32, George Street, Hanover
Square, W.
Mr. George Unwin has added to the debt that we owed
him for his Industrial Organisation in the 16th and 1 7th
Centuries. That book was based largely on his researches
amongst the records of the City. This new volume not only
sets down masses of facts culled by laborious reference to the
great store of London documents, but gives a reasoned history
of the growth of the gilds and companies as they appear in
the light of economic science. In considering the relationship
between the old companies and fraternities and the trade
unions of to-day, it is clear from Mr. Unwin’s narrative that
the old organisations were essentially individualistic, and the
disputes between one gild and another the quarrels of capital¬
ists. Nothing could be further from the fact than to regard
the mediaeval gilds merely as associations of craftsmen, all
working with their hands. A large proportion of the hand
work was done by inferior workmen who never had a chance
of rising to any position of eminence in their craft.
But we must commend readers to Mr. Unwin’s many and
valuable pages.
An interesting series ot prints has been gathered for Mr.
McNay’s volume, and not the least attractive are those which
show St. Magnus in its rightful place at the end of old London
Bridge. We could have wished that Mr. McNay had re¬
produced some parts of the older prospects of London to give
an idea of the mediaeval city, though the scale of the book
prevented their being shown entire.
We must join issue with the compiler in his dictum that
“ the fashion of decorating the fronts of houses with compo¬
sitions in plaster ” was a French custom adopted here when
Henrietta Maria came over. Mr. McNay should read
Mr. Bankart.
The London Topographical Society’s good work has
further evidence in their Record for 1908. In his presi¬
dential address Mr. Fairman Ordish took up his parable with
Stow’s Survey. 1'he table of contents makes us feel again
how few in numbers and how fit are the real workers in the
cause of London’s antiquities. There are contributions in this
volume by Professor Lethaby, on Wren’s Drawings of Old
St. Paul’s ; by Mr. Philip Norman, on the London City
Churches that escaped the Great Fire ; and by Mr. Hilton
Price, on the Signs ot Old London. Yet none of them is of
the Royal Commission on Ancient Monuments ! So much
the worse for the Commission.
P.S. — Since the above was written all lovers of Old
London have had to mourn a grievous loss in the death of
Mr. Hilton Price, for many years the genial and able director
of the Society of Antiquaries.
GREEK BUILDINGS,
Great Buildings and How to Enjoy Them : Greek Archi¬
tecture. By Edith A. Browne. 8f in. by 6i in.
pp. x, 13 1. Illustrations 48. 3 s. 6d. nett. London:
Adam and Charles Black, Soho Square, IV.
Handbook of Greek Architecture. By Allan Marquand,
Ph.D.,L.H.D. 7 f in. by 5 in. pp. x, 425. Illustra¬
tions 392. 10s. net/. London: Macmillan &• Co.,
Ltd.
MISS Browne so far resembles Truthful James in that she
tells in simple language what she knows about Greek build¬
ings. She introduces the excellent illustrations with thirty-six
pages which seem to have begun life as a lecture. It is all
much more like speaking than writing — Miss Browne should
not address us as “ My fellow pleasure-seekers ” — a hint
which we offer for the further volumes contemplated.
It is an admirable production for 3s. 6d., and deserves a
good sale amongst the increasing public that takes its archi¬
tecture gently and in small doses.
Dr. Marquancl’s book is something quite different. It is a
serious and scholarly study of materials, construction, propor¬
tion, style, &c., and a general review of the varying types of
public and piivate buildings. The illustrations are numerous
and well chosen. We have, however, a complaint to make.
Dr. Marquand has set out to write a handbook which is pre¬
sumably intended for the student, but we think will be useful
only to those who are already somewhat advanced, because
his terminology is elaborate and he provides no glossary. The
index is complete, and when the reader stumbles at an un¬
known Greek word he can find the meaning by looking up
other contexts, but the method of multiplying technical words
is hardlv helpful to the student. We notice with interest a
restoration by an American student, Mr. Dinsmoor, of the
Mausoleum of Halicarnassus. He shows it standing on a
great base similar to that which appears in the late Mr.
Stevenson’s restoration. Mr. Dinsmoor, however, puts the
lions facing inwards on to. a flight of steps in the base leading
up to the Mausoleum, whereas Mr. Stevenson put them in
pairs round the top of the base, and Professor Adler placed
them at the bottom of the meta.
THE ARCHITECTURAL
REVIEW, NOVEMBER,
1909. VOLUME XXVI.
NO. 156.
THE TOWER OE THE MUNICIPIO AND THE PALAZZO DELLA
RAG ION E, VERONA.
FROM A DRAWING BY LESLIE WILKINSON. (ARTHUR CATES PRIZE.)
The Practical Exemplar of Architecture.
xxxix.
VOL. XXVI. — N 2
2i2 The Practical Exemplar of Architecture. — XXXIX.
Q)oor
XCcuJct/ ny
DETAIL
c y
BRACKET.
MEASURED AND DRAWN BY R. L. WALL.
The Practical Rxemplar of Architecture. — XXXIX. 213
MEASURED AND DRAWN BY R. L. WALL.
2 14 7 he Practical Exemplar of Architecture. — XXXIX.
HE Dean’s doorway at St.
Paul’s is certainly one of the
most beautiful details of the
cathedral ; it gives access to
the base of the geometrical
staircase which is contained
in the clock or southern
tower. A certain squatness
of proportion, a boldness, vigour, and simplicity
in its lines, render it peculiarly suitable as an
entrance in a basement storey. These latter quali¬
ties are enhanced by the application of excellent
carving — the tympanum is filled with winged
heads of children, pendent flowers and fruits of
divers kinds ; but perhaps the brackets more than
anything else give peculiar distinction to the door.
They are extremely
vigorous, in perfect
keepingwith therest
of the work, and
beautifully carved
with cherubs’ heads
and flowers; the
scrolls forming the
upper parts of the
brackets consist of
splendid volutes
with widely project¬
ing eyes, and the
lower parts are cut
down to admit the
little heads in full
relief. A profusion
of delicate carving
joins the lower parts
to the pilasters from
which they spring.
Although exactly
similar in design to
the corresponding
doorway on the
north side of the
cathedral, the carv¬
ing of the Dean’s
door is greatly supe¬
rior and the work of a finer craftsman. These
doors are very accurately delineated to a small
scale on Wren’s own drawings of the side eleva¬
tions of the cathedral, exactly as they are
executed. It seems likely, too, in view of the
similarity in the design of the brackets, that
Wren gave a draft for the details. The points of
difference are slight, but sufficient to suggest, as
we have done above, the work of different hands.
In the door to the north tower the scrollwork is
less virile, having neither the grace nor the vigour
of the other ; its reduction at the foot is less
graceful, and in many ways seems almost clumsy
after the exquisite examples of the Dean’s door.
I'he cherubs’ heads of the former have expressions
less pleasant and tender than the latter.
We published drawings of No. 5, King’s Bench
Walk (Practical Exemplar XXXV.), and signalised
it as being perhaps the richest of the Temple door¬
ways.1 These present examples (Nos. 2 and 3) are
less ornate, but are nevertheless excellent examples
of Wren’s use of brickwork and versatility in design.
The latter has a plain unbroken circular pediment
and regular entablature supported by Doric pilas¬
ters, whose bases have probably been worn away ;
the moulded archivolt springs from a square im¬
post, and the whole is a fairly regular application of
the order, like No. 5. But No. 2 is quite different ;
theflat pilastershave
neither capital nor
base, nor do they
carry any entabla¬
ture, but only a cor¬
nice and a triangular
pediment. The
archivolt is un¬
moulded except for
a bead in the arris
of fair dimensions,
and is defined by the
brick arch, and
springs from an im¬
post beautifully
moulded. Leaded
glass in this case fills
the lunette, and a
wood frame of a
favourite late seven¬
teenth-century form
carries the door.
These doorways are
all built in gauged
brickwork.
A most unusual
doorway is illustra¬
ted from Bourdon
House, in Berke¬
ley Square — it is in pine, unpainted, curved on
plan, and contains above a kind of transom a
niche with a circular head of sufficient dimensions
to take a life-size bust. Nothing can exceed the
beauty of the workmanship— the close joints, the
delicate carved enrichments, the vigorous carving
of the architrave. The ornaments are quite as
delicate as those of Adam, which are usually done
in composition. It may be from his design, as
several fittings of the house belong to his style,
notably the chimnevpiece illustrated, which is
typical. J. M. W. Halley.
DETAIL OF BRACKET, THE DEAN’S DOOR,
ST. PAUL’S CATHEDRAL
1 Built about 1678.
The Practical Rxemplar of A rchitecture. — XXXIX. ' 2 1 5
Photo : E. Dockree.
BOURDON HOUSE. LONDON. LIBRARY DOOR.
216 The Practical Exemplar of Architecture. — XXXIX.
MEASURED AND DRAWN BY H. A. MCQUEEN.
The Practical Exemplar of Architecture. — XXXIX. 2 1 7
t'twto : E. Dockree.
BOURDON HOUSE, LONDON : FIREPLACE IN BEDROOM ON SECOND I- LOOK.
2 1 8 The Practical Exemplar of Architecture. — XXXIX.
The Practical Rxemplar of Architecture. — XXXI X.
2 1 9
DOORWAY : NO. 2, KING’S BENCH WALK, TEMPLE. DOORWAY : NO. 3, KING’S BENCH WALK, TEMPLE.
220 The Practical Exemplar of Architecture.— XXXIX.
The Practical Exemplar of A rchitedure. — XXXIX.
2 2 I
N°P> KING'S BENCH WALK, E.C.
51 K CHRISTOPHER^ WR£N AR£X
MEASURED AND DRAWN BY ERNST V. WEST.
222 The Practical Exemplar of Architecture. — XXXIX.
Notes of the Month.
The Pyx Chapel — T he Completion of the Mall — Architects’ Specifications — Architectural
Competitions — The Laying of “ The Ghost T
N event of special interest to
architects and archaeologists,
but surely also to every lover
of things venerable and his¬
toric, occurred last month by
the decision of the authori¬
ties to open to the public the
Pyx Chamber in Westmin¬
ster Abbey. Hitherto a heavy door in the cloisters
has been the only indication to passers-by of its
existence.
To any man who knows his Westminster well
the quiet stretches of vaulted passage and the
succession of shady courtyards lying south of the
great church itself form a more attractive place
to wander in than the tourist-haunted nave.
Moreover the importance of this part of the
Abbey is great. When Edward the Confessor,
on the eve of the Norman Conquest, was pre¬
vailed upon to forgo the saintly satisfaction of a
toilsome journey to Rome, he salved his own and
the Papal conscience by rebuilding this, now the
most historic of English abbey churches.
On the marshy island of Thorney, enclosed by
the two branches of Tyburn Brook, his monks set
to work on the site of the present choir and
southwards along the “ Dark Cloister ” towards
Westminster School, thus including the Pyx
Chamber.
“ He makes then a cloister, a chapter house in front
Towaids the east vaulted and round,
Where his ordained ministers
May hold their secret chapter ;
Frater and dorter
And the offices round about.”
Here, then, we may see one of the very earliest
examples of English architecture in London, still
in good preservation, still standing in relation to
the adjoining church as its founder intended.
But although noteworthy as an historical land¬
mark, the Pyx Chamber or Chapel has also
undergone remarkable vicissitudes. We have no
record as to when the king first began to use it
for hoarding his treasure, but its position in the
heart of the Abbey buildings and beneath the
monks’ dormitory seemed to ensure security.
“Hither,” says Dean Stanley, “were brought
the most cherished possessions of the State : the
regalia of the Saxon monarchy ; the Black Rood
of St. Margaret from Scotland ; the ‘ Crocis
Gneyth’ from Wales deposited here by Edward I.;
the Sceptre or Rod of Moses ; the Ampulla of
Henry IV. ; the sword with which King Athel-
stane cut through the rock at Dunbar; the sword
of Wayland Smith, with which Henry II. was
knighted ; the sword of Tristan presented to John
by the Emperor; the dagger which wounded
Edward I. at Acre; the iron gauntlet worn by
John of France when taken prisoner at Poitiers.”
More productive of robbery, because of its
portability, was a sum of £100,000 amassed by
Edward I. to pay for his Scotch wars, which
suddenly disappeared one day in May 1303.
Richard de Podlicote and his merry men were
responsible, but the abbot and forty monks were
clapped in gaol for supposed complicity. This
event caused considerable alteration to be made
in the arrangement of the chamber. Sir Gilbert
Scott, who restored the Abbey buildings some
fifty years ago, considers that the entrance was
from the adjoining bay containing the dormitory
stairs. On this old door he discovered fixed some
pieces of white leather, and with uneasy recollec¬
tions of stories regarding the skins of slaughtered
Danes, he sent them to a surgeon for analysis.
They were pronounced to be undoubtedly human,
and Scott seems to imagine that they were prob¬
ably relics of captured thieves nailed up to terrify
would-be imitators.
Edward I. appears to have made the new door¬
way into the cloisters, which, with its double
doors, each four inches thick, massively framed
and heavily barred, resisted all future burglaries.
He also walled up the access to the dormitory stairs.
At the Restoration the Regalia were transferred
to the Tower, and in recent times the “ pyx ” (a
box containing the standard coins of the realm)
was transferred to the Mint. Up to this date the
“ trial of the pyx ” in this chapel formed an in¬
teresting custom surrounded by various mediaeval
regulations.
Sir Gilbert Scott himself had the greatest diffi¬
culty in obtaining entrance, and describes it as
“a formidable visit, requiring the presence of
representatives of the Exchequer and Treasury,
with their attendants bearing boxes which con¬
tain six mighty keys.”
This was in 1849, and he also relates his
experiences in the adjoining staircase chamber: —
“ I have one more tale to tell about this cham¬
ber of mystery. There is between the walls
which carry the stairs and the wall of the cham¬
ber itself a long and very narrow interval, just
wide enough to squeeze through. When I gained
access to this chamber, on going along this narrow
crevice I found its floor heaped up several feet
deep apparently with stones and rubbish. While
standing on this heap, I was puzzled by finding
224
Notes of the Month.
it spring beneath my feet, and stooping down and
clearing away a little rubbish, what was my aston¬
ishment at finding that I was standing on a large
heap of parchment rolls! ... An unhappy
accident intervened. 1 happened suddenly to be
called away from this newly-discovered record
office, and forgetting to lock the door, a party of
Westminster schoolboys got in, and, unmindful of
the human skins, made free with the parchments.
A little disturbance ensued, a fresh padlock was
shortly afterwards put to the door, and I have
been excluded for ten long years from my trea¬
sury ; though, as I understood that the parch¬
ment had been cleared away, I soon ceased to
stand disconsolate at the gate of this dusty
Eden.’’
With the new rules all restrictions are removed,
that is to say, on Tuesdays and Fridays only, the
chapel remaining locked on the other days of the
week.
The Pyx Chamber occupies two of the seven
and a half bays of vaulted cellarage under the
dormitories, a block altogether no ft. long, vaulted
in two spans of plain groining on massive round
columns 3 ft. 6 in. in diameter and 3 ft. 4 in. high,
with a huge abacus. The column in the centre
of the chamber is carved with flutings.
In the eastern part of the north bay below the
small heavily-barred window is a stone altar, said
to be the tomb of Hugolin, the Confessor’s trea¬
surer. On the flat stone lid is a shallow circular
depression, and to the right of it stands a piscina
in columnar form, apparently of the thirteenth
century.
The uneven floor, two steps below the level of
the cloisters, is partly covered with mediaeval
glazed tiling, and the walls are partly plastered.
The authorities of the Office of Works are to
be congratulated on at last admitting the public
to a shrine with such rich associations, and inci¬
dentally upon the very artistic way in which they
have lighted the chamber, by means of iron flam¬
beaux carrying diffused electric light.
M. S. Briggs.
* * * *
E future art historian will
write England down as the
land of lost opportunities. In
dealing with questions of
Civic Design no other country
is so affected with the spirit
that lets “ I dare not ” wait up¬
on “I would.” The removal of
the scaffolding at the east end of the Mall discloses
the new entrance into Charing Cross, another piti¬
able example of National parsimony in Art. Only
in our own land would a Government be found to
demand the combination of a triumphal arch, an
office building, and an official residence in a block
that shall be both convincing and expressive.
The new building is neither. The official resi¬
dence might be the offices, and vice versa, and no
archway can soar to grandiloquence when crushed
under a row of offices. It is time some one took
up the cudgels for the architects, for the evils of
Government cheeseparing react no less seriously
upon them than upon our national art. Other
nations laugh at our puny efforts, and the public,
seeking a scapegoat, bestows, with its usual
facility, the blame upon the wrong man. What
architects thought of this Mall problem is best
exemplified by a reference to the illustrations in
our issue of December 1901. What the Govern¬
ment has forced the selected architect to do is
now disclosed for all to see. It cannot be said
that the scheme at the east end of the Mall has
been properly thought out at all. On the south
side of Trafalgar Square is a heterogeneous col¬
lection of shops and offices, some of which block
the way to the new entrance. These might have
been swept away, together with the useless road¬
way behind them, and a fine new block erected
from Trafalgar Square to the Mall. On the other
side Drummonds Bank might have been set back
(there is a piece of vacant ground behind it) and
a front erected to the new Admiralty buildings in
alignment with the south side of the Mall. The
architects of the latter building can sc ireely be
expected to take much pride in it since the
Admiralty decked their flagstaffs with wires like so
many clothes lines on a tenement building. The
exigencies of science may demand some sacrifice
of art ; but even wireless telegraphy apparatus is
susceptible of more satisfactory treatment. There
are other points about the new Mall that seem to
demand explanation. The present electric lamp
standards are very poor, and we have drawn
attention to them before. We believe that it has
been officially explained that they are only tem¬
porary. But other things as firmly rooted as
these lamps, have, in the past, become a perma¬
nent infliction; and we have not much hope that
these standards will eventually make way for
anything better. Why, too, has so large a gap
been left in the trees by the Duke of York steps ?
It cannot be pretended that any particular view
or vista is to be seen from this point of vantage ;
but even if the steps form a suitable stand for
Royal processions, there is no reason why the
trees should have been stopped so far on either
side. It gives a ragged and unfinished appear¬
ance to this end of the Mall, for which there is no
adequate excuse. If there is to be an avenue the
trees should at least be planted at the same time,
so that they may be of equal growth.
Notes of the Month.
225
.6,0.0 .0 .c c
.0 ,0 cj
DETAIL OF RESIDENCE, M. LUCIEN GUITRY, PARIS.
CHARLES MEWES, ARCHITECT.
S it not about time that British
architects paid a little more
attention to the details of their
specifications ? Their American
confreres have, seemingly, come
to the conclusion that a de¬
lightful vagueness in the terms
of what should be a very definite
document does not conduce either to good work¬
manship or to the proper carrying out of their
ideas. That comprehensive phrase, “ equal to the
manufacture of,” which so frequently figures in
the modern specification, and which obviates so
much investigation and trouble on the part of the
writer, has been defended on the ground that it
protected the contractor from unscrupulous manu¬
facturers who would raise their prices if they
knew their goods were definitely ordered. How
the manufacturers were to know this unless the
contractor told them is not stated.
As might be foreseen, this provision simply
promoted a discussion of the relative merits of
similar goods and raised the question of the
VOL. xxvi. — o
manner in which the equality of one product with
another was to be established. Still another
attempt to secure the articles sought, and retain
an appearance of impartiality, consisted of the
practice of adding to each clause designating
a particular device or material the phrase “ or
equal approved by the architect.” Such practice,
again, only postponed the day when decision had
to be rendered, with the certainty that the full
price of the article mentioned would be included
in the estimates submitted, and the possibility
that an article of somewhat less cost would even¬
tually gain approval as approximately equal. Of
course, the object sought by these various forms
was to avoid the appearance of favouritism and
yet retain some measure of control over a work
for the success of which the architect is invariably
held responsible. It was argued that to specify
a single manufacturer’s goods without possibility
of change or alternate, tended to create a mono¬
poly, to unduly increase cost, and to invite the
suspicion that the architect was actuated by ul¬
terior motives. As to the first objection, it has
226
Notes of the Month.
Notes of the Month.
227
apparently developed that there exists a sufficient
variety of opinions among architects concerning
the relative merits of various articles to prevent
anything like universal use of one for any given
purpose. Moreover, goods of such transcendent
qualities as to gain the exclusive approval of a
sufficient number of architects to constitute any¬
thing like a monopoly would perhaps be entitled
to any benefits accruing from such a situation.
In considering the possibility of increasing the
cost of an article by specifying it without alternate,
it is pertinent to call attention to the attitude of
numerous prominent manufacturers. They are
to-day expending vast sums of money in an
attempt to convince architects in general that
specification of their products does not have this
effect — that their prices are standard and uni¬
form — that, in fact, by specifying their goods, an
architect may know to a certainty what the cost
will be, whereas the more indefinite specification
would leave the matter somewhat indoubt. Their
statements in this regard are readily susceptible
of verification, and should, it would seem, merit
attention.
