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Vol. LIV. JULY— DECEMBER 1 9 2 3
2 7-29 g525 l
INDEX TO VOLUM E
NAFIFTY-FOUR 1
M41ART ICLES AND NOTE S 115 1+
Add erbu ry Housi ng Scheme , Banbu ry . By T . Lau ren ce DaleAl Fresco : Random Idyl l s byAngels . By J ames Ball an t ineArchi tec tural D raw in g , H i s tori ca l De v elopmen t to End of
E igh teen t h Cen t u ry. By J ames Bu rford . S ee H i storicalDevelopmen t .
A rch it ec t u reOld Co lon i a l . Draw ings by Hardy By G . N .
M od ern Du tch . By How a rd Robe rtsonA rs Aret ina . By L i sa Scopo l iBanks , Tw o Be lg ian . By .\Ieu cs and Davi sBu l l Hou se and the es t Ga te , Lew es Bv alterH . God i re\Bo u rnemou th . The K ing 's Hal l . Decora ted by G . G . orn umBu ried C i ti es . B\ ( t . F.. M i t tonChes terfi eld Pa ri sh Ch u rch Process ion alC ross By H . Ryd eChu rch of the Engl i sh M a rtyrs B i rm ingham . By S andvand No rri sC i t i es . Bu ri ed . By G . E . M i t tonC i ti z en and H i s C i ty , Th e . By \\ 1lliam Hayw oodC landon V i l lage . By H . S . Good har t-Rend elC lock by Thomas Tompion , Th ree-m on th . Bv H erbert
Cescinsky
Co rres ponden ceThe Process iona l C ross a t Ches terfield Pa ri sh Ch u rch 148 ,
Th e Pro tec t ion ofNa t ional Treasu res 1 86,
A Th ree-mon th C lock by Thomas Tom pion 1 86
The Cambe r wel l Rec l useS herficld Cou r t , Hampsh i reHou ses a t M on t Roc in Fran ce
Cross Deep,Tw i cken ham . By H . de C .
Decora t ionAn Essay in . By G . G .
Fren ch . By H . de C .Developmen t Scheme A G reat . By S i r joh n I i urnet and
Pa rtn ersD u tch A rch i tec t u re
,M odern . ByHow a rd Robertson
Engl ish M a rtyrs . Ch u rch of t he . By Sandv and NorrisEssay in Decora t ion . By G . G .
E tch ings by Fran k BrangwynExh ib i t ion a t Go th en bu rg . By S i r Law ren ceE xh ib i t ion s
By Raym ond Mc Intyre 3 1 , 70 ,108 , 140 ,
1 88
By j . S tephen sFran ce , On a Fi rs t S i gh t of. ByH . d e C .Fren ch Decora t ion . By H . d e CFren ch G ra t i t ude. M on umen t of. By H . S . Ciolkow sk iF res coes of Gino Severin i . By H un t ly CarterC-o thenburg Exh ib i t ion . By S i r Law ren ce W 'eaverH i s tor i c al Developmen t of A rch i tec tu ra l D raw i ng to the End
of t he E i gh teen th Cen tu ry. By j ames Bu r ford1 . In t rod uc t ion , A n c i en t and Med ia'valDraw i ngs2 . Fi f teen th and S i x teen th Cen tu ri es3 . Seven teen th Cen tu ry(Pa r t 1)3 . (Pa rt I I )4. E igh teen th Cen tu ry (Part I )4 (Pa rt ll)
Huh food , Memorial to K ing Ed u ard B '
s B row n eHous ing Schemes .
A V i l l age . B\ H . S (Loodhart-Rend elAdderbun , Ban bun By T La u ren ce Da l e
Housing Su bs idyI ta l i an Palace , Res to ra t ion ofFamou s . By Yoi Na rain iK i ng Edw ard M emori a l
,Ho lyrood . » By Brow ne
K i ng 's Hall, B oum emou th . By G . G .Lew es . Bu l l House and the W es t Ga te . {y H . God frey
London Now and Then . By E . Beres ford Chan ce l lorLon g Cren don M ano r , Ox ford sh i re. By Ph i l i p T i ld enM arlborou gh , Oare Hou se . By C lough \Villiams-E l l i sM emori a l to K ing Edw ard , Ho lyrood . By“ash in g ton B row n eM odern Du tch A rch i tectu re . By How ard Robe rt sonM on um en t ofFren ch G ra t i tud e . By H . S . Ciolkow sk iOare Hou se
,M arlb orou gh . ByC lough -E l l i s
Pavi l ion a t Shepherd ’s Bu sh , The , Des ign ed by F ran k TV eri ty. By Pau l VVaterhouse
Poelz ig,Han s . By H erman Geo rge S cheffauer
Popesw ood Lod ge , Berks . A Schem e ofDecora t ion by O l i verH i l l
Process iona l Cross a t Ches te rfi eld Pa ri sh Ch u rch .H . Ryde
Ramsga te Deve lopmen t Scheme. By S i r John ‘Bu rn e t andPar tners
Random Idyl l s . BV
A l F rescoA Gard en Ci tyThe E l even th ofNovember c
Raynham ,Th e Sea t of the M arq u ess Tow n shend . By M .Jou rdainRecen t Boo ks
A rch i tec tu ra l E tch in gs of Fran k Brangwyn. By S i rRegin ald BlomfieldOn M ak in g and Co l l ec t ing E tch i ngsj aq u es Cal lotAmeri can Scu l p tu re . ByK i n e ton ParkesH arl equ inadeAn A u s t ri an Scu l p torA G u ide to G reek Sc u lp tu re. By Inneton ParkesEngl i sh I n terio rs in Smal l er Hou ses from th e R es tora t ionto the Regen cy. By W a l ter H . God freyOn th e S i te of the G lobe P l ayhou se of ShakespeareRal ph W ood Pot tery: M r . F ran k Part ri d ge 's Co l l ec t ion .By K i neton Parkes
ofAm brose McE voy. By K i ne ton ParkesThe Renai ssan ce of Roman A rch i tec tu re . Bv H .
The Pan e l l ed Rooms : I I— The C l ifford 's In n RoomThe Hou se Doc torLondon of the Fu t u re . By H . j . Bim st ingl
Tw o German Scu l p tors . By K in e ton ParkesS i x ty-s i x E t ch ings by M em be rs of the Pri n t Soc i etyA Book of I ta l i an A rt i s tsEn gl i sh Coun t ry L i fe andS i r Ch ri s topher W ' ren Bv M au ri ce and H . S .Good hart-Rend e lSome Br igh ton Ch u rchesScenes and M ach in es on t h e En gl i sh S tage d u ri n g t heRenaissan ce . By H . B im st ingl
Y ear-Book of th e London Schoo l ofPrin t i ng and IxmdredTradesThe House \f\-'e Ough t to L i ve I nEngl i sh Fu rni tu re . By H erber t CescinskyS urvg
’
yand O ther M easu rin g I n s trumen tsThefBeginnings. ByK ineton Parkeswood cu ts and SomeM as tersofA rch i tec t u reTheory and E l em en ts ofA rch i tec t u reLi t t l e Th ings Tha t M a t terFran ci sco d e GoyaCha ts onO ld Engl i sh D raw i ngsPen c i l Po in tsF ren ch A r t on the Rh in e. By K i n e ton Pa rkesThe M odem S i gnw ri ter . By H . j . Birnst ingl
Index
ART ICLES AND NOTES —continued.
PAG E
R es id en cesRayn ham . By M . Jou rda inOa re Ho use , M arl borough _
Long C rendon M anor , Ox fo rd sh irePopa w ood Lodge , Be rksBu l l House , Lew e s . By H . God freyS herfield Co u rt , Hampsh i re. By H . de C .
Cross Deep , Tw i ckenham . By H . de C .
Res to ra t ion of a Famo us I tal i an Palace. By Yoi Maraini
Sabb ioneta . Th ea t re of. By Edw a rd Go rdon Crai gS t . Geo rge D i sa rm in g
ILLU STRAT IONSPAGE
Adderbury Ho u s ing Scheme , Banburv 1 2-16
Arch i t ec tu ra l E tch ings by Fran k BrangwynA rch i tec t u re , M od em Du tchOld Co lon i a lArs A re t inaBan ks , Tw o Be l gi anBou rn emo u t h , K ing 's HallBrangw yn, A rch i tec t ura l E tch ings byBu l l Hou se and t he W es t Ga te , Lew esBuri ed C i t iesChes terfie ld Pari sh Ch u rch , Proc ess ion a l CrossCh u rch of t he Engl i sh M a rtyrs , Bi rm inghamC i ties , BuriedClmdon V i l l ageC loc k by Thomas Tompion , Th ree-mon thCra f tsman sh i p , Se lec ted Exam ples o l '
: Lamp Bracke t a tthe Adm i ra l tyC ross Deep , Tw i c ken hamC ross , Proc essiona l , a t Cheste rfie ld Pa ri s h C h u rchDevelopmen t Sc heme , G rea tD raw i ngs ofOld Co lo n i a l Arc h i tec ture , by Ha rdy \\ 1|sonEngl i sh M artyrs , Ch u rch of theE tch in gs by Fran k BrangwynE xh i bi t io n a t Go t henbu rgFran ce
, 011 a F i rs t S igh t ofFren ch Deco ra t ionFren ch Gra t i t ud e , M on umen t ofFresa ies of(lino Severi n iGard en C i ty, Random ldyllsGo t hen bu rg Exh i b i t ionG rea t Developmen t SchemeH i s tori ca l D evelopmen t of A rch i te c tu ra l Draw i ng to t he
End of t he E igh teenth Cen t ury (j am es Burford )1 . An c i en t and Med iaavalD raw ings2 . Fi ft eenth and S i x teenth Cen tu ri es3 . Seven teen t h Cen t u ry (Pa rt I3 . (Part I I )4 . E i gh teen th (‘ent urv {Part I )4. (Pa rt Ill
Ho lyrood , Memorial t o lu n g Edw ardHo u sing Sc hemesAdderbu ryCl andon V i l lage
K i ng Edw a rd M emori al , HolyroodKi ng 's Hall, Bou rnemou t hLaffi tte, M ai s on s
Seve ri n i F res coes of G ino . By H u n t ly CarterShepherd 's Bush Pav i l ion . Des i gn ed by Fran k T . V eri ty.
By Paul
S herfield Co u rt , Hampsh i re . By H . de C .
Thea t re of Sabb ion eta . By Edw ard Gordon Crai gTh ree-mon t h C loc k by Thomas Tompion . By Herber t
Cescinsky
Tw i c ken ham,Cross Deep . By H . de C
Tw o Be l gi an Ban ks. By M ew es and Davi sV i l l age , C l andon . Des i gne d by H . S . Good hart-Rende l . Bv
H . de C .
Leaves from a Ske tc h Boo k l\’— S i r Robe rt Lo rimer
Lew es . Bull Hou se and Ga teLondon Now and ThenLong C rendon M ano r , Ox fordsh i reM ai so n s Lafli t teM arl b orough , Oare Hou seM emo ria l to K i ng Edw ard a t. Ho l'yroodM od ern Du tch Arch i tec t u reM on ument of Fren ch G ra t i tud eNa t ional Treas u res , Pro tec t ion ofOare Hou se , M arl bo roughI’alaz zo del l a Part e G uel faPavi l ion a t Shepherd ’sBush . By Fran k T . V eri tyl’oelz ig, Han sI’olx-swmxl Lod ge , Berks
Process iona l Cross a t Ches terfi el d Pari sh Ch u rchPro tec t io n ofNa t ion al T reasu resRandom Idyl l s
.\l FrescoA Garden C i ty
Ravnham Sea t of the M arq u ess Tow n shendRecen t Boo ksA rch i t ec t u ra l E tch ings by Fran k BrangwynThe Dreamer C rea t i ve Fo rce . From Der bren n endeM en schIn s id e t he E i gh teen th-cen t u ry Ho use
H ead bv Am br ose McEvm
Engl i shTw o Germ an Sc u l pto rsS i r Ch ri s topher W renScen es and M ach in es on the Engl i sh S tage d u ri ng theRenai ssan ceEngl i sh Fu rn i t u reSu rvey and Ot her M eas u ri ng In s trumen tsL i t t l e Th ings Th a t M a t ter
R es id en cesRayn hamOare Ho u se , M a rl bo roughLong C rendon M anorPopeswood Lod ge , BerksBu l l Hou se , Lew esS herfield Co urt , Ham psh i reCrose Deep , Tw i cken ham
Sabb ioneta , Theatre of
Index
ILLIfSTRATIONS— continued.
PAGE
S t . G eo rge D i sar mi ngS t . W i ndow , York M ins terSc u l ptureF i gu re of J ean ne D '
Arc
Vas e a t Versa i l l es .G r ou p. Foun ta in , VersaillFo un tai n G rou p , V ersai l l esThe DreamerC rea ti ve ForceSt . Geo rge D isanning P l a te 1, December
PLATE ILLU STRATIONSJ I ”
LY .OCTOBER .
1. En t ran ce to a Tow n House. By John R u ssel l Pope . I . M ai son s Lafli tte. By Cy ri l Farey.1] Garden Fron t a t Rayn ham . I I . H i s tori cal Cu l tu ral Exh ib i t ion , B res l au . By H an s Poelz ig.
111. Eas e . lThree S tud ies a t V ersai l l es . I I I . Shepherd 's Bu sh Pavi l ion , M ai n En t ran ce. By F ran k T .
“J Scu l p tu red G roup . By F. R Yerburv V eri ty.
l-ountam G rou p . IA L’G I ' ST .
NO V E M BER .1.Be l fry S tage
. S t . Pi erre. Caen . From a D raw ing byProfessor I . Eas t W i ndow , M el rose A bbey. E tch ing byS i r D u n can Rh inaBeresfefd Pi te 11. S herfield Cou r t , H ampsh i re .I I . A Bed in Oare Hou se.
I I I . The Su n Shel ter . Ramsgate Developmen t Scheme. By S i rJohn Bu rnet and Par tners .S EPTEH BER DECE M BER .
I . Cologne . I rom 21 D raw i ng by Sam uel Prou t . I q C D'
ll. Cou rtyard of the Palaz zo d el l e'Pa r te G u el fa . “ t ’ xeorge isarmmg.
I I I . Bui ld ing forFedera t ion OfSai lors , Den H eld er . By P. K ram er. I I A r t Gal l ery, Gothen bu rg E Xhlbltlon~
Bat h House , H i l versum . By W'
. M . Dudok . I I I . D inin g Room , Cross Deep , Tw i ckenham .
I I I . Foreign Ban k , Brussel s .
ART ISTS,AUTHORS
,CONTRIBUTORS , E tc .
Adam , Robe rtA l be rt i,Leo Ba t ti s ta
Bal lantin e , J amesBarn'asB ib i ena I 7, D I »
Bijvoe t and Du i kerBimstj ngl, H . J.
Bjerke an d E ri csonBlomfield ,
S i r Regi na l dBoelinger, HansBo u rd el l e , An to ineB raman te , Don a toBrangwyn, FrankBrow ne , G .
-V ashi ngtonB runel lesch iBuriord , J am esBu rnet , S i r JohnCampbel l
,Co li nC an a le , An ton ioCarter , H un t ly
Cescinsky, Herbe rtC ham bers , S i rChan cel lor , E . BeresfordCiolkow ,ski H . S .(Lon er , And reasC rai g Edw ard GordonCuvi lliés, Franco i sDa l e
,T . Law ren ce
De l a Fosse , J ean Charl esl) e l 'orm e , Ph i l i be r tDel V aga
,Perino
De V ri es ,Vredeman
Du Cerceau , J aqu es And rou e tDudok , \I. Pl ate IV ,
Septem berFarey
,Cyri l . Plate I , Oc to ber
G i bbs , JamesPrinted by Eyre 6 Spottisw oode, L !d., H islMaj esty
's Printers, Downs Park Road, London, E .8.
Sel ec ted Exampl es of C ra f tsm an sh i p : Lamp Bracke t att he Adm i ral tySever in i
,Frescoes of G ino
Shepherd ’s Bush Pavi l ionS herfleld Cou r t , H ampsh i reThea t re ofSabb ionetaTbree-mon th C lock by Thomas TompionTw i cken ham , Cross DeepTw o Bel gian Ban k sV i l l age ,
C l andonY ork M i n s ter , S t . i ndow
God frey,
H . Poelz ig, HansGoodhar t-Rend el , H . S . Pope , Joh n R u ssel l . P l ate I , JanuaryProu t , Sam uel . P l a te I , Sep tembergu ard] , Frg
nc
l
esc
g Rh ind,S i r D u n can P l a te 1
,Novem ber
astmgs, e R i gaud,J ean
H ayw ood , R i p l ey,T .
H i l l , O l i ver Robert son , How ardHonecourt , (le Ryd e , H .
Jon es,I n i go . P l a te I I , J u ly Sand by, 17101113 5
Jou rdai n,M .
Sandy and Norr i sSangal lo I I , An ton io da
Ixent , “11amScheflauer, H e rm an George
Kip and Kn i ff Scopo l i , L i saKlerke,
M . d e Severi n i,G ino t
'
K ramer,P . P l a te I I I , Sep tember S tephen s
, J .Loggan , David Syl vest re
,I srael
Lorimer , S i r Robert Tes i , M au ro A n ton ioM al ton
,Thomas Thorpe
,Joh n
N arai n i , Yoi T i l d en,Ph i l i p
McIntyre, Raymond Tom pion,Thomas
3 1 , 70,108,
149 , 1 88 2 30 V an Laren , J .M ei sson i er , J u s te A u rel l e 1 5 7 V eri ty,Frank T .
Merrifield ,L . S . P l a te 1, December 2 2 8 V i gno l a
M ew es an d Davi s \V ard,\V. H .
M it ten, G . E . Pau lM oen , W
'
at tjes, Professor J . G .
M ot ta , Ra ffael lo S i r L aw ren ceNew ton , G . P l a te I
,December “ebb,
Joh n3
5 0,1 40,
1 3 3 ,2 2 8 “ebb
,M au ri ce E .
Pal l ad io , An d rea 63 -E l l i s,C lough
Pan n in i , G iovann i Pao lo 2 2 3 \V i l son , H ardyParkes , K in e ton 36, 72 , 76 ,109 , 1 1 3 ,
1 94,2 34 C h ri s toph er T .
Perel l e , N i col as 142 G . G .
Peru z z i , Bald assare 60 S i r Ch ri s topherPi ran esi , G iovan n i Ba t t i s ta 2 26, Yerbury,
F . R . Pl ates I I,I V
,V
,J u ly
P i te , Beres ford . Pl a te I , A u gu s t 2 5 , 42 , 88, 102 ,1 3 2 , 1 68, 201 , 2 16
Pl ate 1. July 192 3 .
AN ENTRANCE TO A TOW N HOUS E .
Joh n Russel l Pope, Arch i tect .
T he H istorical Developm ent of A rch itectural
Draw ing to the End of the E ighteenth CenturyI.— In troduct ion .
HERE is an old saying tha t Trad i t i on i s a goodservan t , bu t a bad mas ter . Th is i s t rue of arch itec ture . I t i s not less t rue of arch i tec tura l drawing . Yet wh i lst we make elaborate stud ies for
the former , t he passing fash ion of the hour is made to doduty for the la t ter .From t ime to t ime there has been much di scussion of theva lue of draught smansh ip re lat ive t o archi tec tura l design .One vi ew main t a ins that the methods employed mat terli t t le i f t he resu l t be successfu l . The opposi te schoo l arguesthere can be no rea l success by ind i fferen t means. Insuch a ques t ion a statemen t ofa pure ly pe rsona l preferencei s ofl i t t le va lue un less backed by know ledge . Both opin ionsmigh t be part ia l ly support ed . The on ly cri te rion of thevalue of an archi tecturaldrawing , t hat i s , one which is madeas an aid to fi ne bu i ld ing , i s the degree of fineness in t hebu i ld ing i t se l f . But h ist orica l research reveals tha t t hegrea t pe ri ods of arch i tect u re have been para l leled by acorrespond ing qua l i t y in the i r arch i t ec tura l drawings . Th isd oes not prove t hat the qua l i ty of the drawings is t hemeasure of t he grea tness of t he arch i t ec t ure
,nor does i t
S how t hat the greatness oft he arch i tec tu re inspi res a simi larvalue in t he d rawings . Bu t i t does mean t ha t the two in terac t oneach other . The c learness of t he concept ion is j us tthat qual i t y wh ich enab les a c lear and conv incing stat emen to f i t on pape r. The lucid expressi on of t he idea i s t heneces sary prel im inary t o i ts successfu l real i za t ion .Clear t h ink ing , t hen , i s t he one th ing necessary to gooddrawing . By c lear th ink ing must be unders tood a comprehensive men t a' so lut ion o f eve ry difiicultywh ich the propos i t ion concern ed can presen t . Such a concept ion i s no tou tside t he bounds of possib i l i ty . Bu t at th is po in t t roub lemay step in .An idea may b e fine , i t may be complete . yet i t may beexpressed poor ly . The mind may be so hedged by evi lprecept , c ircumsc ribed by unsui ‘able conven t ion , hamperedby false not ions , t hat the means b ecome inadequate t o theend . The fine idea fai ls to cross t he gu l f be tween i ts inception and i ts rea l iz a t ion . The prec ious meta l , in i t s t ransmutat ion . s l i ps th rough the cracks oi the damaged c ruc ible IFor t h i s fa i lu re a s tudy of h ist orica l draw ings forms ava luable correc t ive . It prov ides the one effic ien t an t idote .There is noth ing e lse that will so t horough ly sweep awaythe tri te conven t ions . ban i sh the. fa lse precept and the basenot ion . There i s noth ing e lse wi l l give so sound a j udgm en tbased onknow ledge and freedom gu ided by experience.The sum ofa rch i tectu ra l drawings i s no t ended by thosemade t o express an origina l idea . I l lust rat i ons of rea l i zedproj ec ts may qui te properly be inc luded .
The abi l i ty to d raw accurate ly what i s seen wi l l not ofi t se l f produce art . A rt i s bu i l t up on t he accumu latedexperi ence of pas t masters . There can be no footho ld inart wi thou t a know ledge of i ts h is to ry —and the lesson ofTradi t ion i s change . H is t ory i s fu l l of men who madeTrad i t ion by rebe l l ing agains t i t .
VOL . LIV—A
Ancien t and Mediaeval Draw ings.
I n rev iewi ng the deve lopmen t of arch i tec tural drawingwe sha l l see human endeavour somet imes advancing , somet imes going back . But in t he aggregate the movemen t isfo rward . I t is for us to see tha t our con t r ibu t ion i s one ofprogress .We may a lso en large ou r techn ica l equ ipmen t .
F rom the days when man ’s ac t iv i t i es in bui ld ing becamet oo vast to be con tro lled by word of mou th a lone , somepic tured represen tat ion
,though on ly the bare ou t l ine of the
concept ion,must have been t he most natu ra l and the most
conven i en t way of convey ing the in t en t ion of t he mast er’smind to those who carri ed ou t h is w i l l .I n t he Louvre of Pari s i s an ancien t d io ri te s ta tue of theP rie t-K ing Gudea , who reigned a t some period between2 500 and 2400 B.C. in Lagash , tod ay the ru ined town ofTe l loh
,on t he east bank of the Shat t-el-Hai . There is also
a d iori t e slab which res ted on t he knees o f the statue and onwhich is engraved the plan of an enc losed Samarianbui lding-si te . The wa l ls and towers are shown , as i t were , lyingflat on t he ground . On t he base o f the slab is carved thed raughtsman ’s graduated scale , and on t he left s ide standsin re l ie f a style , shaped l ike a long bobbin .A fu rther example
,a lso in t he Louvre , shows s im i lar
inst rumen t s in the same relat ive posi t ions , though theremainder of th e. slab i s plain . The s ty les are of a k ind su i tab le for d rawing onc lay , the common wri t ing material intha t place and pe riod . There i s suffi c ien t ev idence in t heinc lusion of these inst rumen t s on memoria l s labs a lone to
show that the mak ing of arch i tectura l drawings on c lay wasa genera l pract ice of t he t ime .Di rec t and simple in i t s st atemen t i s t he drawing on d ay
of the plan o f an early Baby lon ian house , now preservedin t he Wes tern Asia t ic Museum of Berl in (F ig . Anc ien tarch i tec tura l d raw ings genera l ly inc lude some part of thee levat ional t reatmen t on the hori zon t a l represen tat ion of abu i lding
,bu t here t he d raugh tsman has con ten ted h imse l f
wi th t he plan form a lone . A t the bo t tom the wide en trancedoor gives access to an an t e ~ room , which , in tu rn , leads bya narrow door to a carefu l ly screened court , from wh ichopen the more priva te rooms of the house . I n each rec tangu lar space t he d imens ions are c learly given and read :five
,seven
,twelve e l ls
,and so on .
Less d i rec t in i t s hand l ing , though of even greater in t eres t ,i s the co loured drawing on l imestone , preserved in themuseum at Cairo (F ig . found in t he Va l ley of the K ings ,"which shows t he rock t omb of Rameses IX, who reigned1 142
-1 1 2 3 B.C . The doorways , wi th thei r posts and l in t els ,are here shown lying down and poin t ing towards the in teri orof the tomb . Much-faded h ierat ic wri t ing , no t v i s ib le int he reproduct ion
,gives the names and s iz es of the d i fferen t
rooms ; for inst ance , The God ’s Corridor of the Sun , 30 e l lslong , 6 wide , 7 h igh . The ac tua l d imensi ons of t he chambers do not always agree wi th those given— t hei r siz es may
TH E ARCH I TECTU RAL REVIEW .
1 . A PLAN OF A BAB Y LON-IAN HCUDF .
Size of original, x 1 2 cm .
(From Il'
asmuih'
s“Archileklur-Zrichnungen.
have been altered in the cou rse of construct ion . Bu t tltefac t that the rooms shown in t he drawing
,at the end of tle
t omb , have no t been fin i shed,makes safe the con j ec ture
that t h i s i s the origina l , or at leas t a con temporary copy oft he origi na l draft of the design .Of the ancien t G reek and H ellen i st i c methods of expressing graph ica l ly an arch i tec tura l idea we know bu t l i t t le .A specia l i zed educat i on in drawing ex is ted in Per ic leanA thens . Drawings were made wi t h a sty le on soft pot teryor wax t ablets or wi th charcoa l or lead on boards of wh i teboxwood . I n la ter t imes papyrus paper was used . Twomethods of expression were known— out l ine drawing and
RO M AN PLAN ON M ARBLE BELONG ING TO THE SECOND “HALFOF THE F IRST CENTURY A I ) .
Size of ori ginal, 5 5 x 77 cm .
(From Wasmulh'
s"Architektur-Zeichnungen.
nxtnypadu'
a,or shadow drawing , wh ich lat ter P laton
mist rus ted as a k ind of con j u ring . Se t-squares wereapparen t ly unknown , bu t a form of T-square , shapedas an equa l-armed cross and used a l ternately on adj acen tsides of a righ t-angled board , was in common use i n theschools
,and may be seen in manv vase—drawings . I f we are
uncerta in wh ich med ium was general ly employed for arch itecturalpurposes , we do know tha t whatever drawings wereused were fort ified by copious and exac t ing spec ificat i on s
,
of wh ich examp les ex i s t t o-day .And we know bu t l i t t le more of th e arch i tec tura l drawingsof imper ial Rome . The e laborate forms and mu l t ip l icat ionof parts wh ich deve loped in the great Roman bu i ld ings cou ldscarcely have been ach ieved wi t hou t the aid of prel im inarydrawings carefu l ly and exac t ly made . Yet V i t ruv i us ,general ly so expl ici t , makes no more than a passing referenceto p lan s
,sect ions
,and el evat ions . That t he Roman draughts
man cou ld make a s t raigh t forward and conv incing sta temen tof a p lan i s c lear from such engraved marb le fragmen t s assu rv ive to-day . Bu t these inc ised slabs must be regardedas records of fin ished works and not as means t o new ach i evemeri t .The marb le p lan of Rome , which Vespasian , and later ,Severus
,set up in th e Temp lum Sacra U rbi s i s too w ell
known to need descrip t ion . I n t he museum at Perugi a i s as lab of marb le
,belonging to t he second ha l f o f the fi rs t
cen tury A .D . ,wh ich shows the p lan of a tomb near a guard
house ”
(F ig . I n t he top cen tre is a p lan of the upperfloor of t he guard—house— t hough to a sma l ler sca le t han t helower floor . The inc lusion of t he upper floor plan i s rare ifnot un ique amongst the surv iva ls of anc ien t arch i tectu ra ld rawings . For that reason t he upper p lan has been t hough tby some to be a forgery . But there is noth ing in the numera lswh ich mark t he si zes of the rooms nor in t he t echn ique oft he execu t ion t o support that argumen t .The ins is tence on t he p lan form shown in t hese primi t ive
or ancien t drawings argues an imagina t ive grip of t he rea l i t ies of t heprob lems somet imes lack ing in morerecen t work . These drawings are
,
for the mos t part,t he work o f men
who wel l knew what they wereabou t . The economy of means
,
t hough par t ly d ic tat ed by di ffi cu l t i esof techn ique , does no t fo l low a pauc i ty of ideas
,bu t marks a del i bera t e
se lec t ion of essen t ia ls st ripped ofi rre levan t accessories .The marked d ifference betweenancien t drawings and the drawingsof the M idd le Ages i s' between themat ter-of-factness,
t he straightfor
w ardness, t he obj ec t iv i ty of the
former , and the persona l , fanci fu land subj ec t ive ou t look ev idenced int he lat ter . A l l early at temp ts a tgraph ic expressi on t end to includein one d rawing obj ec ts wh ich t heart is t cons idered necessary to expresshis mean ing , drawing them fromremembered know ledge o f thei rform and ex is t ence and not fromimmed ia t e v i sua l ev idence . Anddrawings of the M idd le Ages are
THE H ISTOR ICAL DEVELOPM ENT OF ARCH ITECTU RAL DRAW ING.
3 . A PLAN OF THE TO M B OF RA M ESES IX.
Size of original, 14 x cm .
(From II'
Jsmuth'
s“Archik War-Zeichnungen.
genera lly charac teri zed by th is tendency . The mediavalist
was a lways ready to do a plain t h ing in a comp l icat edway .A rare d raw ing on parchmen t o f t he Caro l ingian pe ri od ,
of abou t A .D . 820, prese rved in the l i bra ry of St . Ga l l in ,Swi tzerland , shows the plan of a monastery which fo l lowsaccu rate ly enough the genera l disposi t ion of parts commonto such bu i ld ings o f the day
,bu t wh ich i s pecu l iar in indicat
ing the wa l l ing by a single l ine . The t ower walls and thepiers of t he a isl es , perhaps of suffi c i en t mass to impress t hemind of the art i s t , are alone shown wi th two dimen sions .The fu rn i tu re
,constan t ly hand led ,
and so no t easi ly overlooked , is c learly marked . The benches in the day—room , th e
4. A -CENTUR Y PLAN OF TH E CATHEDRALAND BENED ICT INE M ONASTERY OF CAN TERBUR Y .
l ibra ry she lves,t he chai rs and tab les , the barre ls in t he ce l lar ,
are all fai th fu l ly inc luded . The st rong decorat ive tendencyof med iaeval art found room , or made room , for expressionin drawings of a primari ly arch i tec tural charac ter . Andin th is St . Gall in drawing two sh rines are marked byspira l curves
,the t rees or v ines in t he garden are ih
dicated by that conven t iona l branched trefoiling so commonin i l luminated manuscripts of t he age . The ease wi t hwh ich the who le of t he monast ic bu i ld ings fi l l t he sheetsuggests t hat l i t t le accoun t was taken o f ac tua l dimen
s ions,and supports the v iew tha t the early medizeval
d raugh tsman subordinated sca le and techn ica l exactnessto a forma l decorat ion of the sheet . The who le drawingis more of a persona l rem in iscence than a statemen t o ffac t .An in teres t ing deve lopmen t of t h i s drawing is seen in t hesu rvey of the Cathedra l and Bened ict ine Monastery of Canterbury(F ig . made some t ime in t he twe l ft h cen tu ry bythe monk Eadw in.
’
Un fort unately , thi s drawing is onlyavai lab le from aneigh teen th-cen t ury engrav ing , inc luded int he Vestusla illonumenla of the Society of An t iquariesfor 1789 .
Here,apparen t ly , more at ten t i on i s pa id to the correc tness
oft he sta temen t and less to t he ingen ious prob lem of fi l l ingevery port ion of the page
,bu t t he scale of the deta i ls has
been generous ly forced where i t was though t necessary toemphasi ze thei r imp ortance . The method of hand l ing th isd rawing conveys a remarkab le amoun t of in format ion .The wa ter-duc ts and sewers are c learly ind icated . Everypart has i ts comp lemen t ary legend . W i t h th is drawing asguide i t is not diffi cu l t to fo rm a reasonab ly c lear impressi onof t he bu i lding as a who le .A compari son o f th is d rawing by the monk Eadw inwi t h a prin t by Loggan , to inst ance a later worker , showsthat bot h draugh tsmen were at tempt ing to convey as
much as possible wi thou t the severance of the parts of thebui lding. The former gives more in format ion , t hough wi t hl ess accuracy
,than t he lat ter . Both succeed wi th in their
own l im i ts . The choice between them is the choice of acompromise .There i s no ev idence to show that draughtsmen prior t o theend of themedizevalpe riod conceived a bet ter way of expressing a bui ld ing graph ica l ly and in i t s t hree d imensions than byproj ec t ing over t he p lan , each in i t s proper p lace , the sal i en tfeatures of the e levat i ons . The disseminat ion of the par tsof a bui ld ing— t he expression of the p lan
,sec t ions and
TH E ARCH I TECTU RAL REV IEW .
5 . THE HOSPITAL CH U RCH AT ESSL INGEN ,
BY HANS BOEL INGER , 1 5 0 1 .
(From Eggers'
s“ Archilekfionische Handzeichmmgen.
elevat ions separate ly,bu t in con j unct ion a method so fami l i ar
to us that we can see noth ing bu t S imp l ic i ty in it— wasactually of slow deve lopmen t , and seems never to haveoccurred to t he arch i tec ts ‘and draughtsmen of ear ly t imes .Separate med iaeva l plan and separa te e levat ions there are
,
and such draw ings as t hose of W i l lard de Honecourt , in h iscelebrated ve l lum sketch-book
,of t he th ir teen t h cen tu ry
,
show how dec ided and d irec t they cou ld be . There i s noh esi ta t ion or doubt in , for instance , the p lan of the presbyteryof Sain t Mary of Vaucel les o f the C istercian Order"(F ig . One of the most in terest ing drawings in the book i sW i llard 's design for another presbytery
,which
,he te l ls us
,
he made w i th h i s friend Peter de Corbie . W i l lard de Honecourt appears to have been an art is t o f broad sympath ies
,
draw ing whatever at tracted h is in teres t wi th a l ine ofun fa l tering preci sion .The ex ten t to which drawings were used in the M iddleAges , as inst ruc t ion and aid to bu i lders , has been a mat terof some con t roversy . That t hey were used is certa in fromoccas iona l references to them and from the few drawingsofthe pe riod wh ich remain to-day .
A rchi tec tura l drawings in past t imes seem to have beenregarded as of l i t t le importance when t he purpose for wh ichthey were made had been served . The resu l t was of morevalue and beau ty than the means . In some modern instances the case i s reversed .
In the w ill of Hen ry V I of England a plotle i s men t i onedas explain ing some bui ld ing work , and in t hat of Hen ry V I I ,“ made thus las te daie of the moneth of Marchereference is made to a plat and a picture, “ as i s by usredily dev i sed and in pic ture de l ivered to the Priour ofSaun t Bartilmew s besid Smythfeld ,
mais ter of t he workesofou r said chapel l , a t Wes tminster . But the con tex t doesno t make c lear whether the bu i ld ing as a who le or on ly thew indows are inc luded in t he “ picture .”Ceitain i t i s that picture i s a fi t t ing term to app ly tothe most part of mediazval arch i tectura l drawings
.Those
wh ich approach the e levat iona l are shown in a k ind of
JA M ES BURFORD .
t eam{tantrum(triunt’tlcffdygns:
A PAGE FRO M THE SKETCH-BOOK OF W ILLARDDE HONECOURT,
TH IRTEENTH CENTU RY .
Size of original , about 7 ia. x gin.
pseudo—perspec t ive,which leaves room for doub t as to t he
actua l di rect ion t he l ines are in tended t o take , and wou ldhave given no more t han an idea of the genera l in t en t ion oft he designer . The const ruc t i ona l detai ls must have beendev i sed as the work proceeded . W i l lard de H omecour t ,who was probab ly the arch i tec t of Cambrai Ca thedra l , madesome carefu l s tud ies of d iffi cu l t part s of mason ry in thepresbytery of Rheims Cathedral— doubt less in t ended forincorporat ion in h is new work . Bu t wh i le th ey wou ld havebeen inva luab le to h im for the purpose of giv ing verba linst ru ct ions to h i s masons , t hey are in no sense. work ingdrawings ” as we understand the term '
too day.
The German drawings of the lat ter par t of th e fi fteen t hand early six t een t h cen tu ries frequen t ly reach a h igh leve l ofach ievemen t . The draft o f the hospi ta l church a t Essl ingen
,made by H an s Bohl inger in 1 501 (F ig . is ha l f-way
between t he elevat iona l and the perspect ive method ofpresen tat ion . Earl ier in date , bu t more mat ure in i t s techn ique , i s t he drawing of the G reat Porch of Regensbu rgCathed ra l (F ig. Such a drawing is c lear ly the product i onofa sk i l led worker— a pastsmaster in h is art . The convent ion of the geomet ric e levat i on t o scale i s perfec t ly understood . The hand l ing oi the in t ricate de ta i l cou ld sca rcelybe su rpassed . W i t h drawings of th is qual i ty the mediaval
per iod comes to a c lose .
TH E H ISTOR ICA L DEVELOPM ENT OF ARCH ITECTU RAL DRAW ING.
7 Tllli H IGH PO RCH OF REGENSBU RG CATHEDRAL . LATE FIFTElzNTH CENTUR Y .(From Eggars
‘
s“Archi tektom
’
scha Handxetchnungen.
Raynham .
The S eat of The Marquess Tow nshend.
HE amoun t o f In igo Jones’s work in domest icarch i tecture i s by no means so large as has beensupposed . I n enumerat ing the authen t ic worksof Jones
,M r . Gotch wri tes of Raynham that
there i s no ev idence of his connect ion here beyond t rad i t ionand the sty le of the work i tse l f , “ bu t much of t h is hastouches abou t i t that are qu i te in h is manner . There are ,however
,indicat ions tha t the house was bui l t a t two
periods,and these make i t d iffi cu l t to a t t ri bu t e th e whol e
work to one
The t rad i t ion t hat Jones was the bu i lder of Raynhamdates a t least from the ear ly eigh t een t h century , and i thas been often assumed that t he house (wh ich i s the mostd ist inguished examp le of the seven teen t h cen tu ry archi tect ure in England is completely th e work of Jones and tha tthe decorat ions of the whole of the in terior remain verymuch as t hey were Though the fac t that Wi l l iamK en t was ca l led in by the second Lord Town shend is ment ioned in coun ty h istories , l i t t le st ress i s laid upon h ismod ificat ions
,and i t t herefore seemed of in teres t to examine
the ev idence for the proport ionate share o f Jones and K en tin Raynham .
Sir Roger Townshend ; who had license fi
to t rave l abroadfor t hree years in 1620,
in t ended to bu i ld h imsel f a goodlyhouse (in t he words of Si r H en ry Spe lman ) in the reign ofCharles I . H e proposed to fe tch stone for h is new home fromCoxford Abbey , by t he adv ice of h i s grandfather Si r NicholasBa : on , bu t odd acciden ts happened , and fina l ly , after hav i r.gdigged the ce llari ng and raised the wa l ls w i th some of th eabbey stone breast-h igh , the wa l l reft from the cornerstones though i t was c lear above ground . A fter Spelmanhimse l f had seen t h is un t oward beginn ing wi th h i s owneyes , Si r Roger dug the foundat i ons of a new house “ abou ttwen ty yards more forward towards the north
,and fin i shed
his house wi th none of the abbey s tone abou t i t . Raynhamis , indeed , a bri ck house , wit h stone used for the base anddressings and for the cen t re of the eastern fron t .The western (en trance) fron t i s a typica l Flemish elevat iono f the mid-seven t een t h cen tu ry
,in which curved gab le ends
are a feature . In the cen t re,in which an en tab lature i s
ca rri ed as far as the wings (which proj ec t abou t n ine feet ) , th eshaped and pedimen t ed gable wi th i t s cen t re ova l windowsurrounded by carved st rapwork
,and the magn ificen t
en t rance doorway , wh ich is of unusua l heigh t and refine
men t , are indiv idua l in t rea tmen t . The scrol l carv ing in‘the space between t he capi tals of the columns that flankthe doorway is del icate i n execu t ion and in excel len t preservat ion , as is the cartouche wi th in the broken ped imen t onwh ich are carved the arms of Townshend
,quartering
J. A .’ Go tch , The English Home , p. 5 8 .
Triggs and Tanner, “ Some Arch i tectural W orks ofIn igo Jones , p . 19 .
1 5 88-165 7.
5 H i storyof the Fate ofSacri lege,p. 1 5 1
S ir Roger Tow nshend married M ary,second daugh ter and co-hei r of
Horati o, Lord Vere ofTilburv.
Belcher and M acartney,La ter R e naissance Arch i tecture
, Vol. I I,
P 9 3
t H i st . M SS . Comm ., F i fth Report , Appe nd ix , Part V I" p . 86 .
M SS . of the Earl ofCarl isl e.1 Born abou t 1630,
d ied 1687 ; created V i scoun t Tow nshend , 168 2 .
5 W ho also added conven ien t offices and formed a lake in the park.
The wing gab le ends are crowned by ped imen t s ; the gab lei tse l f i s of scro l l form
,wi th I on i c caps at th e head and
vo lu tes at t he base of the scrol l . Somewhat sim i lar bu tsmaller gabl e ends appear at Swakeleys, near U xbridge ,wh ich is dated 1638. The sou th fron t i s s imply t reat ed , t heon ly ou tstanding feature being the cen t re doorway .
Ont he eastern s ide of the house the wings , wh ich are ofs l igh t proport ion
,correspond t o those on t he west fron t
,bu t
t he s tone cen t re may have been modifi ed in t he eigh t een t hcen tu ry a l t erat ions . Though described in Later Renai ssance A rch i tecture as being not qu i te i n sympathy wi t hthe o lder work
,
! t he composi t ion in t he mass is ex t remelyfine . I t i s s ignifican t t ha t t he banquet ing house in Wh i teha l l ,fin i shed in 1622 ,
in which t he l ater Renaissance fi rs t findsperfec t expression in England , wou ld have h ad st i l l th ein teres t of novel ty on Si r Roger Townshend 's return fromh is t ravel s . Cer tainly in 173 1 the name of I n igo Jones “ ou rmaster i s d efin i te ly given as t he arch i tec t by long Si rThomas Robinson , a conv inced Pal lad ian (who had beenv is i t ing Hough ton a few mi les away) , who adds that Raynhamhas been late ly sashed and pret t i ly ornamen t ed in t h eins ide by M r . K en t . T I f t he da te genera l ly given (1636)for t he bu i ld ing of Raynham be correc t , t he deat h of S i rRoger in 163 7 and t he long m inori ty of h i s son and successor ,S ir Horat ioj t wou ld accord for t he scarci ty of Jones’s workin t he in t eri or of Raynham . Two rooms on th e a t t ic floor
,
wh ich mus t have origina l ly formed par t of a ga l lery , havesma l l pane l wainscot ing and ch imneypi ece of Jacobeancharacter
,bu t of the type that a prov inc ia l j oiner wou ld
have designed . The in t erio r was a lmost comp letely decorted by W i l l i am K en t under Char les , second Lord Townshend(1674 Lord Townshend
,a boy of th i r teen on suc
ceeding to th e es ta tes , returned from the customary grandtour in 1697 ,
and Burnet t el ls us that h e had grea t part s,
and had improved them by t rave l l ing . Under a Wh igm in i s t ry
,Lord Townshend was ambassador at the H ague
in Queen Anne ’s reign and was a supporter of George Ion h i s access ion he was inves t ed wi t h th e Garter in 1724 andcon t inued h is po l i t ica l career un t i l 1 730,
when th i s avenuewas c losed by a v io len t quarre l wi th h is neighbour andbrot her-in-law
,t he a l l-powerfu l Si r Robert \Valpole ; as
Walpo le apt ly expressed i t,as long as the fi rm was Towns
hend and Wa lpol e , a l l wen t wel l ; as soon as i t becameWalpo le and Townshend
,t h ings wen t w rong. The ex
s ta tesman t hen tu rned h is a t t en t ion t o sc ien t ific farm ingand the k ind of rura l improvem en t wh ich arises fromtum ips was the favou ri t e subj ec t o f Townshend ’s conversat ion . H e reso lved never to see London again , and w it hthe large addi t iona l income due to h is agricu l tu ral improve
RAYNHA M
Bv permission0/ M essrs. B. T.Batsford.
Plate ll. July 19 2 3 .T H E G A R D E N F R O N T .
At tributed to In igo Jones.
RAYNH AM .
men ts, he tu rned h is a t ten t ion to hi s house and estate .“ My Lord Townshend ”
(wri tes Lord Ox ford inshowed me h is improvemen ts that he h ad made
,also what
he designs ; t hey have succeeded very we l l and they arevery fine , very great and very profi tab le . I t i s happy forh im that he can l ive con ten t ed ly here and free from thesto rms and sh ipwrecks of state . I th ink he has been a veryfortunate man to get h imse l f so w e l l ou t from among thepo l i t ic ians , and cou rt iersand min i st ers .From photographs atRaynham ' of wash d rawings da ted 1727 , t he housewas at that da te complet ed by a wa l led forma lgarden , wi t h an en t ranceavenue consi st ing of t reesc l i pped and feathering a tthe top . When Lord Ox fordwrote in 173 2 , however ,Lord Townshend had pu l leddown all wa l ls
,and made
h is k i tchen and fru i t gardenqu i t e ou t of s igh t upont he dec l ine of the hill.W i t h in doors (Lord Ox fordcon t inues ) my lord hasal t ered the who le inside ,and has made i t ex t remelyconven ien t the roomsare fi t ted up by M r . K en t ,and consequen t ly there i sa great deal of gi ld ing ,very c lumsy overchargedch imneypi eces t o t he grea twast e o f fine marb le .There is no gi ld ing.however , in the fine ha l l ,which approx imates to thefavou ri te Pa l lad ian double THE ENTRANCE .
cube t An Ion i c pi lasterorder is carrie d round the wa l ls
,and in the spaces
be tween the pi last ers a re ei t her long panel s or t he doorwaysnecessa ry in a hall abou t which the main l iv ing rooms aregrouped . The fri eze is of fine ly mode l led female heads andoak-leaf swags . The at t ic i s left pla in excep t for pane l scorresponding to t he window apertures on t he west ern side .The cei l ing has been at tr ibu t ed to J oncs in spi te of theevidence of the cen t re panel (in whi ch the Carter, a rms andsuppo rt ers o f Lord Townshend are prominen t
,model led in
h igh reliefi ) and the late French ch a rac ter of t he stuccodeta i l . The cen t re and two oc tagona l pane ls are surroundedby heavy en riched and mod illioned ribs
,which are con
nected ; whi le t he sma l ler subsid ia ry pane ls fi l l ing the remain ing cei l ing area (which are fi l led wi th scro l ls
,and wi th
masks flanked by short sc rol ls very charac terist ic of Ken t 'sdes ign ) , are framed in ri bs of l ess proj ect ion en riched wi t hfret s .
Accoun t of tour in Norfolk (September, by Lord Ox ford .HarleyCo rrespondence, M SS . of t he Duke ofPort land .1 24 ft . 9 in . by 48 ft . 3 in heigh t (to cei l ing) , 2 5 ft . 10 in .3 Lo rd Tow nshend recei ved the Carter in 1 724.
I n t he Be l isarius room“ the cei l ing is perhaps the mostperfec t examp le lef t of In igo Jones 's method of t rea t ingplast er . In t h is lofty room , which is on the fi rs t floor , t hesoftness and charac ter of the work shou ld be con t ras tedwi th K en t ’s cei l ing in t he hal l .A cen t re ova l pane l i s enc losed by a wide mou lded and
modillioned ri b,t he soffi t of which is en riched wi th c lose ly
packed fru i t . The other ribs , which are a lso modillioned,are enr iched w ith acan t husscrol ls
,wi th roset tes a t the
in tersec t ions . Very sim i lari s the cei l ing in t he loftysa loon at Colesh il l , where ,i t i s recorded , Jones wasconsu l t ed abou t ye ceilings ."The ova l cen t re pane lat Co lesh i l l was left p lain ,perhaps for pictorial t reatmen t ; at Raynham i t has ,un fortunately , received theat ten t ion 0 '
W i l l iam K en t ,who has
,
fi l led i t w i th awinged fema le figure seatedon a b lock on which theTownshend arms and Garter are v i s ib le , mak ingrecords in an Open bookbeside a rost ra l co lumn .The pane ls surround ing arepain t ed wi th the Townshend suppor ters in grisa i l le—a greyhound and a st ag
— emerging from scro l lsaga inst a mosaic background . The whi te marb lech imneypiece
,of immense
proj ec t i on,i s ev iden t ly one
of those overcharged ch imneypieces to wh ich LordOx ford refers . Ken t 's pic
torinl e ffect s are a lso not iceable in t he principa l st a i rcase wi th wrough t i ron balust rad ing , where the cove i sdecora ted in grisai l le
,wi th gold background , and the wal ls
w i th grisa i l le represen tat ions of st at uary in n iches . A tHough ton
,a lso accord ing to Horace Wa lpole , K en t was
rest ric ted to gr isa i l le by Si r Rober t Walpole , and in t h isme dium i f h is fau l t s are not so glaring , they are (in H oraceWa lpole’s opin ion ) scarce ly less numerous .In the cen t re of the east fron t on the ground floor i s the
saloon,T en t i re ly decorated by K en t in a l igh ter manner .The cei l ing is d iv ided by curved fret ted ribs , bu t the em
c losed compartmen ts are left plain . The helmet—shapedmot i fs
,flanked by pa lms , were designed above the fine fu l l
length pic tures of S i r Horat io Vere ’s offi cers wh ich origina l lyhung here . I t is t he cen t re of a su i te of rooms runn ing a longt he east fron t . The d in ing-room is a very successfu l instanceof K en t ’s decorat i on
,t hough i t i s depreciated by Lord
Ox ford . K en t , he wri tes , has part ed t he d in ing room tomake a sort of bu ffet
,by the arch of Severus , sure ly a most
So cal led a fter a picture bySalva tor Rosa w h ich used to hang there .1 Or red draw ing-room .
THE ARCH I TECTU RAL REVIEW .
THE BEL I SAR IUS ROO M . BY INIGO JONES .
THE ARCH I TECTURAL REVIEW .
THE SALOON .
A S ITT ING-ROO M .
RAYNHAM . 1 1
THE D IN ING-ROO M .
prep ost erous th ing to in t roduce a bui ld ing in a room ,which
was designed to s tand in t he s t reet . The arched screen i s ,however
,an in t erest ing feat ure and t he room wi t h i t s
recessed pane ls and en riched mou ld ings at the angles o f theproj ect ing ch imneybreast i s in Ken t ’s l igh ter domest icmanner . The unmean ing detai l of t he tab let of the. ped imented ch imneypiece i s a lso not wi thou t preceden t in hi swork . Ot her in terest ing rooms decorated by Ken t areQueen Anne’s bedchamber , a lso on the ground floor , andthe b oudoi r .The top floo r , which con sist s of bed rooms , i s carri ed over
all t he rooms except the Be l isarius room , which i s of except ional height .The riva lry of t hree fami l ies o f North Norfo l k findsin t eres t ing and permanen t expression in the great threehouses,
Raynham ,Houghton , and Hol kham . The bu i ld ing
of Hough ton‘ five mi les away was , i t seems , in t ended toec l i pse Raynham ,
and there i s a t rad i t ion that Lord Townshend st ood on t he roof of h is house curs ing hi s brother-inlaw Sir Rober t W a lpo le when he saw the wa l ls of the newhouse ri s ing . The founda t i ons of Ho lkham were dug in1734,
and both Hough ton and H o l kham were carried ou tby men w ho accepted I n igo J on es as thei r mast er . I f thereHough ton was begun in 172 2 , the decorat ions prac t ical lycompleted
by 1 73 2 w hen Lord Ox ford descri bes i t.Index to Adam draw ings , sect ion I ; A . Bol ton , TheW orks ofR . andS . Adam ”
(19 2 2 ) Vol. I I. There i s also a design for a bridge w i th fi vesegmen t arches w i th tabernacles ofDor ic col umns wi th pedestals onpiers.(No date. or scale ondraw ing.)
was emu la t ion between t he Townshends and the Cokes,i t
i s ev iden t t ha t Ken t gave h is best t o Raynham,and the
sober res t rain t and order of the Raynham decorat ions arepreferab le to the over-rich and riotous indisc ipl ine of h i swork at H oughton . I t i s in t erest ing to find that Lord Ox ford
,
who con t inues h is tour in Norfo l k t o Hought on,speaks
s l igh t ingly of H oughton wi thou t and wi th in . I t h ink,
”
he wri tes , i t i s nei t her magn ificen t nor beau t i fu l ; t here i svery grea t expen se wi thou t e i t her j udgmen t or taste .The house as i t is now is a composi t ion of the greates tblockheads and most ignoran t fe l lows in arch i tec ture tha tare I t is certain ly a very grea t d isadvan t age t o seeth is place after Raynham , wh ich he admi ts is by muchthe finest in England that I ever saw .
Raynham has been left unchanged s ince i ts modificat ion byKen t ; for i t i s fortunate that the ambi t ious a l terat ions byAdam ,
‘ of wh ich there i s record in the Soane Museum,were.
not at tempted : These were to cons is t of a great colonnadedfacade on t he l ines of Compton Verney , two-story Corint h ian wi th an at t ic over , and added wing-b locks .
M . JOURDA IN .
EMBRO IDERY IN W H ITE L INEN THREAD ON COARS E L INEN .
(From the Victoria and Albert Illuseum .)
S IR ROBERT ‘
LOR IMER,
SCRAPS OF MED IFEVAI. GLAS S FRO M ENGL I SH CHU RCHES .
NI : E D L O R K .
(From the Victor ia and Albe rt Ah meum.
THE ARCH ITECTURAL REV IEW .
TW O WI NDOW S FRO M IONA CATHEDRAT
N ) !a W
SONS OF TO IL .
K.R) Y
K3
I S
16 TH E ARCHI TECTU RAL REVIEW .
SCRAPS OF MEDIZEVAL GLASS.
A STA INED GLAS S .W INDOW .
1 8 TH E ARCH I TECTURAL REVIEW
THE BOULE V ARD FROM THE BR IDGE .
a dingy French house. Yet I never saw a French house orfac toryof bri ght red or yellow brick . They are gay
,bu t dainty . I shou ld
th ink a Frenchman associates our heavy reds and yellows w it hour food . I t is all ei ther beer , stou t , or raw beef inEngland .Aswe go t into port t he wind dropped . The sky was covered in
l ight clouds , t he sea grey , and t he harbour and houses formalDieppe ! That was all I saw of it— j ust t hree weat her-beatensailors , a manw i th black moustach ios , a gendarme , dancing water ,a cluster of brick walls , steep roofs , ch imneys w i thou t smoke , andgay French w indows w i t h w indow boxes
,I t h ink
,or anyway
,
pret ty curtains or nick-nacks of some sort— all so neat,ye t tum
bling,crowding. I Saw at once t here wereno ugly buildings be tweent he pret ty ones . There were modem bu ildings
,bu t nei t her t he
old nort he new made anypre tence a t fash ionor fineness . S implehouses— noth ing more ; and not a single V ictorianor commercialmons trosi ty , and no posters . As I s tood on t he quayside Irealized what I had never real ized before
,that for a l i fe-t ime my
eyes had been assaul ted by ugl iness , dirt , and vu lgari ty . Irealized that my senses were u t terly exhausted by t he tax pu tupon t hem inEngland by t he unbridled and unl icensed displayof anyth ing and everyt h ing . I t was an enormous rel ie f to t henerves to be onFrench instead of onEngl i sh soi l .Th e d iari s t t rave ls qu ickly t o Rouen. He arrives t here
,
he says , a t seven o 'c lock ,in t h e evening
,whe re he finds a
ho te l in t h e Rue J eanne d’
Arc. He desc ri bes t h e Frencha tmosphe re as o f a “ s t eel—l ike wh i t eness
, and comment supon t h e inhab i t ant s .They look , ont he whole , much the same as anEngl ish crowd
,except for some small dispari t ies . Anyof the faces I saw I couldhave seen inanEngl ish town; nevertheless the general impression is of a paler and more feminine people . The men are V i taland serious look ing , but I have a feel ing that one cou ld blowthem away . Ifwe were all drops of rain hanging to t he rai lof a fence , I fancy t hey would drop off before I shou ld . Thewomen, on t he o t her hand , appear capable , dependable , andact ive . There is a serene sel f-possession abou t Frenchwomen
,even abou t t he girls , wh ich I great ly admire,bu t I w i sh they
would not all wear black because i t does not harmoniz e w i ththe co lour of France .He d ines a t t he ho te l , reg is t e ring h i s as toni shment a t t hefac t t h a t champagne was offe red h im a t t h e end of t h emea l ; and , la te r , roams into t h e townon a voyage o f d i scovery. Th e nex t passage i s o f s ignificance
,fo r i t t rea t s o f
t he cat hedral .!
The first th ing I went to see was the Cathedral . I found i t a tonce . I passed under t he Gro'sse Horloge
,along t he narrow
stree t of that name , and came ou t into the Place, and saw i t
front ing me, calm , placid , wh i te-haired , magnificent— watch ingme and the world as i t had watched when Jeanne d’
Arc was
OLD HOU S ES BY THE CATH EDRAL .
burnt a few hundred yards away by the Engl ish,five hundred
years ago . ! I t i s ex t raordinary to t h ink that th i s same Cat hedralwas fam il iar w i t h t he fo lk of t hose days
,giv ing t hem t he same
pro tect ion, show ing t hem t he same indifference , and that t heywho , as far as we are concerned , migh t have belonged to ano t herp lane t , could touch the s tones we touch to-day . The exterior isl ike lacework over a clo t h of s ilver ; t he interior is l ike a l iv ingorgani sm . You migh t be Jonah inside t he whale
,so much does
each member and organappear to be funct ional and v i tal .As amatter of fact , t he Cathedral as i t stands to-dayw as not com
pleted unti l the sixteenth cent ury. j eanne d’Arc w asburnt onMay3 1 , 143 1 .
THE F IGURE OF j EANNE D’ARC.
THE ARCHI TECTURAL -REV. IEW
GROS SE HOR I.OGE . HOU SE S ON THE AUBETTE .
IN THE INTER IOR QUADRANGLE OF THE PALAI S DE JUSTICE .
ON A'
FIRS T S IGH T OF'
FRANCE .
THE INTER IOR O I" RC IIEN CATH EDRAI
j une r4.—l got up late in a bad temper because nobo dy
Ca lled me and I cou ld not find a b ell . I discovert-d too la te lastnigh t t hat t here was no soap. W hyw ill t hey not prov ide soapinFrench hote ls I went ou t to look at the churches a du tyv is i t . The front of S t . (menis new , bu t the “S t is not . I hadalready seent he Cat hedral of Rouenand S t . Mac lou , and whenIwent to S t . Ouen I did not expec t to be grea t ly exci ted . I fel tt ha t my appe t i te for Got h ic art had been sat isfie dor , perhaps ,rat her more tha nsat isfiedHowever , I pushed op enthe door, and t here i t was all be fore
me. lt took my breat h away. I imagine t hat the interior is ofa later date t han t he inte rior o f t he Ca t hedral, wh ich seems tome to have t he ful l-blooded exuberance of anearly , powerfu l lycreat ive gene ra t ion. The inside of S t . Oueni s not l ike the. ins ideof a whale i t is more l ike a great pine forest . I t is , to my mind ,
overpow enng—m more noble t han the Ca thedral . I wonder wha t
anarch i tect would sayto t h is . As far as I cou ld see i t was afault less piece of des ign. It t he Ca t hedral is l ike an or
ganism , S t . Ouen is l ike t he mechanism of a mach ine . Theinnumerable shaf ts of t he pi llars reach up in sharp tube-l ikearms to t he vau l t wh i ch they gri p in powe rfu l fingers. Betweent he pillars t here are wal ls of glass . (1 am told t hat the stainedg lass inS t . Ouen is magnificent , bu t I did not see i t , for i t wastakendown for safe ty du ring t he war and has not beenreplaced) .I found t he wh i te glass exh i larat ing , for t he church i s black
THE INTER IOR OF ST. OUEN.
inside , and t he black huge vau l ts framing t he slender , translucent w indows , make a maj es ty wh ich i t wou ld "be hard toimprove . In t he distance beh ind t he altar you have a gl impseo f rich blue g lass wh ich throws the forms of t he baldacch ino intosil houe t te . W i th French churches I not ice t he perfect ion'
of t helesse r part s— adel icacy of touch and v i sionwh ich revels inmak ingt he accessories pe rfec t , increat ing ina vas t ensemble 3. t housandrandom graces. Ot her great nat ions have flourished by separating t he e te rnal from the acc idental in l i fe . The French coneent ra te u pon t he acc idental and exal t i t to t he eternal . TheFrench greed of perfect ioni s c r ue l in'
its remorselessness .‘ Event he corners inFrance are inev i table .S t . Ouen has inev i table corners , and studied perfect ions ofcolour and form wh ich spring to t he eye at allhands . You maymove from end to end, bu t t he pil lars and w indows and aislesand vau l t s assemble and reassemble t hemse lves in an endlessvariat ionof maj est ic vi stas, so t ha t t here is not a point a t wh ichyou cou ld say Th i s is unfinished , or ane ffect wh ich you cou ldca l l less t hansu perb .
j une r5 .— I v i s i ted to-day t he l’alaisdo j us t ice . I t s s tonework
is l ike s teelwork , po ised inequ il ibrium . I also cl imbed w i t h grea tlabour t he height s of Bonsecours, and was rewarded by t he v iew-Rouen, spi l t abou t t he river, w i t h l i t t le islands div iding t hepa le water ,and bridges crossing i t . S cat tered fac tory ch imneys , t he
TH E ARCH I TECTURAL REV IEW .
OLD HOU S E S ON THE AUBETTE .
ON A'
FIRS T S IGH T OF FRANCE .
AN OLD S TREET W ITH THE TOW E R OF ST. OUEN IN THE BACKGROUND.
THE j EANNE D’
ARC TOW ER .
Cat hedral, slim and st rik ing , a ridge of hills inthe dis tance , t hes traight l ine of t he boulevards , the sh ips in t he d ock s— al l inminiature so t hat you could cover i t w i th your hand . Bon
secours i s crowned w i th the monument to Jeanne d '
Arc,a h ideous
cont rivance l ike aninfernal mach ine , bu t housing t he verys imple ,exqu isi te
,perhaps rat her sent imental , s tatue of Jeanne .
In the evening I went to the Fol ies Bergere . I w il l not goagain. I do not want to die of boredom yet .
For a day or two aft e r t h i s t he di ary rem ains b lank .
Then i t s t art s againw i t h “ Two ca t s s t ar t ed t o figh t ou t sidemy w indow las t nigh t , bu t even French cat s are sens ible ,and make no undue d i s tu rbance . I now unders t and whyt he French bui ld s t eep roofs . So t ha t t h e ca t s canno tprowl ont hem . Th e las t ent ry on t h i s day descr ibest he bou levard s at ni gh t
,and w i l l conc lude t hese ex t rac t s ina
fi t t ing manne r .
After dinner I went down to t he river . Dusk was se t t ing in.
The skywas h igh and wh i te , and the town took on t hat aspectof mysterious medi tat ionpecu l iar to night . Before I reached t heriver t he s treets lay deserted . Only one or two people passed
,
intent ont hei r ownbusiness . Anatmosphere of brooding peaceseemed to envelop each doorway and w indow . But when Iturned into the bou levard by the river the gaie ty of t he cafésburst uponme . I walked exact ly to the m iddle of t he bridge
,
where I turned into the bay above t he bu t tress of the m iddlearch , and surveved what I had left beh ind w i th t he detach
TH E'
ARCH I TECTURAL REVIEW ;
TH E CHURCH OF ST. MACLOU .
ment of the mariner and t he s t ranger . The river lay below me ,smoo t h and luminous , shadow ing fort h t he sky as t he eyes of afriend reflect the sm i le of a friend . The bank was now s t rung w it hl ights
,wh ich repeated t hemselves in t he water . I could see the
w ide bou levard paral le l wi t h the river , a s teamer moored up int he docks
,i ts wh i te smoke-stacks towering above t he t rees
,t he
pavements across t he st ree t black ened w i t h clusters of peopletak ing t hei r drink s at t he tables before t he b rilli ant ly l ightedcafés ; and t he cafés t hemselves w i t h t heir awnings and t he ir t inyorches tras . Above t hese t he rapidly darkening buildings whosech imneys and s teep roofs beganto grow in“ si lhoue t te agains t t hesky; and over al l t he del icate l ines of t he Cat hedral , i t s greattowers and i ts fleche . Everyth ing appeared int he simple coloursof nigh t— serene and s ilent and precise . I v isual iz ed t he eveninghour in an Engl ish town, and real ized how one di ffered fromt he o t her. There was none of t he prov incial charm
,t he blue
curl ing smoke,t he suddenbeau t ies— no bark ing dogs or p laying
ch i ldren— norany th ing of t he int imate fam ily air typica l of a fineEngl ish town. Rat her t h is was France inminiature— anat ional
,
not a fami ly expression. A broad bou levard , t al l houses of oneheigh t , almos t monumental ly composed ch imney-s tack s , groupingt hemselves of t heir own accord ; an a tmosphere ordered andprecise , ye t int imate ini ts way and express ive of t he clear , serious ,ordered l ives of i t s inhab i tant s
,w i t h t heir sani ty
,t hei r balance
,
t hei r res traint,the ir burs ts of emo t ion
,t hei r sensi t iveness to all
that i s exquis i te and s imple and sens ible . I t s t ruck me t hat th i sci ty was an ar t icu late express ion of a great civ i l iz at ion. Manyhundreds of years i t mus t have tak en to create a nat ionwh ichcould bu i ld such a c i ty uponl ines so noble ye t so simp le .
H . DE C.
THREE STUD IE S .
The Amm an! Review.J u ly 19 23 .SCULPTURE GROUP, VERSAILLE S .
THREE STUDIE S .
FOUNTAIN GROUP, VERSAILLES .
Th: Awkw ard Review.
July 19 23 .
An Essay in Decorat ion .
A Bal lroom by G . G. W ornum .
W ith Photographs IrvF . R. Yerburv
, The Architectural Review .
KING '
S ll\l.L , BEFORE REUECORATION.
Hli King 's Ha l l . Bou rnemou t h , was bu i l t inmmfo r t he Roya l Bat h Ho t e l , Ltd whic h i t ad j o ins .I t was des igned byM r . l’oggerty, and
temporarilv dec ora ted pend ing t he re t u rno f prewar cond i t ions . A year ago the com pany asked me t odesign t h e m ura l dec o ra t ions, add a ga l l e ry and s t a i rcase ,and conve rt ex ist ing bed rooms int o lounge , wa i t ing , andc loak rooms. Th i s a r t ic l e d eals ma inly w i t h t h e mu ra ldec ora t ions wh ich bo t h int he i r ma t er ial and com pos i t ionarera t he r unusua l .Th e ch ie f bas is o f t he d ec orat ion is t h e a pplica t ion o f
hand-made ma rble and ot h er papers , and wa t er-co lou r l i fesiz e cost ume figu res pa int e d on d rawing-pape r , c u t ou t ,pas ted t o t he wa l ls , and t hen s i ze d and varni sh ed . A
successfu l ex periment in t h is m e t hod was made two yea rsago a t Derbv, wh ere the wo rk has s t ood ent i re ly sat isfac
torily exc e p t no one o r t wo p laces where i t was unavo ida blyplaced on new p las t e r , wh ich resu l t ed in t h e s l igh t d i sco lora t ionofce rt a inpa p ers .Above is a view o f t h e hallb efore reconst ru c t ionand re
decora t ion. It wi l l be se en t ha t the entabla tu re has beenremoved be tween t h e p ie rs, and t ha t a fibrous p las t e r a rchhas rep laced the sem ic i rc u lar paint ed pane ls . Th i s I requ i redt o a t tain sca le and uni ty in t h e new mu ra l com pos i t i on.
Two of the e igh t bays on e i t h er s ide of t he h a l l becameoccupied by t h e new ga l le ryand s ta i rcase . leaving si x bayson e i t he r s ide t o bo rder the danc ing floor . The t h i rd bavf rom t h e opp os i t e end (cont a ining on one s ide. emergencyexi t do ors) was se l ec t ed fo r t he cent re o f t h e com pos i t ion.
Each of t he pane ls m easu res 17 ft . 6 in. t o t h e c rowno f t h earch and 10 ft . 6 in. w id e .The deco ra t ion fo r each pane l was made com p le t e inmy
st ud io , and composed o f sma l l p i ec es o f pape r cu t to shape ,and numbered fo r reassem bl ing and hang ing by means o f a
voa. mv—c
key-cha r t . S eve ra l p lanes w e re es t abl i sh ed for t h e figu resinorde r to a t t a insca le and d is tance . Th e fo reground figu resw ere m ade l i fe-s i ze , t h e sma lles t figu res be ing bu t a fewinch es h igh . Th e. p lane s we re a lso m ade for t he mural
a rchi t ec tu ra l fea tu res . Th i s sys t em of p l anes , toge t h er wi t ht h e a id o f pe rspec t ive , enabl ed t oo much re al i sm t o beavo ided in t he. actual'painting and sh ad ing o f the architectu re and figu res .Th e. u ppe r background was s imp ly d is tempered a m oon
l igh t blue . Th e aqualinc d i s t em per u sed produced j us t therigh t s uc t iont o m ake t h e. app l ied paper adh ere we l l . I t wasfound t ha t an o i l-pa int ed wa l l was not sa t i s fac t o ry in t h i srespec t . A large quant i ty o f greeni sh—co lou red m arbl epa pe r
,s pec ia l ly print ed by hand inPari s , in sm a l l sh ee t s ,
wa s u sed to serve fo r t he l arger arch i t ec t ura l fea tu res . Th ispa pe r
,wh i ch i s such as bookbinders use
,bu t o f “a large r
figu re,i s produced by floa t ing t h ree or m ore colou rs (each
co lou r m i xed wi t h a d ifferent med ium , such as oxga l l , o i l ofturpent ine , wa t er) on a gum ba t h ; and be fo re t h e print ingo f each shee t the su rface i s s t i rred by m eans o f a fea t h e r .Th e pa pe r i s t hen l igh t ly l a id on and pu l led o ff . Th i sproc ess g ives
,o f cou rse
,a cons t ant varie t y , and , par t i cu larly
whengo ld-dus t i s added , cangive a b r i l l i ance t ha t i s qu i t euna t ta inable w i t h pa int . Th e marble paper co lonnade hasbeens l igh t ly sh aded inwa te r-co lou r .All t h e pane l s in t h e cu rved cei l ing we re cove red w i t hma rble pape r o f a smoky pa t t ern and co lou r . Th e paperconta ins large s paces o f t ranspa rent blue , and i s blendedw i t h greys and greens . The r i bs and mou ld ings we re d i st em pered be ige and grey .
The Cor int h ian p ie rs are marble— gra ined pu rp le , dus t edwi t h go ld and w i t h g i l t caps .Th e ca rpe t o f b roken lavender , mu l ber ry-co loured up
holstery,and an inla id oak parque t floo r com p le t e t h e
26 THE ARCH I TECTURAL REVIEW .
THE HALL AS IT NOW’
APPEARS .
co lou r-sch eme,t h e figure decora t ionbeinge xecuted in sof t
t ones .Grea t d iffi cu l ty was experienced in a im ing for a co lou rsch eme t h a t wou ld be successfu l bo t h by day and by nigh t ,for such were t he requ i rement s . I t i s doubtfu l i f such at h ing canrea lly be accom p l i sh ed , and wh ere preference h adt o be gi ven more a t tent i on was pa id t o the, nigh t effec t s .Successful nigh t e ffec t , how eve r , i s dependent on successfu ll igh t ing . The ilampshades we re m ade in pa le ch ampagnes i l k vam iished by a spec ia l process
,wh ich renders t h em
washable and ve ry lum inou s wh enl i t . E ach sh ade cont a inswh i t e , green, and red lamps , and each o f t hese co lou rs i s ona d im inish er , t hu s a l lowing o f pu re sing le-co lou red l igh t s , o ra m i x tu re o f co lours graded acco rd ing t o the operator
’
s
fancy . Fu rt he r , t he swi t ch ing i s so arranged t h a t eachseri es o f lamps ac t s independent ly . A l ine o f lamps in t h reeco lours i s concea led by t he r ib aga ins t each end w a l l
,pro
ducing ex t reme ly stri king'
effects whenopera t ed .The large ca rved wood and s i l ve red pedes t a l a t eachcorne r o f t he floo r ca rries a bowl cont a ining a spec t rumligh t , wh i ch s lowly ch anges i t s co lou r , i l lum ina t ing a largerough-hewnblock of a lum . Th i s i s anexperiment t h a t h asturned ou t very successfu l ly . A lum w as se lec t ed as b e inginexpensive , bu t g iv ing t he sam e e ffec t as illuminated ‘
rock
crys t a l . Fu rt he r l igh t ing effec t i s p roduced by a “ spo tl igh t a t either end, and t he swi t ch cont ro l board i s p lacedin one corne r o f t h e ga l le ry . Fu rt he r e lec t rica l work is
concerned wit h a loud-speake r ho rn in each corne r o f t h eh a l l t h a t can b e connec t ed u p wi t h any solo ins t rument o ft h e orch es t ra
,wi t h a speake r
,gramophone, and wi re le ss .
I t i s a m a t t e r o f comment t h a t t h e who le o f t h i s e lec t rica lw ork and t h e bu l k of t h e deco ra t i onand s t ruc tu ral wo rkwe re carried ou t by t h e workmenon t h e h o t e l st a ff .Th e new ga l le ry and st a i rcase w e re execu t ed in oak , the
ba lu s t rade b e ing of s t eel,s i l ve r p la t ed .
The al t e ra t ions t o t h e far t h e r end o f t h e h a l l are apparentin t h e i l lu s t ra t ions . Th e l arge o i l-pa int ing a t t h e end
,
execu t ed previous ly by M r . Ol ive r Thomas (who , wi t h h i sfa t he r
,h as h ad l i fe long service wi t h t h e Roya l Ba t h Ho t e l
,
and h as cove red hundreds o f yards o f wa l l in t h e bu ild ingwi t h pa int ed decora t ion o f a h i gh o rder) w as found t o b eou t o f va lu e wi t h t h e new sch em e
,and w as c u t u p infan
fo rm as shown.
Beyond t h e h a l l are a new ent rance lobby,wa i t ing-room
,
and lounge , a l l deco ra t ed wi t h m arb l e paper and w a t e rco lou r int h e above m anne r . Int h e lounge and w a i t ing-room ,
howeve r , t h e decora t ion h as been composed in t h e fo rm oflarge t apes t ry pane l s based ona s tudy of French s event eent hcent u ry des igns , ch iefly in w arm t ones . Papers wi t h ara t h e r m arked t ex t u re we re u sed for t h ese . Th e groundwo rkof t h e wa l ls i s o f an oa tmea l co lou r . A sh aped va lanc e o fsho t-greenand go ld paper fini sh es t h e ce i l ing
,which i s o f a
bu ff co lou r . Buff and go ld s i l k cu r t a ins and a buff ca rpe tcom p le t e t he sch em e .
2 8THE ARCH I TECTURAL REV IEW .
A DETA IL OF ONE OF TH E BAYS .
AN ESSAY IN DECORAT ION.
A GENERAL V I EW’
OF ONE S IDE OF THE HA IL .
THE DOORVVAY PA INTED TO RES EM'
IILE AN IRON GATE .
THE STA IRCAS E .
Red marbl e p aper b roken wi t h go ld and b lack fo rm(lecorative fea tu res ont he lobby walls, and large car touch eso f pa le ye llow marble paper bo ld ly picked ou t inco lou r formt he ch ief mo t i f .The floor o f t h e ves t ibu l e i s o f marble rubb e r in green,
wh i te,and black co lours
,and i s la id t o pa t t ern.
All t h e paint ed figu re decora t ion w as carr ied ou t inmys tudio byM i ss Penrose-Thackw ell and M r . Gi l roy . A gooddea l o f t rouble was t aken in t h e s tudy of cos tum es andpas t imes of t h e eigh teent h centu ry , t hough defini t e per iodwork was not s tri c t ly adh ered t o .W hi le I rea l ize t ha t such p aper decora t ion canno t b epermanent (t hough t h ere are m any cases o f e igh t eent hcentu ry wal l-paper st ill rema ining int ac t on t hei r wa l ls) Iargue t ha t , be ing able t o contrive t h e desi gns e l sewh eret han in t he bu ild ing rece iving t h em
,pu t s mu ra l decora t ion
ona prac t ica l foo t ing , a t anyra te where commerc ia l ent erp ri ses a re conce rned . Occupa t ion of a bu i ld ing i s unnecessary to t he a rt i s t decora t ing i t
,and t h e t ime requ i red
on t he s i t e i s probably a ques t ion of a few week s,o r in
some cases perhaps of a few days or even h ou rs only .W i t h good organiza t ion, enabl ing a speedy reassemb ly ofall t h e smal l par t s (for large areas o f pape r are bound tocockle) , one o r two sk i l led .paperh angers arm ed wi t h ryeflour pas t e adm i xed wi th a l i t t le Venice t u rpent inecan put t he work u p am az ing ly qu ickly . Th ree o f t h elarge panel s i l lus t ra ted in t h i s ar t ic le
,fo r ins t ance
,we re
pu t up by two men under my superv i s i on in one daycomplete.
THE ARCH I TECTURAL REV IEW .
A FIREPLACE TREATMENT.
G. G.W ORNUM .
I h ave ob t ained from E as t and W es t a co l lec t iono f f ancypapers
,nearly all hand-made o r hand-p rint ed , w h ich fo r
r i chness and t ransp arency of co lou r canno t b e equalled inanyw ay by s t ipp led pa int . I fi rs t m ade use o f t h ese paperstwo years ago
,b ecau se -I found t em pera and d i s t emper not
s t rong enough fo r t h e w ea r and t ear o f ent er t ainmentp laces
,and t h ei r use i s byno means proh ibi t i ve in cos t .
M any of t h em are ab su rd ly ch eap , and b e ing mos t ly fore ign,
t h e ra t es o f exch ange fu r t h er f avou r t h em . I t h as b eenfound
,however , t h a t su ch deco ra t ion,
b lended as i t is wi t hw a t er-co lou r work ,requ i res s iz ing and v arni sh ing t o gi v e i tlong li fe . Th i s fini sh i s
,i f any t h ing
,favou rabl e t o t h e
gene ra l sch em e . Grea t c are i s r equ i red in pu t t ing on t h efi rs t co a t o f s i ze
,wh ich sh ou ld b e app l ied as s t iff as possib le .
Two coa t s o f s i ze and one co a t of v arni sh h ave been u sedin t h i s par t icu l ar case . Th e moonl igh t-b lu e d i s t emperedbackground w as not cove red .This k ind of work ra i ses t h e qu es t ion as t o wh e t h er t h ear t i s t 's idea l .i s t o work fo r pos t eri ty or m ere ly t o sa t i s fyh i s c rea t ive impu l ses. Th ere are
,no doub t
,many ar t i s t s
who wou ld not r esent c rea t ing work t h a t wou ld cau sej oy to o t h ers fo r m e re ly a few years
,and t h en b e qu i t e
prepared t o see i t e rased and replaced by fu r t h e r c reat ions o f t h e i r own. S u ch a t u rnove r
,i f t h e t e rm m ay
b e app l ied , m igh t b e commended i f i t made mu ra l decorat ion in t h i s count ry more of a commercial possib i l i ty
,
and so gave l i f e and encou ragement t o i t s s t udy and
ex ecu t i on.
Exh ibit ions.
Tue xxOEDLER GALLERIES .— The exh ib i t ionof recent port rai t s
by S avely S orinhe ld here was aninterest ing one, because h i s workis prac ti cally unknown in Eng land . These port rai ts are reallylarge water-colour draw ings. The founda t ional draw ing is retained all t hrough , and shows under t he subsequent washes ofco lour. I t is unusual to see wat er-colours done on such a largescal e , and I th ink i t was George Moore who once laid downt helaw tha t no water-colou r should be more t han a foo t square .Howeve r , i t isthe privi lege of genius to break laws of l im i tat ion,
So rinhas done i t in t he only manner inwh ich i t cou ldbe done , for h i s colour is imposed uponcarefu l ly bui l t-up struc
tures of drawing wh ich are beau t i ful in t hemse lves . They arenot simply at tenuated washes— for t ha t is wha t large watercolours usually become and are not to be compared w i t h t h i skind of th ing a t all, for h is work shows a ve ry thorough knowledge of form , and has a search ing ou tl ine wh ich reveal s t hecharac ter of h is s i t ters w i t h a l ingering appreciat ion of t hegracious charm of certainaris tocrat ic typ es . Like a grea t manyart is ts , M . So rin i s rat her a t t he mercy of h is par t icu lar type ,and is a t a d isadvantage whenconfronted w i t h a commonplaces i t ter.Some t imes t he c lash be tween real ism and convent ion i sdis turb ing , as in AnArt is t of Montparnasse where t hewh i te-background has t hrown t he picture ent ire ly ou t of key,
for from the t remendously high fini sh of t he. face to t he blankwh ite pape r t here i s such a j ump in tone as to make t he facelook much darker t hani t really is . Onthe o t he r hand , in“
AnnaPavlova " where t he background is in right relat ionsh i p tot he face , t here is a sense. of uni ty , and the beau t i fu l pal lor oft he face emerges w i t h a start l ing intens ity . One i s rat her inc l inedto ques t iont he use of some s t icky subs tance appl ied to the hai rto give i t bri ll iance ; e i t her the whole t h ing should have beenso t reat ed . or i t should all have b een left fiat . Th is picture hasbeen purchased by t he French Government for t he Musée duLuxembourg.