Concerning the third objection, which at one
time was possibly the most formidable of all,
we are happily arriving at a point where, as
professional men, architects rank with members
of any other calling. An architect’s reputation
to-day is ordinarily sufficient to render unnecessary
resorting to any form merely to give the appear¬
ance of impartiality. He must, to serve his client
ably and intelligently, come sooner or later to a
decision in these matters, and it is difficult to
understand why this could not be done, at least
as well at the time the specification is written as
afterward. To do so would apparently save
considerable time and expense, both to the archi¬
tect and to contractors estimating. Probably no
one would think of suggesting that a physician
was actuated by any but the highest motives in
prescribing a particular drug when there are
several the pharmacodynamic properties of which
are similar. It would scarcely enhance his
reputation if he were to write a prescription
requiring “ such or such a drug, or equal ” ? And
yet this, in effect, is what architects were doing
in their specifications until recently — in fact, what
is still being done to a large extent. Of course,
it is impossible, in some classes of work, to specify
by name the exact article desired. But even here
the ingenious methods frequently devised by
adroit architects in attempting to secure only
what, in their judgment, is necessary in order to
ensure the best results, appear in themselves strong
indications of the tendency toward a definite
specification. We expect this tendency to
increase.
^OUNSEL'S opinion has been
obtained with respect to the
competition for the proposed
library at Middlesbrough,
and the eighty-three unsuc¬
cessful competitors who con¬
tributed the funds for this
object have no other reward
than the satisfaction of knowing that they have
set the position of competitors in a clearer light.
Two barristers — Mr. C. A. Russell, K.C., and
Mr. C. E. Brackenbury — were consulted, and each
arrived at the conclusion that the competitors
in this particular case had no ground of action.
The dissatisfaction arose from a supposition that
two of the premiated designs owed their superiority
to the disregard of certain instructions, and that
therefore the competitors who faithfully adhered
to those instructions were placed at a serious
disadvantage. Some of them declared that they
had realised quite clearly that their designs would
have been better for violation of conditions. This
confession seems to betray the weakness of the
position. It at once raises the vital question,
Why are such competitions held ? Surely not
altogether in the interest of architects, but with
the primary object of obtaining the most suitable
design that the competition can yield. They are
held in the implicit belief that in the multitude of
counsellors there is wisdom, and thence arises the
fatuity of preventing the free play of that wisdom
by hedging it in with over-elaborate conditions.
Counsel’s opinion on the legal position at
Middlesbrough would seem to admit of general
application. From it may be inferred the broad
principle that the organisers of competitions can
usually shelter themselves behind the assessor,
who, having no contract with the competitors,
cannot be sued. “ In order to establish a cause
of action,” says Mr. C. A. Russell, K.C., “the
unsuccessful competitors must show that there
was an undertaking by the committee either
(1) that only such designs as complied with the
Instructions should be submitted to the assessor,
or (2) that the assessor in making his award would
disregard all designs which did not comply with
the Instructions, or (3) that the assessor would
correctly decide the question whether a design did
or did not comply with the Instructions.” Mr.
Russell further thinks “ the provision that the
judgment of the assessor shall be final excludes
any right of the committee to override or disregard
the award of the assessor on any ground what¬
ever ” — - a point that the organisers of competitions
will not fail to note for their own continuance in
the paths of peace.
A further indication of the helplessness of com¬
petitors is contained in Mr. Russell’s remark that
o 2
228
Notes of the Month.
“ Even if there has been a breach of contract, I
think an unsuccessful competitor could not recover
as damages any expenses or loss caused by his
work in preparing a design, as such expense or
loss would not be a consequence of the breach.”
There is possible, however, an exiguous oppor¬
tunity for the authors of premiated designs lower
than the first. “The competitor to whom third
place was awarded might perhaps recover as
damages the difference between first and third
premium.” It would be a Pyrrhic victory.
Mr. Russell throws out the suggestion that
“possibly it would be some protection to competi¬
tors if ... it was made a definite instruction to the
assessor that he was to treat as disqualified for
a prize any design (however excellent in other
respects) which did not fully comply with the
conditions of the competition.” The organisers
of architectural competitions in Utopia might be
expected to assume this charitable attitude.
There is both wisdom and comfort, however, in
counsel’s concluding observation that “ the only
effectual protection of the competitors is the com¬
petence and fairness of the assessor.” That is the
conclusion of the whole matter.
Mr. C. E. Brackenbury is equally clear that
the competitors who consulted him have no
ground of action. He also offers a word of
advice that will keep seasonable for all com¬
petitions : “ Unless there are distinctly obligatory
provisions, non-compliance with which it is stated
will be held to be a disqualification, it will be well
[for competitors] to allow themselves a reasonably
large latitude in the production of the best
design.”
That is surely a rational view. It is not new,
because it shows precisely the attitude that has
been generally adopted by assessors ; but its
independent statement, or restatement, is not
without value. It may help competitors to a
clearer understanding of the functions of the
assessor, whose chief duty is not to award prizes
THE CEILING OF THE BOARD ROOM, LLOYD’S REGISTRY, LONDON.
T. E. COLLCUTT, ARCHITECT. PAINTINGS BY PROFESSOR MOIRA.
Notes of the Month.
229
in a competition, but to secure to the best of his
ability the objects for which the competition is
instituted. It should surely be very obvious that
neither the organisers nor the assessor can affect
to have much interest in rejecting, upon what
may be regarded as mere punctilio, a design that,
while breaking the strict rules, happens neverthe¬
less to be — or is perhaps for that very reason — -the
most suitable solution of the problem propounded.
The over-elaboration and the too literal interpre¬
tation of conditions are the twin causes of the
present discontents ; and it might be useful if
the R.I.B.A. were to draw up, for the guidance
of corporations, as well as of its own members,
a very brief note setting the whole subject on
a rational basis.
* * * *
HAT complex professional
subject, architectural com.
petitions, has received an
added complexity in the
suggestion that the “ghost ”
adjunct, that sometimes ap¬
pears, should be laid. A
“ necessary evil ” at best,
with a code of ethics scarcely understood and still
more rarely complied with, the “ghost ” feature
walks the night occasionally, and, like most ghosts,
only affrights the nervous and timid Probably
the entrance of the “ ghost ” is called for because
the public, and some of the profession, understand
that the object of a competition is to obtain a
plan, and “ the plan’s the thing.’1 The more
enlightened say that its purpose is to aid in the
selection of an architect. In the former case a
plan by any other designer would give just as
much chance for graft, and in the latter it does
not seem to make much difference whether the
design was furnished by an independent “ghost”
or was executed by the “ head draftsman ” in the
office, as neither name is ever publicly associated
with the design when executed. When a “ ghost ”
is employed, as he often is, and by both honest
and capable architects, it is because the employer
knows that he has not as great a talent for design,
or is not familiar with plan requirements of the
structure competed for, and instead of hiring a
special draftsman for the purpose, consults and
engages the “ghost,” who is always an architect
of more than average ability. When architecture
becomes an art instead of a business, and each
building in its detail as well as mass is the sole
product of the architect’s hand, the “ ghost ” will
disappear, both because there will be no demand
for his services and because the work will be so
distributed that all artists will be employed on
their own commissions. While the firm name
stands for the art expressed in the building, no
matter how much or how little it may be respon¬
sible for it, the “ ghost ” will exist in competitions,
and as far as we can see to the betterment of some
designs produced. The honesty of claiming
authorship of a design whether produced by an
independent “ ghost ” or an employe in the office
is another matter.
* * * *
(HE death of Mr. William
Powell Frith, R.A., on No¬
vember 2, at the age of ninety,
removes from our midst a
singularly interesting person¬
ality, who in his long life saw
many changes of phase in the
estimation of art, and whose
work had risen and fallen with the tide. Frith’s
first Academy picture was “ Malvolio before the
Countess Olivia,” for which a dealer was willing
to give £20 ; but his first striking success was
achieved in 1843, when his “ Scene from ‘ The Vicar
of Wakefield,’ ” having been hung on the line, was
sold for £100 at the private view. It has since
reached 850 guineas at a public sale. Two years
later he was elected A.R.A., attaining full rank in
1852. It was in 1854 that the Queen purchased
his “ Life at the Sea Side,” which was at once the
most extravagantly praised and the most violently
vituperated canvas of its year. In 1858 appeared
the “ Derby Day,” over which the controversy was
renewed with increased fury. Whether it was
worth all the fuss cannot, perhaps, be determined
by simply regarding the picture on its merits, as
it hangs to-day in the Tate Gallery. In its youth
it stood for a portent and an influence. Its appear¬
ance caused Frith to be hailed as the redeemer
and denounced as the destroyer of art. To paint
a landscape as you see it is one thing, to paint
people as you see them, quite another, because
they wear clothes, and because the fashions of their
garments change with the changing moon. There¬
fore Frith’s daring realism was revolting. Simply
to take people as you found them was to eliminate
imagination, invention, emotion. Was it? Frith
seems almost to have attempted to take up this
challenge by painting his “ Railway Station,” in
which he certainly succeeds in showing that the
most commonplace of subjects is not necessarily
destitute of poetry and pathos. It is true that
these elements are perhaps rather cheap ; but it
was for that very reason that they reached the
hearts of a vast public for whom the emotions
cannot be interpreted in classical terms. Frith
gave them the “joy of recognition.” It is
only among the fastidious that familiarity
breeds contempt ; and so the immense popu¬
larity of Frith’s faithfully and vigorously drawn
230
Notes of the Month.
transcripts from the life of his own times
endured until the camera rendered them unneces¬
sary. Then for a time his pictures were scorned
and contemned ; but the estimation in which they
are held to-day probably represents the reasoned
and final judgment upon them. As an excellent
critic has said, it is now realised that “ he painted
sincerely, according to his power and his limita¬
tions, the life of his day, and came nearer in
spirit to Carpaccio and the Dutch masters of
genre than some of his contemporaries, who
wasted their talents in delineating a fairyland that
had no relation to the nineteenth or any other
century.” He was, at all events, a strong and
an excellent draughtsman, and his work showed
the redeeming merits of simplicity and sincerity.
These are themselves elements of vitality; and
because of them, and because of the documentary
value that they imply, Frith’s pictures are secure
of one kind of immortality.
* * * *
R. ERNEST GEORGE’S
presidential address at the
opening of the seventy- fifth
session of the Royal Institute
of British Architects did not
depart very widely from the
traditional character of such
utterances. It was the usual
agreeable olio. As Mr. George felicitously said,
“ In our art we do not make history so rapidly
that there is a new story to be told each year.”
In reporting progress, he was able to say but
little more than that the outlook for architecture
is distinctly hopeful : the young men, upon whom
the hopes of the art are fixed, show the modesty
and receptivity that, while not to be confounded
with want of spirit or lack of individuality, have
always seemed to be a distinctive note of a general
forward movement. “ There is,” Mr. George
observes, “ the desire to fall into line rather than
for strong self-assertion.”
From what has been or is being done, Mr.
George proceeded to consider what is immediately
to do. A British Architectural School of Rome
is to be founded, with presentation to it as the
highest academic prize ; and some day Sir Brum-
well Thomas’s conception of a “ Diploma School,”
for the higher education of architects, may pos¬
sibly materialise. Civic design or town planning
is not likely to remain much longer merely a
subject to talk about. The inadequate representa¬
tion of architecture at Burlington House is to be
remedied, the Royal Academy having consented
to the arrangement, in the winter months, of an
exhibition of architecture and the contributory
arts. The last item in Mr. George’s address was
the most important, so far as “practical politics”
are involved. 1 he Institute is awaiting sanction
to new by-laws and a new charter, which will
enable it to gather into its fold virtually the whole
of the profession, and when it has become thus
fully representative, it will ask Parliament for
“ higher powers and a more secure position.”
At last !
HE second series of “The
Practical Exemplar of Archi¬
tecture ” is just ready. It is
a neat and handy portfolio,
containing 112 plates, with
eight pages of explanatory
letterpress. The list of plates
comprises iron and stone
balustrading, chimneypieces, cornices, doors and
doorways, exteriors, garden gates, gates and gate-
piers, gateways, market crosses, panelling, plaster
ceilings, screens, tombstones, and well-houses.
In each case the object photographed, measured,
and drawn has been selected with taste and judg¬
ment, its intrinsic merit and its representative
character being the sole considerations in making
the choice, so that everything included should be
worthy of close study. The result is a collection
of objects that, while they are more or less closely
related, yet exhibit considerable variety as well as
beauty and interest, the pictorial element being
supplied by a series of superb photographic repro¬
ductions ; while the detailed drawings, by various
hands, provide an exceedingly useful series of
examples of some of the best and most typical
work that has been done in each class that is
represented — work that will well repay serious
attention by all lovers of the Mistress Art. The
portfolio form is obviously the most convenient
that could have been adopted, as it admits of any
plate being instantly detached for reference or
study. The First Series of the Exemplar was
warmly welcomed. Doubtless the Second Series
will be equally well received ; and there seems to
be no reason why the work should not be extended
until it covers the whole field ; so that the lover
of architecture may in course of time find himself
in possession of a neat, compact, and portable
library of examples; each section comprising a
representative liber studiorum of more or less
closely related work, and the whole forming a
comprehensive cyclopaedic survey of the art. That
it is being built up, as it were, on the unit system
renders it not only easy of acquisition, but most
convenient for housing and comfortable in the
handling. The editor is Mr. Mervyn E. Macart¬
ney, B.A., F.S.A., F.R.I.B.A., and the work
is published from the offices of this magazine.
Ebberston Lodge, Yorkshire.
HERE are few places in Eng¬
land more wild and solitary
than the moorland which
stretches for miles to the east¬
ward of the Pickering and
Whitby Railway. Innumer¬
able valleys intersect the
moors, some clothed with
wind-swept scrub, and others as bare as the higher
land. Here and there are burial mounds and
dykes, the memorials of prehistoric man ; and
towards the southern edge of the moorland there
are lines of earthworks, some of them five and six
deep, which extend for several miles from north
to south. They would seem to form part of a
great system of fortification intended to protect
the inhabitants from an invading body advancing
from the east. They are called the Scamridge
Dykes, but their makers and their history can
only be dimly surmised.
Farther south again the hills dip down to meet
the Vale of Pickering, once, it is said, a great
lake hemmed in on its eastern side by glaciers,
but now a wide and fertile plain. The hillside is
furrowed by dales, and by following one of these
from the Scamridge Dykes southward to the vale
one comes suddenly upon a little stone-built
eighteenth-century house, prim even in its decay,
and surrounded by traces of formal gardens,
canals, ponds, and cascades. There is something
pathetic in its aspect if approached for the first
*
s
time from above, as it lies below in the little dale,
with the pale sunlight of a winter’s afternoon
reflecting in the water the stark boughs of the
copses which grow on either bank. The place
seems almost as desolate and remote as the pre¬
historic mounds and dykes of the moorland above ;
yet it was built only so lately as 1718. Local
knowledge of the builders and the early owners of
the house has vanished completely, and the build¬
ing itself is gradually disappearing; not long ago
the fine lead-covered gazebo or cupola was taken
down to save the cost of repairs, the stone cor¬
nice has been taken from the stables to be used
elsewhere, and the east side wing has been pulled
down. Yet there is still a stately classical air
about the place. The broad flight of steps to the
terrace in front of the house, the carefully wrought
stonework, the excellence of the mouldings, and
the now neglected pleasaunce to the north, all
bespeak a former splendour and elegance. It
seems strange to find this curious bit of eighteenth-
century finery hidden away in a fold of the hills
SECTION
PLAN
SCALE OF FEET
232
libber ston Lodge , Y or ks hire.
SOUTH ELEVATION.
and neighbour to the scenery of the moors ; almost
as strange as it would be to find the Petit Trianon
built in a Highland glen instead of in the gardens
of Versailles.
Ebberston Lodge is very small, consisting only
of a raised ground floor and a basement storey.
This latter runs also under the broad terrace on
the southern front, and the approaching flight of
steps is flanked at either side with stone obelisk
lamp standards, and there are iron railings of
simple design. The present front door is obviously
a later insertion, but the whole of the stonework
of the front is beautifully wrought of the local
limestone of the dale ; it is grey in colour, with
golden patches where the lichen has grown upon
it. The half-columns of the doorway are boldly
rusticated and finished with a stalactite pattern.
The heavy keystones above the windows are finely
carved, and the cornice and balustrade with their
crowns of urns are well proportioned. Within
there is a room on either side of the hall; the
parlour on the west side is panelled to the ceiling-
in pine painted over. The panels are wide with
bolection moulds and Corinthian pilasters between
them, and above is a carved frieze and cornice,
and a simple plaster cove, dying pleasantly into
the ceiling. For so small a room — it is only 19 ft.
by 14 ft. — a wonderfully dignified effect has been
secured by fine design and proportion. The room
on the east side was probably the principal bed¬
room, and is panelled in a simpler manner. In
the centre of the north front is a stone-lined loggia,,
originally open to the air, and overlooking the
series of formal ponds and cascades which descend
from the dale. The spaces between the columns
have been closed in with windows, probably
shortly after the house was built, for this loggia
with its north aspect must have been bitterly cold.
On either side are small bedrooms, and below are
the offices and servants’ bedrooms. The house
was evidently designed for only occasional habita¬
tion as a summer-house or hunting lodge, and it:
Ebberston Lodge , Yorkshire
233
THE SOUTH FRONT.
234
Rbberston Lodge , Yorkshire.
THE NORTH ELEVATION.
forms a relic of the elaborate manner in which
“the quality” of the eighteenth century led the
simple life.
In the third volume of “ Vitruvius Britannicus”
Colin Campbell illustrates the design for Ebberston
Lodge. The plate contains an elevation of the
south front, and a statement that he is the author
of the design. The engraving does not do justice
to the house, for the terrace is not shown, nor are
the wings. Campbell’s description is worth quot¬
ing at length : “ This small rustick edifice stands
in a fine park, well planted, with a river which
forms a cascade and canal 1,200 ft. long, and
runs under the loggio in the back front.”
Further evidence of the original appearance of
the “rustick edifice” has been preserved in the
shape of four old oil-paintings, which are in the
possession of Lord Hotham at Dalton Hall in the
East Riding of Yorkshire. They are very faded
and wrinkled with age, and the trees stand out
from the canvas with a tint of ghostly blue. The
costumes of the figures are those of the early part
of the eighteenth century, so that the pictures
show us the place as it was soon after com¬
pletion.
The first painting represents the south front :
the water from “the long canal ’ is shown
bubbling up in the foreground in a most curious
manner. The fronts of the two wings are shown
facing the south, parallel with the front of the
house ; in Campbell’s plan these wings are at right
angles to the house, whereas in reality the remain¬
ing block is at an angle of 135 degrees with the
main front. It is impossible to believe that this
substantial building was bodily removed and
differently orientated at a later date, so that we
are forced to conclude that the painter either
shirked the difficulty of perspective, or thought
his arrangement to be an improvement. And in
another view taken from the east side, the west
wing, which would really appear from this point,
is omitted altogether.
Ebberston Lodge , Yorkshire
235
VIEW FROM THE NORTH.
236
Ebberston Lodge , Yorkshire
SPRINGS
CANAL
CANAL
HOUSE
f ectic o ii, 40 40 so >oc iso wk. i»c >60 .oortc-?
SCALE OF FEET
GENERAL BLOCK PLAN.
Rbberston Lodge , Yorkshire.
237
THE SOUTH AND EAST ELEVATIONS. FROM OLD PAINTINGS.
VIEW FROM THE LOGGIA, LOOKING NORTH. VIEW FROM THE NORTH.
Rbberston Lodge , Yorkshire.
239
240
Ebberston Lodge , Yorkshire
DETAIL
IN THE PARLOUR.
Ebb erst on Lodge , Yorkshire. 24 1
VOL. XXVI. — P
DETAIL OF PAMLLLiriG TO PARLOUR
242
Rbberston Lodge , Yorkshire ,
SCALE OF FEET &— £ - £ - * - * - f - l - i - l - £ - £ - X - " - 1 ¥ . f - £ - 5 - £ - i- - . - £ SCALE FOR DETAILS
Rbberston Lodge , Yorkshire ,
24 3
p 2
VIEW UP THE DALE,
Ebb erst on Lodge , Yorkshire.
244
The second picture is very interesting as ex¬
plaining Campbell’s description of the canal
“ running under the loggio in the back front.”
There remain the rusticated voussoirs of an arch,
now built up, in the centre of the north front.
The arch was puzzling, as it is too low for a
doorway ; but here we can see how the waters
of the canal above disappeared under the base¬
ment through this archway. The effect must have
been delightful, and the resulting dampness in the
cellars inconvenient beyond belief. And the great
mass of water in the canal at a higher level than
the basement floor cannot have enhanced the
dryness of the house. People in the eighteenth
century appear to have tolerated any amount of
inconvenience and discomfort to obtain a stately
and elegant environment, whereas nowadays any
amount of ugliness is condoned so long as comfort
and convenience are consulted.
The third picture is taken from “ the loggio in
the back front ” ; the cast-iron finials of the railings
appear in the foreground, and the loggia columns
frame the view at the sides. We look up the dale
over the long perspective of the canal, which ter¬
minates in front in a cascade ; while the banks
are buttressed with steps descending to the fore¬
court. In the middle distance the canal widens
out with a circular sweep, and there is a round
islet, from which rises a pyramid, surmounted by
the Flying Mercury of Giovanni da Bologna.
Stone urns flank the lower cascade, and lead
statues of children the middle one. The canal is
fed from springs which rise out of the limestone
about 500 yards from the house.
Ebberston in its small way is reminiscent of two
other places in Yorkshire which came into being
a few years earlier. The water gardens of Bram-
ham Park, though planned on an altogether
different scale, have much in common with the
canal at Ebberston, for there also the water falls
from level to level over stone steps into ponds and
canals, and the effect obtained is very similar.
Then, again, in the details of the house, in the
stonework and the heavy keystones, we are
reminded of Castle Howard, which in 1718 would
have been almost completed. Castle Howard is
not more than fifteen miles away from Ebberston
as the crow flies, and it is probable that the same
masons were employed upon both buildings.
This little Yorkshire hunting lodge forms an
interesting example of the excellent workmanship
and refined detail which characterise English
architecture in the early part of the eighteenth
century. It is also an instance of the influence of
fashion upon planning, for the detached side wings
which were employed in all the great houses of
the time are reproduced here in miniature.
Sydney D. Kitson.
Some Account of the Life of Giorgio Vasari.
W artists have done more for art
than did Giorgio Vasari of Arezzo ;
yet few artists of the high Renais¬
sance painted worse pictures. In
that one sentence might be epito¬
mised the whole story of the man
who, while he hoped to strike all
Rome dumb with the wonder of his
paintings, secured for himself a niche
in the temple of Immortality by what is little better than an
accident.
That accident, the “ Vite de’ piii eccellenti Pittori, Scul-
tori ed Architetti,” fills so large a space that his pictures and
buildings, even his very personality, have almost been lost to
sight through the greater fame of his book. Could he revisit
the earth it is not to be doubted that little Giorgio would be
somewhat crestfallen to learn what is thought of his art, and
astonished beyond measure to find that as an author he stands
among the immortals.
It was his misfortune to be born just when the Renaissance
had passed its meridian, and that his studies were disturbed
by the vicissitudes through which his patrons, the Medici,
passed between 1527 and 1537. Fortune declared against
him from the outset, for at the age of sixteen Giorgio was left
fatherless, with a widowed mother to provide for, as well as
three young sisters and two little brothers.
His artistic training previous to his first visit to Rome was
of the slightest. As a boy he profited by watching Guglielmo
da Marsiglia at work upon the stained-glass windows for the
Duorno at Arezzo ; then, when Cardinal Silvio Passerini
passed by on his way to Florence in the spring of 1524 he
took the lad with him, and for a space Vasari was allowed to
share in the studies of the Cardinal’s young proteges, Ippolito
and Alessandro de’ Medici. This state of well-being came
suddenly to an end, for after passing all too rapidly from the
fatherly care of Michelangelo to Andrea del Sarto, and thence
into the workshop of the turbulent, arrogant Baccio Bandi-
nelli, Giorgio was again obliged to shift for himself when the
Medici were expelled from Florence in 1527. But the Medici
came back, besieging the city in 1529-30, and Giorgio, who
liked not the sights and sounds of war, prudently fled before
the storm and wandered about the country until, probably at
the end of 1531, Ippolito de’ Medici offered him a place in his
suite in Rome. We catch a glimpse of these years from a
letter to Niccolo Vespucci, in whose house he resided while in
Florence, and who had been the means of his going to Rome.
“You already know,” he says, “how in August 1527 the
cruelty of the plague snatched my father from us, and how I,
not being able to remain in the city, wandered through the
country districts painting saints for the village churches.” He
draws a vivid comparison between the ease he enjoyed during
his father’s life and the discomforts he had to bear after his
death ; “ until at length here in Rome I came once more into
the service of the great Ippolito c!e’ Medici, as once before I
245
Some A ccount of the Life of Giorgio V asari.
had served him and his brother (sic) the Duke Alessandro.1 2
I find his lordship more inclined than ever to help and en¬
courage not only my own insignificant self (che sotio un ombra),
but all who show any inclination to study. How much ought
I, after thanking God, to thank you, Signor mio onorato !
For in gaining me the favour of one so highly placed as the
Cardinal I believe you will be the instrument by which my
family, now on the verge of extinction, will be enabled to make
a fresh beginning and may even become rich.” He tells his
benefactor that he is being well treated, and shows that even
at the age of nineteen his mind is already set upon winning
honours and distinctions. “ Perhaps they [the Medici] realise
how much I desire to be among the number of those who
earn pensions (piombi)‘i and the splendid rewards of our art,
if by any means I can compass it. Of a truth my mind is
firmly set upon winning these prizes, for the time passes
quickly and there is no one now to provide dowries for my
sisters, unless by my efforts I can win an honourable position.”
With this laudable object in view Giorgio studied so assidu¬
ously in Rome that he subsequently became ill and had to be
transported to Arezzo in a litter. This illness, however, was
also in part caused by his disappointment when Ippolito was
called away on an expedition against the Turks in Hungary.
Vasari was left in Rome ; and he would fain have us be¬
lieve that the Cardinal placed him under the august care of
Pope Clement VII.3 himself. But while his Autobiography
states that the Pope transferred him to the keeping of his
maestro di camera , Geronimo Montaguto, we learn from one
of Vasari’s letters that the Cardinal had instructed his own
majordomo, Domenico Canigiani, to look after the young
painter. The letter adds that “his most reverent lordship has
left a letter for me addressed to the lord duke Alessandro,
asking him to take me into his service, as he wishes me to go
to Florence for the summer, both to escape the air of Rome
and to continue my studies until he returns victorious from
Hungary.” Towards the end of October he presented his
credentials to Alessandro and was taken into his service,
remaining there in peace and security until the dagger of
Lorenzino left him once more without a patron. During these
years Giorgio made rapid progress both in knowledge and
reputation. His chief work lay in completing the decoration
of the great hall Giovanni da Udine had begun, and for this
the Duke promised to give him the dowry of one of his sisters,
a promise which does not seem to have been fulfilled. About
the same time his second sister became a nun, and by wav of
donation Vasari agreed to paint a picture for the convent.
Of this event we have an account in a letter to Pietro
Turini, an old friend of the family, written in 1535 : “ Since
my second sister desires to give herself to God I am quite
willing that she should enter the convent of the Murate,
and I am obliged to you for having persuaded the nuns
to accept my offer of a picture in lieu of a donation in
money. What other friend would have exerted himself to
ease the burden of another as you have done for me when,
weighed down by so many adversities, I was well-nigh worried
into the grave ! ” With the impetuosity that was one of his
characteristics Giorgio set to work, enclosing a sketch of the
proposed picture in his letter. It is to be an “Annunciation,”
and “if the nuns, being women, think our Lady appears too
much frightened at the angelic salutation, please remind them
that Gabriel especially told her not to be a/raid.,'‘ At this
period h's salary was six crowns a month with board and
lodgings for himself and a servant.4 The favour with which
Alessandro regarded him helped to develop the belief in his
own powers which, scarcely concealed in the Autobiography,
is abundantly manifest in his correspondence. “ If heaven
grant me the strength, as you see it has given me the oppor¬
tunity,” he says in one letter, “ doubt not that Arezzo, which
so far as I have been able to ascertain has never produced an
artist above the level of mediocrity, shall, if it be in my power,
break the ice (rompere il ghiaccio ) with me.”
It is needless to discuss his immature efforts while working
in Florence for Duke Alessandro, but it should be noted that
it was owing to his patron’s consuming interest in building and
fortifications that Vasari was led to the study of architecture.
He tells us that Alessandro’s wedding afforded him an oppor¬
tunity for distinguishing himself, and he tells us also that he
seized the opportunity, finishing his allotted portion, in spite of
extraordinary obstacles placed in his path by his fellow crafts¬
men, in time for the ceremony. For this he received the
personal thanks of the Duke — who went so far as to kiss-
him — and his stipulated payment was augmented by the
addition of the fines which all the other painters whose work
was not finished to time were obliged to pay. This sum
enabled him to supply the marriage portion of another sister,
thus leaving only the third to be provided for.
In the midst of this prosperity Alessandro de’ Medici was
assassinated, on January 5, 1537, and Vasari was rudely
awakened from dreams of advancement. Some sorrow he
seems to have felt at the untimely death of a patron whom
he describes, without a shadow of justification, as “ truly
worthy to be the Prince not only of this city, which is the
greatest in all Tuscany, but of the whole of this unfortunate)
miserable, weak, and troubled Italy ” ; but his real grief lay
in the misfortune which had overtaken himself. His view of
the situation is summed up in a letter to his uncle, written a
few days after the tragedy. “ Here am I, most respected
uncle, with all my hopes in this world, all the favours of
fortune, the enthusiasm engendered by the confidence of a
prince and the rewards of my labours — all, all extinguished
with a single breath. Duke Alessandro my patron lies dead,
stretched upon the ground with his throat slit as though he
were one of the beasts that perish .... My mortification is
the greater because Cardinal Ippoljto de’ Medici and his uncle
Clemente, whose favour first set my ambition soaring high,
have both of them been ruthlessly snatched away by death.”
So long as Alessandro remained Giorgio did not feel their loss
very keenly ; but when, following the death of Pope Clement
VII. in 1534 and of Cardinal Ippolito, poisoned by order of
Alessandro in 1535, came the murder of the Duke, he deter¬
mined to forsake all courts, “ whether of ecclesiastics or of
princes,” and to wander at large, making a sort of bargain
with the Almighty by assuming that if he kept himself in a
condition of intensely obvious submission to the Divine will
his mouth would be filled with good things, especially as, in
his own words, he “ might have obtained the same position
and salary as before under the new Duke, Cosimo de’ Medici.”
There is some uncertainty as to Vasari’s movements during
the next four years. He returned to Arezzo at first, and gave
way to a fit of melancholy which only left him after he had
spent the summer, either of 1537 or 1538, at Camaldoli. To
this retreat he returned for the two succeeding summers, and
1 They were cousins, though both were illegitimate.
2 Sebastiano Viniziano, better known as Sebastiano del Piombo,
had recently been appointed Frate del Piombo, and the possibility
of succeeding him may have been in Vasari’s mind.
3 Giulio de’ Medici, kinsman of Ippolito.
4 " At this time, although I was little more than eighteen, the
Duke gave me six crowns a month, board for myself and a ser¬
vant, with lodging and other conveniences.” Throughout his
whole account Vasari seems to be groping in a mist with regard
to his age. He was born on July 30, 1511, so that at the
period to which he refers he had attained the not altogether
immature age of twenty-four.
246 Some Account of the Life of Giorgio Vasari.
executed several frescoes in the monastery. One of the
winters was spent in Rome, where we find him “resolved to
forget the years that are past ” and “ determined to remain
among the stones which have become living things in the hands
of craftsmen long since dead.” He passed the time in Rome in
assiduous study, for we learn from his autobiography that he
made more than three hundred drawings during his stay.
The eight months spent in Bologna account for another of
these winters, and as one of the three large panels painted by
him for San Michele in Bosco near the city bears the date
1540, 5 the exact date of his visit to Bologna is established.
Previous to this, and, to judge from the autobiography, im¬
mediately after the winter in Rome, he was called to Monte
San Savino, where he painted an “ Assumption of the Virgin,”
a picture which undoubtedly shows the beneficial effects of his
recent studies.
Throughout these years we see him keeping resolutely to
his determination not to seek the patronage of “those whom
poison or the dagger are likely to remove when one has most
need of them.” While he ceases to regard the hard names
which Ottaviano de’ Medici hurls at him for his obstinacy as
so many “ crowns, not of laurel or myrtle, but of pure gold,”
he still avoids the Tuscan Court, and only when he finds the
opposition of the Bolognese painters threatening his safety
does he return to Florence, in the autumn of 1 540, having so
far prospered as to be able to find a dowry — and a husband —
for his third sister and to purchase a house in Arezzo.
Still preferring to remain his own master, his unsettled
spirit led him to visit Giulio Romano at Mantua towards the
end of 1541, and travelling thence to Venice he picked up
incidentally much of the information which formed the basis
of the “ Vite.” He seems to have contemplated a prolonged
stay in Venice, but after painting several pictures for Giorgio
Cornaro he suddenly became disgusted with a city “ where
good drawing was neglected for the sake of brilliant colour¬
ing,” and went back to Arezzo to decorate his own house.
His numerous friends in Rome [meanwhile continued to
hold out alluring promises of lucrative employment, and at
the end of 1542 or beginning of 1543 he turned his steps
southwards. This visit to Rome is of the greatest import¬
ance, leading as it did to tremendous results. A “ Deposition
from the Cross” which he painted for Altoviti attracted the
notice of Cardinal Farnese, who forthwith gave him employ¬
ment ; and it was at the table of that prelate that, two years
later, the historic discussion arose regarding the collection of
portraits made by Paolo Giovio, Bishop of Nocera, which led
to the writing of the “Vite.” In Rome, too, Michelangelo
urged him to continue the study of architecture, “which,” says
the autobiography, “I might not have done if that excellent
man had not said what he did to me, which for modesty I will
not repeat.” This modesty seldom stands between Giorgio
and his true opinion of himself, however, for we read else¬
where that he considered himself to be already one of the
best architects in Rome.6
Finding that the climate made it impossible for him to
remain in Rome during the summer, he went back to Florence
early in 1544, and from thence to Pisa, where a picture for the
church of San Pier Cigoli and two others for the Duomo kept
him fully occupied until the hottest months were over and it
was safe for him to return to Rome. Before he had time to
set to work he was summoned to Naples, to work for the
monks of Monte Oliveto. “ It is a remarkable fact,” he
writes, “ that from Giotto’s time down to our own this great
and noble city has not produced one artist whose works are of
importance, although some pictures by Perugino and Raffaello
have found their way there. On that account I endeavoured,
so far as lay in my power, to awaken the intellect of the
inhabitants.” Instead of exciting the admiration of the
Neapolitans, Vasari found himself in the midst of a squabble
between the monks and the viceregal soldiery ; and as his
fifteen (!) assistants took the part of the monks in resisting
an attack on their convent, they were obliged to fly for their
lives as soon as the doors were battered down, leaving Giorgio
to face the storm alone. Disconsolate at the turn events had
taken, he retraced his steps to Rome, taking with him twenty-
four pictures which had still to be completed.
He then began the decoration of the Sala della Cancelleria
in the Palazzo San Giorgio, and completed it so rapidly that
he was able to boast of having finished it in a hundred days.
Michelangelo, on seeing the inscription to that effect which
had been placed over the work, is said to have summed up the
whole in three words, E ’ si conosce — “ It looks like it.” 7
Giorgio discovered his error in time to apologise for it in the
autobiography, but ungenerously lays the blame on his assis¬
tants. “ I resolved that in future I would execute no more
works unless they were carried out entirely by myself, my
assistants being only permitted to draw the rough outlines
from my designs.” It would have been better “to have taken
a hundred months and to have done it all myself.”
Yet, while Vasari was thus engaged in a work which even
he admitted to be far from satisfactory, he was unconsciously
standing upon the threshold of immortality. It is needless to
do more than refer to that evening when the Cardinal Farnese
sat at supper and listened to the learned discussion which
arose from the casual mention of Giovio’s collection. The
story is one that has been told often enough, and nothing
material can be added to the account which the writer of the
“Vite” himself has given us. It is enough that Vasari was
asked to collect such information concerning the lives of the
artists as he could, and that when he carried his notes to
Giovio that dignitary was so pleased with their rough form
that he refused to rob him of the honour of completing the
work.
The production of the “ Vite” occupied the greater portion
of the next four years. Before the end of 1547 a section of
the book was submitted to Annibale Caro, and he, writing on
December 11, tells Giorgio that he considers it “ written in
a pure style and with great care.” “ I like to see a book of
this sort,” he adds, giving the budding author a little profes¬
sional advice, “ written exactly as one speaks : it should be
natural rather than stuffed with metaphor and hyperbole, and
chatty rather than stilted. Your book is just what it ought to
be except for a few little things here and there which you will
readily discover and correct as you read it through. I rejoice
to think that you have done so great and useful a work, and I
am confident that it will live for ever.” The spirit of prophecy
was heavy on Caro when he wrote those words. Vasari does
not seem to have had sufficient confidence in himself on this
occasion, for having met a certain Don Gian Matteo Faetani,
abbot of the monastery of Sta. Maria di Scolca, he agreed to
go to Rimini and paint an “ Adoration ” over the high altar
while the abbot in return undertook to revise the book and
give it to one of his monks to copy out in a clerkly hand.
Then after painting a “ Stigmata” in the church of San Fran-
5 This is the “ St. Gregory at supper with Twelve Poor Men,"
now in the Pinacoteca at Bologna.
6 See his life of Antonio da San Gallo, where he speaks of
the competition for the cornice of the Palazzo Farnese. He
says that the Pope voleva un cornicione il piii hello che mai fusse stata
a qualsivoglia altro palazzo ; voile, oltre quelli \_disegtii~\ che aveva fatto
Antonio, che tutti i migliori avchitetti di Roma facessino ciascuno il suo.
He informs us casually that he was himself one of them, and
that by order of the Pope and the Cardinal he made two separate
designs.
7 The same story, however, is told by Vasari with reference to
Michelangelo's criticism of another artist’s work.
247
Some Account of the Life of Giorgio Vasari.
cesco in the same city, and a “ Deposition from the Cross ”
in Sant’ Apoliinare in Classe at Ravenna, Giorgio returned to
Arezzo and settled down with the intention of devoting the
summer of 1548 to the decoration of his own house. Here he
set to work busily, and in the ceiling of the chief room executed
frescoes of allegorical subjects : also “ as a sort of joke ( quasi
burlandd) a picture of a bride carrying in one hand a rake — •
to show that she has collected and carried off everything that
she could lay her hands on before leaving her father’s house —
and in the other a lighted torch— to show that as soon as she
enters the home of her husband she becomes a veritable fire¬
brand.”
While thus engaged with his own affairs he was commis¬
sioned to paint a “Feast of Ahasuerus ” for the church of
Santa Fiore e Lucilla in Arezzo, a work which is universally
considered his masterpiece. It won from his critics a greater
meed of praise than generally fell to his lot, and Vasari does
not fail to notice this in the autobiography. “ If I were to
believe all that I heard said about it at the time I might
persuade myself that I had accomplished something : I know
full well how it ought to be done, and how it would have been
done if my hand had been capable of carrying out the con¬
ception of my brain. In very truth — -this at least I can say
with all frankness — I put the utmost diligence and care into
it.” This was followed by several unimportant pictures, and
a design for the vast garden which the Cardinal del Monte
wished to lay out at the foot of Monte San Savino.
Shortly afterwards Vasari repaired to Florence and began
a picture for Annibale Caro, the same who had criticised the
advance pages of the “ Vite.” The picture had been “ in the
air ” for more than a year, and there is a letter from Caro to
Giorgio concerning it in which we find much enlightenment
as to the views of his contemporaries concerning his art. “ I
should like,” writes Caro, “ to possess an important picture
painted by you, partly for my own satisfaction, and partly for
your benefit, so that I can show it to those who say you are a
rapid rather than a good painter. I spoke to Botto about it,
but I do not want to trouble you until you are free. Now that
you offer to do it at once you can guess how delighted I am ;
but whether it be done speedily or at your leisure I shall leave
to you, for I fully believe that it is possible to work both
quickly and well when the spirit moves. In this respect
painting resembles poetry. I admit that people say you would
paint better if you painted more slowly ; but, though in this
case they are probably right, it does not follow as a necessary
conclusion. It is also true that a laboured work, one that
lacks conviction and is not finished with the same enthusiasm
that marked its commencement, is equally bad.” This picture,
apparently a “ Venus,” was sent to France together with a
“ Psyche and Cupid ” which was painted about the same time.
Vasari had now attained the age of thirty-eight, and had
steadfastly remained a bachelor. When he did marry, in
1 549? we are t0 suppose that it was not to please himself
that he introduced the “ fire-brand ” into his home, but solely
in order to satisfy the wishes of the Cardinal del Monte, then
Papal Legate at Bologna. Here Giorgio visited him and was
persuaded into taking a wife. “ As the result of his solicita¬
tions I decided to do what I had hitherto carefully avoided,
that is, to get married. So, in accordance with his wishes, I
took to wife a daughter of Francesco Bacci, one of the Aretine
nobility.” Few people will deny after this that Vasari was
prepared to go to considerable lengths to please his friends.
This Niccolosa Bacci — '“la Cosina,” as he came to call her
when they wei e better acquainted — seems to have been related
to Pietro Aretino, the poet.
Leaving his bride in Arezzo with the rest of his worldly
acquisitions, Vasari went to Florence, executing numerous
commissions, and bringing his works to completion with such
unusual rapidity as to justify the remark of Benvenuto Cellini,
that, “if he lived long enough he would cover the whole
world with his paint.” Meanwhile the “ Vite ” were nearly
finished, and by order of Duke Cosimo the business of printing
them was put into the hands of Lorenzo Torrentino, the Court
printer. In the midst of revising the sheets Paul III. died,
and Cardinal del Monte, the same who was responsible for
his recent marriage, passing through Florence on his way to
attend the conclave, instructed Vasari to hold himself in readi¬
ness to follow him to Rome should he be raised to the vacant
see. The Cardinal was elected Pope on February 8, 1550,
under the title of Julius III., and shortly afterwards Vasati
presented himself at the Vatican full of hopes for the future
which were destined not to be realised. Julius III., he found,
was a man who changed his mind upon the smallest provo¬
cation, and whatever decision was arrived at was, upon some
pretext or other, reversed with bewildering rapidity. It is not
surprising to learn that Giorgio, “ having to be perpetually at
the beck and call of the Pope, was always on the move.” His
chief occupation lay in designing the tomb for the first Cardinal
del Monte, and in this Vasari had the benefit of the advice of
Michelangelo, with whom he spent a portion of each day.