“Princess Elisso I)adiani
"
(4) is rat her too swee t . bu t t hehands are we ll drawn. M . Soringe ts a certainsharp beau ty o fou t line in h is hands : there is a squareness of draw ing wh ichis absent from many of h i s faces, wh ich he is inc lined to nigg lea t too much . Some of t he same style o f draw ing appl ied tothem wou ld somet imes be an advantage . Princess MaryEris tov " (3 ) i s an aristo cra t i c type of grea t b eau ty , and i t canbe said of M . So rin t ha t he places h i s si t ters wel l— t hey are notposed- but he is able to capt ure some at t i tude t ha t is charac terist ic, and ret ain i t t hroughou t subsequent s i t t ings , and doesnot lose i t int he e laborat ionof de tai l . Hut undoubted ly t he b es twork int he exh ibi t ion i s t he port rai t of Madam e O dyle Bale. (to)— t he. apparent ease w i t h wh ich a somewhat diffi cu l t pos i t ionhas beenmaintained by t he si t t er, and t he calm and certainwayinwh ich i t has beenset downby the painter, gi \ e i t t he d igni tyand qui etness of a Raphael , and t he l i t t le twi s t in t he mout hwh ich he has dared to pu t ih—gives charac te r and anunexpec tedcharm .
A word of pra ise is due to those resp ons ible for t he beau t i ful lyi llust ra ted catalogue .
THE ALPINE CLUB GALLERY.—Thc t h i rty-t h ree or more port ra i t sby M iss Flora Lionreveal her as a painter who is mainly interes ted in t he ou tward appearance of p ersons and t h ings . Her
a ims are almost exactlv oppos i te to t hose of S avely SOrin— fori t is paint , firs t . last , and all t he t ime , t ha t she i s interest ed inand she seeks ra ther to model her si t ters ent ire ly inth is materia lt han inconj unct ionwi th the use of subtle and expressixe l ineShe is not interes ted m an part icular type , save only inso faras t he fea tures may conorm convenient ly to her part icularme thod of using t he brush . Perhaps , some t imes , she is inclined to pu t down appearances wh ich a more reflec t ive painterwould either modi fy or wai t unt i l a favou rable opportuni tyrevealed a more easing side of t he si t ter . S he does not fee lanypart icu lar de ight in bringing to no t ice various beau t ies ofshapes ; her work is t hus inclined to be occas ional ly mannered , RAYMOND MCINTYRE .
and her final statements of contours are too easily arrived at .M i ss Lion has remained constant to her early influencespart icu larly tha t of Mane t . Modem movements in ar t have lefther untouched . Perhaps th is is a pi ty , for t he insis tence uponsat isfactory shapes in fi ll ing spaces , wh ich has been t he mot iveforce behind mos t of t he bes t modernwork , wou ld have helpedher over some of the awkward places to be encountered inport rai ture .After considering most ly wha t M i ss L ion does not do , nowle t us cons ider what she does do . In t he firs t p lace she paintst he co lour of flesh very wel l
, and her paint ing gives t he feel ingand tex ture of sk in, and she has an appreciat ion for t he sharpcont rast s of wh i te flesh agains t dark backgrounds . Th i s isshownpart icu larly in the portra i t of ‘‘
The Countess of Ossorywh ich was one of her portrai ts wh ich impressed me mos t
part ly,perhaps
,because i t did not have beh ind i t t he desire
to be impressive . In" The LadyE leanor Smi th (8) Mi ss L ion
mus t have found a very at t ract ive subj ect , and she has recordedwe l l t he easy and unaffec ted pose . But perhaps her bes t port ra i t i s that of The Hon. M rs . Edward S tonor (I I ) , wh ichhas t he quali ty of being able to arres t at tent ion— wh ich i s veryrare in port rai ture . I t i s one of those paint ings in wh ich circumstances appear to have comb ined to produce a v i tal andinteres t ing work of art . The paint ing of M r . Amato (18) showswhat M iss Lioncando by way of arrangement i f she has a mindto . Th i s picture has in i t t he steadiness and poise of carefu lconsiderat ion.
THE INDE idently t he aim of M r .Duncan Grant i s to ge t “ volume in h i s work— and he ge tsi t -even to the extent of a somewhat bal loon-l ike appearanceinsome of h is figures . I remembe r once anent husiast ic student ,fresh from Paris , t rying to explain to a rat her phleg mat ic friendt he exac t appl icat ionof the.word vo lume to t he art of paint ing .Model l ing inthe air w i t h h i s hands , he gave force to h i s explanat ions , wh ich after observ ing careful ly , h i s friend said , “
I see
you meanbulk . Th i s somewhat annoyed t he ent husiast , whoseemed to find in t he word volume some th ing of the samecomfort and sa t i sfact iontha t t he old lady found in t hat blessedword Mesopotamia .”There is a looseness inM r. Grant ’s hand l ing of paint t hat i sat t ract ive— t here i s very l i t t le st rain in the mere mak ing of h i spic tures
,i t al l seems to come so easily— in fact rat her too easi ly.
In look ing over h is works , wh ich form t he exh ib i t ion in theIndependent Gal le ry , one comes to the conc lusion t ha t mos t ofi t has b een said before— byCéz anne and VanGogh and o t herso f t he French School~ and even by our ownW alter S ickert ,and in a measure by Roger Fry.
S ome of t he. landscapes , no tably those of scenes inS t . Topez ,
seem to be the mos t fini shed and indiv idual expressions of t h i sar t is t . The Boats , S t. Top ez ” i s so l id ly constructed , andt hou
gh monotonous in colour , is perhaps t he mos t comple te
pa int ing shown. M r. Grant ’s excursions into t he realm ofport rai ture do not appear to be very successfu l .THE CAMERA CLUB .
—The exhibi t ion of fifty print s by fiftye tchers shown here was not w i t hou t interest , t hough much ofi t was wi thou t dist inct ion. Among t he bes t was Miss E . Fyfe
’
s
La Poste du Douane ," wh ich i s worked ou t ina very t horoughmanner and has a Diner-l ike qual i ty .M r . Hanslip Fle tcher’s Trini ty College , Cambridge , i s ask i l fu l ly managed aquat int ; t he old-world atmosphere of t heinterior has beenwel l convey
S t . Pe ter 's Fie ld , Greensted Road , by M r . G. H . Rose , i sane tch ing , quie t ly and sincerely carried ou t , of a Constable-l ikelandscape
‘The Mys terious House , by Mi ss Lark ing , i s a colouredaquat int , into wh ich she has succeeded in int roducing t heatmosphere wh ich the t i t le suggests , and she has very sensiblynot st rained t he resources of her craft by t rying to int roducetoo many colours .
THE ARCH I TECT URAL REV IEW .
Recent
The Arch itectural E tchings of FrankBrangwyn.
THF. GA T E NAPLES .Archi tectural E tch ing. of Frank Brangwyn. RA . Ed i t ion
ofReproduct ions . Be ing a Series ofFi f tee nReproduct ions. se lect edand passed by l-‘uasx Bm smvvn. R A . Plates mounted , si z e24 in. x to in., reproduced by hand-printe d photogravure pmces5 .
w it h Port fo l io. and an lutmduct ion byCnossusv Daw es. Singlecopies, U I 0. Complete Se t of Fi fteen inPort fo l io , { to to 0 .London: The Arch i tect ural Press , Ltd , zy-zo T oth i l l St ree t , W estm inster, S .W .t .
Int h is splend id p ort fol io t he A rch i t ectural Press has publ ishedreproduc t ions offi ft een etch ings by M r. Brangwyn. Mr . Brangwynh imself sel ec t ed t he etch ings and passed t he photogravu re pla tes,
so that they maybe regarded as typi cal o f h is methods , and thereproduct ions are of ex t raord inary excell ence . The subj ec t srange from old houw s at Ghen t , a Mosq ue at Constan t inople. t heGate of Naples , t he Bridge of ( ahors , t o the l’on t Neu f at Parisand th e bui ld ing of t he Sout h Kens ington M useum. In a shortintroduc tionM r . Dav ies re fers t o “ t he art is t 's consummate sk i l lin expressing the spi ri t and laying bare t he very s oul of abuilding.
" M r. Brangwyn'
s mastery of t echn ique i s absol u te .
W hat he sets out to do , he can do , bu t th is layi ng bare t he verysou l ofa bui ld ing seems to me the one. t h ing tha t he has no tset ou t to do int hese etch ings . He has appl ied the same t reatmen timpart ial ly to bu ild ings d iffer ing widely in charac ter and assoc iat ions, 50 t hat , in fact , t he arch i tec t ure is subordinat ed t ot echnical arrangemen t s of black and whi te
, and ineach cas e. t he
questionarises whether in t ak ing arch it ect ure for h i s subj ectMr. Brangwyn i s in t erest ed in arch i t ect ure and does no t reallvregard i t as a veh icl e for varia t ions on a (neon: macabre.Mr. Davies re fers t o M r . Brangwyn'
s underst and ing lovefor art in brick and stone but he has successfu l ly d i ssembledhis love , for he Se l dom shows t he materia ls of t he bui ld ing.Masterly as these etch ings are in their way , in al l o f them t hereis the same passionate search for st rong con t ras t s o f l igh t andshade, or rat her of black and whi t e. The sky is ful iginous , hugeclaims rol l up from every side , t he l igh t is one that never shoneonland or sea, rather it is the concen t rat ed glare of a s earch l igh t .The figures
-hundreds of them— are l ike figures o f a fan tas t i cdream . The whole a tmosphere is t hat of some immen s e impendingcatast rophe. The l igh t and shade have l i t t le rela t ion to the act ualphenomena of l igh t as W t : see i t in our da ily walks and observat ions. The resul t is a mos t impressive stage scene , bu t thearch i tecture is almost a side issue. I have an impression tha tM r. Brangwyn, i f he chose , cou ld have go t as good e ffec ts ou tof a gasome ter as he has ou t of t he Mosq ue of Octakcvi. Inthe st rik ing vers ion of the Bridge of Cahors the. upp er part oft he plate is infour more or l ess uprigh t d iv is ions -whi te black ,whi te black. In the Fum es plat e the roo fs of the houses in thicen t re of t he pic t ure are nearly as bl ack as the mys terious bl ackmass in th e l ef t-hand corner
, and t he t racery of the windowsof the choi r of St . Walburgh,h igh above the roo fs , is scarcely
VOL. LIV— D
Books.
no ted at al l. In the pla te of t he church of No tre Dame at Euno one w ould suspec t t he church of be ing in t he flamboyan tmode of tha t periodFrom t he po int of v iew of arch i tecture Mr. Brangwyn is moresuccessfu l w i t h classical subj ects. . The Gate of Naples , t heunusua l v iew of t he S alu te at Venice , the v iew of t he ‘
Pont Neuf,
s trangely unl ike one ’s impression of t he actual bridge,are fine
versions of these subj ects , bu t in al l t hese e tch ings there is t hesame overpowering suggest ion of mysterious gloom .
_The sun
never sh ines bright ly on t h is world , albus notus ” never c learst he sky. There are no half l ines , none of the play of l igh t thatsugges ts and then loses i tsel f in gent le shadows . Nor is t heret hat di ffused silvery l igh t th at is found in t he firs t s ta te of sucht remendous drawings as Piranesi ’s “
Carcere d’
invenz ione. Theblack i s of t he blackes t and t here is a great deal of i t . Theatmosphere i s menacing , almost inhuman.
Now anart ist has every righ t to shape a t_
h is work as he pleases.bu t when he is aiming at one th ing he should not be int roducedto t he publ ic as aim ing at another , and whenM r. Dav ies descr ibesMr. Brangwyn as
“ under the spel l of arch i tecture he seemsto me to mistake the art ist 's purpose . Mr . Brangwyn is underthe. sp el l of composi t ion and pat tern-mak ing , and , in thesee tch ings
,of pat tern-mak ing in black and wh i te . The resul t is
very interest ing and impressive , bu t from t he point of V iew oft he representat ion of arch i tecture i t is an incomple te statementof t he subj ect . M r. Brangwyn i s heedless of t he subtle qual i tyof arch i tecture , not because he cou ld not represent i t— h isdraw ing of t he Norman de tai l in the e tch ing of t he Abbey ofS t . Leonard 's , reminiscent of JohnSe l l Co tman’s e tch ings. showst hat he candraw i t perfect ly i f he l ikes — bu t i t s imply does no tappear to interes t h im .
Mr. Dav ies sugges ts t ha t M r . Brangwyngives to h is interpretat ions t he romance of human assoc iat ion. Mr . Brangwynhas a genius for handl ing crowds o f figures admirably composedfor h is pu rp ose ; for example , t he relig ious procession comingdown t he w ide staircase from the church of the S alu te . H is
foregrounds are fu ll of figures , somet imes invielent ac t ion; forinstance , t he two figures wrest l ing in the right-hand corner oft he plate o f Ru , or the drunkenfigures of rust ics under t he apseof t he abbey of S t . Leonard 's . Yet w i t h all t he appearance ofl i fe and movement , one gets a sort of hal f-impress ionof a puppe tshow : t he figures are there , t hey j ost le each o t her and j umpab out
,bu t they are scarce ly human. There is l i t t le of tha t
poignant intensi ty of feel ing t ha t Méryon managed to conveyinh is etch ing of the Morgue . And t hough the figures are drawnand composed in a mas terly way , t hey are somehow less conv incing t han t he cavalcades in t he foregrounds of Pere lle , ort hose picaresque figures of Pi ranesi as ragged as the ru ins onwh ich they stand .I t h ink arch i tec ture deserves c loser study thanMr. Brangwyn
has giveni t . I t is too grea t and too many-sided anar t to submi ti t se l f to anyone formula ; i t s meaning and assoc iat ions are toosubtle to be deal t w i t h as side issues. Bri l l iant and impress iveas these etch ings are , t hey seem to me to miss t he message ofarchi tecture , and the note of t ragedy is some t imes los t inmelodrama . The digni ty and rest fu lness of old age , i ts re lat ionto t he world of l igh t and movement t hat goes on round i t andleaves i t undisturbed , the real and int imate human interes t areforgo t ten.
“ The very sou l of t he bu ilding is lost .There is only one modern subj ec t in t h is collect ion— the
building of t he S ou t h Kens ington Museum . I t is a strik ingdesign
,bu t here , to o, M r. Brangwynseems to me to have taken
no deep interest in the essent ia l qual i t ies of h is subj ect . Greatmodern bui ldings in course of construc t ionw i th their gantries ,their S cotch cranes ontowering scaffolding , and t he l ike , are mos tfasc inat ing subj ect s . They are also too intricate to be deal tw i t h in a large and summary fash ion, because. t he accuratedraw ingand presentat ionof th is intricacy is of t he very essenceof t he subj ect and th is has beenrecognized ingreat arch i tecturaldraw ings . Forexample , the engrav ing of the raising of t he greatobel isk at Rome by Domenico Fontana , t he drawing of thebui lding of t he Louvre by S ebas t ianle Clerc ; or t he end of old
THE ARCH I TECTURAL REVIEW.
how thev w ill look in bricks and mortar. I t is t ime t ha t were turned
.
to the saner met hods of t he eighteent h century , abj uredt he t ricks of the draughtsman's office , and recogni zerl ali e fac tthat the art of arch itecture is the art of designing bu i ld ings , notof mak ing pret ty draw ings .
REG INALD BLOMFIELD ,RA .
The E tch ing Craft .
OnMak ing and Co l lec ting Etchings. Edited by It . H E S KETH HuBnARD.
S econd Ed ition. The Print S ociety and B . T. Batsford , 04 H igh Hol
bom , London,S vo. pp. 1 84. I l lustrated. 2 1s. net .
The firs t edi t ion of t h i s usefu l and handy book was sold ou tw i t hin a mont h of publ icat ion in 1020, and demands for cop ieshave at lengt h compel led the Print Society to issue i t afresh .
Notes have been added of important points tha t emerged fromthe rev iews of the fi rs t publ icat ion, and a foreword to t he reprint ,bu t otherwi se i t remains as i t was , t he mos t pract ical volume onetch ings w ri t ten by experts in each of t he varie t ies of b i t tenwork , dry point , aquat int , and mezzot int . I t is as wel l to recal lthe fac t tha t there i s a b ibl iography of ivorks inEngl i sh deal ingwi t h the subj ect of print s from t he year 15 83 to the present ,extending to eighteenpages , and a usefu l div is ionof them according to t hei r appl icat ion: collec t ing , purchase and publicat 1on,
h istory,pract ical
,technical , and so on. The edi tor tel ls us t here
is an ihsistent demand inthe Uni ted S tates for t h is new i ssue , bu tt h i s only tal l ies wi t h the demand here for i t and for new booksone tch ing and e tch ings everywhere .’ Therenever was a t ime whent he engrav ing art s were more popu lar or prints more eagerlysough t for.
A Master Draughtsman.
ByH E RMANN NA S S E . Large 4to. pp . x 80.Jacqu es Cal lot .Leipz ig : VerlagvonKlinkhardtFront ispiece and 104 i l lustrat ions.
and Biermann. 19 2 3 .
Th i s wel l-produced volume is t he firs t of a series of Mas terso f Draw ing , edi ted by HermannVoss , wh ich w il l include Rembrand t 's e tch ings and draw ings , Goya , Meryon,
Doré , and twovolumes onAlbert Durer. The series w i l l make a handsome add it ionto t he l ibraries of t he print collector and co llector of draw ings ,and a most usefu l one too , for not only is t here a narrat ive of t hel i fe of each subj ect
,bu t t here i s a copious l is t of book s oneach
and a ca talogue of print s and draw ings .The memoir wh ich HermannNasse has wri t ten onCal lo t isexhaust ive and scholarly. Cal lo t was bornin1 5 92 , and came tomanhood at a t ime whenFrench ar t was a t a low ebb
,when
imi tat ionof t he I tal ianmas ters was t he vogue ; and i t was notunt i l Louis XIV began to influence i t t ha t t he rev ival of t heseventeent h century took place . Jacques Cal lo t of Nancy hasan honourable place in t he h is tory of t ha t rev ival ; he was areal is t amongs t the false and the sent imental , and he d id h i s bes tto bring back art to nature . Not t ha t he h imsel f was ent i relyfree from the I tal ian influence , as may be seeninh i s landscapesand arch i tectural draw ings , almos t rudimentary in t heir s tylewhencompared w i th t he exqu isi te produc t ions of t he great I tal ianarch i tectural e tcher, Piranesi , who post-dated h im by some 1 30years .I t i snot inbeau ty of arch i tecture and correctness of perspect ive
and geome t ry that the Nancy ar t is t exce ls,bu t inh i s humani ty
exerc ised inan arid age ; a humani ty wh ich promp ted h im toa correc tness of draw ing of t he humanfigure wh ich i s not to beparalleled inFrance inh is t ime . He had fancy and imagina t ion
,
and he had humour ; he cou ld exaggerate and he cou ld caricature ,bu t because he loved what he represented he was swee t in temperinall h is work , and t here is no cynicism in i t anywhere . H is
rel igious draw ings are perfunctory , bu t h i s v isionof t he Tempta
t ionof S t . Ant hony is l ively int he extreme . Allh i s scenes andal l his designs are admirable as such
,bu t i t i s int he regionof
draughtsmansh ip of l iv ing forms t ha t he is so grea t a mas ter .He died in163 5 , and inth i s handsome book a l is t o f h i s works fo reach year from 1607 inNancy ; Rome and Florence (from 161 2
to whenhe went back to Nancy ; Paris (1620and andt henNancy again unt i l h is deat h
,i s given. H is ten years in
“menu: i s qui te enough to account for Cal lo t 's I tal ianizat ion,
w hatever may be said concerning t hat of o ther French ar t i st s ofthe t 1me.
“6 TH E ARCH I TECTU RAL REVIEW .
K. P.
Harlequinade.
Harlequ inade. The Arch itectural Associat ion S tudents'Magaz ine. Price15 . per copy.
There has come into our hands t he firs t number ofHarlequinade , a magazine wh ich has recent ly been st ar tedby the s tudents of t he Arch i tec tural Associat ion.
“ There aremany sides to t he s tudy and prac t ice of arch i tec ture
,says t he
Edi tor , of wh ich the humorous side is not t he leas t important ,and we t rus t t hat t h is magaz ine w il l be an au tho ri tat ive textbook for t hose w ish ing to s tudy the lighter s ide of the profess ion.
To j udge by t he firs t number t h is s tudy is of absorb ing interes t,
and we look forward to gaining furt her insigh t into t he mat ter .“Pepynge Tom ’s ” Peeps at anA .A . Diary are i lluminat ing , andFel ix fi lls an obv ious gap
,as does the anonymous art is t
whose del igh t fu l tai lpieces are the fea ture of t he issue . W i thregard to Pepynge Tom ’s ” las t diary ent ry
,we wou ld suggest
to h im that The -Beggar’s Opera has now become a bad hab i tto wh ich no gent lemanwou ld confess . H .
American Scu lpture.
The S p iri t ofAm erican S cu lp ture. ByAmzrm e ADAM S . New York :
The National S cu lpture S ociety. Smal l 8yo. pp . xx 2 34. I llustrated .
Exh ibi tion of Am erican S cu lp ture 19 23 , Catalogu e . New York :
The Nat ional S cu lpture S ociety,i 5 6 th S treet W est of Broadw ay.
4to. pp . xv i + 3 7 2 .
Tw enty-four Reproduc tions of Notable W orks by Contem p oraryAm erican S culp tors. W ashington: The American Federat ion of
Arts, 1 741 New York Avenue. Inw rapper. Large Svo. No text .Your Book ofThe Arch i te ctural Leagu e of New York , and Catalogu e of the 3 7 th Annua l E xh ibit ion. New York : 2 1 5 W est s7th
S treet. 19 2 2 . Large 4to. pp. 2 88 . I l l ustrated.American scu lp tors are al ive to t he fac ts t hat t hey work fort he publ ic
,ge t t he i r commissions from t he publ ic , and receive
payment from t he publ ic . They are , t herefore , ou t to educatet he publ ic
, and to t ha t end the Nat iona l S cu lp ture S ocie ty welcomes into i t s m ids t lay members . The lay members are fl at teredby associat ionw i t h art is ts , not repel led by a s tupid aloofness .They learn to l ike scu lp ture and to know what i t i s and what i tmeans
,and whena norma l person l ikes a t h ing and unders tands
i t more or less,he wants to have i t . The Americanscu lp tors want
t he normal manto know as much abou t scu lp ture as possible , andone of t hei r me thods of propaganda i s a del ight fu l l i t t le bookwri t tenby the w i fe of one of t hem ,
Herber t Adams , ina charminglybright , informed , and w i t ty s ty le wh ich canbe unders toodby every educated person in t he Uni ted S tat es. \Vhat t hespir i t of American scu lpture is w ill easi ly be real ized by eve ryreader of Adel ine Adams’s book ; wha t American sculp tu re isto-day w i l l be real ized by turning over t he pages o f t he ca talogue of works exh ib i ted in New York during t he summer of1923 . There are hundreds of t hem , from caryat ids to co ins ; frommigh ty sta tues to minu t e p laque t tes . The Ameri cansculptor isou t to cap ture everybody i f only for anorder for a graves tone .There are some magnificent scu lptura l grave memorial s beingmade inAmerica now , t he American sculptors hav ing ach ievedt he art of t he grave memorial v ia I taly and Germany , or hav inghad i t t hrus t upon t hem by I tal ianand Ge rman art is t s w i th int hei r m ids t . Appl ied scu lpture is t he cry o f t he Ameri cansculptor ; scu lp ture int he gardenand onthe grave m igh t be h i s slogan.
Museums and publ ic squares have had t he monopoly too long .That wonderfu l organizat ion t he American Federat ion of
Art s takes a hand also in t he popu larizat ion of t he plast ic ar ts,
as wel l as t he graph ic , and t he del ight ful pack e t of il lus t rat ions ofequest rian s tatues , fountains , pieces of architectural sculp ture ,idea l works and animals , opens up ano ther scene of act iv i ty .S t range as i t may seem to Engl ish scu lptors and arch i tect s
,
Americanscu lp ture is al ive , and i t i s not to be wondered at t hatsuch menas LynnJenk ins , Robert P. Baker
,LéonV . Solon, and
o t her Bri t i sh exponents of the arts and crafts shou ld have founda second home and a more prosperous across t he wat er .The arch i tect s are as keen as t he scu lp tors and t he Nat ional
S ocie ty of S cu lpture , and t he Year Book of t he Arch i tec tu ralLeague devo tes page after page to p las t ic and glypt ic work .
Mos t of t h i s work i s good , and some of i t i s exce l lent .
TH E ARCH I TECTURAL REV IEW .
THE ARCH ITECTURAL REVIEW .
S ir John Burnet .
THE NEW ROYAL GOLD MEDALI.IST.
Inanart ic le onS irJohnBurne t in The Arch itects’ Journaldat ed 2 7 June , H . S . Goodhart-Rendel wri tes : There w i llcome a t ime w hen i t w il l seem as stupid that such and such apubl ic bui lding was not confided to S irJohnas i t seems now t hatthe arch i tect s of our early V ictorian townhalls were al lowed soto waste good stone during the l i fet ime of S irCharles Barry .French w ays became h im we ll , as they become every S cot sman.
I w onder i f he real iz es how posi t ively i f indefini tely S co t t i sh a l lh is work i s , never more so t hanwhen i t savours faint ly of Paris .Let anyone study t he tabl ings and corbel l ings of a S co t t i sh Renaissance chateau , t he amusing qu ibbl ings and ingenu it ies ofmouldings infini tely mi t red and returned , and then turn to t hesubtle play wh ich S ir Johnmakes w i th fla t bands and sl igh t lyproj ect ing surfaces . Let anyone compare these two and dec idewhether t hey are not different expressions of t he same impu lse indesign. The concentrat ionof the riches t shadows at t he top of adesignS irJohnso oftendel igh ts to cont rive by means of a loggia— i s not that also equivalent to t he del ight ful th ings wh ich in afort ified bu ilding canonly happenh igh up ou t of harm ’s way ?The contempt for art ificial symme t ry , t he ma t ter-of—courseacceptance of symme try when i t arises natural ly— are not t hesealso characteris t ics bo th of t he French and S co t t ish minds .
“ I do not suppose if S ir Johnwere now to design again t hefacade of t he Glasgow Athenzeum inBuchananS tree t , wh ich hebui l t in 189 1 ,
he w ould do exac t ly what he did t hen. But of i tsk ind I doubt i f he or anyone else cou ld make i t bet ter . I f tomodem taste i t seem a l i t t le rest less
,i t is amaz ing ly clever and
p icturesque , and to me has always beenas del ight fu l and exci t ingas a good adventure s tory . S ir John’s designs are neverprim , t hei r scholarsh ip never k i lls joy . S cu lpture he loves ,sculpture often ful l of movement , and placed w i t h a sk il l andart ifice wh ich are astonish ing.
Fo l low ing is a l is t of S ir John Burnet ’s bu i ldings and warmemori als
LONDON
British Museum E xtension, K ing Edward V II’
s Gal leri es.
General Bui ld ings, Aldwych , for the General Accident , Fire and Li feAssurance Corporat ion, Ltd .
Kodak Bu i ld ing,Kingsw ay.Inst itute ofChem istry,
Russel l Sq uare.
S elfridge E xtension, Ox ford S treet, W . I .
Ade laide House , LondonBridge.
S econd Church ofChrist S cientist , Palace Gardens Terrace.Vigo House,Regent S treet (now incourse oferect ion) .
RAM SGATE
S cheme for the East Cl iff Gardens.Improvement Scheme for the S ea Front.SCOTLAND
Churches.
BaronyParish Church , G lasgow , 1886—9 ,189 8— 1900.
Arbroath Parish Church ,1894
—0.
GardnerMemorial Church , Brech in, 1 89 1— 1900 .
The McLaren Memorial Church and Manse, S tenhousemu ir, 1 89 7— 1900
1905—7 , etc.
Parish Church , Lossiemouth ,1899
—1903 .
RutherglenParish Church , 1900—2 .
Broomh i l l CongregationalChurch ,G lasgow , rgoo
-8 .
W emyss BayChurch ,forLord Inverc lyde, 1901
— 2 .
Residences.
Loch RanzaHotel , Arran, 189 5 .
G lasgow VVorkmen’
s Dw e l l ings,GreenS treet , G lasgow ,
18984 90 1 .
House at K i lw inning,forMr. R . C. King,
1898 7 190 1 .
Marine Hotel , E l ie— additions, 1900 , 1904—6
, 1907-8
,19 10
—1 1 .
CharingCross Mansions, G lasgow ,1901 .
(Cont inued onp. xxxvi .)
THE ARCH I TECTURAL REV IEW .
TH E ARCH ITECTURAL REVIEVJ.
Fairnalie MansionHouse, near Se lk irk ,1904
-6 .
Trochrague House, nearG in'
aiF—add i t ions forMr. George Todd. 19 10-1 3 ,
19 15 ,tom —
3 .
Duart Cast le ,Isle ofMu l l— restorat ionfor S irFitz royD . MacLean,
Bart ,
19 1 1— 16 .
H ospitals and lufirmurics.
G lasgow Royal AsylumNew Entrance and Gate Lodge ,
189 8
New Church, 19 04—6 .
Addi tions to South East House, 1907—9 .
New Boi ler-house ,1908—9 .
Extensionto Laundry Bui ld ing, 19 10 1
W est House alterations,19 13
— 14.
I‘iggen'
es, moo—l .
Glasgow InfirmaryPatho logical Inst itute,
189 4-6 ,
19 1 2 I 4 .
Dispensary 1002-5 .
New Srmth-w est W ing,1909 -1
New Clinical laboratory. 19 10— 1 1
,19 14.
New Dietet ic Kitchen,19 1 1
— 1 1
New Adm issionB lock , 19 13—16 .
LaundryExtension, 19 13—14.
Massage Bu i lding, 19 30-1 .
Nurses'
Home Extension,Nurses
” Lecture Theatre,New Chape l ,
Cumberland Infirmary Carl isleExtensions, 19 08— 1
Out-patients’
Department , 19 1 :« 1 3 .
E lder Cottage Hosp ital , Govan,19 10
— 43 ,1 9 14.
Royal Hospital for S ick Chi ldren,Yorkh ill, G lasgow , 19 1 1
— 16 .
Kilmantock InfirmaryEx tension, 19 1 2
— 16 .
New Block ,i st sect ion, 19 1 5
— 1 8 .
New W ard B lock , .znd sect ion, 19 20—2 .
Administrative B lock— alterat ions 19 2 1—2 .
No . I B lock— alterat ions,Business Prem ises.
Savings Bank ofG lasgow ,Head Office,
Ingram S treet, 1894— 1900.
Clyde Navigat ionTrust , G lasgow , 1 883—6
,1906, 1909 ,
19 1 3— 14.
G lasgow S tock Exchange— add it ions, 1894, 1 896—8 , etc.
R. W . Forsyth,I-to., G lasgow—a dditions, 1896—8 , 1900, 1902 , etc.
A lbanyChambers,G lasgow , 1896
—9 .
BRONZE MEMORIAL TABLETS
AND DECORAT IVE BRONZEWORK
OF TH E F INE S T W ORKMANS H IP
WORKERS IN A LL METALS BRONZE FOUNDERS
A ND I RON S M I TH S S TA I NE D G LA S S
W OOD C A RV I NG G A RDEN Q A RC H ITECTURAL SCULPTURE ELECTRIC L IGHTFITTINGS LEADWORK t? RA INWATER GOODS
H .W .CASHMORE e C01
3“
CRAFTSMEN
POST OFFICE APPROACH, BALHAMLONDON. S .W .12Telephone : Bu rznsu 413.
At lant ic Chambers, G lasgow , 1 899— 190 1 , 1906 ,
1908 .
Bakery, Sauchiehall S treet , G lasgow ,for Mr. Geo. S k inner, 1900
—2 ,1 9 20 .
Professional and Civi l S ervice S upp ly Associat ion, Ltd George S treet ,Edinburgh , 1903
—7 .
Union Bank of S cot land ,Ltd ,
Branch Premises, Ler wick , S het landIslands, 1904—6 .
W in. McGeoch Co.,Ltd .
,New \Varehouse, W est Campbe l l S treet ,
G lasgow ,1905
—9 .
R . W . Forsyth , Ltd .,New W arehouse,
Princes S treet and S t. AndrewSq uare, Edinburgh ,
1906—10
,1 9 1 3 .
Merchants’ House , George S quare, G lasgowW
'
al lace , S cott Co Ltd .
Tai loring Insti tute , Cathcart , G lasgow ,19 13
— 16 .
Pergola and RetainingW al ls,19 19
— 20.
Lych Gate , 19 20—1 .Internal A lterat ions, 19 2 1
— 2 .
add it ions, 1907— 1 1
, 19 13— 14.
IQ
Insti tutions, Public B u ildings.
Royal Inst itute ofFine Arts,G lasgow , 1 8 78 .
Ed inburgh Internat ional E xh ibit ion, 1 886 .
G lasgow Athcnzeum , 1886 ,1 890,
189 1—3 , etc.
G lasgow Central Rai lwayG lasgow Cross S tat ion,
189 5 .
AndersonCross S tat ion, 189 5 .
Botanic Gardens, 189 5 .
Central S tat ion(low level ) , 1 89 7— 1900.
A l loa Pub l ic Baths, 189 5
Kelvinside S tat ion,for Lanarkshire and Dumbartonshire Rai lway, 1 896-7 .
G lasgow UniversityS tudents’ UnionClub ,
189 5 .
Botanical Bu i ld ing,1 899— i go
a
EngineeringLaboratory,1 8994 902 ,
1907, 1908 .
Anatom ical Laboratory,1900
—3 .
S urgical Laboratory,1901
—3 .
Chem istryBui lding,1 903
—6 .
S tudents’ UnionE xtension,1908—9 .
Gymnasium ,1908—1 1 .
Additions to EngineeringBui lding, 19 20—2 .
New Natural H istoryBui ld ing,19 2 2
—3 .
New Arts u ildingand Chape l , 19 2
Drumsheugh Baths, Edinburgh ,1 900.
AlhambraTheatre, G lasgow ,19 10
—1 2 ,19 14
— 15 , 19 20—2
(Cont inued onp. xxxvluJ
THE ARCH I TECTURAL REVIEW . M id i » .
S HEET GLAS S I’OLIS I—IED PLATE
Ifyour eyesigh t w ere pooryou w ouldn’t th inkof w earing glasses that caused you to frown
d peer. You w ould insist on lenses that
w ere ground and po l ished to perfection.
The w indow s of a bui l d ing are the glassesthrough w h ich everybody hopes to have clearvision
,but w hether th is is possib le depend
entire ly upon the arch itect w ho specifi es the
glass.It
.
the window s are sbeet glass the eye i s annoyed bywavesand swi rls ; di s tor t ion spo i l s wha tev e r p rospe c t theymayreveal . But Plate Glass i s ground , pol i shed, and t e s ted j u s tl ike a lens. As a resu l t i t gi ves pe rfec t ligh t-t ransm i s s ionand t rue reflec t ion.
I t i s c leare r,t h icker, and many t imes s t ronge r t han sheet
glass . Bo t h from ins ide and ou t s ide,window s ofPol i sh ed
Plate Glass convey a defini te impression of arch i tec tu ralrefinement .
They add the fini sh ing touc h tha t enhances the appearanceofthe whole bu i lding.
7 HE PLATE GLAS S PUBL ICITY BUREA L
9 SOUTHAMPTON STREET HOLBORN LONDON W .C. 1
TH E ARCH I TECTURAL REVIEW .
l l 'ar Alemorials.
S coru su
Bm omhillCongregat iona l Church,19 3 1
—3 .
C lyd esdale Bank , Ltd .,Head Ot’ti ces,
Arbroath Parish Church , 19 1 0 .
S tenhouse Parish Church , 19 10—1 .
Church , 19 10—1 .
Dumbarton Memorial , 19 30—1 .
New Cunmock W arMemorial . 19 2 !
Clyde Trust W arMemori al , max—a.
Accountants" Hal l Memorial , to“
Ballater W arMemorial , i oz z ~
3 .
S ke lmorl ie and Bay Memorial lo_—3
Grangemouth W arMemoria l , 19 3 3
G lasgow Memorial , 19 3 1—5 .
THE E A S T
Designs for the W arCemeteries inPalest ine and Gal l ipo l i .Ind ian Memorial at Port Thewfi k , GulfofS uez .
Cape He l les Memoria l .
LONDON :
Cavalry Memorial, S tanhope Gate, Hyde Park .
The Ed inburgh Conference.
No t h ing bu t praise can be accorded the_Seottish arch i tects
for the excel lent w ay in wh ich they fu lfilled thei r d u t ies ashos ts during t he Conference of Bri t i sh Arch i tects t ha t washeld t h is year in S co t land . Nobody t here could have beend i sappo inted or have found t he t ime hang during t he threeexce llent days t hey were entertained a t Edinburgh .
The conference was an undoubted success . I t began a t asmok ing-concert on 13 j une , and came to a conclusion a t t hebanque t on the follow ing Friday.
There was no at temp t to ang l icize the concert w i t h wh ich i topened ; S co tch songs and music abounded , and t he aud iencew ere del igh ted . M r. T . P. Marw ick
,president of t he Incorpora
t ion of Arch itects in S co t land —whose annual convent ion wascomb ined w i t h the conference— presided .()n the fol low ing morning a session was held in t he Counci l
Room of t he Ci ty Chambers where , after a welcome by t he LordProvos t and magis trates , two papers were read , t he firs t by M r.Marw ick on
“Edinburgh I t s R i se and Progress , t he second by
Mr. H . V . Lanches ter on “The Place of Architec ture in Ci ty
Deve lopment . A discussion fol lowed inwh ich several em inentmembers of t he profess ion spoke . Luncheon at t he Cas t le wast he next i tem int he programme , fol lowed by a tour of t he Cas t le ,where , from i t s w indy bat t lement s , some marvel lous v iews of t hesurrounding count ry and t he Fi rt h of Forth were obtained .Thence a drive along t he “
H is toric M ile to Ho lyrood Palace ,pas t many of t he famous bu i ldings of Edinburgh , a tour of t hePalace
,t he Park
,and Arthur’sS eat . Later t here was a recep t ion
by t he int he Art Ga llery , and anot her one int he eveningby t he Lord Provos t int he Freemasons’ Hall.Perhaps Friday was t he bes t day of all. A l though the char
a-bane is a much-abused veh ic le of transpor t , and i s cer tainly ve ryoften a blo t ont he landscape , i t nevert he less is a very usefu l oneand pleasant enough to t rave l in,
as t hose who took part in thetour on t hat day w il l agree . The w ay lay al l t hrough S co t t ’scountry— t ha t marve llous par t of t he border count ry wheret he Tweed w inds inand ou t and t here are ever fresh magnificent v iews to take away one ’s breath
,unt i l one comes to t he
bes t of al l— the p lace where S co t t , so i t i s said , used to checkh i s horse and gaze
, and gaze , a t t he g lorious sigh t , w i t h direct lybe low the wooded Tweed curv ing l ike a horseshoe . DryburghAbbey , where S co t t l ies buried , and Me lrose were also among t hep laces v is i ted , the party afterwards re turning by way of Peebles .In t he evening was the banque t wh ich was held in t he
Freemasons’ H al l . Included in t h i s was the s trange ceremonyof haggis and ni ps . After dinner t here were speeches by t hepresident , Lady Fle tcher , and others
, and t he conference cameto anend w i t h Au ld Lang Syne .
THE ARCH I TECTURAL REV IEW .
The Upkeep of Famous Houses.