Apart from this he tells us very little of the events of these
years, and there are few of his letters still in existence which
were written at this time. We know that he went to Carrara
to select marbles for the tomb of the Cardinal, and that he
paid two flying visits to Florence. We catch glimpses of him
in his letters, disconsolate and lonely amid all the splendours
of the papal court. “As soon as I have satisfied all the
whims of his Holiness I shall return to Tuscany with the
utmost pleasure. I am more tired than rich, far from my
wife, my household possessions, and all my friends.” “Instead
of the distinctions of Court" service, I could do very well with a
house with a little garden, where I could be lazy when I wanted
to, if It were coupled with employment that would occupy
several years, something that I could finish or that would end
in finishing me (che o finisse me, 0 io finis si lei)-, with food
enough for my old mother, my wife, myself, one servant, and
the boy who looks after a worn-out nag unable to draw its own
water and curry itself.” Above all, he is desirous of leaving
Rome, and his unwavering faith in his own powers leads him
to believe that, were he in Florence, he would do something
extraordinary. He implores the Bishop of Cortona, in the
letter just quoted, to secure his return. “ If you who have
already earned the name of benefactor should enable me to
come home, and if I were to accomplish something remark¬
able, what would the world in general, and artists in particular,
say of you then ? I do not want to press you, nor do I ask
more than your affection for the prince demands.” The
problematic gratitude of posterity does not seem to have been
sufficient inducement ; for, either through the Bishop's negli¬
gence or some other cause, Vasari remained in Rome,
yearning to be employed by the same duke whose service he
had spumed but a short while before. As time wears on we
see him growing angry with Rome, expressing his opinion of
her ecclesiastics in unmeasured terms. He refers to them as
“ asses dressed out in silk ” — an unusual outburst of naughty
temper — and says that he is obliged to fetch and carry for
people who are incapable of appreciating either merit or faith¬
ful service. Yet it must be confessed that the delay appears
to have been his own fault, at least in part ; for, when he was
on the very point of setting out, he was offered a fresh com¬
mission, and accepted it. “ I should already be several days
on my journey,” he says, “if Messer Bindo Altoviti, whom I
have promised to serve to the utmost of my limited capa¬
bilities, had not detained me with the erection of a loggia,
which is to be built on to his house beside the Tiber. I have
been obliged to superintend the execution of the stucco work,
and to paint the whole of it with my own hands, within the
space of three weeks. ... I am absolutely determined
248 Some Account of the Life of Giorgio Vasari.
(risolutissimo) to get away from here. Four loads of my
personal belongings are already on the road, and 1 have
bidden farewell to all the Signori.
In the following year Giorgio returned safely to Arezzo,
and, after a short but well-earned rest, betook himself to
Florence to kiss the hand of Cosimo, by whom he was received
with “marked cordiality and affability,” being imme liately
taken into the service of the Court as painter in ordinary, a
position he continued to hold for the remainder of his life.
Giovanni Batista Tasso, a carpenter whom Cosimo had raised
to the position of architect to the Palazzo Vecchio, was then
engaged in planning the S /arise Nuove, and Vasari was
retained to decorate them as soon as the walls were ready.
The period of waiting was spent at Arezzo, but it would seem
that the war then raging in the Val di Chiana not only caused
him to hurry back to the safe walls of Florence, but brought
in its train the destruction of his little patrimony. Writing to
Michelangelo in August, he says that the French have burnt
his “ houses, cottages, and granaries,” and have carried off all
the livestock, a disaster he bore with remarkable fortitude, and
attributed to divine retribution for the sins of the Tuscans. If
we are to believe his autobiography, he was sufficiently well
off to support these losses, as he was “splendidly and
generously rewarded by the magnanimous liberality of this
great duke, not only with a salary and presents of money,
with houses in the country and in Florence where he might
work with greater comfort, but also with the supreme magis¬
tracy of the gonfaloniere of Arezzo,” a position he might dele¬
gate to a substitute. Unfortunately for his veracity, there are
several letters which directly controvert a part of this declara¬
tion, and it is evident that at times he became seriously
involved in debt through the non-payment of moneys due
The death of Tasso, in May 1555, led to the appointment
of Vasari as architect in his place, and the internal alterations
which had been projected in the Palazzo Vecchio were carried
out by him. “ To this work, although it seemed to be an
undertaking beyond my abilities, I set hand, and made, as
best I might, a very large model, which is now in the posses¬
sion of his Excellency.” Five years later, 1 560, he was still
deep in the designs for this work, the steady progress of which
was broken by a visit to Rome in the suite of Giovanni de’
Medici, son of the duke, who, having recently been elected to
the cardinalate, set out, in March 1560, to receive the red hat
from the hands of the Pope. Vasari describes the triumphal
progress of his young patron in a series of letters to his friend
Vincenzo Borghini, Prior of the Ospedale degli Innocenti ; and
in the “Life of Francesco Salviati ” we learn something of
how he occupied himself in Rome. The Pope had in con¬
templation the decoration of the Sala Regia, but could not
make up his mind whether to employ Salviati or Daniello da
Volterra. When Vasari arrived, Salviati hastened to pour out
all his troubles into the sympathetic ear of his friend, “who,
greatly appreciating the abilities of the man, told him that he
had managed his affairs very badly indeed, and that for the
future he had better leave everything for Giorgio to arrange.”
According to a marginal note, which Milanesi says is to be
seen in a copy of the “ Vite ” preserved in the Corsini library,
this remark gave rise to a saying in Rome — Lascia fare a
Giorgio , “You leave Giorgio to manage it.”
Vasari’s good opinion of himself had led him into arro¬
gance. If further proof were needed we have only to follow
up the story of the Sala Regia. Being asked by the Pope to
decorate a portion of it, he replied that “ he had one to do for
Duke Cosimo which was three times as large, and that he had
been treated so badly by the late Pope, Julius III., for whom
he had done much work at the Vigna, Monte San Savino,
and elsewhere” — and the fact that Julius had been the cause
of his saddling himself with a wife may have had something
to do with it — “ that he no longer knew what to expect from
certain people.” Michelangelo, who did not know of his
arrival in Rome, received an early visit from Vasari, and, says
Giorgio, “ fell upon my neck and kissed me a thousand times,
weeping for happiness like an old man over a long-lost son.”
Michelangelo, though very infirm, was able to ride with him
to St. Peter’s to show him the model for the dome, “ il quale
e una cosa bizarissima e straordinaria ” — a most remark¬
able and extraordinary piece of work. For the rest, Vasari
found Rome during his brief stay less pleasant than ever, and
says that this Rornaccia “ is a living lie, and a scandal in the
eyes of all who seek the paths of virtue.”
Current Architecture.
THE CANADIAN BANK OF COMMERCE,
MONTREAL.
Frank Darling (Darling and Pearson)
Architect.
HE Canadian Bank of Com¬
merce has celebrated the
forty-second year of its life
by moving its Montreal
branch into one of the most
modern and substantial bank
buildings in North America.
The construction of this
building was one of the largest building con¬
tracts yet performed in Montreal. On May 5,
1907, wrecking was commenced on the old Temple
building, which was for many years situated on
this site. The wrecking was completed in two
months, so that work on the excavation for the
new building was begun about July 5, 1907.
The actual time of construction has been about
twenty-two months.
The building follows the Corinthian style of
architecture. Granite was used in the stonework.
The result is that a most imposing structure has
been erected. The six granite columns sixty feet
in height and eight feet in diameter stand well in
front of the entrance. The granite facade behind
extends across the entire width of the site one
hundred and eighteen feet. Flights of stairs
ascend from the street between the columns, which
stand on granite plinths, the largest weighing
twenty-six tons. In fact, the blocks forming this
colonnade average twenty-six tons in weight, and
the work of placing them in position was no mean
engineering feat. The colonnade forms a loggia
to the main wall, setting back fifteen feet from the
street line. The blocks on the screen wall vary
in thickness from two feet to two feet and three-
quarters. To support this massive pile of stone,
excavations were made to a depth of thirty-one
feet below the level of the sidewalk on St. James
Street. These excavations were far below any
C u rren i A rch i ted lire .
249
THE CANADIAN BANK OF COMMERCE, MONTREAL.
GENERAL VIEW OF THE EXTERIOR.
FRANK DARLING, ARCHITECT.
250
C urren t A rch iiecture
THE CANADIAN BANK OF COMMERCE, MONTREAL.
INTERIOR OF THE BANKING HALL.
FRANK DARLING, ARCHITECT.
Ctirrent Architecture.
251
previous cuttings on this site, and near the bottom
the cuttings ran into the bed of an old stream
that passed through this spot ages ago. It was
also shown in digging that a burying-ground had
formerly been on this site. The walls of the
building are entirely of solid masonry. The
furring is of tile and terra-cotta, the plastering of
cement, the only wood in use being that which
was necessary to fasten some of the wood
flooring.
The main doors of the building are of plain
beaten bronze. On entering the main building
the banking hall is directly in front. This rises
to the full height of the building, the only break
being the windows on the sides. Corinthian
pilasters reach to the top of the walls, relieving
the plainness of the walls. At either side of the
western end of the counting room are heroic-sized
figures, standing boldly out in relief. The flooring
of the public space of the banking hall is of marble
squares. Within the staff enclosure, the flooring
is covered with cork blocks, three-quarters of an
inch in thickness, making a noiseless and restful
footing.
The grillwork dividing the counting room is of
beaten bronze. The desks are of teak wood, with
trimmings of ormolu bronze.
There are five vaults in the building. The
safety deposit vault is seventeen feet wide by
forty-eight feet in depth. This is the largest of
the vaults.
The total weight of the strong-room doors is ten
and a half tons. The weight of the doors and
their lining is thirty tons. The day gate is of
burnished bronze, the frames and hinges being
also brought to a bright finish, which contrasts
well with the entire vault surroundings.
Six trusses span the banking room to support
the roof and ceiling, the skylight situated directly
over this room being go ft. long by 47 ft. in width.
There is a second skylight situated 15 ft. above
the one seen from the banking room. On the
north side of the counting room five windows are
placed. In these windows the glass has been
treated to present a cloudy effect. The edges of
the windows are of stained glass, a shield over
each window. On the opposite side of the wall
there are no windows, but glass doors lead to the
board room and directors’ room.
The lighting in the building is by electricity.
THE CANADIAN BANK OF COMMERCE, MONTREAL.
INTERIOR OF BANKING HAT.L.
FRANK DARLING, ARCHITECT.
252
Current Architecture
Photos : A rch. Review Photo. Bureau.
THE PUMP HOUSE, SEDDLESCOMBE, SUSSEX.
MERVYN F. MACARTNEY, ARCHITECT.
Current Architecture .
253
MERVYN E. MACARTNEY, ARCHITECT.
254
Curren t A rch itecture.
THE LEAD PUMP, SEDDLESCOMBE, SUSSEX.
MERVVN E. MACARTNEY, ARCHITECT.
THE PUMP HOUSE, SEDDLESCOMBE,
SUSSEX.
Mervyn E. Macartney, Architect.
HIS little building stands on
the village green and is con¬
structed with pillars of local
stone and roofed with local
stone slates. The floor is
paved with pebbles in a border
of stone. The seats and wood¬
work are of oak. The pump in
the centre is of cast lead, embellished with a decor¬
ation of cherubs’ heads and delicate mouldings.
THE CREMATORIUM, BRADFORD.
F. E. P. Edwards, Architect.
chamber is of concrete on steel joists, covered with
asphalt. A columbarium for the reception of
cinerary urns has been constructed in the side
walls of the chapel below the windows, with
Carrara marble fronts in bronze frames. The
walls above are plastered, and the chapel has an
open timber roof, treated with “ solignum ” ; the
remainder of the joiners’ work being in Baltic oak.
The walls of the furnace chamber are lined with
buff-pressed bricks, and the ceiling is panelled in
plaster. The floors are tiled with red and black
quarries. The furnace, which is heated by means
of lighting gas through atmospheric burners, has
been constructed by Messrs. Toisoul, Fradet
& Co., of Paris, and is the second installation of
this type in use in this country. The main
upcast shaft of brick is enclosed in the masonry
tower, which is 80 ft. in height above the ground.
The cost of the building and complete equipment
has been £5,097, and it has been carried out from
the designs of the former City Architect, now City
Architect of Sheffield.
HIS building stands on the hill¬
side overlooking the Thorn¬
ton Valley. The walls are
of local stone ; the pitched
roofs are covered with green
Westmorland slates, and the
flat roof over the furnace
BRADFORD CREMATORIUM. PLAN.
F. F. P. EDWARDS, ARCHITECT.
Current A rchitecture ,
255
THE BRADFORD CREMATORIUM,
F. E. P. EDWARDS, ARCHITECT,
VIEW FROM THE NORTH-EAST
The Committee for the Survey of the
Memorials of Greater London.
E efforts of our Committee,
already recorded in these
notes, to commence simul¬
taneous survey work in various
local centres throughout Lon¬
don, are now beginning to
bear fruit. This part of our
enterprise, which is scarcely
second in importance to the central organisation,
has been placed on a secure footing by the appoint¬
ment of our local secretaries, who are now, to¬
gether, responsible for an area of more than half
the County of London (within the county
boundary) and for a very considerable district
beyond. The register of ancient buildings and
monuments should thus be rapidly completed, and
will form the basis of the further volumes of the
survey, which will be issued as quickly as our
future public support will warrant.
Meanwhile it will be to the interest of our own
survey and the occasion of a great service to
London topography if our local secretaries will
make it their business to seek out all kindred
work (whether of survey or research) which has
been done by other societies or which is still in
progress in their districts. It would be un¬
necessary to point out that we are not the first
in the field, but our aim is to record accurately
whatever remains unrecorded, and to systematise
and check the records that have already been
made. An illustration of the unobtrusive but
excellent work which is being done by local effort
is to be found in the achievements of the North
Middlesex Photographic Society, which formed
as far back as 1893 a Records Committee at the
instance of Mr. }. C. S. Mummery. One of our own
active members, Mr. H. W. Fincham, the Presi¬
dent of the Society, is also the Chairman of the
Records Committee. Systematic work has been
carried on through the whole of North Middle¬
sex, and, under the title of the North Middlesex
Photographic Survey, the collection has been
housed in the Hornsey Public Library. This
excellent precedent has been followed else¬
where, and is worthy of many more
imitators. The photographs have
been well mounted on cards of uni¬
form size, information regarding the
subjects has been written on the back
of the mounts, and the whole collec¬
tion has been carefully indexed.
This furnishes a good example of
the way in which much pioneer work
has been done. It will be the duty
of the local secretary to seek out such
work, to make complete lists for re¬
ference, to obtain copies of the records
if possible, and to follow up all the
clues which these may afford. He
may also be able to press the local
society into more direct service in our
cause. The ideal for a Photographic
Society is not quite the same as that
of a Survey Committee. The former
is too much concerned with pictorial
effect, and is a little too fond of throw¬
ing the subject out of focus to soften
the hardness of the outline. To us,
however, the value of a record is en¬
hanced by its clearness and sharp¬
ness, and large-scale views of details
are essential to our work.
By the kindness of Mr. Fincham
we are allowed to reproduce one of
the records of the North Middlesex
Photographic Survey.
Walter H. Godfrey.
Photo: H. W. Fincham.
CEILING : CANONBURY HOUSE, ISLINGTON.
Books.
OLD MIDDLESEX.
Memorials of Old Middlesex. 'Memorials of the Counties
of England Series.) Edited by J. Tavenor-Perry ,
author of A Chronology of Mediaeval and Renaissance
Architecture , The Mediaeval Antiquities of the
County of Durham , The Priory of St. Martin ,
Dover, etc. With many Illustrations. Price 15-r. nett.
London : Bemrose Sons , Ltd., 4, Snow Hill ,
E.C., and Derby. 1909.
HE Rev. j. Charles Cox
writes briefly on “ The An¬
cient Churches of Middlesex,”
“ The Monastery and House
of Syon,” and “ The Parks
and Historic Houses,” with
learning and discrimination-
We could wish him, however,
a little more catholic in his tastes, for his refer¬
ences to Renaissance work are usually of the
slightest. The prejudice against the “ foul torrent
of the Renaissance,” as a great writer called it,
dies hard, and it is no new thing to hear plainness
characterised as painful. We are used to that,
but not to hear it uttered with authority, and we
read with regret, “ Isleworth Church (All Saints)
is a painfully plain building of red brick,” &c. If
we leave out the italicised word the description
applies to much work of this despised period.
We should have thought that only a crooked eye
would be painfully impressed by plainness in itself.
We shall look with interest to see how many
visitors are writhing about in front of Kensington
Palace and other painfully plain buildings the next
time we pass. This taste usually dislikes many
other pleasant things — for example, the clipping
of yews, and plain old formal gardens. A “ range
of plant glasshouses, 400 ft. in length, with a dome
65 ft. high in the centre. The kitchen gardens,
which cover four acres, also contain much glass.
On the whole, the gardens of Syon House may be
safely pronounced to be among the best in the
kingdom.” With this statement we entirely dis¬
agree. For ourselves, we have always thought
that gardens were for flowers and fruit and gra- s,
and not for glass.
Fine monographs are contributed by the
Earl of Ilchester (Holland House) and Mr. R.
Phene Spiers (Chiswick House). They are both
succinct accounts of two most interesting Lon¬
don houses of widely different types. Both
accounts are beautifully illustrated. The plan
of Holland House from the Soane Museum
is published as well as a modern one, and
Chiswick House has several plans, and the
fine section in the library of the Royal Institute
is also reproduced. Further contributors are
Mr. Aymer Vallance (Roods, Screens, and Lofts
in Middlesex), Mr. J. Charles Wall (The Battle¬
fields of Middlesex), Mr. S. W. Kershaw (Fulham
Palace and the Bishops of London), The Rev.
W. Done Bushel! (Hirrow-on-the- Hill), and
Mr. Warwick Draper (Riverside Haunts of Poets
and Painters), and the editor has written “ The
County of Middlesex,” “The Story of Chelsea,”
and “ The Pilgrimage of the Brent.”
Copious and fine illustrations help to make the
book attractive. If the editor’s drawings are a
trifle, he ivy, they are fairly good as records. We
should like to see future volumes give more atten¬
tion to Queen Anne and Georgian work. At
present it is extremely difficult to get information
about these periods from county books.
But on the whole the volume is attractive not
only to architects but to everybody, and we
recommend it, as our old copy of Ovid’s “ Meta¬
morphoses ” has it, “ to the use of gentlemen and
students.”
A PRINCE OF SURVEYORS.
A Survey of London. By John Stow. Reprinted from the
text of 1603, with introduction and notes by Charles
Lethbridge Kingsford, M.A. In two volumes. 8% in.
by %iin. I.,pp. xciv, 352, with portrait and facsimile.
II., pp. 476, illustration 1, and large ?nap. 30 s. nett.
Oxford : at the Clarendon Press.
ET us now praise famous men
and our fathers that begat
us.” It is in this spirit of
reverence that we should
approach the work of Stow,
for he may be regarded as
the Father of British Archae¬
ology. We do not often
accord to an antiquarian book the space of a
review in large type, but Stow fills a place of his
own, and we desire to do honour to a model work
of editing. Mr. Kingsford’s attainments need no
praise from us, but we have rarely met an edition
which was at once so truly needed and so entirely
meets all the requirements. Mr. Emery Walker
deserves his share of praise for the admirable map
which accompanies the volumes. The late Pro¬
fessor Henry Morley’s edition has been most
generally used during the last twenty years, but it
threw no new light and copied the mistakes of
Thoms.
The Survey fascinates like a good novel, and as
we follow Stow in his observant travels through
the City wards, old familiar street names take on
a new and living significance.
Of Stow’s life Mr. Kingsford writes with
charm and quiet humour. We are diverted by
Stow’s quarrels with his brother Thomas, of which
b 2
Books.
25S
pungent records remain. The latter’s wife was a
sad trial to the Stow family ; a pot of straw¬
berries and cream as a peace offering did not
efface the bitterness which followed the bandying
of such pleasant names as “ harlot ” and “ prick-
louse knave.”
The lover of London may do worse than make
a pilgrimage to the monument of Stow in St. An¬
drew’s Undershaft, but not the least of his
memorials will always be this definitive edition by
Mr. Kings ford.
POET. MYSTIC. AND DRAUGHTSMAN.
William Blake. By Basil de Selincourt. 7j in. by 5J in.
pp. xi, 298. Illustrations 40. 7s. 6 d. nett. London :
Duckworth &* Co ., 3, Henrietta Street , Covent
Garden , W.C.
“The great and golden rule of art, as well as of life, is this:
That the more distinct, sharp, and wiry the bounding line, the
more perfect the work of art.” Thus William Blake on the
supreme merit of vigorous draughtsmanship, and it serves us
with a phrase to describe Mr. Basil de Selincourt’s biographical
and critical method. He has drawn a “ sharp and wiry ” line
round the character and ait of Blake, and if he seems some¬
times too unsympathetic to the mystical side of Blake’s charac¬
ter, he at least escapes the charge of exaggerating his subject’s
praises. Blake stands alone amongst British artists in the
high claims he made to special revelation, in his attempt to
state mysticism in terms of art, and in his passionate attach¬
ment to Nature at a time when Sir Joshua Reynolds was
arbiter artium. We forget his extravagances in the recogni¬
tion of his peculiar achievement in the mastery of light and
d irkness, in the power to ] resent high and moving things,
and in a large and powerful draughtsmanship. Mr. de Selin¬
court has done more than give his view of Blake : he has
scattered up and down the book pronouncements on the rela¬
tionship between art and other great realities, which make his
pages very stimulating. He writes so well that we regret his
failure occasionally to resist the desire for phrases which run
smartly from his pen, for their own sake, rather than for any
light they throw. But it is a good book and worthy of
Messrs. Duckworth’s Red Series. Need a book-lover say
more ?
LIGHT ON GREEK VASES.
Douris and the Painters of Greek Vases. By Edmond
Pot tier. Translated by Bettina Kalinweiler. Pre¬
face by Jane Ellen Harrison. 8% in. by 5J in. pf. xv,
91. Illustrations 25. 7s. 6 d. nett. London : John
Murray , 50A, Albemarle Street, IV.
Here is a monograph of extraordinary interest. M. Pottier
has not only identified Douris with twenty-eight examples of
the characteristic industrial art of Athens, but re-creates for
us the work-benches of the Kerameikos so vividly that we see
Douris working. We are accustomed to learned pronounce
rnents on the art of Pheidias and Praxiteles, but this frank
examination of the commercial and advertising aspects of
Greek art side by side with its more heroic services to beauty
is of a sanity quite alluring. We are directed to the Greek
vessels to see the reflection of a lost art, to regard the red and
black line of the vase as the equivalent of our black and white
reproductions of coloured pictures. We see the solidarity of
art in all ages proved by a comparison which leaps to the
eye. Eos carrying Memnon on a kylix in the Louvre is the
direct ancestor of a hundred Italian Pietas. The industrial
art of Greece was as frank in its adaptation of its subjects and
as devoted <o genre as English art of to-day. From the spirit
of the Mater Dolorosa we are swung round to the indecent
pranks of the Sileni. There are in these vases most of the
defects that are inherent in uneducated workmen, yet running
through them the devotion to pure draughtsmanship and the
mastery of simple line touched in with infinite judgment and
pains. Above all, these vases were not bric-h-brac to the
Greeks, but household needs, the ordinary things of life. But
space fails. We must, however, add praise to Miss Kahnweiler
for an admirable translation.
MORE ABOUT SPAIN.
Royal Palaces of Spain. By Albert F. Calvert {in the
Spanish Series ). 7\ in. by 5 in. pp. xiv, 164.
Illustrations 164. 3.5-. 6 d. nett. London: John
Lane , the Bodley Head, logo Street , W.
Mr. Calvert’s industry is unceasing and his camera tire¬
less. This volume is smaller than some of its predecessors,
and the text and illustrations are in better proportion. The
seven palaces dealt with are the Escorial, San lldefonso at
La Granja, El Pardo, Aranjuez, Miramar, Seville, and the
Royal Palace at Madrid. San lldefonso and Aranjuez are,
perhaps, the most interesting by mason of their wonderful
gardens and fountains. The extravagance of the formal
gardens at La Granja, with their sumptuous flowers and
elaborate fountains, suggests a Versailles run mad. The
pictures of the Escorial well suggest its gloomy coldness.
The account of the splendours of the Palace at Madrid is im¬
pressive, and its great size makes one the more glad that
Buckingham Palace is no larger than it is, and adds a pang
to the remembrance of what Whitehall might have been if the
Banqueting Hall had been a part of a magnificent whole.
ALTARS. PASTE. AND SCISSORS.
Some Notable Altars. By Rev. John Wright, D.D., LL.D.
i oj in. by 7% in. pp. x, 383. Full-page plates 114
25J'. nett. London: Macmillan Sr* Co., Ltd.
An interest in the altar and the reredos does not of itself
constitute a qualification, even in an American clergyman, for
the compiling of a bulky book. Cuttings from the Globe,
local newspapers, parish magazines, &c., do not make up
adequate letterpress to accompany ill-chosen photographs
many of which are extremely indistinct. We imagine
Dr. Wright made a few holiday visits to England, consorted
with some marble masons, made a circular tour or two (we
can trace the American round trip through Bristol and up the
Severn and Avon valleys to Stratford-on-Avon by the illustra¬
tions), plied his scissors not too cleverly, and lo ! this book.
G. F. Bodley is sometimes Mr. Bodley, but more often
Sir G. F. Bodley. The London Common Council destroyed
St. Mary’s, Soho, in 1898. In the church of St. Mary’s,
Redcliffe, Bristol, “ The Reredos is modern, having been erected
in 1866-7. If was designed by Mr. Godwin, the architect oj
the church." Shades of Canynge and Chatterton !
Rather more than a third of the examples are American.
Had the English altars illustrated been chosen with any
reasonable care we should think badly of American work
but we prefer to blame Dr. Wright. Some are extravagantly
ugly. We hope American architecture is not always as this
extract indicates : — “ The statues were carved at Munich in
Bavaria. The architects were Brielmaier & Sons, Milwaukee.
They were also the builders.”
To one grievous thing we draw attention, with the more
regret seeing that Dr. Wright is apparently not entirely
lesponsible. The photograph ot the altar of St. Mary the
Virgin, Primrose Hill, has beneath it : “ By permission of the
Vicar,” and shows the celebrant standing in eucharistic vest¬
ments and with open missal, while the server kneels beside.
The taste of publishing such a photograph we leave out-
readers free to qualify.
Books.
259
THE POVERELLO.
Assisi of S aint Francis. By Mrs. Robert Goff j illustrated
by Colonel R. Goff. Together with The Influence of
the Franciscan Legend on Italian Art , by J. Kerr-
Lawson. gj in. by 6 in. pp. xvi, 290. Plates in
colour , 40 g in sepia , 12. 20J. nett. London : Chatto
F Windus, in, St. Martin's Lane, W.C.
As this review is written there lie on the table some faded
carnations from the garden of Saint Clara. As the pages of
this enchanting book are turned, they seem to exhale some of
the exquisite fragrance that belongs to her memory and to
the story of the Little Poor One. Mrs. Goff tells of Saint
Francis with reverence, and if we prefer the wider view of the
supreme saint of the Middle Ages that M. Paul Sabatier has
given us, we respect Mrs. Goff’s presentment of him. Ruskin
■once apologised for being “morbidly Franciscan,” but if we
may smile at the extravagances of Brother Giles as the joyous
unrestraint of God’s Jongleur, we may hope that modern
Christendom is Franciscan at the heart. Colonel Goff’s
drawings are a rich paraphrase of the beauties of Assisi, and
he is happy with the buildings he depicts. We could, how¬
ever, wish for a view of the church and monastery of S. F ran-
cesco which would show the noble range of arches which
rises stark from the hillside. His colour has that tender
quality that fits so well the subjects of his brush. Mr. Kerr-
Lawson’s contribution to the influence of the legend on Italian
art is serious and useful, and it is difficult to praise too highly
the reproductions of historic pictures which illustrate it.
We feel sure that Mrs. Goff will feel justified in her labours
if their result is to send more people to the original legends, to
read the “ Fioretti,” the “Mirror of Perfection,” and “The
Three Companions.”
Altogether it is a book to be possessed and cherished.
ENGLISH HERALDRY.
English Heraldry. By Charles Boutell, M.A., with addi¬
tional matter by A. C. Fox-Davies. yf in. by 5 in.
pp. xxiii, 343, with nearly 500 Illustrations, ys. 6d.
Lotidon : Reeves F Turner.
Mr. Fox-Davies has not edited Boutell in the sense that
he has altered him where he disagrees with him, but has
simply added particulars of such novelties as the Royal Vic¬
torian Order. There is therefore nothing to say except that
the book is a plain and not too attractive statement of the
facts of Heraldry from which the friends of those who use
heraldic stationery may learn what it is all about. The pub¬
lisher sends it out with the pages cut at the top very roughly--
we imagine by a hasty office boy — -a device we do not under¬
stand, unless it be to hearten the reviewer in his task.
THE BURIED PAST.
Herculaneum : Past , Present , and Future. By Charles
IValdstein, Litt.D., Ph.D., L.H.D. , and Leonard
Shoobridge , M.A. 11 in. by y\ in. pp. xxii, 324.
Heliogravures and Colour Prints , 11 ; Half-tone
Plates , 48. Price 2 1 s. nett. London: Macmillan IF
Co ., Ltd., St. Martin’s Street.
This spirited work is more than a resume of the long,
•difficult, and finally unsuccessful negotiations for international
•excavation at Herculaneum on the grand scale. It is a Tract.
Professor \V aldstein writes with a fine enthusiasm in defence
of his scheme for the revelation of the innumerable treasures
which lie fathoms deep beneath lava and ashes. While we
■deplore the decision of the Italian Government to attempt the
work without European or American aid, we cannot help the
feeling that the Waldstein scheme, in its entirety might easily
have broken down by its own weight and complexity, and still
more from the need of ,£40,000 a year to keep it going.
Meanwhile, Professor Waldstein and his co-worker, Mr.
Shoobridge, have given us a valuable record of the finds to
date, with sumptuous illustrations. It can only be hoped
that Commendatore Boni and his Italian colleagues will be
strenuous in proving that the international scheme was not
needed. But we think that Time will be on the side of
some wider effort such as Professor Waldstein fought so ably
to achieve ; in any case, his exhortations to a more scientific
spirit in excavation are full of sound sense, and deserve to win
the respectful heed of archaeologists everywhere.
AMERICAN PAINTING.
The Story of American Painting. By Charles H. Caffin.
8 \in. by 6 in. pp. xiii. Plates 14 7. io.r. 6d. nett.
London: Hodder F Stoughton, Warwick Square,
E.C.
Mr. Caffin is well known in the States as a lecturer on
matters artistic, and in this very liberally illustrated volume
he traces the development of the art of his country. One may
doubt, however, whether there can be fairly said to exist a
national American art. The “ Hudson River School ” got a
certain spaciousness into their landscapes, and the largeness
of their subjects gave some individuality to their work. Later
years have shown American painters the followers of those
schools which suited their fancy, and the cosmopolitan feel¬
ing is intensified in the remembrance that Whistler, Abbey,
and Sargent are claimed by both countries. Mr. Caffin.
attaches great importance to the work of John La Farge,
and particularly to his stained glass. We are inclined to
think the latter more theatrical than beautiful. The over¬
whelming power of eclecticism was surely never more largely
exhibited than by Mr. Sargent’s almost Byzantine decoration
in the Boston Library. It is almost unthinkable that it is
from the hand that gave us the Wertheimer portraits. The
present hindrance to American art seems to be the craze for
prettiness ; but we can tell Mr. Caffin of another country
where the public feeds either on indifferent reproductions of the
old masters, or on the beauties that eye us from the covers of
magazines.
CHEOPS.
The Great Pyramid of Gizeh : Its Riddle Read, its Secret
Metrology fully revealed as the Origin of British
Measures. By M. W. H. Lombe Brooke, gin. by
5 i in. pp. vii, 218. Illustrations 4. ys. 6d. London:
R. Banks F Son, Racquet Court, Fleet Street, E.C.
Mr. Lombe Brooke has spent thirty years in comparing
the published measurements of the various parts of the Great
Pyramid, and this book is to show that the purpose of its
building was to enshrine in a permanent form a divinely-
appointed system of weights and measures. The Pyramid
inch is within one-thousandth of the British inch, and other
comparisons produce curious correspondences. All this is
very interesting to folk who like their mathematics flavoured
with mysticism ; but when Mr. Brooke urges us to put our
metrological house in order, and “ replace by this grand
revelation our hereditary measures in their ancient purity,”
we do not find the suggestion very useful. “ The doctrinaire,
the merchant, and the man of science” are joined in a
vigorous condemnation because they desire the decimal
system. They may not get their wish, but they have more
chance than Mr. Lombe Brooke.
26o
Books.
ALCUIN CLUB COLLECTIONS.
Alenin Club Collections : XII. Pontifical Services. Vol. IV.
With Notes by A thelstan Riley , AI.A. i oh in. by 6h in.
pp. viii, 149. 21 s. London : Longmans , Green IXs
Co., 39, Paternoster Row.
This volume continues the series of illustrations of rites
m which a bishop takes the chief part, and woodcuts are
reproduced from pontificals of 1520 and 1572, both printed at
Venice.
Though the Alcuin Club exists to encourage the study
of the liturgiology of the Church of England, the editor very
reasonably points out “that it is impossible to study the
English use to proper advantage historically without an
examination of foreign uses.” Mr. Athelstan Riley's notes
descriptive of the woodcuts are brief and clear. There is a
considerable series of pictures dealing with the building and
consecration of a church, and in two the architect is depicted
in quite spirited fashion.
We wish the Alcuin Club a long life and the continued
eal which goes to the production of such interesting volumes
as this.
THE DECORATION OF GLASS.
Decorative Glass Processes. By Arthur Louis Duthie.
8ij in. by pj in. pp. xii, 267. Illustrations 38. Price
6s. nett. London: Archibald Constable Sr* Co., Ltd.,
10, Orange Street, Leicester Square, W.C.
This new volume in the “Westminster” series of books
on practical subjects for the non-technical render is a com¬
plete guide to the decoration of glass. It deals with the
mysteries of embossing, brilliant cutting, and what are gene¬
rally regarded as the less artistic treatments of glass. The
technique of stained glass is fully described, with lists of the
glasses available. We are glad to note that Mr. Duthie says
of Rolled Cathedral glass that a large proportion of the
colours in which it is made cannot be commended. It is an
evil material responsible for the befouling of much day¬
light.
INSCRIPTIONS.
House Mottoes and Inscriptions : Old and New. By
S. F. A. Caulfeild. 7 in. by 5 in. pp. vi, 150. New
and Revised Edition. Illustrated. 5 s. London :
Elliot Stock, 62, Paternoster Row, E.C.
If this be a revised edition, the original edition must have
been a wonderful production. An accurate and full book on
this subject would be useful and attractive. This seems
hardly to meet the case. The splendid epitaph by Simonides
is represented on page 6 by the following grossly inaccurate
translation : —
“ Stranger of Sparta, say her faithful band
Here lie in death, remembering her command.”
The whole point of the epitaph was an exhortation to the
passing stranger to take the news to the Spartans. It crops
up again on page 146 in a correct translation. We should
suppose that Sir William “ Site ” as the architect of the Royal
Exchange was a humorous quip, were it not the only amusing
thing in the book.
Over the cellar at Loseley House is siti non ebrietati,
which the authoress quaintly translates “ Sufficient, not
drunkenness.” It is generally held that satis and sills are
different words.
It is carefully explained to us that glis — a dormouse — “ is
not classical Latin.” We seem to remember from our school¬
days a jingle about the genders of nouns in is that did not
reject glis.
Long Wittenham and Bramhall masquerade as “ Long
Whittenham” and “ Bramall.” “ H ” is a troublesome letter.
The gem of the book is on page 116. “A few curious dials
are still extant in London, and amongst them that in the
garden of Clement’s Inn, Strand, may be worth a visit. It
represents a Moor. ... It is supposed to have been brought
from Italy and placed there by John Holies, 2nd Earl of
Clare. . . . The statue is believed to be of bronze, though
disfigured with paint.”
It is perhaps not impertinent to point out to the authoress
that the garden has disappeared these many years ; that the
blackamoor lives now in the gardens of the Temple ; that he
was never brought from Italy by Lord Clare or anybody else ;
that he is not only not of bronze but is the best-known of all
lead garden-figures.
The authoress, who signs herself at large a member of the
Incorporated Society of Authors, should follow two of the late
Lord Salisbury’s warnings, “ Verify your references,” and,
“Use a large-scale map.”
We fear no map has a scale big enough to show us the
"ay to the garden of Clement’s Inn, or to lead Miss Caulfeild
to Lord Clare’s bronze Moor from Italy.
A GREAT COUNTY.
Memorials of Old Lancashire. Edited by Lt.-Col. Fishwick,
F.S.A., and the Rev. P. II. Ditchfield, AI.A., F.S.A.
In two volumes. 25^. nett. 8% in. by 5 1 in. Vol. /.,
pp. viii, 28oy illustrations 30. Vol. II, pp. viii, 314/
illustrations 55. London: Bemrose <2 r-8 Son, Ltd.,
4, Snow Hill, E.C.
That Lancashire should share with London the honour of
having a pair of volumes in this series is fair evidence of the
wealth of its archaeological remains and of its great place in
English history. There are thirty-one monographs in all.
One by Mr. W. F. Price on the Homes of the Yeomen and
Peasantry is a pleasant revelation of the simple solidity of the
vernacular building of the county. The profusion of initials
and dates on porches, &c., is explained by the need of record¬
ing “ three-life leases.” It was not a sign of personal satis¬
faction merely. Mr. Aymer Vallance writes with his usual
learning of Roods, Screens, and Lofts. It seems incredible
that he should have to say that the Dean and Chapter of
Manchester Cathedra] refused him permission to photograph
or measure the screenwork. This seems a case of clerical
obscurantism with a vengeance. Mr. Ellis deals with Fonts
and Mr. Ditchfield with Crosses, while Witches, a Poaching
Parson, Hoghton Tower, Old Local Authors, and many other
interesting by-ways are pleasantly recorded.
Books such as these serve to increase our knowledge of and
pride in the local aspects of our national growth, and bid us
remember that the seed of imperial development was sown in
the parochial life of by-gone days.
DEVOTED TO THE PAST.
The Antiquary. Vol. XL1V. January to December 1908.
9! in. by 7! in. pp. 480. Fully illustrated. Bound
half-rox. 7s. 6 d. London : Elliot Stock, 62, Pater¬
noster Row.
OUR contemporary’s yearly volume keeps up its reputation.
The news of archaeological doings is full and useful ; the
articles are from capable pens ; a feature is made of book
reviews. There are interesting papers on the Comacines, an
obscure subject, and on Forged Antiquities, which should save
some collectors and their money from being too easily parted,
while architectural subjects are adequately represented.
THE
ARCHITECTURAL
REVIEW, DECEMBER,
I9°9
VOLUME XXVI.
NO.
>57-
. ih
1
I
|j
i
FROM THE DRAWING BY LESLIE WILKINSON (ARTHUR CATES PRIZE).
The Practical Exemplar of Architecture.
XL.
VOL. XXVI.— Q 2
264 Ike Practical Exemplar of Architecture. — XL.
HE small stone building in the
Close, Salisbury, known as
“The Judges’ House,” is of
extraordinary interest. It
was built for Charles Mom-
pesson in 1701, “ and is there¬
fore contemporaneous with
some of Wren’s finest work,
and may itself be the work of one of his pupils.”
Instead of the usual construction in wood, the
cornice is stone of fine dimensions and enriched
with console blocks, each decorated with a leaf.
The cornice is given a slight break round the
central feature, adding to its importance. This
feature, consisting of a doorway with a window
OUTLINE, JUDGES’ HOUSE, SALISBURY.
carefully adjusted over it, enriched with fine
heraldic carving, given a delicate upward move¬
ment by the scrolls at the sides of the windows,
is the subject of our chief illustration. It will
be noticed that the lintel of the central window is
lower than the others. This variation is neces¬
sitated by the introduction of the architrave, and
this in its turn allows of the breaks in the main
cornice. The wave-moulding forming the door
architrave is of splendid dimensions and in keeping
with the vigorous detail employed throughout. A
curious feature is the flatness of the sides of the
brackets, the scrolls of which are sunk instead of
protruding in the usual way. The door and frame
are of oak, beautifully enriched. The key eleva¬
tion shows the disposition of the windows, which
are not all the same width, narrow ones being
required at the side of the door by the exigen¬
cies of the plan and the simple roof. There is
a plain bead finish to the reveals instead of the
orthodox architrave. The lead heads and down-
pipes are contemporaneous with the building, the
monogram of the original owner being displayed
on the former. A small forecourt is enclosed by
a railing standing on a stone plinth terminating in
stone piers. The railing is composed of bars
placed angle-wise, and enriched with a few panels
of more elaborate design, and the gate is com¬
paratively simple. A large overthrow contains an
oval shape with the monogram C. M. within it.
The monogram is repeated twice in the gate itself.
It appears to us, however, that the ironwork lacks
the suavity which is so marked a characteristic
of work done after the advent of Tijou, and it is
evident that his influence had not then reached
Salisbury.
Not the least charming example of eighteenth-
century work is the porch from Wimborne, Dorset.
It is boldly projected from the house, and gives
considerable dignity to the entrance. A sight extra
projection of the centre pillars allows the entabla¬
ture to be returned, and gives the pediment more
importance than it would otherwise have. It has
been objected to this example — the flatness of the
pediment ; but we like it, and feel that it agrees
well with the flanks. Unfortunately the pediment
has been badly repaired and looks clumsy in the
view. It has been restored in the drawing. The
soffit of the porch is panelled in simple squares.
Curious details mark the execution of its various
parts and remind one of a doorway in Salisbury
(seethe Practical Exemplar of Architecture XXXI).
The lead fanlight is another typical and charm¬
ing feature.
The ironwork is quite unlike the usual work of
the period, the scrolls turned on their sides giving
it a pleasant distinction. An interesting cresting
worked out with some ingenuity makes a suitable
finish to it, to which varied iron finials give point.
The Practical Exemplar of A rckitecture. — XL. 265
z
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£3
O’
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JUDGES’ HOUSE, SALISBURY. IRON RAILING.
266 The Practical Exemplar of Architecture. — XL.
The Practical Exemplar of Architecture. — XL. 267
JUDGES’ HOUSE, SALISBURY.
MEASURED AND DRAWN BY J. M. W. HALLEY AND H. A. MCQUEEN.
268 The Practical Rxemptar of Architecture. — XL.
I he Practical Kxemplar of Architecture. — XL. 269
i i- i i i i i i i i J? i ^ ^ — 1. i, — f
S'mONl P 31V3S
MEASURED AND DRAWN BY J. M. W. HALLEY AND H. A. MCQUEEN.