At the annual general meet ing of the Nat iona l Art Collect ionsFund held recent ly , a suggest ionwas made by V iscount Lascellesthat a soc iety should be formed to help maintain some of theh is tori c houses of the country , wh ich were Open to the publ ic ,and to rel ieve their owners from some. of t he expenses of upkeep .Inthe course of h i s speech V i scount Lascel les pointed ou t t ha ta large number of our great houses were now no longer inhab i tedby t hei r owners,
who w ere at a considerable expense inpaying ratesand cost of upkeep , and , i f they allowed t he publ ic to see them ,
to guard and maintain them . He could not he lp feel ing , he said ,t hat the t ime was rapid ly approach ing when t he owners , however ri ch ,
would no longer be. prepared to bear such a burdenforthe benefit of publ ic educat ion. I f t heir socie ty did not feelcapable of undertak ing i t , he fel t that some socie ty should beformed to interest i tsel f ina method of maintaining such housesas S yonHouse and Hardw icke Hall , so t hat t hey might be keptinsuch a condi t ion tha t t he publ ic could see them . I t was veryhard t hat t he owners should be charged rates and large addit ionalsums for allowing t he publ ic to v iew them . The owners m ight ,as an al ternat ive , realize t housands of pounds by allow ing richmenfrom America to purchase them . As a society they might beable to buythe pick of a col lect ionand show i t ina museum , bu tthat was the most t hey could hope to do .The furniture and pictures in the magnificent long gallery o f
SyonHouse might not be byt hemselves the greates t works of ar t(said h is lordsh ip) , bu t , taking t he long gallery as a comple tewhole
,i t was unique inEngland , and ex is ted nowhere else. The
moment i t was brokenup t he indiv idual obj ects in i t became ofminor impo rtance. As a comple te whole i ts value to Englandwas unique . I t was anepi tome of t he style of Robert Adam , andcould never be replaced if brokenup . He fel t t hat pressure mus tbe brought upon the Government or upon the public to takesufficient interest inthese places to secure t hat they be maintainedas t hey were
,so that t he publ ic could v iew them .
He asked in conclusionwhet her t he socie ty could not bringpressure on the Chancellor of the Exchequer to recognize t h i s
THE DEVON FIRE
The Devon Fire gives a selection of 60different designs and over 100 colourschem es
No one knows better than the
experienced architect that an
unsu itable or inartist ic fireplacemaymar the whole beautyof
his u ork.You can guard against this ifyou specify Devon Fires on
your plans, for amongst theirw ide range of art ist ic designsand art colourings there is sureto be one which exactlyfulfils
CANDY
your most exact ing requirements.The Devon wins favoureverywherebecause ofitsbeauty,cleanl iness
,sound construct ion,
moderate price, and pronouncedeconomyinfuel .W ri te for our I llustrated Catalogue of designs and prices
and the Result of the Offi cialGovernment Test.
CO. LTD.
87 Newm an S treet , Oxford S treet , London, W .1W orks : Heath fleld S tati on, New ton A bbot.Devon.
fac t and to agree that , i f anowner guaranteed t hat certaininteres ting port ions of h is house should be shown to the publ ic, furt herrel ief from taxat ionmigh t accrue to h im .
The Rockefel ler Foundation Gift toLondon University.
Through the magnificent gift of the. Rockefel ler Foundat ionofNew York , U S A ,
wh ich was ins t i tu ted by M r . JohnD. Rockefel ler for t he promot ionof t he wel l ~ being of mank ind t hroughoutthe world
, Universi ty Col lege Hospi tal i s bu i lding anew Obs te tricHospi tal and a new Nurses’ Home , wh ile Universi ty College hasj us t opened a new Anatomy Bu ilding . The j oint ceremony oflaying t he foundat ion-s tones of the former bui ldings and t he opening of the lat ter , was recent ly performed by t heir Maj est ies theK ing and Queen.
On t he arr ival of t hei r Maj es t ies a number of persons werepresented , including the archi tects and the contractor , Mr.W alter Lawrence . A formal welcome was t henextended to theroyal v i si tors
,after wh ich _
.the foundat ion-s tones of the newobs te tric bu ilding and t he new nurses’ home were laid bv t heK ing and Queenrespect ively.
After H isMaj esty had declared thenew ana tomy bu ilding open,
a procession was formed and proceeded to t he medical schooll ibrary
,where thei r Maj est ies signed t he v i s i tors’ book , after
wards re turning to t he ana tomy building . Here more presentat ions were made. to t hem
,including t hat of t he arch i tect and t he
cont ractor. After mak ing a tour of t he principal part s of thebu ilding under the gu idance of the chairman of t he BuildingCommi t tee '
Mr. Andrew T . Taylor,
the irMaj est ies took thei r departure .The arch i tec t of t he new nurses’ home was M r . Pau l \Vaterhouse , of the new obste t ric bu i lding was M r. GeorgeHornblower , and of t he new anatomy bui lding wasProfessor F. M . S impson
,The contractors w ere
W al ter Lawrence and Son. and S ir Tamcs Carmichae l .
THE ARCH I TECTURAL REV IEW
BY APPOINTMENT
RCH IT ECTURA L ECORAT ION S
BANKING HALL. FUR .“ANCHE S TER AND L IVERPOUL FRANCIS JONES ,DISTRICY BANKING C0 LTD S OU IHPORT.
F I BROUS PLASTER CE ILINGS , DOME ,AND FRENCH srue W ALLS
,
PILASTERS , AND ENTABLA'
I‘
URE
G . JACKSON SONS , Ltd. assesses LONDON , W 1
THE ARCH ITECTU RAL REVIEW .
Ch inese Furniture.
The ictoria and Albert Museum has acquired a part icularlyfine group OfCh inese lacquered furni ture , wh ich has now beenplaced onexh ibit ioninRoom 41 . The principal piece is a Th roneor Chair OfS tate , 4ft . 6 in. by 4 ft . S in. in area , and 4 ft . 8 in.
h igh ,richly lacquered in aubergine and decorated wi t h ba ts ,
various flowers and floral scrolls and convent ional dragons inverm i l ion. deep red , blue-grey , wh i te , e tc . The back and armsare of elaborate Openwork , w i t h finely carved and lacqueredflowe rs and fol iage w it h in squared st rap-work ; and the foo tstool is Ofblack lacquer w i th floraland o ther ornaments incolour.At the sam e t ime the museum acquired a small table and twochairs in except ional ly good vermi l ion lacquer , also decoratedw ith bats and floral scrolls inOl ive greenand o ther colours, l inedwi th gold . All these Obj ects came from the palace Of NanHaidz e,
near Peking . The t hrone is at tributed to the period OfK
'ang Hsi and the o therfurni ture to that OfK’i enLung and they
W ere almos t certainly , made in the Imperial Lacquer Fac toryes tabl ished by the first-named Emperor.The gilt {orcliéres in the style of Robert Adam ,
recent ly purchased at the Brownlow sale , are also now exh ib i ted inRoom 5 8of the museum .
Discovery of the Bel l of St . Mochaoi .
During t he course of some excavat ion,work a t t he anc ient ru ins
of Nendrum Abbey inU lster , some workme ,nwh ile clearing débri sfrom the foundat ions Of walls ; found h idden in an angle t heancient ecclesiast ica l hell of Nendrum . The be ll i s made ofriveted wrought-i ron, original ly covered w i t h a coat ing Ofbronze ,and , except for a crack ate the base and a port ionOf t he hand letorn Off
, i s perfec t , though much corroded . There is l i t tleroom for doubt , s tates the U lster Associat ion,
that the be llis actual ly t hat of S t . Mochaoi
,given h im on h i s ordinat ion
byS t . Pat rick .
Palest ine Pottery .A free exh ib i t ionof qu i te except ional interes t was opened las tmont h a t the Imperial Inst i tu te . The exh ib i ts were decorat ive.potteryware now being produced inJerusalem . The clay i tse l f i sre inforced w i t h fl int from the Judean H ills , and t he vases , ofbeau t ifu l shape
,t he bowls
,plates , and ot her art ic les are hand
turned on t he wheel after t he primi t ive manner and upon t het radi t ional si te Oft he house OfPont ius Pi late . Int he decorat iont here is mos t dis t inc t ev idence of S aracenic origin, and tex ts fromt he Koran are occasional ly int roduced . Bu t i t i s t he lovelycolouring that especia lly commends i tsel f , for t he whole gamu t ofblue
,from lapis laz u l i to peacock , from turquoise to forge t-me
not , as we l l as o t her t ints , i s employed w i t h rare d is t inct ion. Thecol lect ionhas at t racted t he no t ice of the leading shops , and twoat leas t have made temp t ing Offers to secure t he Engl i sh monopoly ,bu t t h is has beenfi rm ly decl ined , as t he Pro-Jerusalem S ocie ty ,which has organized t he disp lay , desires that t he produc t s , wh ichare moderately priced
,shou ld Obtain a w ide general demand
in t h i s country . A smal l bu t remarkable col lect ion of glassin a lovely clear t int of blue
,from Hebron, has been caugh t
up by col lec tors,as very l i t t le of i t i s made , and only by
old men who are mos t rigid ly guarding i t s secret s . Mo therOf—pearl from Be t hlehem
,sheepsk ins
,and embroideries are
also included .The rev ival Of t he ancient craft of po t tery is due primarily to
Lord Al lenby,who was anx ious to repair t he ( ti ter walls Of t he
mosque of Omar (Haram ElSherif) , wh ich was covered w i th t i lesin t he fi fteent h and s ixteent h centuries , bu t from wh ich ,
as aresu l t of exposure
,many of t he t i les have fal len. From polit ical
and Official reasons he w i shed to pro tect t he venerable bu ilding .There were k i lns near t he mosque , bu t t he craftsmen,
descendant sof t he makers of t he t i les
,had long lef t t he ne ighbourhood , andi t was diffi cu l t to find o t hers to replace t hem . W i t h the assistance
,
however,of t he late S ir Mark Sykes , M r . Richmond (Pol i t ica l
Officer of t he Palest ine Government ) , and Mr. Ronald S torrs(Governor of Jerusalem) , menwere traced who had knowledge.
(Continued onp. x liv.)
TH E ARCH I TECTURAL REV IEW .
THE ARCH I TECTURAL REVIEW .
oft he old crafts , and the indus t ry was restarted inV ia Dolorosa ,in j er usalem (the reput ed si te o f t he house of Pont ius Pi late) ,wh ich i s adj acent to t he mosque .Th is po t tery is very unusual, and i s made from a secre t formu lahanded downby word Ofmou t h inMoslem fami l ies since Bibl ica lt imes .
The Eiffel Tow er.Ever s ince i t was bui l t in 1889 ,
t he E i ffel Tower has been asource Of anx iety to various Paris ians who consider i t a publ icdanger. Infact , w heni t was first buil t many people he ld t ha t i tw ould be blowndown wi th t he firs t W indstorm .
I t has,however
,long ou t l ived i ts own designer’s es t imate ,
w ho predicted t hat i t would stand for twenty years and according to some engineers w ho have j ust examined i t , i t i s declaredsafe for anot her twenty-t hree years ye t .Apparent ly i t is a paying concern w it h i t s w i reless s ta t ion,
res taurant , and the. count less v isi tors who pay to c l imb up to thetop
, and t hough , perhaps , i t i s not exac t ly a work of beau ty , Parisw i ll lose a fea ture whent he E iffe l Tower disappears.
Structural Engineers’
Visit to G loucester.
Under the auspices Of i t s \VesternCount ies Branch ,who were
responsible for t he arrangements , a large number of members oft he Inst i tu t ion of S t ructural Engineers pai d a v is i t lately toGlouces ter . A civic recept ionw as accorded to t he party by t heMayor OfGloucester inthe afternoon
, and afterwards v is i ts werepaid to Glouces ter Cathedral, an exh ib i t ion Of ar t ificial s tone
,
and t he exh ib it ion of Gloucester Industries . A mee t ing in theevening was addressed by the president Of the Ins t i tu t ion
,Mr.
Etchel ls t he president ~ elect,Major Pe trie
, and the chairmanOf
t he W esternCount ies Branch ,Mr. Pimm and reference Was made
to the recent remarkable growth and development Of the Institut ion.
An Ancient Roof at Shere.
During renovat ions at the W h i te Horse Inn, Shere , near Gui ldford
, anOld roof of wat t le and daub was discovered . The ceil inga t the top of t he s tairs had beenpart ly removed when the workmen found t he roof sloping up from abou t the levelof t he cei l ingabou t 1 2 ft . below the main roof . I t i s remarkably preserved ,and ant iquaries cons ider t hat t he roof mus t have been bui l t inthe fourteenth century or earl ier .
W arbrook,Hampsh ire.
I t should be stated that t he pho tographs i llust ra t ing thear t icle byM. JourdainonW'
arbrook , Hampsh i re , wh ich appearedin t he April issue of THE ARCH ITECTURAL REV IEW , were special lytaken by Basil Ionides.
A Dinner to Professor Beresford Pite.
I t is w i t h great regret t hat t he Editor learns of t he re t i rementof Professor Beresford Pi te from t he Professorsh ip of Arch i tecturewh ich he has held at the RoyalCollege of Art a t S ou t h Kens ingtonfor twenty-three years . Th is is fel t to be a fi t t ing occasion forsome acknowledgment of h i s serv ices int he cause of art educat ion.
I t is proposed to ho ld a dinner inProfessor Pi te ’s honour atPagani 's Rest aurant , Great P ort land S tree t , W .,
on Fridayevening , Ju ly 20,
1923 ,a t p m . for 8 o ’c lock .
Mr. L. M . Aust in,Royal Col lege of Art , S ou t h Kensington,
ac t ing as Hon. S ecre tary , and w i l l send t icket s , 75 . 6d. each ,
to t hose who w i sh to be present .
P late I . August 19 23 .
THE BELFRY STAGE , ST. P IERRE ,CAEN.
From a Pen—and-Ink Draw ing by Professor Beresford Pite.
18 TH E ARCH I TECTURAL REVIEW .
j ETAW ANARAMA DRGABA.
of all, t h ere has been a landsl ide wh ich has ruined the contour . Ruanweli is one of the E igh t Sacred Places of theBuddhist communi ty a t Anuradhapura , and as such i s no ti n the charge of the archaeologi cal au thori t ies . I t i s also averi table rel ic—recep tacle , as the word dagaba implies , andthere w as a t iny chamber in i ts very hear t
,reached by a
secre t passage , to be used only by monks . I t was se t up overthe most sacred collec t ion of rel ics ever laid in a dagabadeposi t , by Dutugemunu , the hero-king ,
who had vanquished the Tamil usurper of h is fa ther ’s throne , w indingup by a single comba t w i th h im on elephan ts. The o th erl arge dagabas seem to have been merely commemorat ionmonumen ts w i th no in teri or chamber. All these dagabas ,large and smal l , have some features in common ,
no tably theprocessional platforms , or passages , wh ich surround thei rbase . There are th ree a tJetawanarama and two a t Ruanw elimade of l imes tone b locks of large size . One of these i sdescri bed in the ch ron icle as large enough for sixelephan ts to walk abreas t . The ou ter re tain ing-wal l wassupported by elephan ts ' heads facing ou twards
,moulded in
brick and covered by chunam , w i th tusks of real ivory .
The tusks and chunam have long since gone,and only a few
of the cores , more or less shapeless , remain . The lower par tof the imposing s teeple a t Jetawanarama shows three boldproj ec t ing mouldings , under wh ich are arches and pi lastersal ternately . Th i s s tands on a somewha t elaborate teedecorated w i th the design of a Buddh is t rai l ing. The
whole of th is was ori ginal ly plas tered,and now i s much worn
and weathered .
W hen the ci ty was lef t to desola t i on these monumen tsw ere overgrow n by scrub-bush , and i t i s impossib l e to removei t now w i thou t pul l ing down the whole of the bri ckwork .
Bu t even as they stand these dagabas are a s trik ing sigh t .The vas t pla tforms of Jetaw anarama and Abhayagiri l i edesolate , and the j oin ts of the sl abs in thei r pl at forms arepenetrated by forceful—grow ing weeds
,the guardhouses are
fallen , bu t much remains . The pri ncipal procession pla tforma t Jetawanarama i s 100 f t . w ide , surrounded by a s tone wal lw i th a massive coping in wh ich the b locks are made to fi teach other wi th great precision though no t rec tangled
. 3 . A PLAN OF ANURADHAPURA .
Some of these stones are 14 f t . in length , and 4 f t . w ide .One special de tai l a t Jetawanarama i s found in the s tonevases adorned wi th a lo tus flower
,wh ich su rmoun t ' the
pedes tals a t the en trance to the p rocession path . These ,w i th the dwarf figures on the guard-stones
,can be seen in
the pho tograph,wh ich i s taken from the sou th . There are
also two guardhouses ou ts ide th is,one wes t
,the o ther sou th .
There were originally chapels or screens facing th e fourcardinal poin ts . These are bes t preserved in one of the mostruined of al l the dagabas , the one tha t i s probab ly the oldest ,Mirisw etiya. They consis t of a proj ec t ing face flanked bVtwo recessed w ings , the whole decorat ed by carved s tringcourses of elephan ts’ heads and dwarf figures . They proj ec ti n to the pasada
,or processi onal path
,and are a t tached to
the base of the grea t drum by brickwork .
Thuparama,one of the smal ler dagabas
,i s of grea t sanc t i ty ,
being bui l t to ensh rine the righ t col l ar-bone of the Buddha .Th i s was original ly of the drum-shape , bu t having beenrestored in 1842 ,
and raised , now gleams wh i te in i ts chunamcovering as a wel l-shaped bel l wi th a crys tal tee . I ts ch iefa t trac t i on l ies in the gracefu l pil lars wh ich s tand in fourrows on i ts pl a tform
,a fea ture wh ich i s also found at Lan
karama , of much the same dimensions (Fig .
A t Thuparama these pi l lars are in four rows , th e fi rs tclose to the base of th e bel l , the nex t 2 f t . away ,
the nex tw i th a space of 5 f t . be tween , and the las t close to the edgeof the pla tform . The h eight of the th ree fi rst rows of pi l l ars
BU RIED CIT IE S.
4 A MOONSTONE .
i s 2 2 ft . 10 in. , 2 1 ft . 3 ih . , and 19 ft . 9 in . respec t i ve ly.
Abou t one ~ th i rd of thei r leng th is '4 kind of base,w i th a
sq uare of 13 in . (probably 5 cub i t 13-5 in .) in sec t ion .
H igher up the angles are cu t off these to make an i rregu laroc tagonal column , wh ich supports a capi tal 2 ft .3 i n . in heigh t
,
set on to the monol i th shaf t . They are fash ioned to swel lgradual ly ou twards soas to pro jec t beyond the shaft , and aredecora ted w i th figu res of dwarfs , and some have fringesembracing the shaft , 14 in . deep . They terminate in a pador sea t ing wh ich i s taken to ind ica te they w ere no t in tendedto support a roof. The ou ter row of pi l lars is 14 f t . inheight . The original number of pillars was 1 76 ,
and oft hese are m i ss ing . They are in quadran ts to allowaccess at the card inal poin ts.
6 . TH E PILLARS OI: TH IJPARAMA .
5 .
"
Al BALUSTRADE .
3 9
I t has been con j ec tured tha t these columns migh t havein tended to suppor t the great pain t ings of scenes in the
j atakas, or l ives of the Buddha , wh ich were carried abou tthe s treet s on fest i val days , or have been used for the loopingof festoons . To th i s day the pi lgrims hang thei r smal l flagson them .
The plat forms of the ruined viharas sca t tered abou t thearea of the ru ined ci ty,
display pil lars , four-sided as a rule ,wh ich are no t so beau t i fu lly carved . Bu t the en trances tothese shrines wel l deserve s tudy . They consis t of steps w it hdecora ted risers
,be tween balus trades of s tone . The steps
are faced by a. semici rcular slab of grani te , known as amoonstone (Fig . These moonstones are pecul iar toCeylon
,though some th ing simi lar in shape , wi thou t the
d ist inc t ive ornamen tat i on,i s found in sou thern I ndia .
They are. no t all of the same size , varyi ng from two cub i t s(4 ft . 6 i n .) across to gft . 7 in . They are divided in toconcen tric rings , some of them carved w i th conven t i onalscrol l pa t tern
,of lo tus flower and leaf . The second ou ter
most band consists of a st range procession of an imalselephan t
,horse , l i on ,
and bul lock , fol low ing each o therround
,as they mus t have done in some cases for years .
The carving is as clear and sharp as the day they were done .Fortunately
,the thousands of worsh ippers who passed over
them did no t wear heavy-soled boo ts . The immense in terestof these slabs l ies in thei r vigorous and individual execu t i on .
The hands of art is ts deal t w i th them . From slab to slab theyvary
,the differen t species of an imals being bet ter or worse.
But i n al l cases the elephan ts stand ou t pre-eminen t ,wh ich i s natural i n a land where elephan ts are indigenous .The l ions are of that grotesque species wh ich appears onlyon Sinhalese monumen ts
,and has some aflinitv w i th the
herald ic l ion . Tw o rows below the animals comes a row ofhansa
,or sacred geese
,usual ly w i th tw igs of l otus flower in
thei r beaks . These also show grea t indiv idual tas te ; theart is t has eviden t ly no t always appor t ioned ou t h i s spacebeforehand
,and some t imes the geese grow l arger and larger
un t i l he has perceived that he w i l l not have room , and af tervain ly t rying reduc t i ons he has fi t ted in a foresliortenedgoose a t the end . I t has been con j ec tured tha t the fouranimals had some connec t ion w i th the cardinal poin ts , notyet explained . Some w ay ou t from Anuradhapura wasrecen t ly unear thed a shrine supposed to date from the n in th
+0TH E ARCH ITECTU RAL. REV IEW .
7 . A GUARDSTONE AT THE “ ELEPHANT STABLE S .
cen tury. Here quain t bronze figures of men and animalswere dug up . A figure and an animal were found a t eachcardinal po in t , t he animal s being lion
,nor th ; horse , sou th ;
elephan t,east ; the bul locks did no t appear
,bu t may easi ly
have been lost .On ly second to these in beau ty of execu t i on and l iving
in terest are the balust rades of these temple pla tform s (Fig.
The favouri te form being a fabulous monster,half-crocodi le
,
half-dragon , whose long tongue curls in to a cush ion on th eground . The finenessof the carving on the scales and claw sof th ese beast s must be seen to be bel ieved . The balus tradeencloses a panel on wh i ch the Sinhalese l ion i s somet imesshow n in h i s usual a t t i tude of fri endly surprise .At some temple en t rances and a t the en t rances to the
dagabas are guardstones,w i th devices varied w i th in a
narrow range . Tha t in the i l lus trat i on above i s oneof the mos t graceful and finished of the guard ian figures .Th is stone stands 5 ft . h igh , and is capped by a carvedtorana , or canopy , w i th in wh ich are the hoods of a manyheaded cobra . The cen tral figure i s designed and finishedw i th grea t del icacy and ski l l , and wears a profusion of ornamen t . A smal l dwarf i s in at tendance . Some t imes thesedw arfs themselves form the main motifof such a s tone , andsomet imes i t i s merely a many-hooded cobra wi th a j ewel ledcol l ar , such as the one depic ted from the pla tfo rmof Abhayagi ri (Fig .
The vihara a t w h ich the fig ure guardian was found is ofunusual size and magnificence , and has been iden t ified w i ththa t original ly bui l t abou t A .D. 2 29
— 247 , and rebui l t byMah inda I I , A.D. 838
—858 , a t a cos t of pieces ofgold . The enormous pi llars , 2 ft . square and 16 ft . in heigh t ,led to i ts being cal led the E lephan t S tables
,before i ts
t rue nature as a vihara was ascertained.
Th is vih ara , l i ke many of the larger ones,consis ted of five
buildings arranged on wha t has been cal led the "five-of
cards pat tern . There was a cen tral shrine,or image house
, 8 . THE POOL OF THE F IVE —HOODED COBRA.
and four smal ler ones as chapels ; these are indicated bys t i l l exi st ing platforms . The inner wall of the monasteryenclosed them
,and ou tside i t were the piriven, or monks
’
cel ls . Somet imes there is also a refec tory,and always a tank
for water . The s tones used for these pl at forms are of tenimmense
,especial ly the coping-stones , some reach ing 3 1 f t .
i n length .The magnificen t l y cu t grani te b locks , of grea t l ength ,wh ich appear in some of the v ihara pla tforms are seen alsoin the Kuttam pokuna,
or tw in ba th ing tanks,wh ich are
found no t far from Jetaw anarama. These l ie end to end ,
w i th un iform bread th of 5 1 f t . The l arger i s 1 3 2 ft. inl ength , and the smal ler 91 f t . The s tones are laid in regu larcourses
,and a t each end of the tanks are fl igh ts of steps w i th
balustrades of a varying design,more or less simple . I n
one such bath ing-tank,nearer to the cen t re of the ci ty
,there
is a rock-hewn open-fron ted dressing-room suppor ted bycolumns cu t from the li ving rock .
Bath ing form ed a grea t par t of the l i fe of these people inthe old days as i t does to—day , and rock-hewn ba ths andcis terns for water s torage are frequen t . I n v iew of theseasonal rain fal l and in tervening dryness
,storage of water
was essen t ial for irrigat i on ,and one of the greates t w orks of
meri t the k ings could ach ieve was the forma t i on of enormoustanks or lakes
,many acres in ex ten t
,w i th bunds and slu ices .
More in terest ing,perhaps
,are the smaller rock—cu t bath ing
places,decora ted according to the maker’s quain t fancy .
One such i s the Lion Ba th on the h i ll of M ih in tale , risingeigh t mi les eas t from Anuradhapura
,where the I ndian
Apost le,Mah inda
,i s said to have al igh ted when he brough t
Buddh ism to the people . Half-way up is a square ba th ,
BUR IED CITIES.
edged by plai n mouldi ngs and a beau t i fu l frieze inpanels ,some show ing dancing girls , o thers dwarfs fight i ng andw rest l ing cu t from the rock . A l ion 7 f t . 4 in. h igh “ in theround supports i t a t one end . H is paws are ou tstre tchedand his face wears a smi l e that a span iel might envy
.
He i s bold and robust . Mr . Bell , so long in charge of theCeylon ArchaeologicalDepartmen t , says of th i s bath Thereis probably no more handsome spec imen of bold art is t icwork of i t s kind in grani te to be found in Ceylon than th isfinely conceived piece of sculp ture . Unfor tuna tely
,i t i s
on the north side of the h i l l and heavily shaded by trees,so
i t i s no t easy to pho tograph .Onthe heigh ts of the hill above is a rock pool some 1 30 f t .
in length and of unknow n dep th,where a gigan t ic five
hooded cobra , 7 ft .high and oft . across , flat tens h imself agai nstthe scarped face of the overhanging cl i ff (Fig. H is bodyis sai d to con t inue beneath the wa ter . Aggabodhi Ibuilt a nagasondi , wh ich i s probably th i s one , as no otherhas been found . So for nearly th ir teen cen turies th i s grea tbeas t has reared i t self over the black dep ths to face the sunset in the wes tern sky seen across m iles of j ungle—coveredcoun t ry .
Polonnaruwa , the la ter capi tal , occupied tha t proudposi t ion from the middle of the ni n th cen tury un t il the sixteenth. The bui ld ings are most ly of brick
,and among them
are some so curious thev wel l meri t a t ten t i on ,bu t there i s
no space for descrip t ion .
9 . A G IGANT IC ROCK-CUT FIGURE .
10. THE LOTUS BATH .
4i
The king whose name stands ou t in connec t ion w i thPulatthi or Pulast ipura (Polonnaruwa) . as i t was ancien t lycall ed , i s Parakrama Bahu or Parakrama I . He reignedth i rty-three years (A .D . 1 15 3 against Dutugemunu
’
s
twen ty-four (101—77 B .C.) l i ke h im he gained h i s ri ghts on lyafter b i t t er fight ing. Parakrama was half a Tamil
,th rough
h i s mo ther. Onthe ou tsk irts of h is ci ty ,where the ru ins of
h i s palace st i l l stand , i s an erec t and gigan t i c rock—cu t figure ,wh ich for long was supposed to be a s ta tue of the king h imself(Fig Tha t idea is disproved , ch iefly because the mandepic ted holds a palm leaf (Ola) book in h is hand ,
and istherefore more li kely tohave been a l earned and holy manthan a warrior-king . He i s also look ing across toward theruins of a l ibrary to sign ify someth ing of the kind . Bu t thework is cer tain ly con temporaneous w i th Parakrama,
andgives evidence th a t the sk ill i n s tonework had no t died ou tin h is day . There can be no doubt whatever that th is figurei s a port rai t . I t s tands 1 1 ft . 6 in . in heigh t
,and the sculp tor
has cleverly con trived to cu t the cap from a smallupstandingboss of the rock
,wh ich all owed a few inches more to be added
to the height .One of Parakrama
’
s works , recen t ly discovered ,fal ls in to
the ca tegory of those j ust commen ted on . Th i s is the Lo tusBa th
,made by h im for the use of monks (Fig . I t was only
discovered w i th in recen t years by the acciden tal stumb l e of afoo t on a carven stone in the j ungle , bu t there can be nodoubt i t i s the one thus referred to in the ch ron ic l e . I ti s of grani te , and measures 24 ft . 9 in . across the top
,w i th
five concen t ric steps of curved pe tals in stone , sunk in succession
,one w i th in the o ther. Each of these has eigh t curving
stones , bu t these diminish in si ze , un t i l the heart , the ba thi tsel f
,i s reached w i th a diame ter of 5 ft . 4 in . A more beau
t i ful idea was rarely conceived , and i t i s carri ed ou t wi th al ltha t fineness of l ine and j us t sense of proport ion wh ich dist inguished the work of these men . Therein l i es the charmof all these ruins . There is here none of the overloadedornamen t or exuberance of decora t ion found in some of theI ndian temples . The cleanness and t ru th of the lines is no tlost benea th mean ingless de tai l . G . E . M ITTON.
Oare House , Marlborough .
The Home of Geoffrey Fry, Esq.,C .B.
A ltered and Restored byC lough W i l l iams—E l l is.
T i s perhaps from round abou t Oare and Huish tha t theW i l tsh i re Downs are seen in thei r mos t becominggroups as they swel l maj est ical ly up from the woodedPewsey levels to the h igh bald crow ns of Knap and
M i l k Hi l l s and Martensell. On the best van tage-poin t forth is lovely panorama a ret i red London merchan t bui l th imself a smal l coun try house in th e discree t bu t s ta telyfash i on of h i s day —the mid seven teen hundreds . I t i stha t house
,w i th the sympa thet ic al tera t ions and add i
t ions of M r . Clough W i l l i ams-E l l i s , tha t we i l lus t ratebelow .
Very happy in i ts origi nal devising as wel l as in i t s si tuat ion —the vi l lage of Oare tha t l ies a t the avenue ga tes isi tsel f charm ing and l i t t le spoi l t— the h ouse has also beenfortunate in i ts past owners in tha t th ey le t wel l alon e un t i li t fel l in to the appreciat ive hands of M r’. Geoffrey Fry wh o
,
in c lose coll abora t ion w i th h i s arch i tec t , gave to th e ra thercramped and inconven ien t l i t t l e mansi on tha t ai r of spacious
comfor t tha t dis t inguishes i t to-day . The transforma t i onwas ach i eved byal tera t i ons and addi t i on s w h ich
,though
small in ac tual size , add immensely to the grace and digni tyof th e ex terior wh i l s t g iving th e balance and increasedcommodi ty needed w i th i n .
The old house was remarkab l e in being en t i rely innocen tof even the mos t rudimen tary plumb ing
,and besides pro
viding drainage works on a large scale (th ere are now fiveba th s as wel l as a l arge sw imming—ba th
,and lava tory basins
in every bedroom ) , th e arch i tec t h ad to provide for adeep-bore wel l-water supply
,a wa ter-softening plan t
,a
comple te cen t ral-h eat ing system,and elec tr i c l igh t .
Of the al tera t i ons and th e presen t aspec t of th e h ouse th epho tograph s tel l bet ter th an words .At some o ther t ime we shal l h ope to show ph otograph s ofth e garden temple
,belvederes and l i ly pond
,wh ich form par t
of a careful ly art icula ted garden sch eme tha t is beinggradual ly developed as a fi t se t t ing for th e h ouse .
A V IEW OF THE HOU S E,S HOW ING THE L IBRARY W ING .
Photograph by F . R. Yerbury, The Archi tectural Review .
OARE HOU SE, M ARLBOROUGH .
AT THE HEAD OF THE AVENUE .4
FIQST FLOOQ ' PLAN
GROUND FLOOR PLAN
GROUND AND F IRST FLOOR PLANS OF OARE HOUS E .
44TH E ARCH ITECTURAL REV IEW .
TH E ARCH ITECTU RAL REV IEW .
THE HEAD OF THE STA IRS .
THE D INING-ROOM .
A BEDROOM .
OARE HOUSE , MARLBOROUGH .
P13 “August 19 23 .A BED.
Designed byClough “'
illiams-E llis.This bed belongs to the bedroom i llustrated on the opposi te page. All the interiors
illustrated been"cu-Iv decorated bv the archi tect.
OA RE HOU SE,M ARLBOROUGH .
THE L IBRARY. FROM THE SALOON TO THE L IBRARY.
The Library was the or ig inal Gardiner’s Bothy .
THE SALOON.
The King Edw a rd M emoria l,Ho lyrood .
Designed by G . W ash ington Browne.
HE i nst ruc t i on gi ven to the arch i tec ts who werei nv i ted to submi t designs for the Holyroodscheme w as tha t i t was to be connec ted w i th thePalace of Holyrood in such a manner as migh t
seem to each compet i tor the most appropria te .Mr . G . Brow ne
,w hose design
selec ted,has sough t to fol low th i s i ns t ruc t ion by the erec t i on
of two h emi-cycles of s tone arcading , one at the nor th , theother a t the sou th end of the Palace forecour t . The principalen t rance to the forecour t was by a group of th ree ga tes inthe cen t re of the nor thern hemi-cycle , and the s ta tue of theK ing w as placed under an arch i tec turally-treated
,s tone
canopy in the cen t re of the space enc losed by th e sou thernhemi-cycle .H is proposal was ul t ima tely modified ,
how ever , and thecomple t ion of the enclosure of the forecour t has been accomplished by the erec t ion of a group of three grea t ga tes ofw rough t i ron be tw een massi ve s tone piers
,surmoun ted. by
the herald ic supporters of the Royal Arms a t the north andsou th en trances to the forecour t
,and by a group of th ree
smal ler ga tes a t the Canongate en trance . To the nor thof the Canongate en t rance , a rai sed podium approached
THE PLAN OF THE SCHEME .
byfive broad s teps and screened by a semici rcul ar s tonewal l forms the se t t ing for the bronze s ta tue of K i ngEdward .
The podium upon wh ich the s ta tue is placed is backed bya segmen tal s tone wal l
,t rea ted in harmony w i th th e grea t
s tone piers . The pedes tal bears the fol low i ng inscrip t i on i nbronze l e t ters : “ I n memory of Edw ard
,K ing of Grea t
Bri tain and Emperor of I ndi a I gOI— I QI O
— h i s Sco t t ishsubj ec ts h ave erec ted th i s memorial in gra tefu l and loyalremembrance .T he s ta tue is the work of M r. H . S . Gamley, R.S .A. H is
Maj es ty is represen ted wearing the robes of the Kn igh t of theTh i s t le . The robes of th i s Order give an oppor tun i ty offlow i ng l ine and pic turesque de tai l , and also s tri ke a distinct i ve Sco t t i sh no te . The s tatue is 9 f t . i n heigh t , and is cas tinthe fines t bronze .The whole work has been designed by the arch i tec t
,Mr .
\Vash i ngton Browne , i n the s tyle of the period inwh ich the grea ter par t of the pal ace is erec ted — the la ter hal fo f theseven teen th cen tury . The wrough t i ron work
,wh ich
forms so prominent a par t of the scheme,was carried ou t by
Mr . J . S tark ie Gardner,of London .
TH E K ING EDW ARD M EMOR IAL,HOLYROOD.
CANONGATE GROUP GATES MEMOR IA I
THE NORTH GATE .
Random Idylls :
HAVE los t the hab i t of daw ns . Fi ve years ago th eymade up a no tabl e par t of l i fe . And of al l the memories ,many grim and ugly enough , of those s trange t imes ,perhaps the mos t ab iding and mos t fragran t , anyhow
to a dwel ler in towns , i s the memory of the open air , and th echarm of i ts sounds , and sigh ts and smel ls , the riches wh i chare to the hand of the poorest . As a con t ras t to pain
,and
terror,and age-long discomfor t
,Na ture’s simple caresses
were doub ly dear . Above the explosion rang the l ark ’s song,
and scarle t poppies sowed themselves along the sha t teredchalk . Dawn perhaps was a sin is ter t ime , for al l th a t i theralded the end of a n igh t of toi l and the hour for cookingbacon in a scooped hole— dawn gl immering on pal l idbayone ts and drawn faces
,neu tral i n the neu tral l igh t ;
dawn in whose low-hung mis ts lurked the poison of gas .Then , as to a k ind of service , were al l the unseen inhab i tan tsga thered toge ther from every hol e and lurking place
,and
mile after mi le men faced one ano ther i n two opposing l in esunseeing and unseen , worsh ippers in the same s t range andsilen t ri tual . Yet even so
,in the t imes when we were livi ng
w i th our heads below the level of the grass,there were com
pensat ions. All abou t us b lew God ’s ai r,a t t imes un
tain ted : on us fel l the rain , and the sunsh in e : the w indsbrushed our faces ; and the s tars were our n igh t ly cei l ing.
And now tha t the sen se of wha t was horribl e d ies,now th a t
we graduall y forge t , tha t sense of having been for a t imevery near to Na ture in all her moods i s a possessi onfor al lt ime . And there were many hours of res t when figh t i ng wason ly a memory of friends ki l led
,when we l ived i t migh t be
among walled gardens in some vi l lage backed by a w ood,
and the war was no th ing anymore bu t a dim pulse of soundand the exei last ing dance
i
of Ve’ry l igh ts on the eas ternhonzon. I t was then the heigh t of b l i ss to ride ofa morn ingin an un troub l ed w orld , sna tch ing in a dewy hedgerow thedog rose or honeysuckle
,and on the upland s tand knee-deep
i n early mis t and see al l the trees afloa t l i ke isl ands in somewooded es tuary of Eas tern tales .To go march ing , too , was no bad fun , i f you had the good
for tune to be moun ted . There was a t ime,in the hea t of
the year , when we would s tar t wi th the earl ies t l igh t , a feeddangling a t the saddle , and the travel l i ng k i tchens drop pingthei r red cinders in the road . Soon the low sun th rows ourlong shadows across the fields , and the smel l of dus t i s in ou rnostr ils . On sw ings the column
,i n fron t the scou ts w i th
bare knees and b icycles,company commanders rid ing thei r
furry round horses , l i ne after l ine of brown young faces ,swea t ing and wh is t l ing , t ranspor t l imbers and “lurking batmen and hay-ne ts swaying be tween the wheels . And by
A l Fresco .
h igh noon the day’s work is done,and under the broad
shade of t rees we forge t for the t ime abou t Dea th w i th h i sflies , who s toppe th on e of th ree ."Very conscious , too , we were , l ike farm ers , of the changing
seasons of the year : of. w in ter when the slow rain woulddest roy our laborious works of pick and spade , and wewal ked l i ke sew ermen i n d rowned gull eys : of Spring , tha tsin i s ter season when
,amid th e fresh-spi l t green of field and
t ree and the chuckli ng of frogs in marshy places , the newyear ’s figh t ing would be s taged once again
,and the shadow
of dea th l ie over al l Nature’s ‘
blossom and t ri umph ; and ofreaped lands in au tumn wh en a hedgeless coun t ryside wasspread before you
,and you cou ld ride a summer’s day over
the tawny fields,i n and ou t among the corn—s tooks , over h i l l
and dale,w i th the sof t powder of the harrowed earth making
a low cloud abou t the horse’s fee t . Then to the mo t ion andj oy of l i fe was added the w ide freedom of a sai l ing sh i p a tsea . To each horizon the ear th was yours for your deligh t ,and
,af ter long confinemen t in narrow ways
,the spi ri t for a
space knew no bounds .Bu t perhaps
,as i s na tural to men whose ac t i v i t ies were so
l argely noc turnal , i t i s n igh ts th a t .one remembers mos t :n igh ts so b l ack w i th a l i t t le vei l of mis t tha t guides fell downwel l-holes
,and man cou ld on ly move a t al l by sound and
touch ; or n igh ts sown w i th s tars so far and so numberlessth a t pain and sudden dea th seemed impert inences agains ttheir immensi ty and de tachmen t ; and par t icu larly and ,
above al l,nigh ts of a grea t moon . One such n igh t w i l l
always l ive i n my memory,a nigh t when a foo tsore and
haggard column was in re t rea t th rough the shaggy w i ldern ess of the Somme ba t t lefield . On every hand were nameshal lowed by pas t sufferings— Flers and E aucour t
,H igh
W ood,and the two Baz ent ins and Con talmaison
,where the
Ch ri s t was found hanging on the cross . Onal l sides wererumours
,and in every hear t doubt and b i t terness . And
over all the land,w i th i ts j ungle of w i re and prai ri e grass
and i ts moving mul t i tudes , hung the moon . The road waswh i te , the rol l ing moorland a t remb l e of si l ver where no eyecou ld dist inguish h i l l from hol l ow
,and i n the gaun t and
sha t tered woods a l i t t le radiance seemed to floa t abou t thet ree roo ts wh i ch nei ther leaves nor branches were left '
to
overshadow . There w as no sound of warfare bu t the trampof march ing men
,and no sigh t save a fire burning fitfullyon
a d is tan t ridge and , on one flank , the rise and fal l of theVery l ight s of an enemy pat rol . And so they came a t las tt o thei r hal t ing-place , and ,
w i th ou tpos ts se t,l ay down
,t ha t
weary mul t i tude,by the roadside , and slep t for a space w i th
thei r faces turned up to the M arch moon l ight . W .