2/0 The Practical Exemplar of Architecture. — XL.
PORCH AND IRONWORK AX WIMBORNE, DORSET.
Note. — The pediment has been badly repaired, but is shown in the measured drawings in its original state.
The Practical Exemplar of Architecture. — XL.
27 1
272 The Practical Exemplar of Architecture. — XL.
IRONWORK AT WIMBORNE. DORSET
The Practical Exemplar of Architecture. — XL. 273
MEASURED AND DRAWN BY H. A. McQUEEN AND E. V. WEST.
VILLA PAPA GIULIO. THE LOGGIA,
V ignola.
HE work of the architects of
the later Renaissance, if it
lacks the force and power
which distinguishes that of
the early Renaissance, is
marked none the less both by
grace and charm ; and if it is
open to the reproach of being
artificial, it can yet boast the merit of good plans
and careful detail. The work of Vignola has
perhaps especial claims to distinction, because
while the greatest of his contemporaries were
painters before they were architects, and im¬
pressed on to the architecture of their age
a painter’s spirit, which it has perhaps never
completely lost since, Vignola was by nature
far rather inclined to building than to painting ;
and though he studied painting as a boy and
learnt in the studio the importance of per¬
spective design and a sense of decorativeness
which marked his work in common with that of
his contemporaries, yet his style was consistently
subdued to a proper moderation by his under¬
standing of the medium in which he worked.
Hence his buildings, while they continue the
tradition of Bramante and are not in essentials
unlike those of Michelangelo, Raphael, and the
other painters who turned direct from the palette
to the compass, have yet elements of stability and
permanence which are somewhat wanting in some
of the grander designs of his contemporaries.
Moreover, his knowledge of ancient monuments
was a practical builder’s knowledge, which im¬
posed on him a sense of the limits of his art; so
that, while attempting no tricks, he came more
nearly than any other artist of his day to express
again in stone the lost art of Rome. Possibly he
would have been a greater architect if his inspira¬
tion and ideal had not been so completely limited
to the reproduction of antique art ; but certainly
no other artist of his day came so near fulfilling
the ideal of the age. Nor, though he formulated
rigid rules, was he a pedant, because his enthusiasm
for his art kept him as free from being lifeless as
his good taste and sound knowledge preserved him
from being grandiose. It was with a sure instinct
that the French artists of the next generation
made him their model ; because there was very
little work of Renaissance origin quite so pure and
so nearly approaching perfection within its limits
as his. To a very large extent it is true to say
that the more he is studied the more his ability as
an architect is proved. Nor, as we shall see, was
he merely an architect. In the study of detail
work he was unequalled, and he was also almost
the first to carry architecture into the garden and
to design those falls of water, cascades, grottoes,
terraces, and stone balustrades, in which land-
THE VILLA PAPA GIULIO, ROME.
THE WALL ARCADE.
Photo : Mrs.*E’ le Blond.
2
Vignola.
THE VILLA PAPA GIUL10, ROME. THE WALL ARCADE.
Photo : Mrs. E. le Blond.
scape gardeners and architects for the two cen¬
turies following the Renaissance so much de¬
lighted and indulged. In this work Bramante
and Raphael to some extent perhaps preceded
him, but it is accurate to say that the gardens of
Caprarola, with their many stone fantasies and
their little summer palace, were the first com¬
pleted ones of their kind, and not only preceded
the gardens of the Lante, Aldobrandini, and d’Este
villas, but inspired them ; and that through their
influence on these palaces and the tradition thus
set up they have influenced palace building and
landscape gardening over all those parts of Europe
where artists have studied and opulent patrons
have attempted to imitate the art of Italy.
Giacomo Barozzi da Vignola was born in
the year 1507 in the little town which gives him
his name, in the territory of the Modenese; and
was the son of a Milanese gentleman of birth and
a German mother. His father was a refugee from
Milan — which side he took in the civic distur¬
bances of the day history does not relate — and
died when his son was still a child : his mother
was the daughter of a German leader of condottieri.
As a boy he was brought up at Bologna to study
painting ; but he showed from the first a pre¬
ference for architecture. While still young he
made his way to Rome and obtained an intimate
knowledge of Roman art in the course of his
employment — that of measuring the antiquities
of Rome for a society of cultured Roman gentle¬
men who met to read Vitruvius. Palladio Serlio,
and at a later date Inigo Jones, spent their appren¬
ticeship to architecture in the same practical
manner. He was also engaged by Primaticcio the
Bolognese architect and agent of Francis I to
make casts of the principal statues of Rome, and
when Primaticcio returned to France in 1537,
Vignola, then about thirty years old, accompanied
him, and was employed to set up the casts in
bronze for the gardens of Fontainebleau, and was
otherwise engaged with the band of Italian asso¬
ciates in the erection of that famous palace. Here
he stayed two years, obtaining experience of build¬
ing on a big scale and imbibing by contact with
a foreign people that freshness of ideas which
distinguishes his later work. No trace of his
handiwork is recognisable on the present fabric
of Fontainebleau ; but his own palace of Caprarola
would probably never have taken the shape it has
now if it had not been for this journey to France.
On his return to Bologna in 1539 he was asked
to design a front for the cathedral of San Petronio;
but his design was not made use of, and he con¬
sumed some years, according to Vasari, in disputes
with his competitors. He also constructed a canal
which enabled vessels to reach the city from the
sea; “no more useful or praiseworthy under¬
taking,” says Vasari, “was ever executed”; but
for this, too, he was poorly remunerated.
The one important work now extant and dating
from this period is the Farnese Palace at Placentia,
Vignola.
THE VILLA PAPA G1UL10, ROME.
DETAIL OF LOGGIA.
which he designed for one of the Farnese family,
but left to his son to execute ; it resembles very
closely the Farnese Palace at Rome, and is an
obvious imitation without merit or originality of
its own except a sense of proportion. It is clear
that Bologna afforded him insufficient scope for
his art, and about 1546 he again found his way
to Rome.
Here he became associated with Vasari and
Michelangelo, and soon became famous. Being
appointed architect to Pope Julius III through
Vasari’s good offices, he built for that Pontiff the
villa known as the Papa Giulio in conjunction with
other artists, and the little chapel of St. Andrew,
both lying about a mile beyond the Porta di Popolo.
The latter building was erected as a thank-offering
to St. Andrew for the Pope’s escape on St. Andrew’s
Day twenty years before from the soldiers of
Charles V during the sack of Rome, and is a very
characteristic example of Vignola’s work, being a
neat and happy imitation of a Roman temple, and
by no means devoid of originality of its own.
While still engaged on the villa of Papa Giulio
he was asked by the Cardinal Alessandro Farnese
to build for him a palace at Caprarola, a small
town lying amid the Umbrian hills, about thirty
miles from Rome and ten from Viterbo, the plans
for which had been begun by Antonio San Gallo
and left incomplete at his death. He accepted
this commission, which proved a heavy one, and
the result was the famous pentagonal palace of
Caprarola, which is, in the words of Percier and
Fontaine, one of the “ finest monuments of modern
Italy.” The building of this palace established his
reputation. On the death of Michelangelo he
was set in charge both of the unfinished Farnese
Palace at Rome and of St. Peter’s. The first he
entrusted to his pupil Giacomo della Porta, who
added, very much in Vignola’s manner, the open
facade at the rear of the building, which, though
delightful in itself, spoils the symmetry of the
wall. At St. Peter’s he adhered strictly to Michel¬
angelo’s plans during the ten years that he was
in charge of the building, and added the two small
cupolas at the rear of the dome, both elegant
pieces of work which would take a more important
part in the general scheme of the building if his
successors had adhered as scrupulously as he did
himself to the original design. In 1568 he designed,
for the newly-established order of the Jesuits, the
body of the present church of the Gesu, but the
fagade and dome were afterwards added by Giacomo
della Porta. The interior is now so overlaid with
trumpery decoration that it is difficult to obtain a
true idea of its proportions, but it remains a well¬
spaced and handsome erection.
THE VILLA PAPA GIULIO, ROME.
DETAIL.
VOI.. XXVI. — R
Vignola.
278
In addition to his larger works Vignola was also
responsible for the Porta di Popolo, a gateway to
the Cancellaria, and for the details which adorn a
number of Roman palaces. His reputation for
exact classical knowledge was so great, and his
style so popular, that there can be no doubt that
he either inspired or contributed to the decorating
of many buildings the designs for which cannot
be entirely ascribed to him. Moreover, he did not
become famous until late in life, and he must have
done much work for other architects before he was
able to put his own name to it. Michelangelo
certainly made use of his talents at the Farnese
Palace, and probably at St. Peter's; and an inter¬
esting question has arisen in this connection
whether he or Michelangelo was the true creator
of the celebrated cornice to the Farnese Palace
which so took Rome by storm, and which has
been so often imitated and repeated. Michel¬
angelo we know to have been a careless architect,
not very exact in his knowledge of classical detail,
and not very successful in his treatment of classical
style ; but tremendous in conception and design.
The Farnese cornice, besides being magnificent in
plan, is also conspicuously classical and uniform in
its detail, so much so indeed as to lead a celebrated
French critic to argue that it could not have been
the work of Michelangelo, but could only have
come from the tasteful and fastidious Vignola.
M. Charles Gamier, again, agrees that it is ex¬
tremely probable that while the idea was Michel¬
angelo’s the execution of the work was given to
Vignola, who worked out the details in his own
way. However that may be, Vignola did even a
greater work in establishing the course of the
classic revival through his little book on the
“ Five Orders of Architecture.” This little book,
though modest in itself and meagre in its letter-
press, had, however, a most tremendous vogue
throughout the seventeenth and eighteenth cen¬
turies, and became a kind of text-book to which
subsequent authorities appended their commen¬
taries. The theory of the work is that antique
art conformed to established canons in the measure¬
ment and construction of the orders; or in other
words, that there was a standard for the size and
measurement of each individual part of the classic
orders from which the ancient builders only de¬
viated by error or exception. Vignola professed
tentatively to have discovered this standard or
THE VILLA PAPA GIULIO, ROME.
Vignola.
279
THE VILLA PAPA GIULIO, ROME. THE FOUNTAIN COURT.
2(So
Vignola.
Vignola.
28 1
norm by observation and study of existing Roman
art, and the illustrations to the book are designed
to enable subsequent builders to erect pediments,
pillars, architraves, and cornices of any of the
Five Orders according to correct standards and
models. The work thus begun by Vignola in
regard to the orders was extended by his followers
and successors, and became in the hands of Serlio
and Palladio even more of a science than it had
been in his own. The effect was ultimately, as it
were, to standardise architecture, and to make the
erection of a building in the classical style within
the power of a builder of the very meanest under¬
standing.
Another work on perspective was found in
manuscript, and published after his death by his
son-in-law and biographer, Danti. He died in
1574, when he had attained a reputation which
reached far beyond Rome ; and he was buried in
the Pantheon with the same honours as had
been accorded to Michelangelo.
The villa of Papa Giulio lies in a charming site
about a mile beyond the Porta di Popolo, with a
full view of Rome and the windings of the Tiber.
It was erected by Julius III at great expense;
and most of the talent of Rome was engaged in its
erection. Vasari sketched the plans in outline as
the Pope explained them, Vignola made the
finished designs, and Michelangelo revised them;
moreover, scarcely a day passed without the Pope
changing his mind and sending new instructions
through a chamberlain nicknamed by Michel¬
angelo the Busybody. All this must have
greatly hampered the architects, and makes it
difficult to decide where one man’s work began
and another’s ended. The main fagade and the
inner court are, however, almost certainly of
Vignola’s design. The first is of a formal and
stately design, embodying in Fraser's words
“those peculiarities of design which produced
such an effect through Europe that every detail
of this building may be found repeated over and
over again on this side of the Alps.”
The interior court is of charming design ; it is
semicircular, with an upper storey above a loggia
composed of alternate pillars and piers, and en¬
closes a space for dancing, shows, or pleasure¬
taking. Below it stretch a rather elaborate array
of stone-walls and fountains embodying many of
the Pope’s own conceptions, and designed partly
by Vasari and partly by Ammanato, who com¬
pleted the building. In this work, Vasari tells
us, “ Barozzi underwent great fatigues, but was, as
before, very poorly remunerated.” Better fortune,
however, awaited him in the next undertaking, the
building of the palace of Caprarola.
The building here erected is Vignola’s master¬
piece. It stands on a rock, dominating like a
fortress the little town of Caprarola. The site, a
most difficult one for the erection of a palace, has
been treated in a masterly fashion, and though the
building has by reason of this difficulty a most
unusual form, being pentagonal, it is at once both
imposing and palatial. The lower storey is fitted
with bastions, and faces a moat spanned by a
drawbridge. The upper storeys, facing five ways
on the exterior, conceal within their five angles a
lavishly decorated circular court, and themselves
present the Ionic order rising above the Doric.
The apartments within the house are commodious
and lofty, and the upper storey was reached by a
circular staircase of marble of extreme richness of
design. The approach to the palace up the face
of the rock distantly resembles the circular stair¬
way at Fontainebleau, although of larger and more
complicated design. On the whole the palace
VIEW OF PETIT CASIN DS CAPRAROLA FROM THE GARDENS SIDE. (PERCIF.R AND FONTAINE.)
282
Vignola
GENERAL VIEW OF PETIT CASIN DE CAPRAROLA. (FROM PERCIER AND FONTAINE.)
Vignola.
o
28
0
appears to answer to the description of a feudal
fortress in which the fortifications have been
exchanged for the embellishments of stone decora¬
tions, and the castellated parts have been replaced
by skilfully contrived palatial architecture in the
classical style. In its day the palace must have
been one of the grandest in Italy, because both in
its exterior architecture and interior decoration it
was completed in a most lavish and splendid
manner. As has been said, the erection of this
house established Vignola’s reputation and won
for him his place as Michelangelo’s successor.
Nor is it surpiising that it was long considered
with the Farnese Palace at Rome one of the
finest monuments in Italy.
The palace communicates at the rear with formal
gardens, embellished in what was then considered
the Roman style, with fountains, grottoes, steps,
and a wealth of grotesque figures. These again
extended into a park which rises behind the palace
like an amphitheatre, and terminates on the sum¬
mit of the hill in one of the most charming little
buildings ever erected, the little Palace of Caprarola.
This little building, which is quite unlike anything
built before, formed a kind of retreat, and com¬
manded a prospect over a wide stretch of moun¬
tainous scenery. Its architecture is so ornate and
characteristic of Vignola’s most fanciful style that
we venture to translate and reproduce the descrip¬
tion of the group of stonework of which it forms
part given by Percier and f'ontaine in their book
on Italian Mansions.
“ One cannot imagine anything more ingenious
and more agreeable than the ensemble of this com¬
position ; or anything more graceful and more
elegant than the details with which it is orna¬
mented. Everything around it is, in fact, pic¬
turesque ; it is a charming retreat, built in a very
fine position in the middle of woods. Two figures,
representing Shame and Silence, serve as termi¬
nals to the first enclosing wall, and seem to
indicate the use to which the place was destined ;
the pedestals are ornamented with fountains, a
circular basin fed by a jet of water spouted by a
Triton vanquished by Love occupies the middle or
the first space. At the foot of the grand staircase
which leads to the Casino are two pavilions in the
form of grottoes, decorated with rocks and foun¬
tains ; at the top of the stairway stand colossal
statues representing two rivers resting on urns,
whence escape torrents, which, emptying them¬
selves in the middle of the great stairway, form a
rich and abundant cascade. A parterre orna¬
mented with fountains and planted with flowers
lay at the top of the stairway ; it is surrounded
by a balustrade decorated with figures holding
vases ; two great staircases lead to the last terrace,
whence is obtained a view of a vast stretch of land,
and on which are some reservoirs whose waters
fall and escape in cascades. The little Casino,
whose ground floor is 011 a level with the last ter¬
race, is composed of two compartments which are
joined by a loggia. There reigns in the whole of
this charming building, and in all its details, a
refinement and correctness of taste which one
cannot praise too highly, and we think that of all
GENERAL VIEW OF THE PALAIS DE CAPRAROLA. (FROM PERCIER AND IONTAINE.)
284
Vigno/a.
the works of Vignola that which has most contri¬
buted to gain for him the great fame he enjoys is,
perhaps, after the construction of the great palace,
the Palazzuola of Caprarola.”
Vignola united in a high degree the capacity to
draw original plans with good taste and style. He
began life as a follower of Antonio San Gallo, as
his work at Placentia shows, but he ended by
entirely abandoning that architect’s heavy and
massive style. The reason is not far to seek. San
Gallo belonged, like all his early compeers, to the
school of architects who were forced by the exi¬
gencies of the time to study defence as well as
habitation. The Farnese Palace is, for instance,
only the culmination of a type of building of which
the Ricci and Rucellai are the originals, and the
mediaeval castle the prototype. The square mas¬
sive form, the plain front, and the heavily embat-
tlemented windows, were dictated not by choice,
but necessity; and the architect, while he studied
symmetry for the exterior, permitted luxury only
in the protected inner court. Vignola was among
the first to carry architecture in a securer and
more luxurious age from the town to the country,
and to build houses for habitation and show alone.
Hence he had no hesitation in making free use of
lighter material and exterior decoration ; and his
buildings are frankly more artificial and tricked
out by fancy. It was greatly to his merit that he
had the boldness to adapt himself to changed con¬
ditions, and by making use of new and original
designs to effect the transition from the old palace
to the modern villa, and it is to be regretted that
his followers did not while adopting his freedom
preserve also his good taste. It was not, however,
only in the house that Vignola was a pioneer ; he
was almost the first of garden architects, and while
the gardens of Caprarola are now ruined, their in¬
fluence is very perceptible in such famous gardens
as the Aldobrandine and the d'Este. One finds
there the same free use made of long rows of steps,
fountains and jets of water, cascades, grottoes, and
elaborately-arranged parterres. It was in this
work particularly that Vignola and his followers
gave freest and best range to the fancy which
distinguishes them everywhere.
The predominant note of Vignola's work was his
imitation of classical forms. In reality it was only
skin-deep, and penetrated no further than the ex¬
terior of the building. This is, indeed, the great
difference that divided him from Palladio. Palladio
aimed at reproducing classical proportions in the
building as well as the decorations; Vignola was
satisfied in fixing the proportions for the pillars,
architrave, frieze, or capitals, which he added in
marble or stucco to ornament his building ; the
interior structure and the plan belongs entirely to
his own age. He himself compared architecture
to music, and the orders to the notes; a compari¬
son only possible, it would seem, to those who
regard external decoration as the most important
function of an architect.
A word must be said as to Vignola’s influence,
which was, after his death, very considerable. His
immediate followers were Giacomo della Porta
and Fontana, who imitated his designs and pre¬
served the restraint of his decorations ; and he was
indeed the first and chief of the purely Roman
school of architects. His details were very famous,
and have been imitated all over Europe, and he
undoubtedly had some influence on Palladio.
Where he has, however, most affected subsequent
generations was by means of his book on the
“ Five Orders,” which was nearly as much studied
in France as Palladio’s in England. The two,
indeed, by establishing the rules of classical art,
and popularising as it were the whole work of the
Renaissance, made the way easy for builders in the
classical style ; and they may be said to have
advanced hand in hand through Europe, driving
out wherever they went the last relics of Gothic
style, and substituting in its place what they and
their followers truly thought the most beautiful of
all arts, the Roman art. Unfortunately, as we
know now, the Roman style is in itself neither
pure nor perfect, and Vignola’s and Palladio’s
work is in that respect nothing more than very
beautiful imitation. In our opinion, however,
Vignola deserves far more credit as being the first
of villa builders and of garden architects, and the
emancipator of architecture from the style of the
fortress than as the revivalist of classical forms.
ST. MARKS CHURCH, MILVERTON, LEAMINGTON.
Some Further Notes on the Old
War Office.
OME months ago a chapter of
architectural and historical
notes appeared in our pages
on a row of houses in Pall
Mall. They dealt chiefly with
the exterior of what for nearly
sixty years were used by vari¬
ous departments of the War
Office. Certain of these buildings, as, for exam¬
ple, that known as Schomberg House, and half of
the central building behind the place of the statue
of Herbert, have been preserved ; but the larger
portion of the site has been covered by the latest
addition to the stately palaces of clubs, which stand
w I ere two hundred and fifty years ago King
Charles and his courtiers plajed at pall-mall.
The War Office within the lading has ail but dis¬
appeared, and with it the houses immediately to
the east as far as the Carlton Club.
The exteriors were described and photographed
in our article. With regard to the interior a few
further notes may not be amiss, although no
description is needed of the sitting-rooms on the
first floor of the former War Office. They were
appropriated to the Financial Secretary, the
Council Room, and the large room of the Secre¬
tary of State for War, which looked to the
south with five windows, from which there
was only a view of roofs and chimney-tops,
but which formerly, as Woolfe and Gandon
say, commanded an agreeable and pleasant pro¬
spect over the county of Surrey. At the death
of the Duke of York the house was transferred
to the king’s third brother, Henry Frederick,
created Duke of Cumberland in 1766, when
he seems to have occupied Schomberg House
fur a time. As Cumberland House the former
York House was chiefly known until the duke’s
death in 1790. It was then for a short time
occupied by a club, according to some accounts
by the Carlton Club, while their own house was
being built. Before 1849 it had been appropriated
to the Ordnance Office, and became the War
Office in 1850. The statue, by Foley, of Lord
Herbert of Lea, Secretary for War from 1852 to
i860, who died in 1861, was placed in front
in 1867, and justly admired as most graceful,
being an accurate likeness of a man of classical
proportions, as well as one of the few single
figures among our public statues which is in itself a
work of the highest art. It has been removed to
the courtyard of the new War Office in Whitehall.
Between Cumberland and Buckingham Houses
there were three of smaller size — each, that is,
of three windows in the front. They have all
their history, but it is not architectural, except
perhaps that over the garden door of one the
owner, an ancestor of the Wagner family well
known at Brighton, in 1810 recorded in a Latin
inscription that he restored it for himself, his
children, and his successors. The stone tablet
was broken, and though the door remained, the
garden was gone. One of these houses used to be
annexed to the office of Master General of the
Ordnance. At the extremity of the wings which
had been added to the original York House were,
on the east wing a lion and on the west wing a
unicorn “ seiant,” under which were covered
passages to the entrance-hall of the central
building.
We now arrive at Buckingham House, the last
of the thirteen which constituted the War Office.
In many of the books describing this part of
London we are told “ it was built by Sir John
Soane for George Grenville, Earl Temple and
first Marquis of Buckingham, who let it in 1788
to Alexander, Duke of Gordon, the husband of
Pitt’s celebrated Duchess.” This statement con¬
veys a wrong impression. There remained in the
house a few features, chiefly in the basement,
which seem to have been preserved from an older
building ; and it must have been this older build¬
ing that was let to the Duke of Gordon in
1785. It may, to judge from a panelled chamber,
have resembled Schomberg House, and have
been of the same period, for apparently the
first of the family to live in Pall Mall was Sir
William Temple, who had a house probably
on this site, or part of it, in 1681. In the old
house, if not perhaps that of 1681, the Duchess of
Gordon entertained Pitt and his Ministerial
fiiends. The Duke, who was brother of the mad
Lord George Gordon, and of Lord William,
whose little daughter sat to Reynolds in 1786 for
his “Angels’ Heads,” now in the National Gallery,
relinquished Buckingham House in 1789. In
1790 Soane, who was not knighted for some forty
years, commenced operations, which went on till
1794. Soane was at this time rising into fame,
his extremely correct and strictly classical work
at the Bank of England in 1788 having been
universally admired. Unfortunately, he almost
immediately commenced to try for originality,
an ignis fatuus which leads astray greater genius
than Swan, otherwise Soane, could boast. \ an-
brugh occurs to the memory at once, and in our
own day a still more popular architect, lately de¬
ceased, disfigured some of the most conspicuous
Some Further Notes on the Old War Office. 287
Phoio: Arch, heview.
ANTE-ROOM.
288
Some
Further Foies
on the Old War
THE COMMITTEE ROOM. PJioto : Arch. Rcvie;
™v~'
289
Some further Notes on the Old War Office.
290 Some Further Azotes on the 0/d War Office.
Phuto : Area. Ktview.
THE OVAL STAIRCASE HALL, FROM THE GROUND FLOOR.
SIR JOHN SOANE, ARCHITECT.
Some further Notes on the Old War Office. 291
hksm 4xU
T< A ,
Photo : A rch. Review.
THE OVAL STAIRCASE HALL, FROM THE TOP LANDING.
SIR JOHN SOANE, ARCHITECT.
2 l) 2 Some Further Notes on the Old War Office.
THE FORMER ARMY COUNCIL ROOM
293
Some Further Notes on the Old War Office.
VOL. XXVI. — §
THE DOOR OF GAINSBOROUGH’S STUDIO.
294 Some Further ATotes on the Old War Office.
sites in London and Manchester, our two greatest
cities, with “ original ” work. Here at Pall Mall
the portico first catches the eye. It may prob¬
ably, from its situation, be accounted the last
part of what Soane designed, while the staircase
may be taken to be the earliest. In the stair¬
case accordingly we have a clear reminiscence
of some good Vitruvian or Palladian building
which Soane had seen and studied in Italy.
There are faults in his interpretation of the
Ionic order, and there are mistakes in the appli¬
cation of a design suited to the sunshine of a
Southern climate to a dark London street ; but
the whole effect, of which a considerable part
is preserved in the photographs, difficult as it was
to catch in sufficient light, was extremely pleasing,
and had less of the Soane mannerism than any
other part of the work. The oval plan was happily
carried out, with a single flight of stairs of studi¬
ously plain design, dividing at the first landing
and rising on either side to a most picturesque
Current r
first-floor gallery, with Ionic columns, a series of
cameo-like reliefs forming a fringe, with a row of
Caryatides above, a graceful design, supporting a
plain sky-lighted dome — the whole effect being
very satisfactory, though difficult to describe, and
scarcely more easy to photograph.
The front of the house in Pall Mall in its dis¬
regard of the most ordinary rules of proportion
almost resembled the work of Vanbrugh. The
pillars, already mentioned, of the portico con¬
trasted unpleasantly with some neighbouring
examples of Wren’s treatment of the Tuscan
Doric, and the whole elevation was singularly dull
and gloomy.
In conclusion, warm thanks are due to the
officials of the War Office for the kindness and
attention with which our visits were received,
and particularly to Mr. Leland Duncan, M.V.O.,
whose special knowledge of the history of the
buildings was freely placed at our disposal.
W. J. Loftie.
rehiteeture.
Interior Decoration, No. 14, Cockspur
Street, London, S.W.- — The illustrations are of
the interior of an agency which has been carried
out in wood and plaster for S. J. Waring, Esq.
The work has been executed by Waring & Gillow
at their Hammersmith works, Mr. Redmond being
particularly responsible for the modelling and
carving of the decorative portion from the archi¬
tect’s designs. The suspended metal-lathed plaster
ceiling was carried out by Wheater & Co., and the
stained glass leaded lay-light by Harvey & Ashby,
of Birmingham. Dent & Hellyer were responsible
for the plumbing and heating, and Prior’s antique
glass has been utilized for the glazing. Mr.
Roscoe was the general foreman in charge of
the work.
Bourne Corner, Farnham, Surrey. — This is
a new house, built of stock brick, rough-cast, and
the roof is covered with old tiles. The principal
rooms face south, and the entrance is at the north¬
west. Old beams have been used for the timber
work. The house is very simply finished inside ;
but there is a certain amount of oak panelling.
The appearance has toned down a good deal since
the photograph was taken, and the garden, now
well grown, is there shown just after being laid
out. It is not an expensive house, but is probably
cheaper per foot cube than any other house the
architects have built. The builders were Kent
& Hall of Chinch Crookham ; the grates, &c., were
supplied by the London Warming -and Ventilating
Co., and by Robbins & Co., Dudley; Staal & Co.
executed the oak panelling and Flemish balustrade.
The lead rainwater heads, gutters, &c., were cast
by the architects and owner.
C urren t A rchiteciure
295
INTERIOR OF AGENCY. . .
14, COCKSPUR STREET, S.W.
ARTHUR T. BOLTON, Architect.
296
Current A rchitecture.
INTERIOR OF AGENCY. . .
14. COCKSPUR STREET, S.W.
ARTHUR T. BOLTON, Architect.
Current Architecture.
297
This house is built of brick, rough-cast, and the roofs are covered with old tiles. In this
view the gardens, now well grown, had only just been laid out. The house faces due south.
BOURNE CORNER, .
FARNHAM, SURREY.
NIVEN, WIGGLESWORTH, and FALKNER, Architects.
Photo : T. Lewis.
Current A r chi lecture.
298
House at Westcliff-on-Sea. — This house
was built for Dr. Walter Morgan, at the corner
of Anerley-road, Westcliff-on-Sea. A feature
of the plan is the entrance hall, and from it
are directly entered the various rooms. A separate
entrance to the surgery is arranged on the west
side, with waiting-room adjacent. The plan up¬
stairs works out economically, as from the landing
are entered the various bedrooms with no passages.
The hall is paved with marble, and its walls are
panelled their whole height and painted white.
The ceiling has applied plaster ornament in the
shape of wreaths and sprigs. The best rooms
have oak floors, and the fireplaces have bolection
moulded surrounds and tiled interiors with basket
grates. Architecturally the house is after the
manner of those of the early eighteenth century.
Red bricks are used for ordinary facings, with
rubbers for dressings. On the south side Venetian
shutters are introduced, giving a pleasing effect
of colour. The builders were Cross & Sons, of
Hutton, Essex. Laurence Turner did the plaster
ornament, and Elsley & Co., Ltd., supplied the
grates, doors, and window furniture.
HOUSE AT WESTCLIFF-ON-SEA.
GROUND PLAN. .
WALTER J. TAPPER. Architect.
Current A rchitecture ,
299
This house is built in the manner of those of the early eighteenth century. Red
bricks have been used for ordinary facings with rubbers for dressings. On the
south side Venetian shutters are introduced, giving a pleasing effect of colour.
HOUSE AT WESTCLIFF-ON-SEA.
GENERAL VIEW .
WALTER J. TAPPER, Architect
300
C urrent A rch itecture.
Photo: Can pbell Gray.
The work consisted of a remodelling and restoration of a fine Georgian house and
the addition of a portrait-painter’s studio. W. Johnson and Son were the builders.
LITTLE CAMPDEN HOUSE, .
KENSINGTON. THE STUDIO.
JOHN W. SIMPSON, Architect.
Current A rchitecture
301
LITTLE CAMPDEN HOUSE, .
KENSINGTON. THE STUDIO.
JOHN W. SIMPSON, Architect,
Cur ren t A rch itectu re
3
0 2
LITTLE CAMPDEN HOUSE, .
KENSINGTON. THE STUDIO.
JOHN W. SIMPSON, Architect.
Books
MR. UNWIN ON TOWN PLANNING.
Town Planning in Practice. An Introduction to the Art of
Designing Cities and S uburbs. By Raymond Unwin,
pp. 416, with 300 illustrations and 7 folded maps.
21s. nett. T. Fisher Unwin — London : A delphi Ter¬
race j Leipzig j Inselstrasse, 20. 1909.
HE debates on the Housing
and Town Planning Bill make
the appearance of this book
extremely seasonable. Text¬
books are required, if the
opportunity promised by the
passing of the Bill is to be
improved.
Fortunately, through the generosity of Mr.
W. H. Lever, M.P., in founding a School of Civic
Design at the University of Liverpool, the educa¬
tion of the younger generation of architects is
cared for. It is to be hoped that other schools
will be opened, to remove entirely the reproach of
our crass ignorance of the art of town-planning.
In the meantime we have too few books, and
this one is a welcome addition. Mr. Unwin is in
the van of this movement. Of some of the
aspects of the art he speaks with considerable
authority, notably of the planning of suburbs. He
is responsible for the laying-out of Letchworth and
the Hampstead Garden Suburb ; and, however self-
conscious these may seem to many people, it must
not be forgotten that they are pioneer works, and
mark a great advance on the usual method of
developing land. And some of the smaller squares
and the fine central one at Hampstead preserve the
tradition, as we understand it, of clear geometrical
planning. The author considers that the designer
must cherish in his heart a love for all natural
beauty. “ His regard for a type of beauty which
it is beyond his power to create will cause him to
approach the site with reverence, will fit him to
receive from it all the suggestions which it has to
offer.” “It will save him from rashly destroying
trees,” &c. It is pointed out at the same time
that the importance of design should not be sacri¬
ficed to less important features of the site. This
of course can only apply to the urban village or
small town.
For what might be considered a trifling sacrifice
in the planning of a suburb becomes a great one
in the laying out of a city, in the too rigid
acceptance of customs and accidents of site.
Common sense demands that a street be driven
fair and straight to its goal ; tradition and the
conditions of modern architecture demand the
same. Mr. Unwin is not a Palladian, and is more
concerned with the picturesque, the creation of
what he terms “street pictures,” than with re¬
strained architecture, which we believe to be
alone suitable for cities. That restraint, that Attic
calm to which the Renaissance strove to attain,
and which the English architects of the seven¬
teenth century displayed in their works, is mono¬
tony to our author — the sweetness and light of its
spirit escapes him, and we can read : “ A straight
street leading up to a terminal feature, if a simple
and obvious arrangement, nevertheless often pro¬
duces a very pleasing effect. It is stiff and formal
in character, no doubt, but it is at least safe.”
And so we learn that what might be considered a
fundamental principle in town-planning is stiff,
formal, and safe, &c.
Writing “ of formal and informal beauty,” the
author, summing up his arguments for and against,
prefers, as he says himself, not a via media, but a
via latior, which we suppose is something like
“ the primrose path of dalliance,” which in archi¬
tecture means the wide way of licence.
We shall expect next to be told by some other
mentor that the use of the “ Orders ” is stiff,
formal, and safe. It is a curious fact that the
plan the rejection of which is our greatest archi¬
tectural loss should consist entirely of straight
streets. We refer of course to Wren’s plan for
the rebuilding of London. Evelyn’s was some¬
what similar. The former is reproduced and
described at some length from Elmes’s “ Life of
Sir Christopher Wren,” and Mr. Unwin sums
up : “ The plan is indeed laid out in the grand
manner, and depends for its effect on the largeness
of its scale and the length of its vistas, while no
attempt is made to reproduce the enclosed places
and the limited street pictures so characteristic of
the mediaeval towns.”
Why he should be required to reproduce the
“ limited street pictures ” and the “ enclosed
places ” which had just harboured a dreadful
plague, and had fortunately been cleansed by fire,
we do not know.
For the planning of cities we feel very strongly
that Palladianism is the only course which can
bring about that unanimity which is essential to
its success. In this opinion we are not unsup¬
ported, for the best ability of our profession in
America has already endorsed it by its practice.
Under the leadership of men like McKim, Gilbert,
Burnham, Carrere, Brunner, Nolen, and Manning,
the great cities of America promise to grow in
stateliness, dignity, and restraint. And the prac¬
tice in France is along similar lines. Not so
304
Books.
Germany, whose schemes, though properly legal¬
ised and organised, are not of such a nature as
should commend themselves to us, and the
most modern school is attempting the reproduc¬
tion of mediaeval types, whose beauty lies in
“ varying widths of streets, and irregular places
planned with roads entering them at odd angles.”
It would seem that our author is more interested
in details, picturesque effects, and so on — in a
word, “ street-pictures,” than in great schemes
of town-planning. He is fond of dallying with
nature and arranging theatrical effects. He
describes how he arranged a pond to catch and
reflect last gleams of the setting sun. “ The great
value of water in such a scheme, as introducing
life, light, and colour, should be remembered : and
where, as was arranged in one of the open spaces
in the Hampstead Garden Suburb, the pond can
be so placed that the rosy hues of the sunset will
be reflected in the water, and be seen from
different streets and groups of houses as the
sun changes its setting point with the changing
seasons, a natural decoration of the greatest
beauty will be provided.”
He has the same fancy in planting trees :
“ If we can give to our streets some individua¬
lity, may we not find that our people, going to
and from their work, will change their route,
taking the almond-planted street in the early
spring, the plum, the crab, and the hawthorn
streets later ? and later still the streets planted
with trees most noted for the colour of their
berries and fading leaves — the rowan, the haw¬
thorn, the beech, and many others — will be pre¬
ferred.”
In spite of what we consider drawbacks like this,
however, there is much of value in the book — the
photographs of many fine towns and places, and the
maps, will always make it a useful reference book.
Of the City Survey, Mr. Unwin writes that
collections of maps should be made showing the
past development of the town, public buildings, and
buildings of historical interest. It may be said
in passing that very little can be done to increase
the amenity and beauty of our towns till this is
accomplished. Besides this, it is important to
prepare detailed maps showing the different plots
of land which come within the scope of any
improvement, that measures may be taken to
negotiate with the owners.
The various parts that go to make up towns
and cities are all treated of separately, as —
boundaries and approaches, centres and enclosed
places, the arrangement of main roads, &c.
The penultimate chapter — of co-operation in
site-planning, and how common enjoyment benefits
the individual — shows the great advantage of this
system in securing considered planning. For
whereas the planner working for the ordinary
co-operative society divides up the land into well-
marked plots, he cannot provide plots for his
public buildings or design any amenities for the
small community, for these will be chosen only
when the need for them has arisen. On the other
hand, being employed by such a body as the
Tenants’ Society, the site-planner can think of
the schemes as a whole. “ The shops, schools,
institutes, and places of worship can all be con¬
sidered, and the most suitable sites for each re¬
served.”
In a word he may consider his problem from
an aesthetic point of view, and after all that is the
province of the designer. Lastly, the author
draws attention to the inflexibility of our build¬
ing by-laws, and suggests that authorities should
devote more care to their framing or revision.
And there can be little doubt that a more elastic
code would add to the interest of suburban archi¬
tecture.
ENGLISH DOMESTIC PLANNING.
The Growth of the English House : A Short History op
its Architectural Development Jrom 1000 to 1800.
By J. Alfred Gotch , F.S.A., F.R.I.B.A. 8 in. by
5 i in. pp. 302, illustrations 215. 7/6 nett. London:
B. T. Bats ford, 94, High Holborn , W.C.
HE debt we owe to Mr. Gotch
as author and to Messrs.
Batsford as publishers is
already considerable, but the
result of their latest joining
of forces increases it. In
January last we reviewed a
book called “ The English
House,” and had occasion to comment on its
containing plans to the number of three, a quantum
hardly excessive. We then said, “ This is not a
book for architects.” It is the peculiar value of
Mr. Gotch’s book on the same subject that not
only does it contrive to be a book for architects,
and very informing at that, but also it is conceived
on lines sufficiently popular to make it intelligible
to the architecturally-minded layman, if he will
use the glossary which is provided as a lamp
unto his feet. The story of English Domestic
Architecture as Mr. Gotch succinctly yet read¬
ably states it, is, up to Elizabethan times, a gradual
shedding of the defensive idea, and a slow groping
after a higher standard of comfort. The growth
of complexity in planning centres round the great
hall, and the most obvious feature of development,
was bound up with its gradual degradation to the
purposes of a lobby. With its re-creation in
modern days our author does not deal, since he
stops, and wisely, with the year 1800 ; but it is
pardonable to imagine the astonishment of the
Books.
305
From “ The Growth of the English House," by permission of Mr. B. T. Batsford.
shade of Thorpe if he could see the atavism
involved in the arrangement of many a week-end
cottage of 1909. Mr. Gotch takes Aston Hall,
Birmingham, as the best example of the parting of
the ways. Thorpe’s plan shows the entrance at
one side giving on to “ the screens,” whereas the
house as finished in 1635 was built with the front
door placed centrally both with the facade and the
hall. The latter thus became a glorified vesti¬
bule, and ceased to be fit for the purposes of a
living-room. With the great access of wealth in
the fifteenth and sixteenth centuries caused by
the gathering of the great monastic revenues into
the hands of powerful and ambitious laymen, and
by the beginnings of imperial adventure, the spirit
of ostentation tended in the direction not only of
greater magnificence, but also of an elaborated
privacy of living. The spirit of the Renaissance
gave the death-blow to feudalism in its material
as well as its artistic aspects. The economic basis
of planning has the oddest history. The neces¬
sarily narrow limits of Norman keeps, dictated by
defensive reasons, expanded into the haphazard
and wasteful grouping of smaller rooms in relation
to the great hall of fourteenth-century houses.
The Elizabethan plans show a marked improve¬
ment in convenience of arrangement over such
fanciful translations of the keep as Warkworth
Castle (1435-40), and Tudor work like Horham
Hall (c. 1520), still on the old lines. This develop¬
ment went hand in hand with a growth in the
conscious art of grouping and design. Another
turn of the wheel brought in Palladian ideas, which
in their turn trampled on reasonableness of plan.
The comfort of the dwellers was stretched on the
Procrustean bed of the taste of noble amateurs
and men like Vanbrugh, who provided a long open
colonnade between kitchen and dining-room. Up
and down the book are scattered numberless little
facts of interest which show the wide range of
Mr. Gotch’s researches. As Pepys would say, “ it
is pretty to see” the curious eclecticism that
went to the making of Tattershall Castle, and the
sudden change from circular staircases of stone,
the habit of centuries, to the wide-going and large
and frequent landings of the timber stairs of
Elizabethan times. One notes with philological
pleasure how our word “ pastry ” is derived from
the adjunct to the kitchen where the ovens were
built, and how thoughtlessness in Elizabethan
buildings overcame the earlier dictates of sanitary
common sense in the unintelligent placing of the
garde-robes. Mr. Gotch, keen as he is on discuss¬
ing the functions of such men as Thorpe and
Smithson, has wisely touched on that aspect of the
FAWSLEY, NORTHAMPTONSHIRE :
BAY WINDOW OF THE HALL.
LATE FIFTEENTH CENTURY.
From “ The Growth of the English House."
Books.
306
KIRBY HALL, NORTHANTS : ANGLE OF THE COURTYARD.
From “ The Growth of the English House,'' hy permission
of Mr. B. T. Batsford.