THE ARCH lTECTURAL REV IEW .
THE BACKS OF THE COTTAGES .
’ GROUND FLOOR PLAN'
' FIRST FLOOR PLAN '
' BACK ELEVATION °
E levations and Plans.
A PA IR OF F IVE-ROOMED COTTAGE S ,EAST CLANDON.
Built’ for the R ight Hon. LoraRendel.
CLANDON.
VlE\V FROM ROAD.
h orn? Ca nnon
h ooc PLAN
M n Cmt vanon
E !evat ions and Plans.
PROS PECT COTTAGE S ,EAST CLANDON.
TH E ARCH ITECTU RAL REV IEW
THE BACK. THE FRONT
PAIR OFCOTTAG asATClAN DON SURREY
t’
w of S CA L£ DETA IL S
The W ork ing Draw ings.A PA IR OF S IX-ROOMED COTTAGE S , W EST CLANDON.
CLANDON.
FAR M BI'
I I.DINGS TO CL'
CKOO FARM .
one w h ich i s due in each case to the logical developmen t ofdi fferen t themes . I n the case under considera t i on one feelstha t the arch i tec t has se t h imsel f to find a sa t isfac tory al terna t i ve for the usual c lumsy t rea tmen t of co t tage backsthe back door , the scul lery , the coal-ce l lar . And he hasdiscovered a very happy eleva t i onal expression for thenarrow back en t rance and hole-and-corner back w i ndow .
Prospec t Cot tages (page 5 3 ) have. a pow erfu l ou t l ine .Here the i n teres t seems to have been cen t red upon theques t i on of ligh t . Large w i ndows have been re la ted to asmal l house , and t he arch i tec t has ach ieved a design .
THE V ILLAGE “'
AR MEMOR IA I
CHAPEL COTTAGE S .
5 5
The si x-roomed co t tages on page 54,wh ich l ie a t W es t
Clandon,were bui l t for M r. Spicer , who admired a simi lar
pai r bui l t earl i er by Mr . Goodhar t-Rendel on ano therpor t i on of the estate . I n th i s design he has crea ted a smal lc lassic by a roof t reatmen t wh ich discovers a very pre t tysolu t ion of the prob lem of the ou thouse . One canno t helpfeel ing
,however
,tha t on the fron t eleva t i on of the co t tages
the fenestra t i on has been neglec ted . The w indows seem toosmal l
,and the l ack of charac ter gives the design a t igh tness
wh ich i s hardly pleasan t . I t seems on th i s fron t t o l ackart icula t i on . The doors have disappeared under a porchwh i ch i s surely too th in to suppor t the roof. One has animpression tha t the arch i tec t lost in teres t af ter he hadcrea ted the roof ; bu t w ha t an exquisi te roof I t i s a workof sheer fancy . I ts ou t l ine has been fel t ou t i nch by inch ,and inch by inch i t draws towards a cl imax wh ich arrivesonly to be ignored and repeated . The repe t i t i on (in a minorkey as i t were) of the shape of the main roof in the roof l ineo f the Ou thouse indulges the eye as a perfec t ly turnedphrase the ear ; and the grace of the model led l ine , thesensi t i ve punc tua t ions a t essen t ia l poin ts , give comple teaes the t i c sa t isfac t ion . I n deal ing w i th a more or less insignifi can t co t tage , one does no t w i sh to be gui l ty of hyperbole ,bu t th i s roof i s cer tain ly a smal l j ewel . And i t has ano therd is t inc t i on . I t solves in a prac t ical way the probl em indes ign se t by the existence of an ou tbui lding or scullerv
w i ng. The w ing here wh ich con tains the bac k door i sl in ked to the main bui lding , no t merely in a sa t i sfac torymanner
,bu t in such a way tha t the design ac tual ly profi ts
by,or
,be t ter s t i l l , depends upon i ts ex is tence .
The amusing l i t t le Chapel Co t tages (above) were origi nal lya farmhouse wh i ch had been ‘ turned fi rs t i n to a dissen t ingchapel
,and l a ter in to a couple of co t tages . One of these was
ruinous and was replaced in 191 1 by the righ t-hand cot tage inthe pic ture wh ich i s en t i rely new . All the old material s tha twere usabl e were worked in . The rol l-ridge t i les and ornamen tal hanging t i les were E arly V ic torian , bu t wea theredto a beau t i ful colour
,and were therefore no t discarded .
The farm bui ldings wh ich belong to Cuckoo Farm , i l lustrated opposi te the co t tages , are a pleasan t s tudy in asomewha t I tal i an manner. The lof t opening w i th i t s ou tsideladder is a j ol ly piece of design . Ano ther very charmingpiece of design is the l i t t le vi l lage c ross erec ted in 192 1 byEas t Clandoners to the designs of M r . Goodhar t—Rendel .I t was execu ted by Mr . E smond Burton , the s teps by
TH E ARCH ITECTU RAL REV IEW .
A GENERAL
G ro u ndo
f/‘
oor Pfao .
Plans.
KENNEL COTTAGE S ,EAST CLANDON.
CLANDON. 5 7
KENNE I. COTTAGES :
Mr . Charles Hol t , j unior , and the flowerpots by the Comptonpo t teries . I t i s t ruly Go th ic i n spi ri t . I t is ful l of fancyand a sor t of w i t , and wh i le one has the feel ing tha t i t wasmodel led by hand , bit by bi t , un t i l each passage was perfectly rela t ed to the whole , there i s no eflort or self-consciousness abou t i t . I t i s spon taneous , confiden t , unpre
ten t i ons,and w i th a cer tai n in t ima te appea l wh ich simple
people wou ld l i ke .Another co t tage t rea tmen t i s found in Kennel Co t tages
opposi te . These are si x-roomed co t tages bui l t qui terecen t ly of th i n Hampsh i re facing bricks and hand-madet i les . S t rongly t rad i t i onal , they show Surrey a t i ts best .The ch imney t rea tmen ts have been most careful ly s tud ied ,
and there is a fine bread th of wal l-space and a happygrouping of fea tures . The elm-b oarded sheds , whose planksare laid vert ically ,
appear in several of M r . GoodhartRendel
’
s designs. Ac tual ly t hey give ra ther a fascinat ingno te of con t ras t . W hen wea thered the w o od turns a si lverwh i te— the colour of the si lver in si lver b i rch— and the vert ical planking preven t s any assoc ia t i on w i th the wooden hu t .Very pleasan t i t i s to have , as M r . Goodhar t-Rendel has ,
a village of one’
s own to develop and to look af ter. To anarch i tec t the temp ta t i on mus t be to expe rimen t , bu t he i stoo consc ien t i ous to do th i s. W i th a b igger view he i sgradually improving and add ing to i t , so tha t one day i t w i l lbecome the ideal , as i t is to-daythe typical Engl ish vi l lage .
I t is curi ously hard to say wha t exac t ly are h i s characterist ics as an arch i tec t . Li ke Lu tyens , he shows original i tyin all tha t he does , and w i t -the quick i n tell igence to sna tcha t the opportun i t i es acciden t otters , to gi ve a twi st or asmi le to wha t wou ld o the rw i se b e a barren or obvious
ANOTHER
expression . Th is ab i l i ty is perfec t l y i l lus tra ted in theco t tages w i th the remarkab l e roof of wh ich I have spoken .
Here h e had a problem , the so lu t i on of wh ich has worriedmany co t tage bui lde rs
,bu t he has solved i t i n a prac t i ca l
manner w i th simpl ic i ty and ease by considering the problemimagina t ively ra ther than prac t ical ly . Rare
,indeed
,i s
the imagina t i ve quali ty in E ngl ish arch i tec ture,bu t i t
i s d i splayed here comb ined w i th know ledge and cul ture .I ndeed , h i s a t t i tude to arch i tec ture i s essen t i al ly tha t ofthe cul tured . He regards i t as an exquisi te and h igh lyart icu la te language , the id ioms and pronunciat ion of wh ichare arb i trary . I n h i s eyes grea t arch i tec ture consis ts in theconsummate handl ing of th i s l anguage
,and the grea t
arch i tec t is therefore a man of vas t knowledge and scholarsh ip. All styles and manners are correc t when appliedto thei r proper purpose . Go th ic is the correc t conven t i onfor roman t ic arch i tec ture , j ust as in l i tera ture verse is thecorrec t medium for roman t ic though t . Sane as th i s , thecu l tured view , i s , one canno t help feeling tha t i t con tainsthe seeds of weakness . Cul ture and taste necessari ly implythe h ighes t developmen t of t he cri t ical facul ty in anind ividual or in a race . The c ri t i ca l facu l ty belongs ofcourse to the reflec t ive and i t canno t be repea ted tooof ten tha t creat ion and reflec ti on are di rec t ly opposi tein tellec tual sta tes . At some t ime in the process of crea ting a masterpiece a man mus t employ the cri t ical facul ty ,
i t i s true , bu t h is firs t ac t i v i ty is essen t ial ly tha t of purecrea t i on , and i t i s tha t ac t iv i ty wh ich tends to vanish fromthe h igh ly cul tured in tell ec t because i t i s t rained to reac tcri t ically to every impression or idea. Here l ies thedanger of cul ture to a communi ty . H . m: C.
The Adderbu ry Housing Scheme,Ba
’
nbu ry .
Designed bv T . Law rence Dale.
NTEREST a t taches to th i s schemeas being a departure from the typesoriginally recommended i n t he
I t i s th elas t group of houses built by the Banbury Rural Di st ric t Counci l , and represen ts thei r final view s as to the mos tsui tab le accommodat ion to provide forthe agri cul tural labourer . Tw o generalvari et ies , as i s wel l known , were recommended ia the Tudor W al ters report ,namely
,parlour and non-parlour types .
A fter houses of these types had become occupied i t wasfound tha t nei ther was qui t e su i ted to the hab i ts anddesi res of the class of tenan t , and permission was obtainedf rom the M inistry of Health for the modifica t i on i l lustra ted .
I t was found tha t the parlour type was general ly ra thertoo large
,the parlour being some t imes pu t to no use
,and
seldom to ful l use,and there was a tendency for the scul
leries to become l iving-room ki tchens , wh i le in th e nonparlour types some tenan ts endeavoured to force th e l ivingroom ki tchen i n to the appearance of a parlour and to l ivei n some discomfor t in the scul lery .
I t was found tha t the floor area provided in the nonparlour types was suffi cien t for the needs of the tenan ts ,who are no t usual ly provided w i th much household gear
,
and th i s type of plan was modified . The size o f the scul lerywas increased to such an ex ten t as to render i t su i tab l e foruse as a ki tchen
,and the range ins tal led in th i s room ;
the copper was consigned to the washhouse , ori gi nal ly
ADDERBURY HOUS ING SCHEME .
the wood shed,provis ion being made
for coal under the stairs . The fron troom , though reduced in area , thenmakes a good-si zed parlour
,wh ich
,by
reason of i ts prox imi ty to the k i tchen,
canbe used for meals,and in any case ,
coming be tween the ki tchen and thes tairs , canno t become the desertedtemple of t he household gods
,wh ich
i s the fate of so many co t tage parlours .E xpe ri ence emphasized the necessi ty
for an apple and po tato store,and
prov i s i on was made i n the new plan to mee t thi s requiremen t by the cons truc t ion of a loft above the th i rd bedroom .
A special fi tt ing was designed by the arch i tec t i n th ek i tchen combi n ing the sin k , dresser , and pla te rack i n afai rly presen tabl e piece of furn i ture .The modificat ion of the plan resul ted in an economy
,and
the tenan ts express themsel ves wel l sa t isfied .
I n regard to the lay-ou t the crescen t shape was de term ined by t he con tours
,the houses being kep t wel l back to
secure th e grea tes t al t i tude and an exceedingly beau t i fu lprospec t , and also to keep them away from the noise andsmel l of the con t inuous mo tor t raffic down th i s main roadto Oxford and London .
E ach house s tands on a quar ter of an acre .The ma teria ls used were Fle t ton bri cks , wh i tewashedw i th l ime (to an old receip t to ensure i ts permanence) , l oc als tone quoins and pan t i l es
,the doors being pain ted a ri ch
b lu e .
60 TH E ARCH ITECTU RAL REV IEW .
Nor w as there at th i s t ime a hard-and-fas tl ine be tw een the di fferen t mani festat i ons of ar t .The means w h ich art ists chose for express ionseem to have been due largely to oppor tuni ty .
Ye t inevi tably some men wou ld show agreater dex teri ty in one form of ar t than inano ther
.Such art i s ts as Amadio , Braman te ,
the Giamberti (call ed da Sangallo) , Peruz z i ,'
and
others,w ere primari ly arch i tec ts . Braman te 's
architecturaldraw ingsshow a marve llous men talgri p ,
a complete concept ion , of any probl emwh ich occupied h i s thoughts (Fig. Theyare a d irec t transcrip t ion of wha t was passingin h i s m ind a t the momen t . The roughnessand lack of finish wh ich they sh ow are no ti ndica t i ve of carelessness or hesi ta t ion , bu tare due to the a t temp t of the hand to keeppace wi t h th e workings of the brain . His
methods were pecul iarly adap ted t o the rapidexpression of an idea . He drew , almos ti nvariab ly,
i n perspect ive ; the pl an and elevat ion
,or plan and sec t ion , or al l th ree , being
3 . BRUNELLE S CH I .
Part ofa Church. Penand ink .
explai ned a t once,in one drawing. The comple teness and
clea rness of the draw ing i s the natural ou tcome of th ecomple teness and lucid i ty of the concep t i on . A comparisonof Bram an te’s draw ings w i th , for ins tance , t he ten tat ivesketches of Si r Ch ri stopher \Vren, explains the d ifferencebetw een a mind capab l e of real izing men tal ly an archi tectural idea in i ts en t i re ty , and one wh ich wou ld only reachi ts goal after many unsuccessful a t temp ts .Baldassare Peruzzi
,Braman te ’s pupi l and assi s tan t
,drew
much in the manner of h i s mas ter . Bu t Peruz z i ’s draw ingsare charac terized by a grea ternea tness and exac tness ofexecu t i on
,quali t ies resul t ing
from a temperamen taldi fference ra ther than from afuller appreciat ion of theprob lem in hand .
Many of Braman te’s andPeruz z i
’
s draw ings have beenpubl i shed by Geymuller inh i s Pri mi t i ve Proj ec ts forSain t Pe ter 's
,Rome , and
thei r inc lusion in tha t workprovides an in teres t ing cornpari son of thei r technique .One of the mos t importan t
drawings in connec t ion w i ththe bui ld ing of Sain t Pe ter’si s the sec t ional perspec t i ve(Fig. measuring abou t1 345 in . by 18 in.,
wh i ch wasprobably made when theadvisab ili ty of s treng then ingth e piers of the dome wasunder discussion . Geymuller
a t t ribu t es th i s draw ing toBraman te
,Letrarouilly and
Frey' to Peruzzi . The evi
dence of the draw ing i tsel f,
the carefu ln ess of i ts set t ingou t , and the general evenness of the l ine and the 4. BALDA S S ARE PE RUZ Z I (at tribu ted) .
S ectional perspective of S t . Peter's, Rome. Penand ink .
absence ofb lo ts,argue tha t the la t t er arch i tec t
i s i ts more l ikely au thor .The draw ings of Braman te’s mos t famous
con temporari es,Giul i ano and An ton io Giam
ber t i,show l i t t le of h i s sugges t iveness and
imaginat i ve insigh t . Giu l iano Giamberti approached arch i tec ture much i n the spi ri t oft he an t iquary . H is t ime was l argely spen t incollec t ing de tai l s from the remains of ancien tRome . The cornices , caps , bases , and the l i ke ,wh ich make up th e bulk of h is col lec t ion , aredrawn w i th grea t care and '
a l ine of con siderab l edecision . Many of h i s draw ings are preservedi n the Va t ican Library and in tha t of theUni v ersi ty of Siena . The Va t ican Librarynumbers amongst i ts t reasures the
.famous
Libro da Giul iano da Sangal lo , wh i ch seems tobe a col lec t i on of h i s mos t cherished examples
,w i th one or two of h i s own designs ,
drawn,i n pen and ink
,on shee ts of parchmen t .
There i s a simi lar collec t i on known , for thewan t of a closer iden t ifi cat ion , as th e Sketch
book of Andreas Coner , preserved i n the Soane Museum .
Some idea of the ex ten t and lim i ta t i on s of the study of anancien t bui ld ing a t th i s peri od may be gained from thereproduct i on of the sec t i onal V iew of the Pantheon a tRome (Fig.
The me thods employed byAn tonio da Sangal lo the youngerapproach nearer those of our own day th an had those ofh i s famous predecessors (Fig. He understood perfec t l y ,
and used cons tan t ly,the sys tem of draw ing , separa tely bu t
i n con j unc t i on,the plan
,sec t i on
,and el evat i on . Th i s “
con
TH E H I STOR ICAL DEVELOPMENT OF ARCH ITECTU RAL DRAW ING.
5 . FROM THE S KETCH-BOOK OF ANDREAS (TONER. 6 . ANTON IO DA S ANGALLO I I .
Sectionthrough the Pantheon, Rome. Penand ink , washed out parchment . Design. Pen and ink, washed .
vent ion, used w i th success by the sou thern German arch iteets in the la ter M iddle Ages , as w i tness the in t ricate plans
,
sec t ions , and detai l s of the sp ire of S trasburg Ca thedral , nowin the V ic toria and Alber t Museum , has defini te and obviousadvan tages . A t the same t ime i t has dec ided l imi tat i ons .There is of ten a tendency to regard geome t ri cal d raw ings
as be ing in the flat,
" of two dimensions only,and the many
deligh t ful perspec t ive sketches wh ich the younger Sangal l o made as sideno tes to h i s sec t ions and el eva t i ons showtha t he fel t the necessi ty for rea l iz ing h i s ideas , as i t were ,in the sol id .
T he most no tabl e. charac terist ic of these draw ings of Sanga llo is thei r i ns is tence on the predominat ing li n es andmasses of the design . Th is, and the th ree-dimensional concept ion, are the ou tstanding meri ts of the early I taliandraw ings.
Bramante and Peruzzi could both draw the figure wel l , theGiambert i had never mastered the art . Ye t the drawings ofthe younger Sangallo. though differen t in trea tmen t fromthose of the former art i sts , are no t in ferior in arch i tec turalquali ty . A study of the human figure is undoubted ly ofvalue t o the arch i tect , bu t i t does no t provide a royal roadto proficiency in arch i tec tural d raughtsmansh ip. I t canno ttake the place of arch i tec tural knowledge . A supers t i t ionoften ex ists in our schools of pain t ing and art to-day tha t apower of draw ing the human figure impli es the power ofd rawi ng any th i ng else w i th an equal dex teri ty . Ye t thea t tempts a t arch i tec tural draw ing made by the pain ters andsculp tors who are t rained in th ese schools are a standingcon t radict i on of thei r own fe t ish . And h is tory invari ab lyparal l els the case . The importan t qual ifica t ion necessary for
6 1
good arch i tec tural draw ing is a comprehensi ve understanding of wha t i s to be drawn .
The gradual decay of vi ri l i ty and sound qual i ty in I tal i anarch i tec tural drawings during the second half of the si xteenth cen tury was par t ly due to the incursion of ar t ists
,
who were more properly sculp tors or pain ters,in to fields
no t properly thei r own . Undeniably th e renaissance ofar t had owed much of i ts strength and vi tal i ty
,i n i t s early
days,to the close relat ionsh ip wh ich existed be tween
workers in all the various manifestat i ons of ar t . As long asth i s correla t ion ex is ted as a relat i onsh ip the effec t on ar twas inevi tab ly advan tageous . Bu t when appreciat ion gaveway to prac t ice , and ar t ists sough t to express themselvesby means wh ich they imperfec t ly understood
,the effec t on
arch i tec ture was inevi tably d isadvan tageous . And,as in
evitably, a corresponding decl ine took place in the qual i tyof arch i tec tural draugh tsmansh ip .
There were many men who con tr ibu ted to th i s cause .Such Was Nanni , bet ter known as G iovann i da Udine , thepain ter and stuccoist , a pupi l of Giorgione , who was w i thRaffael lo in Rome wli en
’
the arabesques , wh ich he s tudiedd il igen t ly , were di scovered in the Ba ths of Ti tus . And suchwere Dosio the goldsmi th , and Bandinel l i the sculp tor .Buontalenti owed more of h i s fame to h i s theat rical scenerythan to h i s arch i tec tural works , t hough he may be honoured ,
or no t , as opin ion goes , as being the firs t arch i tec t to keepa school— ih h is own hous&-for s tuden ts of arch i tec ture .One of Buontalent i
’
s pupi ls , Cardi , often known from h i sb i rthplace as Cigoli , impar ted a del igh t fu l , bu t superficial ,charm to h is arch i tectural ske tches , bu t they miss thebroad real izat ion of a problem i n al l i ts dimensions wh ich
62 TH E ARCH ITECTU RAL
7. PE RLvo DE L VAGA .
Mural decorat ion. Pen and ink,w ashed .
dist inguish the drawings of Braman te , Peruzzi , or theyounger Sangal lo. The same sound qual i ty is lack ing inthe work of tha t indefa t igab le draugh tsman ,
Peri no delVaga , who drew figu res , arabesques , and o ther ornamen tw i th amaz ing faci l i ty (Fig .
At the same t ime the draw ings of such pain ters asNovellaro ,
the master of Federigo Zuccaro,or Raffael lo
Mo t ta (called di Reggi o) (Fig. show how w ell pain ters ofthe day could comb ine arch i tec tural forms in the ir composi t ions oi figu res . Bu t these men made no pre tensi ons tothe prac t ice of arch i tec ture .Ano ther and more immedia te cause of the decay of arch i
tectural draugh tsmansh ip was the in troduc t ion and in
creasing use of the prin t ing press . The woodcu t s wh i chill ustra te the large number of books on arch i tec ture wh ichmade thei r appearance throughou t the six teen th cen tury
,
even when every al lowance is made for the techn ical ex igencies of the process , fal l shor t of the standard se t by theoriginal drawings of the arch i tec ts o f the fi f teen th andopen ing years of the six teen th cen tury . The b lock—cu t terswere unaccus tomed to the new forms wh ich these i l lust rat ions in troduced . The publ i sh ing-houses of the day -seemto have been unw i lling to pay the h igher prices demandedby more compe ten t workers . They may have regardedthei r ven ture w i th th i s new type of l i tera ture as a ri skyspecul at ion .
A poorly i llustrated ed i t i on of V i truvius appeared i n1 5 1 1 , ano ther in 1 5 13 . Barbaro 's Vi t ruvius was i ssued a tVen ice in 1 5 56. Serl io ’s “
Arch i te t tura,
” pub l ished duringthe middle years of the cen tury
,shows some advance in the
execu t ion of i ts i l lus tra t ions . Serl io adop ted me thodssim i lar to Giul iano da
_
Sangallo’
s i n recording the resul tsof h i s researches. H is books presen t a col lec t i on of s tudiesof Roman bui ld ings
,supplemen ted by copious detai l s ,
drawn , part l y in perspec t ive , to a larger scale . Serli o wasnot a grea t draugh tsman
,bu t h i s o riginal drawi ngs , often
in chalk , show tha t he had a keen eye for form and thepower of dist inguish ing the essen t i al l i nes of a composi t ion .
Abou t the year 1 5 70”
Vignola’
s Regol a del le CinqueOrd ine (Fig . 10) and Palladio
’
s Arch i te t tura were addedto the ranks of technical l i tera ture .The i l lust ra t ions in Palladio’s work are copious bu t no t
of a h igh order. His own draw ings,though fac i l e
,are no t
dist inguished , when considered from an arch i tec tural s tandpoin t . ’
He was ap t to allow h i s dex teri ty in draw ing toemphasize the de tai l a t the expense of the main theme . I nh i s eleva t ion of the facade of a domed church (Fig. 1 1 ) thes tatuary and the Corin th i an caps are beau t i ful ly ind icated
,
bu t the remainder of the draw i ng,wh ich show s the more
REV IEW .
8 . RAFFAELLO MOTTA .
Decorat ion. Penand bistre, bistre w ashed .
essen t i al par ts of the build ing,i s th in and inexpressive .
The compl ica ted and concen t rated de tail of the row ofcaps claims an a t ten t ion dispropor t ional to thei r impor tance .Bread th of t reatmen t i s lacking.Meanwh i l e the passion for archaological research had
spread to France . A t some da te early in the second half ofthe six teen t h cen tu ry Ph i l iber t de l’Orme produced h i s“Arch i tec ture (Fig. H is Nouvel les I nven t ion s pourb ien Bast ir” was pub l ished in Paris in 1 561 . Nei ther bookdisplays a no tabl e qual i ty of draugh tsmansh ip . H is worksre tain an h is tori cal ra ther than an ar t i s t ic or archaeologi calvalue . De I
'
Orme was an energe t i c worker,bu t
,wh i le pro
ducingmuch th a t was nat ive to h i s own talen t and research ,fel t l i t t l e sc ruple in s teal ing freely from the produc t i on s ofh i s I tal i an con temporaries . The grim humour and a cer tainin t rinsic value i n h i s Good and Bad Arch i tec ts havegi ven those two pla tes some degree of fame . Bu t h i s mos tvaluab l e con t ribu t i on to arch i tec tural draw ing i s found inh i s clear and simple s ta temen ts of the detai ls of carpen t rycon st ruc t ion .
A further con t ribu t i on to the archaeologi cal li tera ture ofFrance was made by Jean Bullant . He re turned from aperiod of s tudy in I taly in 1 544. I n 1 5 63 he pub l ished h i sReigle generalle d
’
Architecture. A fur ther edi t i on wasissued in 1 568. H is
“Trai té de Geome t rie had appeared
in the prev ious year.H i ther to prin ted i l lust ra t i on s of arch i tec ture had been
ci rcumscribed by the l imi tat i ons of the wood b lock . Bu t
TH E H I STOR ICAL DEVELOPMENT OF ARCH ITECTURAL DRAW ING.
( o wn-e cz w ( om en A ann : AT A I I N I
9 . j AQUE S ANDROUE T DU CERCEA U .
V iew ofFontainebleau from the‘Plus Excellents Bast imens. Engra
v ing.
lo . ILLUSTRATIONS FROM A LATE ED ITIONOF VIGNOLA ’
S I I . ANDREA PALLADIO.
”
REGOI .A DELLE CINQL’
E ORD INE .
"Pagade of a church. Penand ink .
64 TH E A RCH ITECTU RAL REV IEW .
1 2 . A FROM PH I LIBERT DE L’
ORJIIIE’
S
ARCH ITECTURE .
"
the more general use of copperpla te engraving provided thearch i tec tural i l lustrat or w i th a method capab le of grea teraccuracy and refinemen t . E t ienne du Perac , arch i tec t tothe king
,began
,bu t was des t ined no t to fin ish before h i s
dea th in 1601 ,h i s Vest igi del l an t ich i tadi Roma , raccol ta
ct ri tra t t i in perspect t iva. The work con tains abou t for tyengravings from copperpla tes . Bu t the populari ty of themethod w as largely due to i ts capab le handl ing by Androue tdu Cerceau .
There are four du Cerceaux know n to arch i tec tural h i story .
The man w ho concerns us here is Jaques Androue t duCerceau . He was born abou t 1 5 16, possibl y a t Orleans , anddied after 1 580 a t Paris . H is son , Jean (Bap t i s te) Androue tdu Cerceau ,
was tha t excel len t arch i tec te du roi Henry I I I .H is less famous bro ther was ano ther Jaques du Cerceau .
The four th is Pau l Androue t du Cerceau . H is rela t i on sh i pto the th ree former is uncer tain . He was a designer andengraver of arch i tec tural ornamen t
,and h i s work belongs
to the la t ter par t of the seven teen th cen tury . Abou t twohundred of h is prin ts are preserved in the Bri t i sh Museum .
j aques Androue t du Cerceau may have been employed onthe annual repai rs a t Mon targis , and in the design of thegardens of the Tuileries . He pub l i shed a Li vre d’
Archi
tec ture " and sundry o ther works . His most l as t ing claimto fame is h is “ Plus E xcel len ts Bastimens, publ i shed in15 76
—9 ,and of considerabl e value to the h i storiographer and
archzeologist of to-day (Fig. Du Cerceau’
s me thod ofi l lustra t ion is pecul iar. W h i l e he presen ted the grea tbuildings of France , general ly by means of an aerial view ,
w i th a conscien t i ous fidel i ty , he seemed incapab l e of extending h is ou t look beyond h i s immedia te subj ec t . H is
indicat ions oi the gardens or surroundings of the buildingsare of the sl ightes t and mos t perfunc tory nature . Hismindwas sa t isfied wi th fac t and l i t t le concerned w i th a tmosphere .His l ine , accura te and preci se , i s rarely sympa the t ic . Nevertheless,
h is draw ings are a dis t inc t advance on any th ing ofthe kind wh ich had been done before , i f , indeed ,
any th ingof the k ind had been previously a t temp ted .
A new,and in some ways regret tab le
,developmen t of
arch i tec tural draugh tsmansh ip took pl ace. towards the c loseof the six teen th cen tury . Draughtsmen began to turn t hei rat ten t ion from the rediscovery and record of the remainsof ancien t Rome , and from the represen tat ion of the bu i ld ingsof thei r own t ime , to devo te thei r talen ts to the crea t ion ofw hat was know n as “ arch i tec tural ornamen t . Thesedesigns w ere execu ted for the most part w i th a depl orab l el ack of tas te . Jaques du Cerceau h ad turned h i s hand to
1 3 . j OHN THORPE .
W oolertonHall. Penand ink .
th is arch i tec tural freel ancing in h is Grandes Gro tesques .Sambin
’
s (Euvre de la diversi té des termes don t on use enarchitecteur
"— a vulgar work , appeared in 1 5 72 . Dietter
l in’
s“Arch i tec tura ” was pub l i shed
,a t S t rasburg ,
i n 1 593 ,
and De Vries'
s L’
Archi tecture avec quelques bel les ordinnances a t abou t the same da te in Ams terdam .
The disastrous effec t of such works as these,no t only on
German and Fl emish art , bu t more especial ly on Englisharch i tec ture , i s wel l known . Engl and was bringing up th erear of the march of the new l earn ing
,as I taly had led th e
van , and the'
influence of these ques t ionab l e publ i cat i ons inth i s coun try was perhaps the more marked as the posi t ionof the educa ted arch i tec t
,as an arb i trator in ma t ters of
tas te , had no t then been defini tely defined . Building workswere parcel led ou t , under con trac t , to th e . vari ous tradesconcerned , though such men as the two John Thorpes , orRober t and Hun t ingdon Smi th son
,generally s tyled sur
veyors"i n thei r own day
,migh t supply a draw i ng gi ving
the main l ines of the design (Fig .
The collec t ion known as John Thorpe’s,now preserved in
the Soane Museum , and the Smi thson col lec t i on ,l a tely
en trus ted to the Royal I ns t i tu te of Bri t ish Arch i tec ts,form
,
indeed , prac t ical ly the only means of s tudying Engl ish arch itectural draughtsmansh ip of th i s period . No au then t ica teddraw i ngs of such men as John Allen
, Henry H awthorn e ,or Robert Adams are known to exis t
,though the two l a t ter
held impor tan t posi t ions under royal pa tronage . The drawings ofthe. Smi thson and Thorpe col lec t i ons belong
,in poin t
of da te , par t ly to the opening years of the seven teen thcen tury . Bu t the a t t i tude of though t they reveal makesthei r i nclusion here a ma t ter of conven ience . The realadvance of Engl ish arch i tec tural draugh tsmansh ip mus t bedated from the adven t of I n igo Jones .Any con t roversy wh i ch may a t tach to the ac tual au thor
sh i p oi the Thorpe and Smi th son draw ings need no t de tai nus here . The draw ings themselves have a prior c laim to thea t ten t i on . General ly speaking their technical sk ill i s no t ona h igh level , though they main tain a defin i te arch i tec turalqual i ty in the simpl ici ty of t hei r s ta temen t and thei r iasi s tence on the lead ing l ines of th e design . The plans andel eva t ion s are draw n w i th considerabl e care
,in ink or penci l .
TheThorpes ' draw ings are free from the quain t expedien ts
TH E H I STOR ICAL DEVELOPMENT OF ARCH ITECTU RAL DRAW ING. 65
14. VRE T) E .MAN
Archi tectural Composit ion from “ L’
Architecture.
often adopted by the Smi thsons , who had a curious hab i t ofcu t t ing thei r paper in such a way tha t the doors and w indowson t he draw ings would ac tually open
,wh i le paper shu t ters
,
ac tuat ing on the same principle , were of ten pas ted to thewi ndow-jambs. W h i l e such devices show tha t the purposeand resources of architecturaldraw ing were l i t t le unders tood ,
the Smi thson Col lec t i on provides ani n terest ing l ink be tweenthe th ree-dimensional models , frequen t ly employed i nearl ier t imes, and the tw o-dimensional draw i ngs wh ich l a terbecame the accep ted means of t ransmi t t ing anarch i tec tura lidea .
Tha t the Thorpes sough t inspira t ion in French andFlemi sh publ icat ions is sufiiciently evidenced by thei rd raw ings . I n those days of res tric ted travel Engl ish
.
designers had , as i t were . to obtain thei r know ledge of thenew learn ing a t second hand . There is a far c ry be tween thedel i cate. a rabesques of the I talians and the coarse st rapworkof Jacobean England . Bu t the pa th of degenerat ion maybe clearl y t raced th rough the mere t ri c ious pages of de Vries(Fig. I4) , Diet terlin,
and thei r l i ke . Thei r work and influencestand as an example of the fa te wh i ch at tends arch i tecturewhen the draugh tsman becomes d ivorced from const ruet ional problems . A compari son of a drawing by Dietterlinw i th one by Peruu i , for ins tance , i s more powe rful thanthe power o f words in condemnat i on of the former .The only exculpat ion of these prol ific and profligate
con tri vers o f meaningl ess o rnamen t is tha t they preparedthe way for the more importan t work of the French draugh tsmen ofthe seven teen th cen tury.
JAMES BURFORI) .
DE VRI E S .
Engrav ing.
CH RONOID G ICAL L I ST OF DRAUGHTSMEN.
ITAL IAN .
Brunelleschi , FilippoAlberti , Leo BattistaBramante ,
Donato (l'
Angeli LazzariAmade o G iovanni AntonioG iambert i , G iuliano (da Sangallo )G iambert i , Antonio,
I ((Ia Sangallo)S erlio ,
S ebastianoPeruzzi , BaldassareG iambert i , Antonio ll (da Sangallo)Nanni , G iovanniBand iii elli , Baccioaga,
Perino del (Buonaccorsi )V ignola,
G iacomo BarozziPallad io , Andrea
Novellaro , S elio (Orsi)Dosio,
G iovanni AntonioBuontalent i , Bernardo (delle Gimndole)Zuccaro , Fe derigoMotta,
Raffaello
Card i , Ludovico (Cigoli )FRENCH
,FLEM IS H , AND GE RMAN.
Sambin,Hugues r5 oo
De l’
orme , Philibert 1 5 1 5—15 70
Du Cerceau, Jaques Androuet (I ) 15 10
Hullant , Jean 1 5 15—1 5 78
Vries,Hans Vredemande 15 2 7
—1604Diet terlin,
W endel 1 5 50— 15 9 9
Du Perac , E tienne (first halfofsixteenth century)—160 1
E NGLIS H .
reignofElizabeth.late sixteenth and earlyseventeenth centuries
A Grea t Deve lopment Scheme .
By S ir John Burnet and Partners.
W it]: Photographs by F . R. Yerbury, The Architectural Review .
A PREL IM INARY PERSPECTIVE OF THE S UN SHE LTER AND GARDENS .
HE tow n of Ramsga te stands on the sou th sideo f a spur of land j u t t ing in to the Nor th Sea. I toccupies the mou th of a val ley form ing a break inthe chal k cl iffs w h ich ex tend to eas t and wes t in
long almost level l ines . Beyond the expanse of sand immediately eas t of the harbour there is l i t t l e or no foreshoreexcep t a t low t ide
,and bu t for the parades there is on ly a
ra ther restric ted area in fron t of the pavi l ion . So tha t upto the presen t the faci l i t ies the sea fron t yields have beensomewha t l im i ted .
The gardens wh ich have j us t been compl eted and openedare par t of a grea t scheme for improving the presen tcondi t i ons of the sea frori t and giving more oppor tun i ty forthe en tertainmen t of visi tors . The sch eme has h ad carefu lconsidera t i on
,the aim being no t on ly to provide for th e
needs of the tow n a t the presen t , bu t to an t ic ipa te i ts needsin the fu ture . Th i s means carrying ou t slowl y and deliberately each part icular‘ part of a scheme to i ts ul t ima teconclusion .
The scheme includes the erec t ing of a number of Cen tresof En ter tainmen t , a
'
sw immiug pool and concer t hal l onthe eas t
,and ano ther sw imming pool on the wes t . These
cen tres,wh i le hav ing al l the space necessary for such
resorts,are purposely to be kep t apar t so tha t they may
be approached e i ther through the cen tre of the town orby Grange Road a t the wes t and Boundary and Thane tRoads a t the eas t . I t i s proposed to increase in l engt h andw id th the foreshore to the east of the pavi l ion
,w i th the possi
bilityof making a broad roadway a t the foo t of the eas t andw est cl i ffs wh i ch w i l l al low a free passage from one cen t reto the o ther , and w i l l gi ve more space '
for excursion is ts .Each cen tre w i l l have refreshmen t and tea-rooms and gardens surround ing them . W h i l e they w i l l be approachedfrom the eas t and wes t parades by roads and l if ts they w i l lno t dis turb the presen t un in terrup ted view of the sea fromthese parades , and they w i l l n o t i n t r ude upon the simpleren j oymen ts of the beach i n fron t of the presen t pavi l ion .
The scheme fur ther inc ludes an improvemen t of th e marine
A PLAN OF THE COMPLETED GARDENS .
parade , the possib le erec t ion of a new pier in a more sui tab l eposi t ion th an the old one
,and improvemen t s to the rai lway
s ta t ion .
The site '
of the comple ted garden s i s a t the ex treme endof the eas t cl iff , and was original ly a grassy slope from theroad to w i th i n a few fee t of the cl i ff edge . I t has beendesigned to be in sympathy w i th the proposed bui ld ings ofthe eas t Cen t re of En tertainmen t , and is , therefore ,elabora te in i ts t rea tmen t .
'
The main fea ture of the new garden is a sem ici rcularshaped col onnade pl aced in th e rock-faced recess on the lowerterrace facing the sea . The secluded posi t i on of th i s colonnade enab les those si t t ing there to en j oy the sea ai r , anda t t he same t ime be pro tec ted from the sun and eas tw inds .The sculp ture by Gilbert Bayes represen t ing ch i ldren
playing w i th th e Ram " of Ramsgate l ends a playfuland del igh t fu l no te to the simple d ignified l ines of th earch i tec ture .On the upper terrace , whi ch i s approached by a broad
fl igh t of s teps,the garden proper i s reached ; I n the cen t re
of th is and immedia tely over the “ shel ter is a ci rcularpool enclosed on the '
north side by a semici rcu lar Romansea t wh ich commands a magni ficen t view of th e sea .
Si r John Burne t ’s scheme incl uded cer tain plan t ingeffec ts
,wh ich requi red a carefu l selec t i on of t rees , sh rubs ,
e tc . , wh ich would stand the condi t ions under wh ich theywou ld exis t there . Corn ish elms wh ich s tand the sea-ai rwel l are used as st ree t trees . A euonymus hedge has beenplan ted along the top road on t he garden side , in side wh ichi s a border plan ted w i th groups of evergreen , flow ering anddeciduous sh rubs and plan ts . A t o ther places massed effec tsof tal l plan t ing are ob tained by using groups of s tandardt rees
,such as poplars . There are also a number of geome tri cal
beds cu t ou t of the turf plan ted w i th various k inds of dwarfsubj ec ts . The ful l benefi t of the larger of these plan t ingeffec ts w i l l no t be obtained for some t ime , of course , as theyare a t presen t in the earl iest s tages of thei r growth .
A GREAT DEVELOPMENT SCHEME.
A General View .
THE S UN SHE LTER ON THE LO\VER TERRACE .
THE UPPER TERRACE IMMED IATELY ABOVE
Tne Interiur.
SHELTER .
1 ;a
68 TH-E ARCH ITECTU RAL REV IEW .
THE GARDENS ABOVE THE SHELTER
THE LOW ER SEA TERRACE .
Exh ibi tions .rm: KNOEDLERGALLERIES — The exh ib i t ion of the w ork of n ine
teenth centum French pain ters held in these galler ies was a fa irlyrep“sentat ixe one. On the. w hole Ixenoirmnergos w i th the mosthonour— some of the others do not wear so w el l . I t seems plainthat w hen v.0rk has been done solely to solve some problem ofcolour
, and w hen in the course of t ime i t becomes toned dow n ,
the reason for i ts ex istence has gone ; w hereas w ork based uponsome fundamental pr inc iple of des ign lasts w i th unabated interestso long as i t can be dec iphered .
Renoir 's La Loge (48) and La Songeuse are vo1v
sat isfying,and pain ted— as is usual w i th h im w hen he pain ts
u omon and ch i ldren ni th love and understanding . I cannotve t reconc i le myself to the ery straw berry coloured nudes w h ichlxenoir painted during h is last per iod : in fact , in everyth ing hedid during th is t ime he saw red I know some art i sts profess tosee grea t beaut ies and myster ious resthet ic qual i t ies inthem , bu tI adm i t I cannot .
Route do Versa i lles show ing S isley’s earl ier per iodfor i t w as painted in 1875
— is interest ing because i t show s notrace of the broken colour he afterw ards made so much use of .Claude Monet '5 pain t ings are 1 ery fresh and atmospher ic .Ant ibes (3 5 ) is very true and clear incolour ; i t. is harder andmore t igh t in treatmen t than h is later w ork , and show s tha t be(lid not necessar ily need the ass istance of m ist to obta in atmosphere and distance . ‘ Ven ise : Palais Ducal , vue de San G iorg io ”
(h ) is a verv good example of h is later per iod , w hen he hadapparen t ly found h imself I t w as only w hen I observed th ispa in t ing from across the room that I real i zed how good i t w asThe sh immer ing effect of the palace seen through a sl igh t hazethrough w h ich the sunl igh t penetrates is w onderfully j ust lyobserved ,
and the strong shadow in the foreground serves so w ellto help the i l lus ion of distance , yet i t is all so del icate in colournoth ing is forced.
Qu i te interest ing w ork of Manet s is on exh ibi t ion too La
.Servan te do Books (29 ) is one of th is art ist s café scenes , bu t i tis not part icularly d ist inguished .
“ Mdl le Lemon ier (26) is oneof those k ind of pain t ings w i th w h ich all art ists are fam i l iar ; i tsimply has not “ come off. Mane t w as ev iden t ly t ired of i t ,and had scrap ed the face dow n in preparat ion for repaint ing ,
w h ich he obv iously never d id— and before leav ing i t he j ustguessed at the features
,rather than leave the face completely
blank . I t is not fai r to Manet ’s name that th is should go forth asan example of h is w ork .
Argenteui l (28) is a very good Manet , and show s h is inheren tsense of des ign— for al though the arrangemen t is so good ,
onescarcely consc ious that i t has been designed at all, i t j ust looks asthough i t had naturally occurred that way. FilleteasaToilet te"(23 ) is one of those ten tat ive studies w h ich art ists make w hen theyare uncertain w hat to do, and are feel ing round for an idea— it
of no importance at all .Dcux j eune Femmes ass ise sur nu canape by Berthe
Mor isot,show s strongly the influence of Mane t , as , indeed ,
doesall her w ork
, yet she alw ays pu ts someth ing of herself in to i t .The ful lness of the figures of the models is very w el l real i zedbeneath the dresses , and th is is done w i th very subtle gradat ionsaided by defin i t ive l ines suggest ing the contours .There is also w ork by Fan t in Latour
,a st i l l—l ife done in h is
usual accompl ished manner , and a small Carriére— one of h ishab i tual dreamy render ings of a mother and ch ild . Degas appearssurpr is ingly mannered and self—consc ious among th is group ofmore spon taneous impress ion ists . There is also a very dul l andacadem ic portrai t of Ingres . The one example show n of the w orkof l’uv is de Chavannes is not w orthy of th is master at al l
, and butfain tly suggests h is great capab i l i t ies ; bes ides , someone hasvarn ished i t in anover-zealous des ire to make i t more fi t for themarket , and has thus ruined the beau t i ful flat qual i ty one assoc iate s w i th Chavannes .Prin ted at the end of the catalogue is a let ter w h ich w as once
sen t to .S irCout ts Lindsay,and s igned byDegas , Monet , P issarro ,
Reno ir , S islcy, and others , in w h ich these art ists— referr ing tothe group
'
s aim to render form in movemen t and the effects ofl ight , say that they cannot forgot i t has betnpreceded in th is
path by a great master of the-Engl ish school , the i llustriousTurner . I t is w ell to quote th is generous tribute to Turner asthe first explorer along the road w h ich even tual ly led to theformulated theory and pract ice of impression ism because i t isa fact w h ich few Engl ish p eople real ize . One w ould l ike to
include the name of Constable as w ell , as an innovator in th isconnect ion .
THE VICTORIA AND ALBERTMUS EUM .— The loan exh ib i t ion of the
draw ings of Auguste Rav ier , w ho is l i tt le know n in England ,
at tracted at ten t ion by the ir tender beauty, and show ed th ispa in ter
,w ho w as a forerunner of the impression ist school , to be
a sincere observer and lover of nature inall i ts aspec ts . W e learnthat he was self-taugh t , and had l i t t le. opportun i ty for intercourse w i th other pa inters , and that he was con ten t to do h is
THE onosvsuon GALLERIES .—The Summer exh ibi t ion held in
these galler ies w as up to the usual standard ,w h ich is a h igh one .
Many w el l-know n painters exh ib i ted , and because of th is fac t donot cal l for Spec ial remark .
Promenade— Forét de Marly by G . Mary Adshead,
has a. pleasan t tapestry qual i ty , both in design and colour ; th isart ist ought to be. abl e to apply her w ork to the des ign ing oftext ile fabr ics w i th success .S til l-l i fe by An i ta Kellman , has a v i tal and Mat isse
l ike sparkle in i t , and she has r isen above the dull , o i ly qual i tyw h ich so many exh ib i tors seem to th ink const i tu tes o i l pain t ing .
Squal ls over Ramsgate ' by Al ice Fanner,is a very effec
t ive sea p iece,the movemen ts of the rock ing boats , together w i th
the. squally effects w h ich she has very successfully transposedinto terms of pain t
,g ive the fresh sense of the opensea.
I t seems ex traord inary to find in these enl igh tened days anen thusiast ic follow er of W in terhal ter ; ye t i t seems poss ible thatMr. J . Arch ibald W el ls has selected th is master as w orthy ofemulat ion in h is “ The Ch i ldren of S ir Mark and Lady RachaelS turg is ” I s th is p ic ture symptomat ic of the general returnto Victor ian ideals , w h ich so many people seem to th ink inev i tableand des irable And w i l l w e soon have to record the melancholyfac t that there is a rev i val of in terest in the w ork of LandseerTHE NEW SOCIETY OF ARTISTS .
— I t is generally know n that th issoc iety w as formed by certain a1 tists w hose w orks had been1ej ec ted by the Royal Academy I f the ir a ims had been en t irelyd ifferen t from that body ,
one could eas i ly understand the reasonfor i ts format ion
,bu t a glance round the exh ib i t ion now being
held in the Suffolk Stree t Galleries , soon dispels any such not ion ,
for i t is very l ike the Academy, only more so .
In these days almost everyone seems able to pain t , but vervfew have anyth ing to say . Art is not just the fac ile handl ing ofp a in t in im i tat ion of natural appearances w h ich so many peopleseem to th ink i t is . One can forgive a blunder ing techn ique i fbeh ind i t there is an effort
,how ever feeble , to express some idea .
There is no poin t in pa in t ing at al l i f i t is only ina degree as goodas nature
, w h ich al l can see bet ter for themselves than s iftedthrough the meshes of un in terest ing men tal i t ies . Most of thep ic tures to be seen in galleries by the thousand are not evenremotely connected w i th art . Gratefully one recogni zes here andthere some art ist ic impulse
,how ever smal l i t may be
,and w el
comes it w hole-heartedly ,w hereas fac i le or labor ious at tempts
merely at representat ion , w h ich mean noth ing w hatever, excep tto flat ter the conce i t of the performer , leave one cold .
Art must be on some bas is w here i t is of some pract ical use .By th is I do no t meanthat i t must be commerc ial ized , far fromi t
,bu t i t must mean someth ing, and stup id copying of nature
must be seen to be valueless,and new standards must be recog
nized . W h ist ler w as probably r igh t w hen he said art happens ”i t certa inly canno t be forced through the schools , for they set upfalse standards by w h ich art is j udged by mere clever records ofmean ingless facts , and in ex treme cases, nature is affectedly distorted , and because i t is not l ike nature , the. argumen t is— i t mustbe art .Because of the type of w ork i t encourages th is soc iety hasnot
j ust ified i ts ex istence .
EXH IBI T IONS .
SUB IACO , RYDALMERE , SOUTH -\LES . R ICHMOND T ERRACE,DOMA IN
,SYDNEY.From Draw ings by Hardy ll
'
ilson.
work wi thou t any t hough t o f lame or t he world ly success whichcomes t h rough exh i bi t ions . H is unambi t ious work bears th isou t , for no aggressh e 1 (lgt‘S of personali tv obt rude t h rough i t .There i s a Sense of l igh t and ai r in h is drawings,
which are notfinit i/e d by any arb i t rar1, insist en t e u pon des ign,
bu t rad iateround a common cen t re which is 1 e ry q uie t l y accented
,so thatone is not over-con sc ious t ha t one is l ook ing at a pain t ing , bu tfeels i t as an effec t of na ture descr ibed hv a del icat e and sens i t ivemind .
rm: ARCHITECTURAL The exh ibi t ion of s t uden t s 'work held at 14 5 B1 (liord Square show ed the progress ive stagest hrough wh ich s tuden t s of the. schoo l pass , and the me t hods bywh ich t he1 are taugh t to real ize t he imp or tance of colour 1nass i st ing and accen t uat ing structural princ i plesRAYMOND Mc TvRE .
Draw ings of Old Co lon ial A rchi tecturein New Sou th W al es and
'
l‘
asmania byHardy W i lson .
A11 Aust ra l ia not of Vi l l ers-Bretonneux and frozen mut tonand t he S trand , bu t l e isured and remote , h igh-col lared , broadsk i r t ed,an Aust ral i a of t he au tocrat i c Governor Macquarie ,and h is arch i t ec t G reenway , t he t ransported ban krupt— such i st he land wi th w h1ch M r HardyW i l s ons drawings are concerned
It is , indeed , a remarkable se l ec t ion t hat mav now be seen atSou th Kens ington Museum , remarkabl e for t he decorat ion valueof each pic ture in i t s moun t wh ich i t fi t s so wel l ; remarkable forthe tone of t he drawings , so echo ing one another that they seemat fi rs t g lan ce a simpl e faded harmony , a lmost you th ink themt in t ed l i t hographs of seventy years ago ; remarkable even morefor the power wi t h wh ich are suggested tex t ure and dappledsu nligh t (see that doo rway of S t . Pe t er 's Church— al i t t le doorand a wall of shadow ed bri ckwork and t ha t is all) , or th e
neglec ted s tone front s of G loucester S t reet ; bu t , above al l , to bewelcomed wi th affec t ion for t he sent imen t in which t hey arest eeped— se con sc ious you feel has t he. art is t been t ha t t hesebu i ld ings— l i t t le regarded in t he ir ownl and i t may be— are somet h ing to be sough t ou t and cherished wi th a ffec t ion for whatthey imply . They are the bu i ld ings of the early set t l ers a. h i l ltop veranda , a barrack ent rance , a W esleyan chapel in Tasman ia —and t hose that bu i l t them hal f remembered (i t was toofar away to copv or keep pace wi th th e t imes) t he simple worksof the homt land It 15 j ust bri ck , and simple open ings, and leanport icoes done away from the books. Bu t t hey speak wonderfully of a past we. had almost forgot ten Aust ral ia had ; and theyha1 e forgot ten i t too . I t i s someth ing of an opport un i ty forthe 1 011nger school of arch i tec t s to execu te a homely andst ra igh t forward archi tec ture on these l ines for t hei r coun t ry
, asAmerica has done wi t h notable success in her very simi l ar sphereof Coloni al arch i tec ture .Perhaps you w i l l feel the drawings , when looked closely in t o ,lack a cert ain assurance of l ine and charac ter , t hat they areshoul d we sayit — almost too fa i th ful to thei r subj ec t . I. t h ink i ti s rather that t hey are not sel f-assert ive . The. art i s t has wishedi ts t o be in t erested inh is sub j ec ts , and no t in h imsel f . I f t hat ish is purpose he has succeeded . A nd al l t he t ime. h is l ine is verysure
,i f i t i s not emphasi zed . Look at the drawing of the Ioni ccaps and columns in t he Sophocl es and Eurip ides doo1way.
And t heir decorat ive val ue is h igh , thei r low colour tone , wh ichyet conveys aston ish ingl y a sense of sun l igh t , and certainiy, t; ,ooof tex t ure and so l idness , whether 1nt he S t . lohn '5 Church amongt he clouds on i t s sunny hi l l ; or , more dramat ical ly , St . Peter’stower among i t s gi an t yews ; or in t he s imple ch arm of the Cas tleI n n at Bo thwel l in Tasman i a ; or t he smi l ing house beh ind i t swood palings where papa , h igh-col l ared and broad-sk i r ted , cal l smamma to t ake a t urn wi th h im in the sh ade o f the t rees ofCampbel l S treet . A t every momen t we enjoy w i t h th e ar t is tthe past wh ich he has so deeply fel t , and yet never ob trudes .
Recent Books.
THE DREAMER .(From Der brennende M ensch
“
)
An Austr ian Scu lptor .Der brennende Mensch. By L . \V. ROCHOW ANS KI . Cr. Svo,
boards.Pp. 95 . I l lus. V ienna : VerlagL i teraria.
The au thor o f t h is ex t raord inary l i t t l e book , Rochow anski , hasa v is ion of the fusion of the art s ; he h as wri t ten on psychopath ic ar t ; on bal an ce danc ing ; on t ime format ion , and i snow compi l ing a survey of t he European t heat re of t o-day .A n ton Hanak , t he sub j ec t of t h i s book , i s the. most-tal kedof sculp tor in Vienna , where he is a professor at. t h e ar tschool . He was born a t B rij un in 1875 , and educa ted at t heVienna Academy . He i s , al though a Morav i an , th e mos tAust r ian of them al l , and , l ike Met zner and his con t emporary ,Hugo Lederer
,has had an immen se influence i n Germany . He
is a man of imaginat ion and star t l ing l i fe-force ; he i s a draugh tsmanas wel l as a model l er and carver , and h i s produc t ion s seemburst ing wi t h scarcely-con t rol l able energy. There i s no moredynamic art is t in Europe than An ton Hanak , bu t h i s r iot ousmove
'
ucnt i s most l y seen i n h is draw ings ; h is scu l pture , fortunately,
as i s righ t and proper and so recogn i zed by h im , i s ofa "more s tat ic qual i ty,except ing "The Burn ing Man , the over
l i fe-s ized fi gure in bronze wh ich bears the words That burnestand art con sumed , h is concept ion of the ar t is t burn ing w i t hcreat ive energy and final ly con sumed by t he flame .The i l l us t rat ion s to Rochowanski 's let te rpress inc l ude manydrawings and also some of the scu lp ture, among wh ich i s Creat iveForce , an entirelv st at i c t rea tmen t o f the sub j ec t a grea t figure
represen t ing the G iver wi t h hands on th e heads of a manand awoman , t he veh icl e o f h i s gi f t . “ The Dreamer i s a fine figure ofa man ; G rea t -Sorrow , a touch ing and original exposi t ion;Exal t at ion a lyric expressed in a th ree-quarter figure of awoman ; t he Face of Gold
,
" a great ly simpl ified woman’s drapedfigure wi th an enigmat ic sm i le ; t he Maiden and t he New Manare nude l i fe-st ud ies of great beau ty and simpl ici ty,whi l e t h e.fi ne bus t of Ferd inand Edlinger, t he music ian,
shows Hanak ’
scommand of natu ral i s t i c representat ion . Hanak has workedfor the arch i tect s , and fou r pu t t i for a conservatory carved ins tone are altoge ther del igh t ful . V iv id,v i r i l e
,sel f-wi l led , and selfop in i onated , he and his work form an ideal sub j ec t for a wri terso fu l l o f energyas L . W . Rochowanski .
CREAT IVE FORCE .
(From Derbrennm de M ensch.
A Gu ide to Greek Scu lpture .Die Griechische Plast ik. By Pro f . EMANU E L Low y . 3rd ed i t ion. 2 vols.
Cr. 8vo,boards. Tex t
,pp. iv 1 5 4,
i l lustrat ions pp . xvi 1 70.Lei pz ig : Vcrlag,Klinkhard t and Biermann.
I n four packed chap ters Professor I .owy gives a complet eaccoun t o f G reek scul p ture
,t he fi rs t deal ing wi th the A rchai st i cper iod , t he second wi th ' Ph id ias and t he Parthenon,
t he th irdwi t h Scopas and Prax i tel es
, and t he four th wi t h Lysippus and theHel len i s t ic school . H is tory,biography
, and cr i t ic ism are int erwoven i n to an admi rabl e narrat ive,wh ich i s supplemen ted by a
usefu l l i s t of art is t s men t ioned i n the tex t and represented in th evolume of i l l us trat ion s . Th is l a t t er i s most sat is fying no at tempti s made a t fine ill ust rat ion
,bu t al l t he p l ates are good half-tonereproduc t i on s from photographs ; some of t hem are ful l-page , bu tmost of them are
,necessari ly
,smal l er
,for t here are no fewer than
297 works shown . To add to the prac t ical value of th e book , aregister of t he l ocat ion of the princ ipal p ieces in G reece , I tal y ,Engl and , Fran ce , Germany , and o ther count r ies , in both privat eand publ ic col l ec t ion s,i s prov ided . KINETON PARKES.
7,THE ARCH ITECTU RAL REVIEW .
A W I NDOW A T 20 S T . j AMES’S SQUARE , LONDON .
(From Engl ish I i llariors in Smal ler Houses, 1660 —1830.
gaie ty in t he int erior in h armony wi th th e soc ia l and intellectual bri l l i ance , grace , and ex t raord inary men t al poiseo f t he age . Have we no t the grea t body of ev idence fromal l the other art s , and from the craft s of t he cabinet-maker , t heS i lversmi th , and the ch ina and gl ass manufacturers— to men t ionbut a few of t he ch ie f among t hem— to wi tness to the supremeat t ainmen ts of form and elegance wh ich are the envy of al l ourconnoisseu rs and col lec tors ? Of t he two compet ing st rain s int he i r bu i ld ing , wh ich the Georgian designers main t ained i n a. fineequi poi se , t he fai rer was vanquished at the th reshold of t he n ineteenth cen t u ry , and had to wai t for a second recogn i t ion un t i l al lthe s trange man i fest a t ions of scien t i fic invent ion
,indust ria l
expansion and roman t i c emot ional ism had done t hei r wors t andwere s t i l l .M i ss Jourdain ’s book (we refer to t he t ex t al one) i s h ere andthere st rangel y incoheren t , whereas her subj ec t cal l s for t h e.c leares t possib l e t reatmen t . I n some cases i t may be t hat ac tualmisprin ts are respons ib l e for t he obscureness of her narrat ive ,bu t in o ther cases i t i s probably due to a l ack of rev i s ion of hermanuscri p t . I f t he unin i t i at ed reader i s to be gu ided t h rough th erather perplex ing in t ri cac ies of changes in style— especial ly thosetha t are main l y decorat ive— it i s of real import an ce t ha t t heaccoun t shou ld be l uc id .W e are gra tefu l to M issJourdainfor her very beau t i fu l pic t ure
RECENT BoOKs.
w isnow AT 4 : R i'
ssfi u , son ata, LONDON .
(From Engl ish Interio rs in Smaller Ho uses, 1660 1830.
book , bu t we fee l asw e layi t down t ha t her story net (l s ri t ell ingI t i s a W onderfu l epic o f bui ld ing wh ich has not yet beenwr i t t en— how a grt at gt ni us arose in England W llt ll her capi tal lay inashes. How h is exampl e spread t hroughout the whole countrvand tnevery market t ow ,n inca thedral c i t y , v i l l age , and scat teredhamlet there grew a mul t i t ude o f comely dwel l ings sobe rlyat t i red for the most part towards the outs ide w
,orld bu t graciouslyand charm ingly fu rn i sh ed wi t h in . How the Engl ish noble ,
t hesq u ire , t he merchan t and shopkeeper all turned to t he same rulesof a very domes t ic, humbl e , and yet perfect l y sel f—tw ssessed artfor t hei r homes and t hei r publ ic bu i ld ings . How anenemy sowedtares among the good ly rows of arch i tec tural wheat and court edt hat la ten t Engl ish desi re for the bizarre and the. pic t uresque , ’fi rs t by in t ro ducing lrcnch ch imneypieces m t he reign of A nneor George I , and by ( hinese mot ives in furni t u re , then by rocococarv ing and plast er en ri chmen t, and final ly by t he ‘ naturalschool of garden design . In t he last named he was successful ,bu t inarch i tec ture t he redoubtable band of champion s— RobertAdam and his bro thers— routed t he d isint egrat ing forces , andby t he wi tchcraft of t hei r su pe rb school won the heart s (and thepurses) of every one , giv ing to those who su ffered most fromd ivine un rest " t he task of covering W ren 's panel l ing and enr ichmen t s w i t h pain t o f a del ica te pea-green hue . Insp i t e o f someint erl udes , i t i s a s tory o f wh ich England shou ld be proud , andt he sooner t he coun t ry real iz es i ts sign i ficance the so oner wi l lt he hand of des t ruc t ionbe s tayed and the ample remains ofth ese
DOOR A T BE L TON HOU SE, GRAN T HAM .
(From " Engl ish Inter iors in Smaller Houses, 1660—1830.
beaut i fu l s tyl es be preserved . M i ss j ourdain,inspi te of t he. t i t l eo f her work
, has not v i s i ted enough of the h umbler dwel l ingswh ich st i l l abound , but her book is sure to do good and to sowthe righ t seed of appreciat ionof fine arch i tect ure wherever i t i sreceived and read .W ALTER I-I . (ionrtt tav .
On the S i te of the G lobe Playhouse.On the Site of the G lobe Playhou se of Shakespeare . By (lim itnn
llunnauo,
“S A . Cambridge : at the Universi ty Press. I’rice7s. (Ml. net .
Opini on has long been div ided as to whether the G l obe l’l ayhouse stood on th e north or sout h side of Park Street , Sout hwark— a s t reet wh ich run s roughly paral lel wi th Bankside on t heriver.andwh ich at one t ime bore t hename of Maid orMaiden Lane .A l t hough a bronze memorial has been erect ed by the ShakespeareReading Soc ie ty on a place to the south of Park Stree t,wherethe Soc iety has dec ided the theat re s tood , and the LondonCounty Counc i l has publ ished an ofiicial documen t i n suppor to f t h i s
,t here are t hose who disagree w i t h t he way inwh ich t heev idence avai l able has been read , and who hold t ha t t he si te wason t he north side .
76 THE ARCH I TECTURAL REVIEW .
M r . George Hubbard has fe l t compe l led to se t down and publ i sh h is argument s in s upport of th is v iew in book form . Though ,as he says
,a so lu t ion of the quest ion may not be a ma t ter of
vas t importan ce t o anyone , in view of the fac t t ha t t he memoria lhas been erec t ed , the mat ter assumes a cer ta in importancewh ich i t w ou ld otherwise not have had . I f t he p lace ismarked i t is bes t to be certa in tha t i t i s marked in t he correc tlace .P M r . Hubbard 's argumen t s are w e l l founded , and h is con c lus ion sseem logical enough . He has col lec t ed toge th er a cons iderab l eamoun t of ev idence
,and he has ev iden t ly spen t much t ime
work ing on t he subj ec t . Among the ev idence he se ts for th i s adocumen t w h ich has an importan t bear ing on the case . Th i sI s The Os te ler Documen t . I t con ta in s reference. t o alawsu i t between one Thomasina Os te ler and her fa ther JohnHemyngs. The la t ter was t he business manager of the companytha t ran the Globe Thea t re , and th e proceedings were in effec tagain s t t he whole. company inc lud ing Shakespeare h imse l f .The importance o f th is documen t , however , l i es in the fac t t ha ti t gives a descr ipt ion of the posi t ion of th e land on which theGlobe was bu i l t . Th is i s described as abu t t ing upon a piece ofland ca l led The Park upon t he nort h and upon a lanet here , ca l led M aiden Lane , t owards the sou th ." Now in thepast i t was cons idered tha t a mis take had been made in th eorien ta t ion of th i s piece of land , s ince— there be ing no o therpark know n in the ne ighbourhood— it was conc l uded thatThe Park re ferred to was th e B ishop of W inches t er’s park ,which lay away to the sou th of M aiden Lane . M r. Hubbard
,howe v er , c laims t o have d iscovered evidence showing tha tt here w as a piece o f land ca l led “ The Park , on Ban ks ide ,w h ich , i f t he evidence i s re l i ab le , cert ainly does away wi t h t h i sob j ec t ion .Another piece of ev idence tha t M r. Hubbard brings up is aminute of t he Sewer Commiss ion made on February I 4, 1605 ,wh ich reads as fol lows : I t i s ordered tha t Burbage Hemm ingesand the other owners of the P layhouse cal led th e Globe in M aid
Lane sha l l pu l l up and take c leane ou t of t he sewer theprops and pos t s wh ich stand under theire bridge on th e Northside of M ayd Lane . Th i s in fers , t oo , t h a t the land was on t henorth side .A poin t th at those who hold that the thea tre was on the sou thof M aiden Lane make use of i s the fac t tha t there i s an a l leynamed af te r t he thea t re on t he sou th wh ich i t i s t hough t originally led t o t he theatref M r . Hubbard meets th is by sugges t ingtha t origina l ly Globe A l ley was on the nort h and tha t t he presen tone was named af ter the t hea t re had been pu l led down . Hequotes a documen t descr ib ing some propert ies “ sc i t uate lyingand be ing in M ayden Lane bounded wi t h the K ing ’s h ighway ca l led Deadman ’s P lace on the eas t and upon th e Brookeor common shewer div id ing them from the Parke of t he LordBishopp of W inchest er on the Sou th and the garden comonlyca l led the lumbard garden onthe wes t and the a l ley or way lead ingt o t he Gloabe P layhouse comonly ca l led Gloabe A l ley on t henorth ."I t i s qui te obvious , says M r. Hubbard , tha t i f G lobe A l l eyi s the boundary on t he north , and Deadman ’s P lace is th eboundary on t he eas t , and Lombard Garden i s the boundary ont he west , then t h i s property wh ich i s descr ibed ‘ sc i t ua te lying andbe ing in M ayden Lane ' must have been bounded by the sewerin M aiden Lane on t he south ; a sewer wh ich ina genera l broadsense div ided th e land from the Lord Bish op of W inchester’sPark .Thi s i s not so conv inc ing as some of h i s ot her argumen t s ; i tleaves room for doubt . One cannot h e lp quest ion ing whet heri f the sewer was in M aiden Lane such wou ld no t have beens ta ted . The descri pt ion of the proper ty as be ing in M aydenLane migh t be mean t in a genera l way only— t he lan e being animportan t t horough fare near by. The l ike l ih ood of there havingbeen a Globe A l ley on th e north
,however
,i s great ly increased
when M r . Hubbard goes on t o quote cer tain measuremen t s g ivenin the deed . “ The d is tance from Globe A l l ey on th e nort h
,he
says , t o the common sewer on the sou th is s ta ted t o be 124 f t .W i t h a tape I have measured tha t d is tance and I fi nd tha t i texac t ly coinc ides wi th what mus t have beenthe northernof th etwo sewers inMaiden Lane .These are some of the -importan t argumen t s M r. Hubbardbrings up to suppor t h is s ide of the case . Old maps of th e
port ion of London deal t w i th accompany the book,and are
de l igh t fu l spec imen s of old cartography . I t i s un for tunate th atin no one map the posi t ions of M aiden Lane and th e Globeare toge ther marked . From these maps i t cer tain ly appears asthough t he Globe was too near the river t o be sou th of M aidenLaue . Th is , however , can hard ly be t aken as prov ing anyth ing ,as map-makers in those days aimed more a t mak ing p leasan tp ic t ures than at drawing accurate ones .
Books of the Month .
LONDON OF THE FUTURE . By T. E . COLLCUTT,
London: Leonard Parsons. Price net .
THE HOUS E DOCTOR . ByR . RANDA L PH I L L I PS . London: CountryL ife
,
"L td . Price 2s. 6d . net .
THE HOUS E W E OUGHT TO L IVE IN . ByJOHN CLOAG and LE S L I EMAN S FI E LD . London: Duckw or th Co., 3 H enrie t ta S treet , Co ventGarden, VV.C. Price 7s. 6d . net .
STRUCTURAL DES IGN IN THEORY AND PRACTICE . By H E NRYADAM S . London Constable Co Ltd .
PETERS FIE LI ) . By F . ARD EN M Ie . London: j ohn Lane, The
BodleyH ead , V igo S tree t , W'
. Pr ice 3 5 . 6d . net .
ENGL I S H COUNTRY L IFE AND “’ORK . By ERN E S T C. FU LBROOK .
London: B . T. Batsford , Ltd ., 94 H igh Holborn. Price 165 . net .
S tafl'
ordshire G laz ed W are.
Ralph W ood Po t tery : Mr. Frank Partridge's Collec tion. London
26 King S tree t, S t . j ames
’
s. .i to. Pp. 74. I llus. 305 . Limi teded i t ion,
No. 44.
The perfec t ion of t echn ique resu l t ing in a bri l l iance of g lazet ha t i s unsurpassed goes to prove M r. Part ridge 's con ten t i ont ha t Eng l i sh pot tery a t i t s bes t i s l i t t le
,i f a t a l l
,in ferior to any
other in the wor ld , so far as the produc t ion of the VVoods-ofStaffordsh ire int he e igh teen th cen t ury are concerned . Valuab le ,however , as t he ir secre t was , wonderfu l as i t s resu l t s have provedin last ing power , i t was a techn ica l secret on ly , not an art is t icone . The W oods prac t i sed a craft , not an art : t he i r work hasl i t t le grace and less drawing , but the art i s t of to-day wou ld giveh is immorta l sou l for th e sec re t wh ich bafflingly fl ashes a t h imfrom the surface of the toby j ugs
,the busts
,t he anima l s , t hefigurines , and the po ts wh ich Ra lph W ood , h i s son Ra lph , Thomas
W hieldon,and John A s tbu ry turned ou t in a generous profusion
from abou t 1740 to abou t 1780. A las I f t hese men had beengreat ce ramic art i s ts
,grea t pain ters
,or mode l lers
,t hen t he
S taffordsh ire pot ter ies wou ld indeed have been worthy riva l s oft he Ch inese and Bernard Pa l i ssy .I t i s only in one obj ec t in t he co l lec t ion wi th wh ich th i s cata loguedea l s tha t a rea l decorat ive in ten t i on emerges
,and tha t i s in t he
pierced flora l designof a teapot , sexagona l in shape , t he sma l lflow ers beau t i fu l ly mode l led , and th e co lour exqu is i te , as we l las th e design . The nex t mos t sat i sfac tory “ art is t i c pieces arethe ova l port rai t pane l s
,in wh ich t he execu t ion i s marve l lous ly
exper t and the resu l t not unp leasing aes the t ica l ly . To th e curiousand the co l lec tor t he perfec t ion of techni que of Ra lph W oodware wi l l a lways be a source of p leasure and wonder , and the publicat ion of th i s h andsome cata logue to the remarkab le S tonerPart ridge co l lec t ion wi l l always be a usefu l guide , for th e co l leet ion inc ludes over two hundred i tems
,many of wh ich are here
i l lus t rated in co lour and ha l f-t one .
66 ETCH INGS BY MEMBERS OF TH E PR INT SOCI ETY. Breamore ,Hampsh ire The Print Society. Pr ice 2 1 5 . net .
DETA ILS OF THE ARCH ITECTURE OF TU SCANY. By H . D .EB ERLE I N and OL IV ER REAGAN . New York : W illiam Helbum ,Inc.,
4 I S Mad isonA venue. Price in Por tfolio , Bound in Cloth ,THE STONES OF LONDON . By j . V I NCENT E LS DEN and A LL ENHOW E . London : Colliery Guard ian Co Ltd
, 30 and 3 1 Furnival
S treet,Holborn,
E .C.4.
ARCH ITECTURAL BU ILD ING CONSTRUCTION , Vol. I I . ByW . R .
JAGGARD and F. E . DRU RY . Cambridge : at the Uni v ersi ty Press.
Pr ice I 8s. net .
THE ARCH I TECTURAL REV IEW .
W estm inster Hal l .
A fter n ine slow years of pa t ien t t oi l the grea t work of mak ingsa fe th e roof of W estm in st er Ha l l has been complet ed , and theother day i t w as reopened by t he K ing .“ The T imes in an art ic le
,which w e quote , mark ing theoccasion
,remarked on i t s un iquen ess and the h i storic assoc iat ion s
oft h e p lace .W ha t k ingdom ,
t he art ic l e sa id,what peop le- anc ien t or
modem— can produce i t s para l le l . No bu i lding in Europe ,reared for t he ends of c i v i l ian l i fe,can r iva l ou r grea t Norman
heri tage in age— not t he Cloth Ha l l s of Ghen t and An twerp , nort he Tow n Ha l l s of Bruges and Br usse l s ; not t he A lhambra northe Pa lace of t he Doges , nor the Palazzo Vecch io , nor Or SanM iche le
,nor the Pa lazzo of Siena . I t i s o lder than t he cathedra l s
of St . Den i s and of Re ims ; i t s tood comp let e before even theDuomo of Pisa w as consec rated ; at home and abroad on ly somev enerab le churches can c laim an ear l ie r origin . W hen i t roseCon stan t inop le was ye t the capi ta l of the empire of t he Eas t ,yet the un ri va l led ci ty wh ich was to move th e ma rve l of Vi l lehardouin a hundred years la ter , ye t th e undevas ta t ed s torehouseofthe accumu la ted t reasures of G reek learn ing and of the choices tw orks of the G reek ch ise l . Bagdad was s t i l l the sea t of theCa l i ph s , rich in a l l the lore and a l l the sp lendour of the East .The. M oorish k ingdoms of Spain were t he mos t c ivi l i zed inEurope . There was s t i l l an empi re of the W es t , locked in th es t rugg le wi th t he mediaeva l Papacy wh ich was to ru in both .The K ing of France was a feeb le prin ce unab le to con t ro l thegrea t feudatories of the Crown . Prussia was a land of h eathen s ,and Russia had not ve t learn ed to crouch before th e conq ueringTartars .
W estmins ter H a l l has been t he theat re of some among th egrea t func t ion s and some among the grea t traged ies of Eng l i shh is tory . Un t i l t he accession of W i l l iam IV,
each n ew crownedK ing of Eng land he ld h is coronat ion banque t there
,and th e head
of the House of Dymoke,as h i s hered i tary Champion , rode upthe Ha l l in a rmour and flung downh i s gaun t le t indefen ce of th e
new K ing’s t i t le. There are amusing account s in W a lpo le of
ST. PAUL'
S CATH EDRAL.The “communion, (If/Cf 111: Fire
,of
Sr. Pilaf: L'
aJud rul,
I /te masterpiece ofS ir [4 re»
,of'w /lic/lBri tain
mayw e] be proud, w as started in 167 5and (oak 3 5years tocomp/ac. Ti n} mos!
famous Engfis/I arc/ri le“of“: time, nowrem beneat/I r/xe magnificent cathedral11m II: bum.
The perfect pencilfor perfect w ork
Exact it ude , the keynot e of the draw ing office , is alw
poss ible w i th a Koh/ i /noor- the clean f ine lines from t h i sperfect penc il, p roducingthe h ighest standard ofw ork . No
pencil isso ent i relysu it ed to the architect’s eve ryneed as
From S tationers, Ar/im '
MaterialDealer: nd S tores.In17 degrees from 68 to 9H . 6d. each. dez. 6 doz. gross.L. 81 C. HARDTMUTH , 29, K i ngsw ay, London, W .C.Z
t hese r i tes a t the coronat i on of George I I I . Th i s was th e occasionon wh ich t he Depu ty Ear l M arsha l,t o George ’s de l igh t
,met th eroya l comp lain ts by repea ted assuran ces th a t th ings wou ld be
be t ter managed a t the next coronat ion ; and th i s , t oo , was theoccas ion when Li l i as Redgauntlet took up th e Champion ’s gageon beha l f of t he ex i led Stuart . Si r Thomas M ore , who had sa tt here as Chance l lor , as h is fa ther before h im had sat t here i n th eCommon Law Court s , and F i sher , the sain t ly Bish op of Roches ter ,the munificent founder of S t . John ’s Co l lege
, Cambridge , wereat ta in ted there of t reason for denying th e Roya l supremacy.
W es tm in s ter w i tnessed the shame,as i t had wi tnessed th e success
o f Franc i s Bacon , ‘ th e greates t , wises t , meanes t of mank ind .I t saw Char les I wal k up i ts length wi t h h is armed guard tooverawe the Commons of Engl and and to sei ze the five members ;i t saw h im re turn baffl ed and d ismayed . I t saw the impeachmen t of Laud , and i t saw the impeachmen t of th e grea t“’entw orth, Earl of S t rafford , the man wi th hand and heartand brain to h ave saved Char les
,had Char les been poss ib le t o
save . .
W alpole’s l e t ters are fu l l of impeachmen t s and S tat e tr ia l sin the Ha l l and a t W es tm in s ter . There th e ga l lan t o ld Balmerinoand two o ther ‘ rebe l lords ’ were t r ied in 1 746,
a sigh t ‘ t h e mos tsolemn and fine , ’ by 1 29 of the i r peers , t o be fol lowed the nex tyear by the aged Lovat , when ‘ i t hu rt everybody to see the oldwre tch worried by the fi rs t lawyers in Eng land
,wi th ou t any
ass is tance bu t h is own unpract i sed de fen ce .’ Th e t ria l s ofLord Byron of the amaz ing Duchess of K ings ton
,and of
Lord George Gordon are among the mos t ce lebrated of th is t ime .Bu t th e grea tes t t r i a l wh ich has been he ld in W'estm in s te r Halls ince the t r ia l of K ing Char les , and in some. ways the mos t suggestive t o t he though t fu l mind , i s , i t n eed h ard ly be sa id , th eimpeachmen t of W arren H ast ings . Everybody knows t he resp lenden t ‘purp le patch ’ i n which Macau lay has exhausted h isgorgeous rh e tor ic to pa in t i t s open ing scen e .
“ The s tory of our nat ion and of our Empire i s a con t inuouss tory , as tha t of n o other n at ion and no oth er Empire hasbeen . W es tm ins ter Ha l l has looked upon i t s grow th fore igh t h undred yeaf's th a t have t ransformed the wor ld .
THE ARCH ITE C TURAL REVIEW .
U m .‘
uu
BU ILDINGS are p ro tec te d fr om the st orm wh e n the cemen t re nde r ings or c o n c re teare waterp ro o fe d by the addi t i on o f ‘
PUDLO'
Bran d Powde r.
B R A N DC E M E N T W A T E R P R O O F E R
(“
red or Rea r-w i re. Dam; II'
aIIJ. Bowman/r. Tamer. Bat/ u. Cara fe Pf/r. Concrete Bu r/d ings, fire.rd )? 6} Faye . It'
lrtnldy. Cork (i m'
w nMy. live j apanu v, Ita lian, .
lnfch. and S panish Governm en/J,0} (A: d dm i’ral/y, H
'
c r Office. Crow n Agni /s. [LA] . (40747 0/ Il'ort s. General For: Odfdr.
23 3°: Ififim KE RNE R-GRE ENW OOD CO., L td : Mark et sq uau , K ING’S LYNN.
J. H . K znuen-a euwooo, Managing D irector
TH E ARCH I TEC TURAL REVIEW .
The Fi tness Of Form to Environment .In an a rt ic le on Town A rch i tec tu re wh ich appeared in arecen t numb er of The. A rch i tec ts ’ Journa l , the quest ion of
certa in architectural forms be ing more. su i ted to the town t hanto t he coun t ry, or v ice v ersa , w as d iscussed , and at ten t ion wasdrawn to the fau l ts in our towns to-day . F i tness of form , i t w asp oin ted out,to purpose or envi ronmen t was often en t i re ly los t
sight of and the fa v oured architectural forms of a period wereto b e found appearing w i t h u t ter d isregard as to place or purpose .Thus to-day an arch i tec ture more su i tab le to the coun t ry was t obe found appearing in the towns , as it wi th t he emigrat ionfromcoun t ry to town the coun t ry fo lk were. bringing the ir architectural forms w i t h them . or tha t t he tow nsman was de te rmined tomalxe his home sa vour of th e coun t rys ide . Through th is therewas the danger tod ay of town arch i tec ture los ing the d is t inc t lyurban note wi th wh ich i t shou ld
,of course , be stamped .