H question with a light hand, so as not to check
the current of his narrative, which is not
concerned with the organising of the building
arts, but with their results. He has some
cogent things to say about enthusiastic pro¬
prietors who are carried back two centuries
earlier than the facts warrant by a cusped
window light. An entertaining book is yet to
be written on popular architectural fallacies,
on the lines of the “ What is Believed ” articles
on heraldic matters which made the pages
of The Ancestor (now unhappily defunct) a
feast of fat things. On such purely architec¬
tural questions as the influence on design of
the introduction of sash windows Mr. Gotch
writes shortly and clearly. For the illustra¬
tions of the book there can be nothing but
praise. From the enchanting frontispiece, a
view of Sheldons, Wiltshire, to a picture of
the elliptical staircase at Baddow House,
which closes the last chapter, all are chosen
aptly to illustrate the tide of tendency, and
England has been ransacked for little-known
houses to adorn the tale. Perhaps we may
say by way of final commendation that the
publishers have been wise to produce this
admirable book in a shape and at a price
which must make it widely acceptable, and
bring it into the possession of the architec¬
tural student whose purse, never at any time
deep, is in these days less well furnished
than usual.
DERWENT HALL, DERBYSHIRE.
From “ The Growth of the English House," by permission of Mr. B. T. Batsford.
Books.
307
CABINET WORK.
Modern Cabinet Work, Furniture, and Fitments. An ac¬
count of the theory and practice in the production of all
kinds of cabinet work and furniture, with chapters
on the growth and progress of design and construc¬
tion, illustrated by over one thousand practical
workshop drawings, photographs, and original de¬
signs . By Percy A. Wells, Plead of Cabinet De¬
partment, L.C.C. Shoreditch Technical Institute j
Advisory Instructor, L.C.C. Central School of Arts
and Crafts; Silver Medallist , Royal Society of
Arts ; and John Hooper, Honours Silver Medallist,
City and Guilds of London Institute; Silver
Medal, Carpenters'' Company, Cabinet Section.
London: B. T. Batsford, 94, High Holborn , W.L.
1909.
CE many of the eighteenth-
century books, this title-page
gives one a good idea of its
contents; but whereas in the
old days the author would be
Abraham Swan, Carpenter, or
Batty Langley, with the ad¬
dition of carpenter or archi¬
tect indifferently, or plain Edward Oakley, the
authors of this volume have their names swollen
out into lines of type which are not particularly
illuminating to us. Unfortunately it is customary
to trick out names in this fashion, so we will not
cavil at it. The book itself is an excellent one,
and we should like to see it in the hands of all
craftsmen who work in wood. In these days of
the infinite sub-division of labour, such a work as
this might easily counterbalance the loss of a
wider practical experience which it is seldom
possible to obtain, and adequately equip the young
cabinet-maker to meet any demands which might
be made on him.
After a short introductory chapter which pre¬
tends to give an historical resume of the develop¬
ment of the craft, the book becomes thoroughly
practical, and the chapters which follow are
admirable, taking account of tools and materials,
of geometry and design, and the manifold details
which go to make up “ a craft which has taken a
place in the front rank of skilled trades.” In fact,
there is scarcely an article of furniture but what
is shown by some diagram or photograph. The
chapter on” Foreman’s Work” shows how fully the
whole work has been considered from an educa¬
tional point of view. Chapter the eleventh deals
swiftly with the historical styles, and is admirably
illustrated. The chapter dealing with “Chair¬
making,” which nowadays is a separate craft,
gives a lot of information about the various styles,
and includes a chronological chart, giving names,
periods, general characteristics of chairs and
seats of various styles, and advice about prac¬
tical work. And the last chapter deals compre¬
hensively with English, Foreign, and Colonial
woods. A glossary is added, giving the book
additional usefulness ; the constructional drawings
illustrating the various points are among the
clearest and most legible we can remember, and
give to the book a great part of its value. Generally,
too, the designs for furniture are reasonably good,
and it would be ungracious to criticise too severely
one or two efforts showing sides of rooms in the
“Georgian” style. A good many of the ill ustra-
tions are from old work, in the shape of measured
drawings and photographs, and give the book a
character of comprehensiveness.
The old books by Swan, Langley, Oakley, and
many others, were addressed chiefly to workmen,
but they have found their way to many an archi¬
tect’s bookshelf, and this volume may with ad¬
vantage to us find a similar resting-place.
MICHELANGELO AND HIS AR.TISTIC
FORBEARS.
Michelangelo. By Gerald S. Davies. 10 in. by 7 in.
pp. xviii, 228. Plates 126. 12 s. 6d. nett.
One Hundred Masterpieces of Sculpture. By G. F. Hill.
8J in. by 5J in. pp. xiv, 212. Illustrations 102. ioj. 6 d.
nett.
London : Methuen iS-5 Co., 36 Essex Street , W.C.
4EW book on Michelangelo
needs to have some marked
merit to escape the charge of
being superfluous, and to be
framed well to bring into
right perspective the output
of an amazing life. Mr.
Gerald Davies has given us a
book which at once takes its own very excellent
place. It is written out of a large knowledge and
sympathy, and, what is perhaps rarer, the different
aspects of Michelangelo’s life and works may be
seen in their right proportion. Mr. Davies gives
us a convincing picture of the intellectual and
artistic giant, strange medley' as he was of master¬
ing will, fierceness, tender charity, despondency,
courage, and underlying humility. But it is a
picture which baffles us. We feel our own capa¬
cities and sympathies shrinking to the proportions
of the people of Lilliput surveying Gulliver. Of
Michelangelo as architect Mr. Davies writes with
temperate discernment. Just now when Civic
Design is much discussed, it is worthy of remem¬
brance that the master designed the buildings
which crown the Capitol of Rome on its northern
side for a society which existed for the worthy'
adornment of the city. It is not a little
melancholy that the idea of such a body now
strikes one as utopian. The National Art Collec¬
tions Fund can make heroic struggles to save
a Holbein, while a Crosby' Hall goes down to
destruction. The prodigious doings which
went to the building of St. Peter’s, the slough
3°8
Books.
CUPOLA OF ST. PETER’S, ROME (FROM THE WEST).
From “ Michelangelo," by permission of Messrs. Methuen & Co.
of jobbery and corruption, the procession of
different plans by men all great in their way, and
the final grasp of the situation by Michelangelo,
make a story always enthralling, which loses
nothing by Mr. Davies’s telling of it. It is with
almost a savage glee that one reads of the magni¬
ficent contempt which he meted out to the com¬
mittee of control, so called because for thirteen
years he disregarded their very existence. His
righteousness and wrath made short work of the
crowd of parasites to whom St. Peter’s had for
years meant a substantial income. The art com¬
mittee gnashed their teeth, but his disregard of
their earnest desire to see plans meant that there
were few delays. To Michelangelo we at least owe
the dome, while his successors are responsible
for the ruin of the plan caused by the lengthened
nave.
It would be less than justice to abstain from
saying that not only has Mr. Davies done his
work well, but that the publishers offer to the
public a finely printed and illustrated book at a
very small cost.
Of the “ Hundred Masterpieces of Sculpture”
Mr. G. F. Hill claims no more than the merit
that belongs to a picture-book. Still, that is not
small, if so be that the choice of subjects is good
and the connecting thread of text intelligent and
Books.
3°9
stimulating. By Messrs. Methuen’s courtesy we
reproduce the Colleoni. It is well known, but
cannot be too often shown. Surely this work of
Verrocchio and Leopardi is the last word in
perfection as an equestrian monument. It is only
after one has looked at it awhile, and then thinks
of the successful generals whose statues occupy
our sites, that the low ebb of modern monumental
sculpture becomes so sensitively felt. The more,
forms of presentment, on account of its almost immutable
principles, which are subject to but slight modification — in
spite of the introduction of new combinations of materials.
Hence it comes about that there is a strong family likeness
between the numberless books on the subject ; for beams,
columns, and arches must ever remain such, and so-called
progress is powerless to influence the constancy of their
several types, or render obsolete their inherent qualities.
Mr. Allen’s book, which has now reached its fifth edition,
once more illustrates the truth of these statements, for it
contains the old familiar diagrams of brick-bonding, timber
BARTOLOMMEO COLLEONI.
From "A Hundred Masterpieces of Sculpture," by permission of
Messrs. Methuen &■ Co.
therefore, that the public acquaint themselves
with what has been and can be done, the sooner
are they likely to demand a higher standard of
achievement.
PRACTICAL BUILDING CONSTRUCTION.
Practical Building Construction. By J. P. Allen. 5 th
Edition , revised and enlarged. Price ps. 6 d. nett.
London : Crosby Lockwood Co., Stationers' Hall
Court , E.C.
The science of building construction— one of the most
ancient crafts in the world — does not lend itself to novel
floors, kingpost roof trusses, and the hundred-and-one other
stereotyped examples whose acquaintance we made in our
student days. Here are to be found the customary scarfed
tie-beams, cogged wall -plates, tusk -tenons, all in their
appointed places, and illustrated with, perhaps, a little less
than the ordinary precision. As has been suggested in the
foregoing remarks, this is more or less inevitable ; yet it does
occur to us that a few good photographs of the various kinds
of stone-walling— such as random and coursed rubble— would
have been preferable, and of far more service than the some¬
what crude and altogether unconvincing diagrams given in
the book.
b 2
3io
Books.
The chapter on fireproof floors needs revision where men¬
tion is made of one or two systems which, though patented,
have never yet been actually employed, and consequently can
have no practical utility in a work of this description.
A few pages are devoted towards the end of the book to the
architectural styles, which are illustrated with some good
photographs and several sketches.
Taken as a whole, the book is one which may be recom¬
mended to all those engaged in building. Its chief merit lies
in the completeness and general excellence of the chapter on
carpentry and joinery, which could not well be improved upon.
MARBLE AND MARBLE WORKING.
Marble ami Marble Working. A handbook for Architects,
Sculptors , Marble Quarry Owners and Workers ,
etc. By W. G. Renwick. pp. x, 226. 13 plates
and 72 illustrations in text. 15J. London: Crosby
Lockwood Son, 7, Stationers'' Hall Court, E.C.
In the preface to this book the author, Mr. Renwick, makes
a statement concerning the widespread ignorance on the part
of the architects and builders of this country respecting marble
generally, and in particular the sources at present available
for its employment as an article of commerce. All this is
true enough, but the explanation of a state of things which
cannot justly be laid to our discredit lies in the simple fact
that England is not a marble-producing country.
The book now under review is an attempt to augment the
very incomplete information which at present obtains respect¬
ing this material, and the chief aim has been to indicate in a
systematic manner what marbles are to be had and the
sources of their production. Instances of their application in
this country are also given in the Supplementary Chapter,
accompanied by descriptive notes and a list of over 130 varie¬
ties in ordinary use.
Chapters on the chemistry and geological formation of
marble ; the ancient quarries and methods of working ;
modern quarrying methods and machinery used : marble sub¬
stitutes, &c., &c., form instructive reading, while the illustra¬
tions contribute largely to the general value of the work.
Among these are thirteen coloured plates showing the mark¬
ings of fifteen representative marbles. Plate VII gives a
good idea of the wonderful beauty of Alomite (from Ontario,
Canada). The colour of the material is a brilliant blue,
occasionally interspersed with thin red veins and spots.
As a work of reference this book would have an increased
value to architects if the number of these coloured plates was
considerably increased.
EAST AND WEST.
The Colour of Rome : Historic, Personal, and Local. By
Olave Muriel Potter. With an introduction by Doug¬
las S laden. Illustrated by Yosliio Mar kino, gl in. by
6 J in. pp. xxx, 262. Plates in colour, 48 ; in sepia,
12. 20s. nett. London: Chat to IM Windus, St.
Martin's Lane, W.C.
We have no word for this book but “ enchanting.” Miss
Potter writes with an easy eloquence of the splendours of the
Eternal City, and her eleven chapters give us vivid word-
pictures of imperial and papal Rome as she sees its history
reflected in the buildings. It is, then, in no disrespect to her
that we devote our space rather to the artist whose brilliant
brush makes the pages glow. It is surely a piquant juxta¬
position, a painter from Japan realising for English eyes the
colour of Rome. Mr. Markino is, however, strangely Western
in his art ; indeed, save in a few touches here and there, it is
difficult to recognise the school from which he springs. His
painting is full of atmosphere ; the softness of The Palaces of
the Ccesars (for example) is a triumph of cool beauty. His
sunlight effects are brilliant without hardness ; but perhaps he
is at his best, whether in colour or sepia, with scenes lit by
flickering gas-lamps and when the sun goes down to his rest.
Understanding of the pictures and the artist is made the
clearer to us by an essay which Mr. Markino contributes ;
indeed, it is the most engaging feature of the book. It shows
us the swift and quaint perception which he brings to his
work. Here is a pearl of price — “ Once while I was
walking .... to my great astonishment a carriage-horse
came out suddenly from a crossing street and kissed my face-
The driver shouted a few words loudly ; I was thankful I did
not understand the Italian — I was sure they were not the
parliamcntal words." We are grateful for parliamental.
Mr. Markino’s first impressions of Rome were disappointing.
He went to Monte Riccio. “ It was a little raining the effect
was awfully bad. I prefer Newcastle-on-Tyne far better . . . .
The Roman people are no different from us. They are all
fed with cow’s milk, just as we are, and no one takes the wolf’s
milk nowadays.” Who shall say the Japanese are a serious
race ? Nor does Mr. Markino hold back from architectural
criticism. “ I did not know until I saw St. Peter’s that most
of the modern fashionable restaurants or hotels are such
faithful copies of the inside of St. Peter’s .... Those Baroque
churches everywhere in Rome were my nightmare. They
are as ugly as could be, just like the heads of stag-beetles .’’
But it would be indecent to quote more, though it pains us to
hold our hand. We can clo no more than commend a book
in all ways delightful.
BUNGALOWS.
Bungalow Residences. By Percival T. Harrison. in. by
5 \in. pp. viii, 76. Various Ulus trations and plans.
3.?. 6 d. nett. London : Crosby Lockwood & Son ,
7 Stationers' Hall Court, E.C.
This is a little book with a few notes, plans, and elevations
of bungalows for the seashore, &c. It seems a doubtful
policy to issue handbooks of this kind. They tell architects
nothing that they do not know already, and they give to the
layman that amount of knowledge which is a dangerous
thing. Moreover the thoughtless individual is likely to go to
the builder, book in hand, and say, “ Build me one like that.”
The designs shown call for no remark, save as to one porch,
the columns of which recall Sir Henry Wotton’s observation :
“ And here I must take leave to blame a practice growne
(I know not how) in certaine places too familiar, of making
Pillars swell in the middle, as if they were sicke of some Tym¬
pany of Dropsie .... and unseemely to the very judgement
of sight.”
WESTMINSTER ABBEY.
Westminster Abbey. By Francis Bond. gin. by 5! in.
pp. xvi, 332. Illustrations 270. 10s. nett. Londo7i :
Henry Frowde , Oxford University Press, Amen
Corner, E.C.
The Nave of Westminster. By the Rev. R. B. Rackham,
M.A. 9 jin. by 6 in. pp. 64. Illustrations 6. 5J.
nett. Published for the British Academy by Henry
Frowde.
IN our issue for August 1909 we noticed a “ Visitors’ Guide
to the Abbey ” by Mr. Francis Bond, a fragment taken from the
larger work now under review. It is not a little extraordinary
that since Sir Gilbert Scott’s Gleanings, published in 1863,
Books.
there has been no book about the Abbey which could be put
into the hands of the student desiring a simple and compact
presentment of its architectural story.
Professor Lethaby’s great book was written from a special
point of view and examined a new series of facts, the spoil of
his research and a text for his luminous criticism.
There are many merits in Mr. Bond’s book, but we would
draw attention to two in particular. Though it is written out
of a full knowledge, Mr. Bond does not take it for granted that
his readers know all about architecture. He begins at the
beginning, explains the conditions and needs which led to the
building of the Abbey, and unfolds in plain language how
the highly-complicated plan developed during the centuries.
While an expert in the subject may learn from Mr. Bond, the
uninformed amateur may do so none the less. It is the great
defect of most descriptive books of this type that if they escape
the Scylla of platitude and anecdote they fall into the Charybdis
of specialised technicalities. Mr. Bond’s book sails through
the Straits unscathed by either criticism. The second point
which earns our gratitude is that the author is not afraid or
ashamed to write of the Abbey as a great Christian monument.
Some critics are apt to talk fluently of plans and elevations,
of dates and attributions, while others drown us in the gush of
sentimental rhapsody. Mr. Bond gives us sixteen chapters
packed with well-assorted knowledge well expressed and
illuminated by very full illustrations. In the seventeenth,
“ The Mainspring of Gothic Architecture,” he urges us not to
think of the Abbey as a Public Cemetery and Sculpture Gallery*
but as “ the abiding place of an indwelling God, whose man¬
sion it was on earth, the pattern of the palace of the City of
God Immortal in the heavens.”
By all means let us continue to think of Westminster as
“ The Abbey,” the focus of all that is noblest in our national
life, and the supreme monument of English art. It will, how¬
ever, be an evil day when it no longer represents to the passer¬
by spiritual realities, or brings the reminder of the mysteries
whose celebration it was built to shelter. Its half-hidden
recesses and dim distances are the reflex (imperfectly expressed
if you will) of the infinity of the Godhead. Let us remember,
in Mr. Francis Bond’s words, that “To Him it was at once
a thankoffering and a sacrifice.”
Mr. Rackham’s nmnograph, to the forthcoming issue of
which Mr. Bond refers in his book, is now in our hands. It is
a valuable contribution to the history of the Abbey, and deals
with the building of the Nave from 1376 to 1528. It is the
result of a re-reading of those of the Fabric Rolls which form
the account of the Warden of the Novum opus. We have no
space to follow Mr. Rackham’s lucid story in detail, but would
remark on the value of the work still to be done, and being
done with the help and encouragement of the Dean of West¬
minster. The history aims at being documentary rather than
architectural. This is perhaps the reason why it was read
before the British Academy, though the subject seems rather
to fall within the scope of the Society of Antiquaries, whose
publication of the Islip Roll has more especially identified that
Society with the history of the Abbey.
HOSPITALS IN THE MIDDLE AGES.
The Mediaeval Hospitals of England. By Rotha Mary
Clay. {In the Antiquary'' s Books.) 8J in. by 5 J in.
pp. xvi,357. Illustrations 78. ’js.6d.nett. London:
Methuen &-* Co., 36 Essex Street , IV. C.
This book is an admirable example of the unhurried,
thorough archaeological work which is being quietly done by
women. Miss Rotha Clay has done more than write a good book,
she has found a new subject. The Dissolution of Monasteries led
not only to the Poor Law, but to the rise of Modern Philan¬
thropy. The hospital of pre-Dissolution days covered a large
31 *
field, and included the activities of the modern asylums for
deaf, dumb, blind, and insane, almshouses, industrial homes,
and lazarettos. The leading principle was religious control, land
the care of the soul took precedence of the healing of the
body. They understood the former better than the latter.
Of the plan and arrangement of hospitals Miss Clay writes
clearly and at sufficient length.
The Antiquary's Books are all good, for Messrs. Methuen
have included only those authors who have a grasp of their
subject. We need say no more of Miss Clay’s volume than
that it is as good as the best.
DUTCH MASTERS, OLD AND NEW.
Great Masters of Dutch and Flemish Painting. By
W. Bode. Translated by Margaret L. Clarke.
7! in. by 5! in. pp. ix, 358. Illustrations 39. js. 6 d.
nett. London : Duckworth and Co., 3, Henrietta
Street, Covent Garden, IV. C.
Dutch Paititing in the Nineteenth Century. By G. Her mine
Marius. Translated by A lexander Texeira de Mattos.
9 in. by 6 in. pp. xi, 203. Illustrations 131. 15 s. nett.
London: Alexander Moring, Ltd., De La More
Press, 32, George Street, Hanover Square, IV.
There is no figure in English art criticism of cpiite the
commanding position that Dr. Wilhelm Bode fills in Germany.
Whether in sculpture or painting he is almost a dictator, and
his reputation rests no less on his eloquence in critical appre¬
ciations than on his fundamental knowledge. We write thus
though we are not ignorant of the comedy which is being
played round the Lionardo bust. If, however, it should be
proved conclusively that Dr. Bode has been mistaken, it is
only one blemish on a reputation deservedly great. We there¬
fore welcome the growing freedom with which English pub¬
lishers are issuing translations of his books. The volume under
review covers a wide field. Rembrandt is naturally in the
forefront, and Dr. Bode insists on his special position as
the artistic representative of Northern Protestantism and
the supreme hand in the graphic realisation of the Bible
narratives. The amazing perfection of genre painting in
the Low Countries is attributed to the patriotism, both national
and local, which informed the Dutch artists.
When we turn to the book by G. H. Marius on modern
Dutch art, we are impressed by a consideration which finds
no place there, but is none the less worthy to be set out. To
what strange motions of the national spirit are we to attribute
the magnificent renaissance of painting in Holland during the
last century, a new birth which has renewed the splendours of
the age of Rembrandt, while in Italy there is nothing at all
comparable ? Yet Italy has won a great place among the
nations, and by a movement of patriotic fervour which should
have stimulated her art. The name of Josef Israels is a
standing protest against the foolish opinion that the Jewish
race has produced many critics of and dealers in art, but no
great creators. It is not too much to say that his name is
worthy to be writ with his great forerunners of whom Dr. Bode
treats.
We wish we had free space to enlarge on the work of the
Brothers Marius, of Mesdag, de Jong, and the other artists,
over ninety in all, whose pictures are reproduced.
We cannot too strongly recommend these two admirable
books, each in its way an ornament to any art lover’s
library, and each the more acceptable for being really well
translated.
ADDENDUM.
In our article last month on Ebberstoti Lodge it should
have been stated that the very excellent measured drawings
were made by Mr. James T. Pilling.
GETTY CENTER LIBRARY
3 3125 00619 1809
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