I t must no t be t hough t tha t th is u rban i ty is necessar i ly amat te r of style or even of materia l , t he a rt ic le wen t ont o say , ind iscussing w hat ac tua l ly con s t i tu ted an urban form of architecture . " A l though both sty le and materialmay be the immed ia tecause of a d is t inc t ly u rban or rura l effec t
,actual ly the effec t o f
urban i ty in arch i tec ture arises from some. more sub t le cause . I tis the fash ion of la te to seek ana logies between arch i tec ture andd ress : such ana logies , a l t hough dangerous in t he hands of theinexperienced , ha v e the i r u ses , often succeeding , as they do , indraw ing the at ten t ion to a h i therto unobserved aspec t . A rch it ec tu re , no less t han d ress , i s large ly a mat ter of hab i t and convent ion. and j ust as we are often a t a loss to exp lain why certa inc lothes scent defin i t e ly suggest ive of
,and more su i tab le to
,an
urban envi ronmen t , so , t oo , t he more d iscr im inat ing mus t knowthat cer tain bui ldings are expressi ve of the town l i fe . W i t hc lothes , as wi th arch i tec tu re , t he cause is not necessar i ly one ofs ty le or material, a l t hough these may be importan t con t ribu toryfactors ; i t i s ra t her in t hat mysterious qua l i ty known t o t ai lorsas cut . A rch i tec ture,too
,has i t s cu t .
One th ing that proc laims an urban note is a cer tainun i formi tyand re t icence . Jus t as a manoncoming in to a towni s ob l iged
to con form wi th certa in regula t ions devised for the smoothrunn ing o f a comp lex organ i za t ion,so
,t oo
,shou ld the architec
ture subscribe to a code of good manners . S impl i c i ty orgrandeur are no measure of urbani ty. A un ivers i ty town , acat hedra l c i ty , t he sma l l capi ta l of an impoverished d is t ric t , orthe met ropol i s of a migh ty empire , wi l l express themse lves ind is t inc t ive arch i tec tu ra l id iom , as d is t in ct , t o revert to ourana logy , as the academic gown and the flowing surp l ice
,t he
mayora l badge of office , and the rega l sp lendour of a migh tycourt . Bu t the. d is t inc t ive urban qua l i ty of the arch i tec ture wi l lt ranscend these d ifferences .” The fau l t wi t h our towns to-day is twofo ld . F i rs t , t hesuburbs are fas t losing any k ind of u rban dis t inc t ion ; they disp laya con fus ionof ideas . The s t reet as a un i t o f compos i t ion i s be inglos t s igh t of ; indeed , s tree t arch i tec ture , except in the heart o four c i t ies , i s rapid ly becoming an obso le te ar t . The second fau l ti s a quest ion of manners . I t is genera l ly rea l i zed t ha t thes tandard of good manners in human in te rcourse i s becominglower . Re t icence , deference , and respec t are qua l i t ies whoserari ty is becoming a mat ter of regre t amongs t those who werefami l iar wi t h p leasan ter codes . Town arch i tec t ure reflec ts t h i schange in idea ls . The improvemen t tha t we look for mus tu l t imate ly come from the c i t i zens themse lves . The qua l i t ies whichgo to make a good c i t i zen mus t be understood and cul t iva ted , andin due course t hey wi l l be reflec ted in the town ’s arch i tec ture .”The Discovery of an Ancient Tow n.
The. remai ns of an oppidum or fort ified town,measuring o v er
sq . have been d iscovered near Orange (Vauc luse) . I t is ont he summi t of a rocky eminen ce , the base of which a t one t ime waswashed by t he waters of t he.Rhone . Numerous fragmen t s of tool smade both of bone and fl in t
,avarietyof pot te ry , utensils,and skeletons ofan ima l s some of them now ex t inc t— have been unearthed ,wh i le , too , t here are fai r lywe l l-preserved vest iges of human habi ta ~t ion s in t he form ofhuts. Archzeologicalau thori t ies who have a l readymade an in spec t ion of t hese re l ics are of Opin i on th a t the s i te i s t ha to f t he an c ien t t ownof Aeria , which is sa id to h ave been bui l t above-Orange in an exposed posi t ion dominat ing the nat iona l roadw av .
TH E ARCH I TECTURAL REVlEW .
S irJoshua Reyno l ds.The recent b icentenary of t he bi rt h of S irJoshua Reynolds wasmarked by a recept ionheld a t Burl ingtonHouse , whena numberof speeches were given by prom inent menont he subj ect of thepainter .S irAstonW ebb , in the course of a survey of the career andcharacter of Reynolds , po i nted to the many resemblances be tweent he l ives of t he grea t painte r and of the arch i tec t W ren, whosetombs in S t . Pau l ’s ad jo ined one another . Bot h w ere sons ofthe manse : both came from the sou th w est of England bo th wereprominent in the socia l l i fe of t hei r t imes ; both l ived ext reme lystrenucus w ork ing l ives , and both w ere of blame less character .W renwas at one t ime member of Parl iament for Plympton,
and
Reynolds was Mayor of Plympton. W ren,w hose memory also
had beence lebrated thi s year, died five mont hs before Reynoldsw as bo rn.
Tw o of the favouri te max ims of Reynolds (S ir AstonW ebbremarked) , w h ich th rew a good dea l of l ight on his character ,were
,first , t hat the grea t principle of happiness int h is world was
not to mind ,or be a ffected by,
smal l things , and second ly , If
you take too much care of yoursel f , Nature w i ll cease to take careof you . W hen the grea t painter was knigh ted in 1 769 (t heyear fol low ing t he const i tu t ion of t he Roya l Academy and h i se lect ion as first president ) he left one si t ter to go to t he Palacefor the ceremony , and almost immediate ly afterwards went backto ano ther si t ter.S ir j oshua Reyno lds was a man of an unusual ly temperate
and lovable nature . He dined ou t much , bu t never unw ise ly ;he drank
,bu t he was never drunk ; he played cards frequent ly and ,
i t was said,at rociously,
bu t he was no gambler ; he gossiped , bu tnever il l-na tured ly ; he w as a good talker , t hough no speaker ;he lent and he gave , bu t he never borrowed ; and t hough he oftenentered into quarre ls , i t w asa lways to heal them . Liv ing in at ime w hen art was t hought contempt ible , he ra sed i t to publ icapprec iat ionand esteem ,
and he raised also t he art ist w i .h i t .A s tatue o f t he painter is soon to be unvei led in t he courtyardof Burl ing tonHouse .
Id eal Britannia Bo i lersConstru c t ional A d vantage s
The d iagram show s the ample proport ions
of the w aterw ays and nipples, ensuring free
circulat ion— large fuel capaci ty of the fire box ,
m inim isingattent ionm w ater-cooled grate bars, and
ex tended legs of sections form ing ashpit and
elim inat ing separate base.
BOlLERS
Ideal Bri tannia Boilers are made in 19 siz es
for to square feet of rad iat ion or 860to lineal feet of 4-inch p ipe.
Lists post free on request.
L I M IT E D .
Offices, Showrooms Works : HULL, Yorks. I LondonShowrooms: 439 441 Oxford Street,W.l.
Telephone : Central 4220. Telegram s :“ Radiators, Hull . 1 Te lephone : M ayfair 2 15 3 . Telegram s I dealrad.London.
Agents in Great B ri tain carrying stocks of I deal Rad iators and I deal B oilers :
Baxendale 6L Co .. Ltd M i l ler S treet W orks, Manchester. W i l l iam Mac leod Gt Cc ., 60-64 Robertson S treet , G lasgow .
The V is Co l lection.
Ina le t ter wr i t tento The T imes , t he o ther day , Mr. I sidoreS pielmanndraws at tent ionto the V i s collect ionof old Du tch t i les ,and asks for a fr iend of t he Nat ional Art Col lect ions Fund tocome forward and present t h i s fine collect ionto t he V ictoria andA lbert Museum— before i t crosses t he At lant ic .He points ou t that t he ceramic sec t ionof the museum is singu
larlyweak int he very t h ings inwh ich the V i s col lec t ioni s s trong .The V i s collect ion, he says , may be div ided into tw o groups
— t he sing le—picture t iles and the great pictures covering manyt i les. Among t he former are beau t i ful examples of flowers
,b i rds
,
anima ls, and figures , mili tary and c iv ilian port rai t s , landscapes ,
seascapes , and sh ips in end less variety . Among the lat ter aresome very remarkable pictures . One i s of enormous dimen
sions and i s composed of 3 5 7 t iles , and i s dated 1640. I t consist sof an a llegorical representat ion of Love , Just ice , Uni ty , Fai t h ~
fu lness , and S tedfas tness , each depicted by a female figure w i t hanemblem . The figures , wh ich are over l i fe—si z e , are painted inpurple
, and the draw ing of the figures is splendid inat t i tude andbold indesign. Th i s t ile-picture is said to be among t he mos timportant work s ever produced in painted t iles inEurope .I t came from Gouda , and i s af ter t he designof Joach im Utew ael.Ot her t ile-pictures include t he fol low ing t he sign from amerchant 's house at Gorinchem , composed of t h ir ty t i les ; amarine piece by Corne l iu s Boumeester, composed of t h i rty-fivet iles ; a hunt ing scene , also by Boumeester, composed of onhundred t iles ; a Du tch interior , w i t h anelegant ly-dressed groupcomposed of twelve t i les ; The Di sm issal of Hagar by Abraham ,
by JanAalm is, of Ro t terdam , composed of twenty-four fi les aflower piece,composed of seventy-eight t i les , and one of t he mos t
beau t i fu l t h ings in the col lec t ion. Ano ther important picture isThe Crucifix ion
,by Jan Aalmis, drawn w i t h anatomical
accuracy,t he s tanding groups being in devou t at t i tudes . Th i s
p ic ture is composed of seventy t i les.M r . S pielmanncons iders t h i s col lect ionto be inno way inferior
to t he S chou ten co llect ion at Del ft , or t he great col lec t ion ofM . Evnerpoola t Brussels .
TH E ARCH ITECTURAL REVIEW .
TH E ARCH I TECTURAL REVIEW .
A G ift to the Nation.
The publ ic w i l l learn w i t h the grea tes t sat isfact ion t ha t theRamsey Abbey censer and incense-boat have j us t been acquiredfor the V ictoria and Albert Museum . These superb obj ect s ins i lver gilt
,wh ich appear to have formed par t of t he t reasure of
Ramsey Abbey in Hunt ingdonsh i re , represent t he h igh-watermark of Engl i sh goldsmi th s’ work of t he fourteent h century .For th is splendid addi t ion to i ts art ist ic t reasures , t he nat ioni s indebted . to t he generosity of an ent husiast i c connoisseur ofmedie val art , M r. C.“7. DysonPe rrins , of Malvernand Ardross,
NB . Mr. Perrinshasprov ided by far t he greater part of t he largesum needed for t he purchase , leav ing only a relat ively smal lamount to be furnished ou t of state funds . These incomparablepieces of Engl ish medizeval craft smansh ip are rescued at amoment whent here was reasonto fear they would be permanent lylos t to t h i s count ry and M r. Perrins deserves t he grat i tude ofh i s count rymen. The obj ects are now on exh ib i t ion am ongthe great col lect ion of ecclesiast ical goldsmi th s’ work in t hesou t h cour t of t he Museum .
The censer and incense-boat were found , toget her w i t h agroup of art icles inpewter and po t tery , in the course of drainingW hi t tlesea Mere in 1850. From t he occurrence of rams’ headsissuing from the sea , on t he incense-boa t , and a rams’ head ont he pewter dishes
,i t i s conc luded t ha t t hey be longed to Ramsey
Abbey , wh ich bore the same cant ing dev ice in i ts arm s .The censer i s a work of grea t magnificence , richly gil t , s tandingin. inheight . I t consis ts of a ci rcu lar bowl , the foo t pierced
w i t h a border of quat refoils,w i t hin wh ich s tands a s ix-s ided
tower of Open t racery w i th conical roof surmounted by a finia lof fol iage . The tower has three w indows of decorated Go t h ict racery alterna t ing w i t h th ree of plain lance ts , recall ing t hedesignof t he octagonof ElyCathedral, and the whole is enri chedwi t h bu t t resses , crockets , and pierced and embat t led cres t ings .The incense-boa t i s s impler in charac ter, and as gracefu l asthe censer i s magnificent . I t i s long and narrow , w i th a sixpointed foo t , and one-hal f o f the top is h inged as a l id , openingw i t h a pyramidal knob . The surface is plain, set off by del icately
enr iched mou ldings and anembat t led edge . At ei ther extremi tyt he ram ’s head rebus of Ram sey forms a finial , and each hal fof t he top is engraved w i t h a rose ; t he whole is p lain s i lver ,excep t for t he enrichments
,wh ich are gi lded ; i ts leng t h i s 1 1} in.
The date of bo t h pieces must be abou t t he m iddle or possiblyt he second half of t he fourteenth century . They are t he sole.remaining Engl i sh examples of a censer and incense-boat ofmedimval date ins i lver , and are probably t he mos t beau t i fu l inex i stence . The departed g lories of Engl i sh si lver are now , alas,known to us ch iefly from records
,such as th e inventories of
chu rch plate prior to t he Reformat ion, and t he l i s ts of monas t ict reasures appropria ted by t he crown at the dissolu t ion. I f wewould v i sualize t hese glories we can only re ly on a very fewextant remains the crosiers of W i ll iam of W ykeham and Bi shopFoxe of Ox ford , and a l imi ted number of chal ices and patens ,t hese lat ter for the mos t par t of comparat ively sl igh t ar t i s t icinteres t . To t he number we may now add t he Ramsey Abbeyp ieces. I t has long been recognized t hat in many ar ts of t hem iddle ages , England was pre-eminent ; t he t reasures wh i ch havej us t become nat iona l property are ev idence of t he ext raordinarybeau ty of t he ar t of t he mediaeval Engl i sh goldsmi th s.
Mr. Eric Gi l l ’s Cartoons.An interest ing acqu i si t ion has beenmade by the V ic toria and
Albert Museum , wh ich has purchased from t he Goupil Ga l lerya fu l l se t of M r . E ri c Gill ’s cartoons and work ing draw ings forh is S tat ions of the Cross in W es tminster Cat hedra l . Thesesculptures , i t w il l be remembered , created cons iderable cont roversy when t hey were fi rst set up in t he Cathedral . Mode rnchu rch scu lptu re had not prepared people for anyt h ing so s tarkand s imple , and t hei r appropriateness in thei r somewhat Byzant ine convent ion to Bent ley’s Byzant ine cat hedra l was no t icedint he first ou tburst of disl ike to rel igious art t hat was not pre t ty.Ano ther acqu isi t ion by t he V i ctoria and Albe rt Museum is acol lect ion of Mr. Nicholson’swork ing draw ings of t he cos tumesfor “
Pol ly ,” wh ich are now in the summer exh ib i t ion a t t heGoupi l Gallery.
TH F. ARCH ITECTU RAL
The “ Old Vic .
It is good news to hear t hat t he Old V ic has beensaved andt ha t the danger w i t h w h ich i t was t hreatened has beenhappilyremoved by t he act ionof the LondonE lec t ric RailwayCompany .The posit ionwas as fol lows. The Old V ic had to be recons t ructed to confom i to regu lat ions , and t h i s invo lved theevacua t ionof MorleyCollege adjoining and t he prov is ionof a newsi te for the college . The si te w as found inW estminster BridgeRoad , and t hencame t he pr0posalof t he LondonE lect ric RailwayCompany to sink a work ing shaft upon i t for t he purposes of anextension of t he ra ilway. The col lege was unable to accept t hesi te and t he Old V ic was placed ina posi t ionof j eopardy.In response to t he publ ic sym pat hy aroused , t he rai lwaycompany has now ,
however,undertakento leave undis turbed t he
surface of t he si te in quest ionand t he who le ma t te r has beensat isfactorily se t t led .
The Loughborough W ar MemorialThe Loughborough (Leicestersh i re) memorial , t he unvei l ing ofwh ich , by_
Field-Marshal S ir “'
illiam Rober tson, took placerecent ly,
was designed by M r. W al ter Tapper .I t consist s of a lofty campanile containing a cari llon of bells .
The tower ri ses to a heigh t of 1 5 2 ft . The base , 26 ft . 0in. square ,and 16 ft . h igh ,
i s of Port land s tone , onwh ich four large bronzepanels bear the names of 478 meninwhose memory i t i s erected .Internally t he tower is d iv ided into four chambers , the entrance ,a room wh ich i t i s suggested shal l be used as a museum , the clav ierchamber , and the bel l chamber . The bel l chamber containsforty-sevenbells , t he largest of wh ich weigh s four and a ha l f tonsand t he smalles t 20 1b. , the total weigh t being twenty—one tons.The greates t care has beenexercised inthe const ruct ionof the bel lchamber , wh ich has been specially de'signed acoust i ca l ly so t ha tall t he bells shall be heard equally wel l , wh ile the musica l e ffectof the cari l lonas a whole shall be t he bes t possible . Forrichnessof tone , accuracy of tune , and perfect ion of mechanism t heLoughborough caril lon i s the finest int he world .
REV IEW .
The A ir Force Memorial .The war memorial inhonour of the men of the AirForces oft he Empi re who sacrificed t hei r l ives in the war, wh ich wasunvei led recent ly on t he V ictoria Embankment by t he Prince of\Vales , consis ts of a wh i te s tone co lumn surmounted by a grea teagle in gi lded bronze . At the head of the co lumn i s an insert ion of pol i shed grani te , and t he gi l t eagle above has neededsome four tons of bronz e to make . On a g lobe beneat h areenci rcled t he signs of the Zodiac . I t i s the work of two dist inguished art i sts , S ir Regina ld Blomfield, R .A. (arch i tect ) , andMr. Reid D ick , A .R.A . (scu lptor) .I t s tands hal fway be tween W es tminster and Charing Cross
Bridges , and is the th i rd war memorial now ont he Embankment— t he Belgianmemoria l and the submarine serv ice pane l beingt he ot her two .
A New Home for Seamen.
Ano ther war memorial wh ich has jus t been finished is aBr i t ish seamen
’
s home and inst i tu te wh ich has just beenopeneda t Dunk i rk by Princess Al ice
,Countess o f Ath lone . The foun
dat ion s tone was laid a year ago by the Duke of York . Thebuilding, wh i ch w as designed by S ir A . Brumwe l l Thomas ,includes a memoria l court and Cloister , w i th anofii cers
’ club,a
seamen’
srecreat ionroom ,andachape land residence for the chaplainin charge . The bu ilders were Messrs . Hol land , Hannen andCubi tts
,Ltd.
Princess Al ice . in her speech dec laring t he bu ildings open,
said : W e commemorate to ~ day ga llant memories of t he pas tshared w i th the brave French people
, and i t i s w i t h gratefu lheart s tha t we mee t inan atmosphere of calm and goodw il l att h i s memoria l , which brings to m ind the words wri t tenover thega teway of one of the o ld-world ci t ies of t he pas t
,
'
W ide, openare the gates of t h is Ci ty , bu t more w idely openare t he heart sof i ts people .’ Our brave S erv ices— Navy, Army , and Air Force— w il l always find here the same open gate and the same openheart .
Inthe possessionofFrederick Chatterlon, Esq.
Plate 1. S eptember 19 2 3 .
COLOGNE .
From a Pen-and-W ash Draw ing by Samuel Prout .
TH E ARCH I TECTURAL REV IEW .
THE W’ARDROBE AND M IRROR IN THE BEDROOM .
A MODERN FRENCH BEDROOM.
Designed byF . Hamelet .
FRENCH DECORAT ION.
S ITTING-ROOM .
gene ra t ions o f su pe rb prod uc t ions . They are i rreproachable,
immacu la t e . Bycont ras t t he i r mode rnneighbou rs appearnot so much vu lgar and painfu l as ri d icu lous . Th ey appea rto have no s ignificance ; and t he sam e may be sa id o f nearlyall mode rn fum iturc. But again, i t i s not cont em pt iblebecau s e i t i s a genu ine express ion of wha t peop le l ike ,not because t hey t h ink such i s t h e. co rrec t t h ing t o h ave ,bu t becau se t h ey t ake a spont aneou s p leasu re in t h e ac tua lfo rms and co lou rs o f t h e new des igns .Ofmode rn French arch i tec t u re i t i s not wi se t o say toomuch . Th e Rouen exh i bi t ion inc ludes i l lu s t ra t ions o f t h ela tes t arch i tec tu re o f t he province ; and wh i le t h e commerc ia land pu bli c work i s fu l l o f sugges t iont he domes t ic is of a mos tdi squ ie t ing c harac t e r . I t appears to come from Eng land .
French a rch i t ec ts acknowledge the d i v ine qua l i t ies o f t h eEnglish home . W i t h t h e int ent ionof t aking a l esson fromEng land , t hey have s t ud ied wh a t t h ey m is take fo r modernEng l i sh domes t ic d esign. The i r cont em p t for t he Georg iant rad i t ion i s w ell known; bu t in t h e mos t absu rd fi t of pe rve rsi ty t h ey h ave se t t l ed on t h e Eng l i sh h a l f—t im be redEdwardian subu rban vi l la as a mode l o f domes t ic v i r tue .As a result t he mos t h ideou s abom ina t ions a re be ing contri vedinFrance inthe sac red name of a r t , under t h e de lusiont ha tsome of t he pic tu resque and home ly charac te r o f t h e Eng l i shhouse is be ing int rod uced into t h e count ry . No t h ing cou ldbe more absurd . I t wou ld be a ma t t e r fo r laugh t e r i f i twe re not s o t ragi c . He re is France , a beau t i fu l count ry ,pa t te rned w i t h fine h ighw ays and h andsome c i t ies, peopledby a sane and h ighly cu l t i va t ed na t ionwhose ch iefes t ar t i s t icglo ry is pe rhaps i t s magnifi cent arch i t ec tu ra l t rad i t ion; ye t
79
no t h ing cansave h er from t he w i l fu l and sense less vu lgari zat i onof h e r land scapes and c i t ies by a m inu t e sec t ion ofpro fess iona l men, who seem de t erm ined t o m ar t h e i r owncount ry by impor t ing a “ s tyle ” wh ich has a l ready gone farto spo i l ano t he r . They ru inFranc e wit h t he examp le o fEng land be fore t h e ir eyes .But wi t h t h i s excep t ion France appears h ea l t hy . She
looks ahead,not backwards . She i s not res t ing onher pas t
,
bu t seeks fresh conques ts . Th e Rouenexh ib i t ion i s a signof h ea l t h
,and may be t akenas a symbo l of revi v ing vi t al i ty .
For years m any have be en inc l ined to look upon E u ropeas a s t agnant poo l . The vigorou s fo rw ard progress o f l i feseemed ch ecked . Ph as e aft e r ph ase of fash i on passedove r peop les t oo l is t less t o reac t c rea t ive ly to t h e new demandso f a ch anging wor ld . But a t las t i t appears t ha t menand
women, wi t h t heir new individua l freedom , are gaining afresh zes t fo r l i fe . Int he i r su rround ings t hey are de t erm inedt o h ave wh a t t hey l ike . Nor i s wh a t t h ey l i ke necessa ri lys tup id or reac t ionary . They are revea l ing persona l i t ies o ft he i r own; t h ey are red i scove r ing a sense o f co lou r and asense o f des ignand fi tness and s t ru c tu re . W i t hou t consc iou se ffo r t t h e room s t hey decora t e , t he fu rni tu re they'
use, andt he houses t hey l ive in, assume new fo rm s which ,
t h ough nota l toge t he r sub l im e , are a l i ve and fu l l of po t ent ia l i t ies . Th ech aos
, too, o f w arr ing t as te s and prefe rences beg ins to d ieaway. Th e t rend of popu lar t as t e i s se t t ing gradu al lyinone d i rec t ion. W e h ave sho t t he rap ids , and f rom a wh i rlpoo l of c ross cu rrent s we are s t rugg l ing ou t into smoo t he rwa te rs wh e re we can see the grea t r i ver ahead , smoo t h ,b road , and wit h a. certa inend. H . DE C.
T he Res to rat i o n of a Fam ou s
I talian Palace.
The Palaz z o del la Parte Guelfa.
HE pa lace o f t h e Par t e Gu e l fa , one of t h e o ldes tand mos t famous o f t h e Florent ine bu i ld ings ,a f te r having been,
fo r m any years , d iv ided intofloors and room s foreign t o i t s arch i t ec tu re , has
a t las t been res tored t o i t s o rig ina l puri ty o f l ine . Begunin t h e t h i r teent h cent u ry , by 1 3 22 ,
when t h e Gu e l fs w eremas t e rs o f t he Commune and of t h e S t a t e , t he bu i ld ingh ad already seve ra l large rooms— amongs t t h ese one
t ha t be longed t o t h e Gu i ld of S i l k W eavers (Fig. On
t h e s t a i rcase t he re w e re a l so frescoes by Gio t t o , in one o fwh ich was t o b e found t he po r t ra i t o f ‘
Pope Cl ement IV ,
who,in gra t i t ude t o t h e Gue l fs fo r t h ei r
"
h e lp , h ad g i vent hem his owncoa t-of—a rm s— a red eag l e s tand ing on a greense rpent .La t e r on
,in1418 ,
Brune l lesch i begant h e large h a l l (Fig. 4)des igned wi t h t h e s imp l i c i ty of s ty le t ha t was t o be t h e beau tyof Tuscan arch i t ec tu re a l l t h rough t h e Renaissance . Un
fo r tuna t e ly,whi l s t t he pa lace was s t i l l unfini shed , t h e pow e r
ofthe Gue l fs ended , and i t was not t i l l t he t ime of Cosimo It h a t t he grea t h a l l was
! roofed ove r and decora t ed
I . THE LOGGIA, BY VASAR I .
YorMARAINI .
Zo A FIFTEENTH-CENTURY MARBLE DOORW AY.
wi t h a ce i l ing of wood by V asar i . At t h e sam e t im e Vasar iadded a de l igh t fu l loggi a suppor t ed by two h igh b racke t s(Fig.
Th e rem a ining h i s tory_
oi t h e pa lace i s o f no int eres tbecau se af t e r t h a t t ime i t was never improved
,bu t w as
, in
f ac t , somewha t damaged . In 1 769 Pie tro Leopo ldo gavei t t o t he Commune . At t h e cent enary o f Dant e , in 1 92 1 ,
i twas dec ided t o res to re t h e bu i ld ing
, and now ,a ft e r two
years o f h ard "
work , i t i s fini sh ed . Th e ground floo r i s gi venu p t o Vieusseux’
s l ib rary,now t h e proper ty of t h e Com
mune . Above i t t h ere are t h ree or fou r large room s t o b eu sed for conce r t s and exh i bi t ions .Th e mos t no table ob j ec t s int h e bu i lding are t h e M adonna
and Ch i ld , by Luca de l l a Robbia , inthe l arge h a l l (Fig.
and a fifteenth-cent u ry l int e l of carved m arblewi t h b ronzeg i l t doors (Fig. 2 ) t h a t isnow rep laced in i t s original posit ion, af t er h aving “
b een fo r m any years in t h e Pa lazzoVecch io . Th e ex t e r ior o f t h e pa lace i s o f l i t t le arch i t ec tu ra lva lue .
THE RES TORAT ION OF A FAMOU S I TAL IAN PALACE .
3 . MADONNA AND CH ILI ) . BY LUCA DELLA ROBB I A .
4. THE GREAT H ALL. BY BRUNELLESCI 'I I .
The ceiling is byVasari , and the. del la Robbia, i l lustrate d above,is p laced over the doorw ay on the right.
8 1
82 THE ARCH I TECTURAL REVIEW .
’
5 . THE CE ILING OF THE S ILK W EAVERS ’ROOM .
6. THE PALAZZO DELLA PARTE GUELFA : THE ROOM U SED BY THE GU ILD . OF S ILK .W EAVERS .
TH E ARCH I TECTURAL REV IEW .
2 . DOM ENI CO FONTANA .
An i l lustrat ion from “ De l la Trasport ione del l ' obe l isco Vat icano.
’Engraving.
THE H I S TORICAL DEVELOPM ENT OF ARCH I TECTURAL DRAW ING.
3 . LORENZO BERN INI .
A ltar-Piece ,I
'
lfiz i Co l lect ion. I’( nand bis tro,and bistre w ash.
Fa lda was an unequa l art is t . H is pe rsp ec t ive i s o ft en a tfau l t , h i s landsc ap e and c louds a re o ft en t r i t e convent ions .At t he same t ime h is work was an advance on t h e I ta l i anarchi t ec tu ra l d raugh t smansh i p of h i s d ay . I t i s be t t e r t hanVenturini
'
s engrav ings o f the chu rches by Bo rrom ini ,Be rnini , Ra ina ld i , and o t hers , wh i c h w e re pu bl i shed byde Reubeis a t Rome in 1684.
Bu t arch i tec t u re in I ta ly of t h e seventeent h ccnturv hadlost i t s seri ou s pu rp ose . Arch i t ec tu ra l d raugh tsmansh i p wasconsequent ly a t a low ebb . The a rchi t ec t s o f t he t im e w ere ,many of t hem
,b ri l l iant ly c leve r men
,bu t t hey were not
b rill iant ly c leve r a rch i tec t s . Th ey cou ld d raw w i t h fac i l i ty ,bu t t hey cou ld not d raw arch i t ec t ure . Th ei r int e res t wasin decora t ion
,not in cons t ru c t ion, and ornament t hey
dev i sed wit h unfa i l ing ingenu i ty . S ke tch ing freely w i t h apen, wit hou t prepara t ion,
t hey d rew th e int r ica t e con
vo lu t ions o f barroco forms w i t h surpris ing dex t eri ty . The i rd rawings a re a m ine o f sugges t iveness , bu t t h e a rch itectural sense i s lacking . Bem ini S pent h i s l i fe inproduc ingscu lptu re o f exc e l lence and arch i t ec t u re o f ques t ionabletas t e . He was a mas t e r inone and anam a t eu r in t h e o t he r .H is d rawings alone prove t he fac t— t hough t h e ch aff o fkings is be t t e r t han t h e b read of beggars . E ve ry mansough t to be ambidex t rou s . Th e resu l t tended to cas t a l lart in t he same mou ld of m ed ioc ri ty . Arch i tec tu re becamea background
,t hea t rica l . Only occ as iona l ly did i t becom e
B I E N B A S
4.'I’I E RRE LIZM'
UE T.
Facade from the Maniere dc bienhust ir. Engraving.
d rama t i c . Pedant ry had turned t o pageant ry . Decora t i onwas t he order of t h e day , bu t t h e scene o f t h e grandes ts t ory o f decora t i on was laid in Franceh and in France i twas sp lend id ly , magnificent ly t o ld .
In t he si x teent h centu ry French draugh t smansh i p h adbeen based on t he I t a l i an mode l , t hough du Ce rceau hadnever beenent i re ly conver ted to t h e I ta l i ant as t e . But wi t ht he com ing of t h e seventeent h centu ry , arch i t ec tu ra l d rawing in France d eve loped on independent l ines . Followingt he Flem i sh produc t ions o f de V ri es and Dietterlin
, Franc ini 's Liv re d '
Architecture,in som ewh a t be t t er t as t e was
publ i shed —at Par is in 162 1 . Alessand ro Franc ini was ana t ive o f Florence and Enginee r—in-Ordinary to Henry IVof France . Int he int roduc t ion t o h i s book h e d i sc la ims ac lose acqua intance wi t h arch i tec tu re , and t he i l lus t ra t ionsbea r t es t imony t o t h e t ru t h of h i s s ta t ement .A re tu rn to more reasonabl e and use fu l work was made
by Mat hu rinJousse of La li léche.
”
He was born in 1607a t Orleans . Byt rad e h e was a blacksm i t h , bu t h e seem s -toh ave been a. man of considerable accomp l i shment . H i
“\
princi pa l book was t he “L
’
Art de S erru rie r,produced in
1627 and cont aining a hund red and t h i rty-five p la t es engraved on copper .Le Mue t ’s fi rs t publ ica t i on, Le maniere de bienbastirpou r tou t es sor t es de personnes , ” h ad appeared in Pari sin 1623 (Fig. and w as fo l lowed by a second ed i t ion
86 TH E A RCH ITECTURAL REV IEW .
Long Crendon M anor,Oxford sh i re.
The Home of M rs. Hoh ler : Restored and Rebu i lt byPh i l ip T i lden.
W ith Photographs by F . R. Yerburv The Architectural Review ,and one on page 94 by Wakefields.
HE hou se i s s i tua t ed ont he end of t h e spu r o f t h eh i l l u pon which Long Crendon v i l lage s t ands ,and look s ou t from a ve ry cons ide rabl e em inenceove r t h e ma rsh es o f t h e Tham e Va l ley , in t h e
d i rec t iono f Ox fo rd and VVheatley. The who le d i s t r ic t was ,int he o ld days , in t h e hands o f t he Do rm er fam i ly .I t i s int eres t ing t o no t e t ha t during t h e resto ra t ionof thefew o ld room s t h a t remained o f wha t w as t h e m ano r , beh inda p las te r ce i l ing o f anu pper room , many deeds o f t h e housewere d i scove red
,toge t he r wi t h var iou s odds and ends o f
t he s ixt eent h centu ry . Th ese deed s dateback as far as1 180, and dea l w i t h va ri ou s loans and grants bf land , a l lin t h e name ofDormer .W hen M rs . Hoh le r d ec ided to buy t h e proper ty i t cons i s t ed of a s tone ga t ehou se
,wi t h a gable l eaning pe ri lou s ly
inward,and a cons ide rab le sub s idence in one of t h e w a l ls .
Th i s ga t ehou se led into a cou r tyard t h e opposi t e s ide o fwh i ch w as occupied by asma l l h ou se cont a ining t h 1eerecep t ion room s and fou r o r five b ed rooms .The low por t ionof t h e house , wh ich cont a ined t he k i tchen,
A V IEW’
THROUGH THE GATEHOUS E . INS IDE THE GATEHOUS E .
The roof shown in the right-hand i l lustrat ion has beennew ly bui l t by the architect .
sc ulle ry , and l arder , beh ind t he present new s tone gabl e o ft h e porch , w as d i scove red t o b e ano ld h a l l w i t h a fine s imp leear ly roo f . Th e res t of t h e hou se h ad b een modernized inVic to ri andays
,and cont ained much t h a t w as ord inary
,and
a grea t dealth a t w as t err ible , in t h e sh ape o f v arni sh ed deal ,and so on. Th e hou se was l inked t o t he ga t ehouse by arange o f low ou t bu i ld ings.I t w as M r . T i lden's p roblem t o m ake t h i s into a homo
geneous hou se , cont aining t h ree o r fou r t imes t h e amountof accommoda t ion o f t h e or ig inal bu i ld ing .All
l
the o ld ma t e r ia ls on t he s i t e,in t h e sh ape o f t i les
,
t imb er , and b rick s we re re-used , and wh ere new oak w asemployed no attem p t .was m ade t o fake i t t o look o ld
,bu t
i t was w orked in t h e ri gh t w ay by hand ,
’
and t h e e ffec t i snow so s a t i s fac to ry t h at i t lead s one. to suppose. t h a t pe rh apsmore Was done t o ach i eve anold look t h anac t ua lly w as done .The work occup ied t h ree or fou r years
, and was t he refore d0ne wi t h grea t care and wi t hou t h as t e
,wh i ch i s so
detrimental'
(if'c l i ent s '
wou ld bu t be l ieve i t ) t o t h e successo f a bu i ld ing o f t h i s t ype .
90THE ARCH I TECTURAL REV IEW .
THE ARCH I TECTURAL REVIEW .
THE ARCH I TECTURAL REV IEW .
THE HALL .
The roof of this room was discovered bythe arch itect above a flat'Victorian cei ling.
THE ARCH I TECTURAL REV IEW .
THE MA IN STA IRCAS E .THE GATEHOU SE
A BEDROOM .
The ancient deeds ofthe house w ere discovered behind the ceilingofthisroom .
STA IRCASE .
Modern Du tch A rch i tecture.
1 . A DE S IGN FOR A ROYAL ACADEMY , AMSTERDAM .
Bijvoet and Duiker, Architects.
HERE i s a grea t dea l of a rch it ec t u ra l experimentbeing ca rri ed on a t present ou t side Eng landex pe riment w h ich w i l l u l t ima t e ly c rys ta llize andinfluence t h e a rch i t ec t u re of our owncount ry .
In spi t e o f vogu es and fash ions which have ca l led int oprom inence a t var iou s epoch s t h e ou twa rd arch i t ec tu ra lfea tu res o f some “ c lassifi ed " peri od , such as t he Greek ,
t h eRena i ssance , o r t he Go t h ic , one may say w i t h confidencet h a t Engl i sh arch i t ec tu re of t he las t 150 years has rema inedwi t h int h e bounds o f c er t ainaccep t ed fo rm s .A few ind i vidual arch i tec t s have a t t emp ted w i th in recentyears to deal wi t h t h e s t udy o f fo rm , and express architect ura l charac t e r in o t he r ways t h an t h rough t he m ed ium ofappl ied a rch i t ec t u ra l de t ail of accep t ed meri t ; bu t Eng land ,
wi t h i t s fine conse rva t ism’
. na tu ra lly ex tend s a we lcom e tot he proved effec ts o f t rad i t ion in pre fe rence to t h e freshex pe riment wh ic h w il l probably be sa id to o ffend aga ins tc i vi c good manne rs in d i rec t ra t io t o i ts successfu lt emeri ty .Good manne rs in archi t ec t u re , t he subo rd ina t ion of t hefantasy o f t he indi vidual designe r in favou r o f harmoniou sre lat ionsh ip w i t h s t ree t and land sc ape , i s o f t he fi rs t im po rt ance. But i t is not incompa t i ble wi t h t he d eve lopment o f amodern arch it ec t u ra l express ion, nor does adhe rence to
t rad i t ionguarant ee t hat harmony wil l re su l t .Th e s t ree t s o f London fu rni sh examp les o f bu i ld ings
bo rrow ing t he i r ext erna l t rea tment from accep t ed sou rcesand ye t fai l ing to produce ha rmony w i t h t he i r neighbou rs .I t i s high ly probable t ha t t h e e rec t ionof a large s tore int h ebest mode rnGe rmanmanne r inRegent S tree t wou ld shockt h e London publ ic , and a large num ber o f arch i t ec ts inadd i t ion. But t he re i s l i t t le ou t cry aga ins t some of t h ebu i ldings in t h e W es t End and t he Ci ty whose p l umes ,borrowed from t rad i t ion
,do not prevent t hem from imposing
t he i r de fec t s o f poo r Compos i t ionand vu lgari ty .Re t icence and d igni ty are qua l i t ie s indep endent of arch i
tectural s ty le , and t he ex t ravagances resu l t ing from essaysin modernism shou ld not be pegs on which to hang con
demnationof radicaldepar tu res from t rad i t ion. E spec ia l lyso w henequal ex t ravagances are t o l era t ed wi t hou t comments imp ly becau se t h ey a pp ear in a form to whic h cu s tom h asinured us .
ModernDu tch arch i tec tu re has aroused var ied einot ionsin t h e h ear t s of t hose Eng l i sh arch i t ec t s who are for tuna t eenough to h ave been able to V iew i t a t fi rs t hand . I t i sim possible t o gene ra l ize
,bu t inqu i ry seems ’t o confi rm t h e
v i ew th a t wh i le to some m inds t he modern'
Dutch work i scu r ious lyst imu la t ing , to o t hers i t conveys no t h ing Wha teverexcep t an im press ion of execu ted frigh t fu lness . W i t h t h ela t t e r view i t i s easy toquarrel, ‘
for wh a t eve r reac t ions t hewo rk of t he advanced Du tch schoo l may h ave on ind ividua ltas t e
,ye t i t seems inc red ible t ha t t h e arch i tec tu ra l sense
shou ld not a t leas t be moved by t h e qua l i t i es o f b read t h ,
mass ing,and dec is ion which so much of the .w ork show s .
W h i le t he imagina t ion o f t h e mos t ardent Conse rva t ivem igh t we l l be t ouch ed by t he invent i veness and j o'ie dc vivre
wh ich h as beenmateria l ized insom e o f t h ese modernDu tchfacades .Inanycase , i t wou ld be rash to draw conc lus ions f rom as tudy of t h e wo rk of anyone sec t ion of themodernDu tchsc hoo l .Th e movement fo rward into modern e xpress ion hasa l ready shown resu l t s w id ely d i fferent in t he case o f wh a tmay be ca l led t h e E x t rem is t s as compared wi t h t he Mode ra t es . The bu i ld ings mos t typ ica l of t hese t wosc hoo ls d ifferwide ly in t he i r a rch i tec tu ra l express ion, and i t i s ex t reme lyins t ruc t ive to obse rve t h e d ive rg ing t endenc i e s revea led ;bu t a t t h e same t ime t he re are po int s o f resemblance wh i chmake one fe e l t ha t perhaps t he two schoo ls are conve rg ingona commongoa l , and t ha t t h e ou tcom e may b e thecrea t iono f a s ty le which expe ri enc e has sho rno f i t s manner i sm s andnon-essent ia ls .In THE ARCH ITECTURAL REVIEW of:August
‘
192 2 I con
t ribu ted an ar t i c le on ModernDu tch Arch i t ec tu re , ” wh i chdea l t ch iefly w i t h t he work o f M r . de K le rk.The t i t le o ft he ar t i c le was somewha t m is lead ing , fo r i t i s c lea r t ha t t h ewo rk of M r . de Kle rk i s by no means fu l ly represent a t iveo f modernDu t ch t endenc i es .Th i s fac t h as been made a l l . t h e more c lea r by t h es tudy of an int ere s t ing work by Professo r JCG. W attjes,o f t he De l f t Technica l Co l lege , ent i t led “ The Cons t ruet ion of Bu i ld ings . Pro fessor W attjes
’
s book cont a ins aconc ise review o f t h e very la t es t Du t ch bu i ld ings , and as tudy of i t s i l lus t ra t ions b r ings int o re l ie f t he sa l ient
THE ARCH I TECTURAL REV IEW .
SCHOOL BU ILD INGS ,H ILVERSUM .
W'
. M . Dudok ,Architect .
charac t er is t ics o f t h e two main types o f a rch i t ectura lexpress ion evo l ved .The invent ive and imagina t i ve work o f M r . de Kle rk may
b e t akenas represent a t i ve o f t h e m os t ex t rem e movementin mode rnism , and examp les o f his work previous ly i l lu strated show t h a t i t i s ch arac t e r i zed by a research in r i chdeco ra t ive effe c t s and t h e u se o f fo rm s wh i ch appeara t t im es t o b e a lmos t w ant onlyex t rao rdinary (FigThese t endenc i es wh ich are sos t rong lymarked are , howeve r , a lmos tent i re ly ab sent in wh a t one m igh tcall t h e more modera t e modernschoo l
,bu t i t i s int eres t ing to no t e
t ha t t h e work o f bo t h schoo ls uni t esin t h e ob t aining o f inte res t ing express ion and a m as t er ly h and ling o fp las t i c shape
,a l t h ough t he se sh apes
are o f ent i re ly d ifferent order .The cu rves and flow ing su rfaceso f d e Kle rk g i ve p lace in t h e caseo f t he ri va l schoo l t o effec t s gaineda lmos t 'comp le t e ly by t h e m assingof rec tangu lar sh apes and t he s t res sing and cont ras t of ve r t i ca l and
hori zont a l l ines . Effec t i ve u se i sm ade of advanc ing and reced ingp lanes a t var ied leve l s
,and ri o tou s
decora t iv e effec t s are rep laced byconcent ra t ed group ing or res t ra inedt ex ture t rea tment emph as iz ing som eaccent o r cont ras t of so li d and void .
W ork o f t h i s type approachesve ry nearly t o wh a t one may t e rmarch i t ec tu ra l cub i sm ,
and t h e a lmos tto t a l absence o f s lop ing roofs addst o t h e impression of effec t s ob t a inedby rec tangu la r forms a lone . Th eaflinity of t hese bu i ld ings wi t h t h eBerlage influence i s s t i l l apparent ,bu t t he t endency a t p resent appearst o '
be in t h e d i rec t ion o f s im i larresu l t s produced by t h e or ig ina l i tyof Fr ank Lloyd W ri gh t inAmer ic a .In t he work o f bo t h schoo l s are 3 . A SHOP AT H ILVERSUM .
j . van Laren, Arch itect .
common ch arac t eri s t i cs. M r . de K lerk does not d i sd ai 'n'
.
t h e e ffec t s o f cub i sm as app l ied to b i g m asses ; l ikeh i s more modera t e co l leagu es h e a t t aches l i t t le im port ance t o t h e ou tw ard express ionof cons tru c t i onas ex emp l ified in Berlage,
and rej o i ces w i t h t hem in t he u se o fver t i ca l bri ckwork concea l ing what inHol land i s j ok inglyt e rmed t h e Por t land —cem ent-fe rro —conc re t e -b r ick-and
mor t ar-uprigh t-cou rse-l intel .A c omparison be tween such bu i ldings as t he “
Bu ild ing for the Fed era t ion of S ailors
,a t den H e lder
,
by Kram er (Pl a t e I I I ) , t h e shop a tH i lve rsum
,by J . vanLaren'
(Fig.
and t h e Ba t h Hou se a t H i lve rsum,
by Dudok (Pl a t e IV) , wil l serve toshow how ' t h e .work of-t h e moreex t rem e des igners-t ends in cer t ainofi t s express ions t owards t h a t o f t h emodera t es . “
Unfo r tuna t e ly ,no photograph canconvey t he co lou r effec t semp loyed in inanyo f t hese bu i ldings ,part icu larly in t h e int e ri o rs
,whe re
pu re spec t rum co lou rs are c leve rlyused inbo t h ri ch harmony and vio lentcont ras t .Only an exh au s t i ve s t udy of prae
t ica l requ i rement s,p lanning
,and cos t
,
canshow wh e t h ert hese modernfo rm sfu lfi l requ i rem ent s o f t h e programmet o
“
which t h ey are a so lu t ion. Fo rm swhich comp l ica t e difli cult ies of cons t ru c t ion, o r produce a fee l ing ofse l f-consc iousness t h rough an e ffo r tt owards t h e bizarre , wil l f ai l t o sa t i s fyfor long ; bu t in any arch i t ec tu ra lfo rm t h e fee l ing o f inevi t ab i li ty " i sex t rem e ly d ifficu l t t o produce .Th e work of M r . Dudok i l lu s t ra t ed
here h as rece i ved m uch prai se fromt hose who have seen i t . I t i s s a t i sfac tory as show ing qua l i t ies o f imagina t ionin group ing and t h e a t t ainment of arch i t ec tu ral effe c t t h roughcompara t i ve ly sligh t means . S im i larqua l i t ie s a re p resent in t h e vi l l a
5 . A
MODERN DU TCH ARCH I TECTURE .
4. SCHOOL BU ILD INGS , H ILVERSUM .
Dudok , Arch itect .
DOOR\VAY A'
l'
AMSTERDAM . 6. A DETA IL AT AMSTERDAM .
A . Moen, Arch itect. M. de K lerk ,Architect .
99
i OO THE ARCH ITECTURAL REV IEW .
7 . A V ILLA AT W IJK AAN ZEE .
Professor J . G . W at tjes,Arch itect .
by Pro fessor Wat tjes, which revea ls comp le t e s imp l ic i tyt h roughou t
,in harmony wi t h i t s unre l ieved se t t ing . Th e
window s , devo id o f g lazing bars , are a d i rec t a t tem p t t oprovide
'
that which many c l i ent s reques t . M any sma l l
Ground F loor. First F loor.THE PLANS OF THE V ILLA .
HOW ARD ROBERTSON,S .A .D.G
domes t ic bu i ld ings l i ve by t hei r sma l l ' panes ; Professor W attjes h as bo ld ly t ackled t h e prob lem ,
and h i shouse i s int eres t ing t o a l l arch i t ec t s who w i l l fo r oneshor t moment fo rge t t h e i r s t ore of pas t accumu l a t edmemor ie s .To sym pa t h ize wi t h any movement , one mus t t ry andunders t and i t . And so
,before pass ing j udgm ent , le t u s
pau se t o l i s t ento a few sent ences inwh i ch Professor W attjessumm ar izes and exp lains t he a t t i tude of t h e M ode rnDu t char t is t towards t rad i t ion.
“ I do not mean to say t h a t arch itects of ou r t ime shou ld b reak wi t h t rad i t ion
,nordo I mean
to s ay t h a t w e m us t not b e allowed t o im i t a t e ou r ances torso r t h e ances tors o f o t h ers . For we m us t rea l ize t ha t noarch i t ec t i s ab le t o b reak wi th t rad i t ion in so far as t h i st rad i t ion i s t h e t ru e express ion Of h i s own arch i t ec tu ra lm ind . But one mus t a lso rea l ize t h a t anarch i t ec t i s notab le to fo llow a t rad i t ion i f t h is t rad i t ioni s incont rad ic t ionw i t h h i s own int e rna l and int im a t e a rch i t ec t u ra l S pi ri t , o r i ft h i s t rad i t ion i s cont rary to h i s archi t ec tu ra l conv i c t ions .
I t h ink t ha t conse rva t i sm in i t s fines t sense cons i s t so f ac t ing from deep int erna l mo t ives as ou r ances tors d id .They d id not im i t a t e t he i r ances to rs as som e of us do
,bu t
expressed only t h ei r ownm ind and sp i r i t , bu i ld ing in fo rm st h a t were inevi t able and na tu ra l to t he i r m anner Of con
s t ru c t ion,t he i r materials and t he i r requ i rem ent s . Th e
resu l t be ing a se l f-express ion t ha t inev i t ably g i ves a h a l lmark o f t he i r par t icular per iod t o t he i r arch i t ec tu re . Our
bes t ances tors we re mode rni s t s , so modernism i s t he be s tt rad i t ion. \Ve mus t conse rve t h e t ru e t r ad i t ion of all t ru earch i t ec tu re o f a l l t i mes— t o renew i t se l f cons t ant ly ,b re aking one t rad i t ion t o m ak e ano t he r .
The Process ionalCross at Chesterfield Parish Chu rch .
H IS cross i s o f la t ten, and da t es
abou t A .D . 1500. I t came into t h ekeeping of Ch es t e rfie ld Churchunde r t h e fo l lowing c i rcum
s t ances : M aj or Ph i l ip Hunloke lent t h e c rossfo r u se in t h e chu rch du ring t he vicaria t eo f ArchdeaconCrosse . I t had been d i scove red am ongs t t h e ant i qu i t i es o f W ingerwort h H al l . “’ingerw orth Chu rch
,which
adj o ins t h e H all , was a chape lry ofCheste rfi e ld pri o r t o A .D . 1 100, and i t wast hough t t h e c ross had an int ima t e con
nection wi t h t h i s anc ient ch ape lry and
i t s Mother. Church . For som e years i th ad serv ed as an a l t ar cross in Ch es t e rfie ld Church , be fo re res tora t ion fo r processional use .On t he rec ent b reak-up o f t he W inger
wor t h e s ta t e,which t he Hunloke fam i ly
owned in 1492 ,M aj or Hunloke
,be fo re
leaving t h e d i s t rict , very kind ly present ed t h i s be au t i fu l and int eres t ing c rossto Ch es t e rfie ld Chu rch . As the Hunloke
fam ily suffe red many ind igni t ies a f t e rt h e Re fo rma t ion,
be ing Rec u sant s and
S ir Henry was penalizal by the Fi vep
Mile Act " und er King W i l l iam Ill, on
account o f h i s re l igi ou s t ene t s , i t i s moret hanli ke ly t h i s re l i c o f fo rm er days was used and reverencedby t he Hunlokes o f t h ose t roublous t imes .For adap ta t ion t o i t s fo rme r pu rpo se t he cross was
ent ru s t ed to M r . W . Cec il j ack son, o f Ches te rfie ld ,
H . RYDE .
DETA IL OF THE CROS S .
who sent i t fo r a l t era t ion to M essrs . M ar tyn8: o f Che l t enh am . Th e add i t ions t h eret o We re kep t p la in and s imp le in des ignand ex ecu t ion, so t h a t t h e charac t e r o f t h eanc i ent work should predom ina t e . In
l i ke m anner t h e orig ina l gi ld ing and t h eename l a t t h e back of t h e sym bol s o ft h e E vange l i s t s w as not int e rfered wi t h .The s ide b ranches and o rigina l figu reswere m iss ing
,bu t severa l examp les in t h e
Br i t i sh M useum and t h e S ou t h Kens ing tonMuseum co rrobora t e t he genu ine charac t e ro f t h i s spec imen o f Eng l i sh craf t sm ansh ipof i t s period
,and made i t poss i b le to rep lace
correc t ly t h e m i ssing par t s . One exam p l e ,ori ginally in t h e J . C. Robinsonco llec t ion
,
and now in S ou t h Kensing ton Museum,
corresponds in a lmos t eve ry de t a i l , evenin t h e unusu a l fea tu re o f t he b ranch esca rry ing t h e figu res o f t h e V i rg inand S t .John— wh ich spring from t h e m a in s t emabove t h e symbo l o f S t . M a t t hew inbase .Original ly t h e c ross was not p laced on
t he a l t ar,bu t only u sed in t he procession
on a shaf t , o r pole, and af t e rwards p laceda t t h e a l t ar s ide ,and dur ing M ass ona s t and .E ventua l ly i t was arranged to se rve a dua lpu rpose
, and,af t e r t he process ion,
wast aken from t h e sh af t and p laced in a socke t—base on t h ea l ta r . I am indeb ted to M r. W . Cec i l Jacksonfo r perm iss iont o reproduce t he pho tos
, and a lso to M r . E . W a lte r Gi l be r twho went t o much t rou ble in see ing t he cross correc t lycomp le ted and res tored t o i t s former s t a t e— fo r some of t h eabove info rm a t ion
,wh i ch h e t henob ta ined .
The New Housing Subsidy.
NFORMATION t h a t has j u s t been rece i ved by t heM e t ropol i t anBorough Counc i ls m akes i t c lear t h a t t h eMinistrv o f Hea l t h int ends to ex erc i se s t ric t cont ro l
before approva l w i l l be g iven to any proposed housingschem es . Accord ing t o M r . E . R. Forbes the ch ie f adm ini s t ra t iono ffi c ial Oft he Hous ing Depar tment , a l l sch em esw i l l have t o be approved by t h e Mini s t e r , and ino rder t o dot h i s he w i l l requ ire an exac t s t a t ement o f t h e num ber o fapp l ica t ions on t he wai t ing l i s t of t he loca l au t hor i ty ,toge t he r w i t h s t a t i s t ics o f overcrowd ing . InDr. Add ison'sday t he re w as cons ide rab le ove rlapp ing in es t im a t ing t h eneed of houses inanypar t icu lar d is t ric t ow ing to app l i c at ions be ing received from persons l iv ing in o t h e r d i s t r ic t s .Now ,
t h e loca l au t hori ty i s asked t o d is t ingu i sh in i t s l i s tt hose who are ac tua l ly resident ini t s d is t ric t from t hose whol i ve e l sewh e re . Nor i s i t enough now fo r a counc i l t o s t a t et h a t i t canno t mee t t h e demand for hou ses wit hou t Govemment assi s t ance . I t mus t su pp ly de t ai led evidence on t h i spoint . I t i s a lso pro posed t h a t t h e under t akings o f a loca lau t ho r i ty sha l l b e s t ric t ly l im i ted t o such a numbe r o fhouses as can be comp le t ed wi t h in, s ay , nine mont h s .
I CZ’. THE ARCH I TECTURAL REV IEW .
104TH E ARCH I TECTURAL REVIEW .
106 THE ARCH I TECTURAL REV IEW .
5 . TI—iE D IN ING-ROOM .
6. A BEDROOM .
The wal ls and cei l ing are a si lver-grey, and the si lk hangings b lue and grey.
Exh ibi t ions .
THF. AGNEW GALLERIE S — The exh ib i t ion of masterpieces ofFrench art , organiz ed by M r. Alexander Reid of Glasgow in
collaborat ionw it h Messrs .Agnew and Son, and held a t t he. lat ter ’sga lleries
,was inmany ways a remarkably interest ing one, wh ich
all t hose genuinely interested in art would onno account havemissed .
The ch ief at t ract ion was undoubtedly Manet ’s famous Le
Bon Bock " of wh ich one has for years heard so much . No
picture in i ts day has beenso ext ravagant ly abused and equal lyso extravagant ly praised . Bu t when one sees t h is paint ing onereal izes t hat all t he praise bes towed upon i t , however extravagantlyexpressed , was thoroughly deserved , for , of i ts k ind , i t i sa masterpiece if ever there w as one. Th i s por trai t of a mansi t t ing a t a table , one hand clasping a g lass of beer , and t he ot herhold ing a churchwarden,
posi t ively seems to breathe and palpitatew i th the joy of material sel f-sat isfact ion and we l l-be ing . Th i spicture defini tely establ ishes Manet as one of t he world 's greatpainters .
“Le Bois de Sorurs by Pau l Céz anne , is very beau t iful ;
the various shades of cool greens , of wh ich i t is almost ent irelycomposed
,are pu t on in flat planes w i t h a palet te knife .
MonJardin (19) i s not a great Renoir , and insome respec tsis feebly painted , bu t i t has in i t somet h ing of t he love t hat heev ident ly fe l t for flowers
,simp ly expressed w it h the ma ture
knowledge wh ich he had acquired in a li fe devo ted to h is ar t ,and wh ich had given h im a right to be simple and expressivew i t h no t hought of c lever technique , and the result i s anappealto t he hear t rather than t he head . La Liseuse (16) is anearl ier Renoir, the paint being pu t onmore or less ina system ofparalle l l ines , and has qui te a di fferent k ind of charm from thatwh ich he acquired afterwards w i t h a more irregular me thod .
Le Pont d’
Argenteuil" by Claude Mone t , i s an un
prom ising subjec t treated in t ha t indiv idual manner of h iswh ich gives interest to t he most ordinary t h ings .Vue de S t . Cloud (1 1 ) is a beau t ifu l rendering by S isley ofa peaceful landscape , ful l of colour and sunl igh t .
LaRepe t i t ionavant Ie Balle t " (1 2 ) is a good example of oneof Degas's balle t scenes , carefully designed in t he way th is ar t i sthad' of being able to extract eve ry ounce of ar t i st ic e ffec t wh ichsk ilfu l arrangement cou ld give .There were a lso works by Courbe t and Cou ture , and Mr.
Alexander Reid is to be commended for the integri ty of h is art ist ictas te
,for i t was a pri v ilege to have been enabled to see t h i s
exh ib i t ion of such import ant paint ings.
ARTHUR room AND sous’
GALLERY .— There has beena grea tdeal of French ar t shown inLondon recent ly,
and t h is i s a verygood t h ing
,for i t wi l l benefit t he ar t ist and t he publ ic . The
general publ ic of Eng land has had few oppor tuni t ies wh ich wou ldenable i t to know anyth ing abou t the work of t he French impressionists, and th is movement of some t h ing l ike twenty-hyeor th irty years ago is only now reach ing t hem . Th is gap in thart educat ionof the Engl i sh publ ic t he post-impressionis t in t h i scount ry had to contend w it h , for t h is movement more or lesslogica lly followed t he impressionistsfinFrance bu t t he suddenj ump from t he ordinary k ind of paint ings fam il iar to t he Engl ishman to pos t-impressionism was too grea t
, and produced afermentat ion wh ich made i t diffi cul t for t he post—impress ionis tto hold h is ground . So real ly we canno t have too many exh ib i t ionsof good French ar t over here .The exhib i t ion of pic tures , the property of a Gent leman
,
now being he ld at Messrs . Too th and Sons , contains some verygood examples of the works of Harpignies, Henner and o thers .Evening ”
(4) by Harpignies is a s t il l and beau t i ful landscape ,inwh ich the sea shows through the tender gray—greens of the trees
,
and has in i t that feel ing of detachment from the bust le of contemporary l i fe wh ich i s one of t he dist inguish ing character ist icsof t h i s art i st 's work .
There is a paint ing by Daubigny of t he banks of t he Thames,
fu ll of that gloomy and heavy co lour wh ich one supposes t heFrench regard as characterist i c of Engl i sh landscape .W henone sees t he large col lec t ionof paint ings from t he nude RAYMOND MCINTYRE .
by Henner , in Paris,they seem t iresome in t heir mono tony ,
bu t when one of t hem is p laced in a mixed col lec t ion i t look ss tart l ingly impressive w i t h i ts clear-cu t defini t ionand conform i tyto the painter’s intent ion. I t is th is c lear intent ionwh ich one
misses so much in a great many pictures of t he present day .Th i s par t icular l i t t le nude of Henner’s (3 ) gleams ou t of i ts darkbackground w i th all t he intens i ty of ivory. The composi t ion
,
too,is so exact ly right— the l it t le patch of water near t he feet of
t he recl ining model,wh ich reflec ts t he colour of the sky,
isso inev i tably j ust
, t he right note t hat w as needed to comple tet he pic ture .There is a lso a beau t ifu l l i t t le pas tel landscape by l’Herm itte,
vibrat ing w ith colour and drawn w i th nervous intensi ty.
The l it t le paint ing by T . de Bock (8) is a qu ie t landscape w i t hcat t le
,somewhat rem ini scent of a Maris . There is a st ill—l i fe
by Vollon,clean in co lour
,t he detai ls of wh ich are all carefully
wrough t ou t in t he manner of some of t he early Dutch mas ters .There is also a rat her lugubrious paint ing by Joseph I sraels , calledThe V i s it .THE F INE ART SOCIETY . -The exh ib i t ion of the works ofthat ex traord inari ly br il l iant et cher
,Anders Zorn
,showed h i s
amaz ing fac il i ty in t he use of l ine . Th is amaz ing clevernessfor i t very often degenerates simply into cleverness— is almostinhumanin i ts aggress ive efficiency, some t imes to such anextentthat one longs to flee for rel ief to ane tcher who has a flaw in t hearmour of h i s efli ciency that wou ld admi t some of the m ilk ofhuman k indness .The por trai ts are the mos t int eres t ing
,for t hey are generally
ful l of charac ter,and relent lessly tell us of t he type of indiv idual
t he si t ter was,so t ha t we are lef t inno doubt as to whe ther we
wou ld care to t rust h im or not . Perhaps t he one of Paul Verlaine(39) is the best , i f one canpresume to dist inguish wh ich is t he bestamong so much “ excel lence . Th i s is a marve llous study of aninteres t ing personali ty, the art ist hav ing taken ful l advantageof t he pictoria l possib i l i t ies wh ich lurk in t he fiercely accentedeyebrows and-t he almost ori ental ‘ slant of t he eyes . In h isport rai ts of ~ women really Surprising is the manner in wh i chZorn cou ld some t imes suggest a cer tain feminine charm and
'
de l icacy w it h the means only of coars’
e lines.
Many of the nudes,in the sea and ou t of i t
,too much sugges t
the snapsho t,for
,as wel l as in ot her direct ions
,t he poses are
t hose awkward ones t hat t he camera of tendepicts , bu t wh ich t hear t i st inst inct ively avoids . Anders Zorn’s nude figure worksare often too faci le to be interest ing.
V ICTORIA AND ALBERT MU SE UM .—The collect ion of silhou
et tes presented by CaptainDesmond Coke to the V ic toria andAlbert Museum is decidedly worth a
_v isi t to t hose interes ted int h is form of ar t .The most conv incing si lhouet tes are t hose w i th frank hardou t l ines , w it h no at tempt to render ha lf-tones . Those wh ichat tempt more t hant h is go ou t side t he scope of t he me thod
,wh ich
w as to cu t ou t from a piece of wh i te' paper the shape of t he head(someth ing in t he manner of a stenci l ) and place what remainedona dark ground . Th i s i s the t rue si lhouet te . But t here aroset he vu lgarian
,who
,not sat isfied w i t h th is simpl ici ty , and not
discerning t hat t h i s simp l ici ty was i ts ch ief claim to recognit ion,
elaborated al l k inds of trick s : t ransparent laces and fluffy hairp layed into h is hands
,as t hey do now into the hands of t he
fash ionable photographer . They t hus became a horr ible mixtureof real ism and .convent ion
,and s tepping over the borderland
into the realm governed by the miniature , t hey very properlybecame ext inguished .
"Anna Maria , Duchess of Newcast le — 1834 i s a very precise
and beau t i fu l si lhouet te,carried ou t by Mrs. S arah Harrington
in t he t ru e met hod,w i t hou t anyridicu lous admixture of styles .
There are some very effect ive por trai ts by John Field of t hePenrhyn fam ily , done on card and ivory , par t icu larly that ofMi ss Constance Penrhyn, wh ich has a very sens i t ive and flex ibleou t l ine .
RECENT BOOKS . 109
Mrs. Swynnerton’
s Pictures in Manchester.The lamb-l ike meekness w i t h wh ich the great ci t ies of Nort hern
Eng land leave decisions onart to Londonis a source of specu lat ionor amusement to students of those ot herw ise very independenttowns . England may th ink to-morrow what Manchester t h inksto—day onother mat ters , bu t not , as a ru le , onart .I t is p leasant , therefore , to find that in the early sevent i es of
last century t he Manchester S choo l of Art awarded Mrs. Swynnertona gold medal, scholarsh ip , and various priz es . Mrs. Swynnerton left her nat ive ci ty, found great friends int he sou t h ,
such asBum e j ones (to whose influence she pays special tribu te to-day) ,George Frederick W at ts , and Mr. S argent , and became , accordingto one at leas t of t hese au t ho ri t ies , one of t he greatest art ists ofher age. Now , in the fullness of t ime , Manchester honours i tsel fby an imposing exh ib i t ionof her work .
The almos t superhuman v i tality of t h is woman’s paint ingmigh t tempt one to call her a Lancash ire w itch— only wi tchseems too feminine . Technically she is a w iz ard , though hersubjec ts are feminine enough . Portraits of ch ildrenand animals ,women, old and young, and t he maternal side of th ings form manyof her themes.I t is t he daunt less,
v iri le,almost colossal me thod of at tack
wh ich seems to be beyond anyt h ing of i ts k ind inthe present age .
Doubtless t he brain guiding t he hand and not t he hand i tsel fmakes the ar t i st o therwi se th i s frai l l i t t le lady and her stupendouswork cou ld not be reconci led ; she seems to have a passion fordifficult ies
,and rises triumphant over al l sorts of terrors (to t heordinary mortal) of composi t ion, colour, and combinat ion. Not
for her the comfor table “ studio arrangement , t he easi ly effect ive
,bu t the open-air portrai t (real ly openair) , the larger draughtsmansh ip
,t he grand plane . No wonder that the gates of Burl ing
tonHouse were broken,
't he sacred precincts stormed .Manchester doubtless honours Manches ter and her great art istrather than t he Royal Academy capi tu lat ion. Did not the goldmedal precede t he Associatesh ip by nearly hal f a centuryManchester
,too
,may claim to have influenced Mrs. Swynnerton
'
s
colour sense . Anar t ist born in t he grey ci ty migh t , ona superficial observat ion
,be expec ted to paint grey themes ; considered
more deeply, and from t he point of v iew of revu lsion, the glow ing
colour inherent inall Mrs. Swynnerton'
s pictures wou ld be themore natura l ou tcome— as also her part ial residence in I taly andher joy inclear palpi tat ing air .Face to face w it h these paint ings one longs to see a re turn of
t he old unionbetweenarch i tect and art is t , by wh ich such workscou ld be placed insurroundings commensurate w i th their digni ty.The mere gil t frame seems inadequate .
J . W ALKER STEPHENS .
Recent Books.
Ambrose McEvoy.
A D IAN'
S I IEA I) .
My Ambrose MrEvoy.
The W ork of Am brose McEvoy(born August 12 th ,Comp i led
by W e P ub l ished by Co lour Magaz ine and printed by The
Morland Press, Ltd (90 EburyS treet , London,S .W .r. la rge 4to .
Price m t .
One fee ls that t he d ist inct ion of t he work here presenteddemanded a considered cri t ical exposi t ion; ye t t he no tes of
K . P.
Books of the Month .
Tom Tow er, Christ Church, Oxford. Some letters ofS irChristopherW ren. Annotated byW . l ) . CAROE . Ox ford at the ClarendonPress.
English Furniture . By j . C. ROG E RS . London: CountryLife L ibrary,
20 Taxistock S treet , Covent Garden. Price 2 1s.
W igs , though disjointed , are not unworthy of i t . The print ingand the colour reproduct ions areall tha t cou ld be desired , andthe l ist of work s is usefu l and complete .For some t ime students of contemporary paint ing have knownof the ex istence at the Bri t ish Museum “
and the Art Library a tthe V ic toria and Albert Museum ,
of copies of the two-volumework w i th six ty-five photographs of McEvoy’
s‘ ch ief pictures ,
but have deplored the. absence of colour reproduct ions even inface of the ex treme excellence of the pho tographs . Now thi svolume of colour reproduc t ions has supplemented that . Thesplendid Tate Gal lery “
Portrai t of a Young Man, McEvoy’
s
fines t male study,however , is here inmonochrome as a reminder
of the greater splendour of the original , and his S i lver and Grey ,h i s fines t female perhaps , al though the Madame of 19 15 , inthe Luxembourg
,runs i t close . I t is interest ing to no te t hat the
int rigu ing splash-and-dash draw ings of the years 1916 to 1918give p lace inthe years succeed ing to a more complacent method ,wh ich
,however
,does not secure the magnificent repose wh ich is
so strik ing a feature of the fine th ings McEvoyach ieved beforethe war. The nearest to t hem is t he very beau t iful presentat ionofMrs.Claude j ohnson TheGreenHat — asound piece of paintingwh ich gives one to th ink as to whe ther t he Miss HelenMorrisand Miss Olga Lynn are qui te t he th ing. I t is only a mat ter ofcomparison,
however,for undoubted ly t hese two works , as wel l
as the S tudy of the Honourable Loi s S turt ," wh ich belongs tothe present year , have a charm all t heir own; a charm t ha t isd ifferent incharacter from that exerc ised by t he more ardentlyexecuted works , but very defini tely beau t ifu l all the same . I tis surprising t hat so indiv idual anart is t as McEvoyshould haveso many variat ions of style , bu t th is only adds to t he interest andvalue of h is work ; i t is al l McEvoy,
and among the o ther portrai tpainters of to-day t here is none more indiv idual and none moreorig inal. As indicat ing the exquisi te elusiveness of h is me thod agood plan' is to study the product ions of h is imi tators . Eventhbest of them fal ls away into not h ingness McEvoy
'
s secret isnot to be unveiled .
no THE ARCH I TECTU RAL REVIEW .
A Great Period ofArt
The Renaissance of Roman Archite z ture . By S IR THOM AS GRAHAMJ ACKS ON , BART R A . Part I I I — France . Cambridge : at the UniversityPress.
To no pract is ing arch i tect have student s of arch i tec tural h i story greater cause to pay a tribu te of grat i tude t han to S irThomas J ackson. W i th a zeal wh ich the years are powerless toquel l
,and a j udgment t hey have r ipened , he has devoted t he
necessarily rare leisures of a long and successfu l professional l i feto t he elucida t ion of one period after anot her. I t i s t h ir ty-sixyears since h i s great work on Dalmat ia took an au t hori tat iveposi t ion. S ince t henhe has traversed many and w idely-di fferingfields . The principal work of h is later years has beena comprehensive and systemat ic s tudy of Post-Roman arch i tecture inthree series— t he first dealing wi t h the Byz ant ine and Romanesquep eriods t he second w i th t he Got h ic period in France ,England , and I taly t he t h i rd w i t h the Renaissancein t he sam e three count ries , bu t in a di fferent order , isbrough t to a successfu l conclusion by t he appearance of thepresent volume .Few writers could have covered the w ide and vari ed count ry
wh ich l ies be tween t he first infil trat ion of I tal ian influence intoFrance in t he fifteent h centu ry and t he c lash of t he Classics andRomant ics inthe earlynineteent h in200not closely printed pagesw i thou t anyserious omissionof impor tant facts or producing ont he reader a sense of overcrowding . But t h i s feat S ir Thomashas performed . His task was
,to a certain extent
,simpl ified in
t h i s respect by h i s sympat h ies . These l i e , l ike t hose of M r . Go tchint he Engl i sh Renaissance , rather w i t h the earl ier and tentat ivee fforts in wh ich mediaeval t radit ions s t il l form an im por tantfac tor thanw i t h t he ma turer work w i t h es tabl ished principles ofi ts own,
wh ich followed t hem . W hi le to t he lat ter he is by nomeans unj ust , he seems to give h is admirat ion somewhat grudgingly, and devotes less t han one-t h i rd of h i s text to the greaterhalf of h is per iod .H is at t i tude to the Renaissance as a whole is in t he main s t i l lthat of Rusk in, w i t h l i t t le , i f any, approx imat ionto t hat of TheArch i tecture of Humani sm . The Barocco finds no more favourin h is eyes than the s tr ictest V i t ruv ian c lassicism , at wh i ch hetil t s w i th somewhat famil iar weapons ina manner wh ich suggestst hat i t is s t i ll a l iv ing creed . These points are not , however ,aggressively ins isted upon
,and only obtainprominence inthe last
chapter,wh ich i s a summing up of t he whole t ripart i te work .
Th i s contains remarks of a h ighly cont roversial nature , wh ich w i l lhardly pass unchal lenged , bu t t he remainder of the vo lumet he survey of Renaissance arch i tecture in France— canno t fai lto commend itsel f to al l readers by i ts clear and readable narrat ive
,i ts impart ial and balanced discussion of st ill debatable
point s of h is tory,and the general sani ty of i ts conclusions .
The story of t he beginnings under Charles V I I , Louis XII , andFrancis I could hard ly be be t ter told , and t he crux of t he originsof the early Renaissance style is hand led w i th moderat ion. S ir
Thomas is, if anyth ing , too indu lgent to that most insu larof French pat rio ts , t he late Monsieur LéonPalust re , for whom noFrench bui lding cou ld owe anyt h ing to foreign influence . But
he does not fa il to expose t he fallacy of Palus tre ’s theory , wh ichpresupposes a sort of arch i tec tural part henogenesis . Indeed , i tis difli cult to understand how anyone not bl inded by prej udicecould maintaint he v iew that t he same de tailand ornament wh ichhad beenevo lved by t he I tal ians during the fifteent h century byadaptat ion from Roman remains before t heir eyes
, was independent ly evolved at a later date by French masons who had nosuch models before t hem . E it her t hey travel led to I taly
,of
wh ich in t he earl ier s tages there i s no ev idence whatever or elsethey were influenced by the I tal iancraftsmenwho cer tainly didwork inFrance . The phrase repeatedly found in contemporarycont racts that the work was to be done d la mode d
’
I talie
shou ld in i tself be conclusive on the point . That t he Frenchbu ilders admi t tedly proved apt pupils
,very soon rival l ing
thei r inst ruc tors on t he decorat ive side,wh ile retaining t heir
talent for and met hods of const ruc t ion, does not affect t heargument .S ir Thomas is not incl ined to al low much importance to t hework of I talianarch i tects— as dist inguished from the craftsmenwho set t led inFrance at t h is t ime . The dissimi larity be tweena
French chateau or hOtelde v i l le on the one side, and a Florent ine
palaz z o or Lombard municipio on t he o ther,is not , however ,
sufficient to prove t hat a Fra Giocondo or a Boccadoro had nofinger in t he pie . No one was more adaptable to t he local'condt ions of h is adop ted home t hant he versat ile I talianof t he Renaissance . W i t hou t crossing the Alps the Florent ine ar t is t modifiedh i s met hods to mee t hal f-way t he prepossessions and materia ls ofM ilan, t he Mi lanese to mee t those of Venice . W hen he trave lledto Li sbonor Moscow , to Cracow, Nuremberg , or Paris , t he modificat ionwas more radical st il l . The I tal ianint roduced j ust asmuch ofh i s own as h is cl ients wou ld swal low or h is bu ilder was capable ofcarry ing ou t . H is au thori ty as a foreigner standing ou tside thenat ive building h ierarchy was very l imi ted indeed . The mas termasonwas a personage to be counted w i th
, and h i s V iew mayoftenhave been that he knew h i s ownbusiness and wasn't goingto be taugh t new -fangled s tunts by anydamned dago . So t hesketch or t he model wou ld be hard to recogniz e in t he finishedwork .
The rOle of t hese arch i tects was to influence in t he I tal iandirect ionrather t han to carry ou t designs inthe I tal ianmanner .The craftsman, too , played th i s rele in addi t ion to t he actualhandiwork he execu ted , and wh ile he , inv irtue of h i s concretecontr ibu t ion, appears int he accounts , the arch i tect oftendoes not .
There w as, of course , no arch i tect , in t he modern sense , incontrol of t he works , nor had t he arch i tect of t he mediaeval type— the master mason— anylonger e i ther the same capaci ty or t hesame au thori ty as h is forbears . The design of a FrancoisPremier bui lding canno t , t herefore , be defini te ly assigned to oneman. I t wou ld be idle to wrang le , for instance , over t he pointwhe ther t he Chateau of Madrid was designed by t he masonPierreCadier , or by the maj ol ica worker Gi rolamo del la Robb i a , inwhose joint charge t he bui lding was . I t was t he resul tant of t hei rconsul tat ions , and a compromise be tween their ideas . Apar tfrom i ts maj ol ica decorat ion
,i t was different from what would
have come from Cadier alone .Indiscussing t he au thorsh ip of S t . Eustache , S ir Thomas isincl ined to rej ec t t he at t ribu t ion to Boccadoro infavour of t hatto t he Le Merc ier fam ily . Herein he has allowed h imself to bedecoyed into a mare’s nes t of Monsieur Palust re’s cons truct ion.
Th is au thor was a mas ter of t he art of balancing a pyramid oni t s apex and propping i t up w i t h such a fores t of hypo t heses t hati t looks l ike a tower broad-based onthe rock .
The t heory in th is case is an at tract ive , and by no meansimpossible one. The only trouble is t here is next to noth ingto found i t upon. According to Palus tre t he church wasbegun in 1 5 33 by Pierre Lemercier , of Pontoise , cont inued byh is son, Nicolas , and finished by Nicolas's son-in—law
, CharlesDav i d .Now ,of Pierre the only t h ing known i s that in 15 50 he added
t he cupola to t he tower of S t . Mac lou at Pontoise, and t he only
t h ing to connec t h im w i t h S t . Eus tache is a resemblance fanciedby Palustre , bu t not recognized by o t her cri t ics , between other
addi t ions to S t . Maclou , wh ich are not in t he same manner as t hecupola
, and par ts of S t. E ustache .OfNicolas i t i s not known t hat he was a builder or arch i tect ,or t hat he was t he son of Pierre . All that i s known i s t hat hel ived at Pontoise and was t he fat her of Jacques Lemerc ier
,arch i
teet of Riche l ieu , and of Anne , w i fe of Charles Dav id. The las t,
who died in 1650, is t he only member of the fami ly known tohave worked onS t. Eustache , where he was incharge of the worksfor many years .The whole hypo t hesis— not except ing t he pedigree— is
,infac t ,
a roman inge’nieux composed by Pa lustre and a monument toh i s l ive ly imaginat ionand fervent pat rio t ism , bu t inspir ing l i t t leconfidence in h i s powers of weighing ev idence , for i t i s t he k indof t h ing wh ich throughou t h i s works is pu t forward as conclus iveproof .The at tribu t ion to Boccadoro , suggested by Leroux de
L iney as early as 1850,makes no such c laim , yet i t has probab i l i ty ,
t hough not more t hanprobab i l i ty , in i ts favour .S t . Eus tache was begunin1 53 3 and carried ou t int he same typof de t ail as the Loire Chateaux , at a t ime when no Parisi anbui lders canbe shownto have had anyknowledge of such work orof anybu t Go th ic work . Boccadoro moved to Paris in15 3 1 from
i i : TH E ARCH I TECTURAL R EVIEW.
A DOORVVAY TN TH E CL IFFORD '
S INN ROOM .
Date betw een 1686 and 1688.
(From The Panelled Rooms : 11 . The Clifford’
s Inn Room .
Engl ish Woodw ork.
The Pane l led Rooms : 11. The Clifford’s Inn Room .”
Compi led byOL IVE R BRACKETT for t he Departmen t of W oodw ork ,
Victoria andA lbert Museum . London: His Majesty
'
s S tat ioneryOffice. I S . 6d .
net . . By post , I S . 8d . net .
The date of building t he Cl ifford’s InnRoom is pu t be tween1686and 1688 . I t i s the earl ies t examp le int he V ic toria andAl bert Nu
seum of panel l ing of the later Renaissance , and was made for JohnPenhallow , a Cornishman, a t No. 3 Cl i fford’s Inn, Flee t S t ree t .I t i s interes t ing t hat the ident i ty of t he orig ina l occupant of theroom h as been t raced . Accord ing to t he above book h i s fami lyda ted back in the four teent h century to John Penhallow dePenhallow , anes tate inPh il leigh county inCornwal l . The namei s st ill to be found in t hat county . A Puri tanfami ly
,one of i t s
members inCharles I I 's re ign emigra ted to America , where h i sd e scendants are s t i l l l iv ing , t he Museum be ing indebted toM r . Chas . T . Penhallow for informat ionconcerning t he fam ily .At anauc t ionsale in 1903 t he Museum bough t t he room and
thus d id exce l lent work in sav ing i t for t he nat ion. I t i s inoak
W i t h appl ied carv ings in cedar . The room is arranged w i t h a
ch imneypiece placed near t he cent re o f one of t he end w a lls,
faced at t he o ther end by two w indows . The s ide w alls bo t hhave two doorways , each placed in a corresponding posi t ion tot he one in t he opposi te wal l . These doorways are sim i lar ingeneral charac ter . In t he one reproduced here the pediment i slunet tc shaped and enc loses a l ion’s mask w i t h enrichment sconsis t ing of app l ied leaf ornament above t he door and in t hespandrels ou tside t he pediment . The remaining part s of t hewal ls are covered by raised panel l ing w i th large rectangu larpane ls formed by bo lec t ionmou ldings , div ided by a dado rail .I t is interest ing to no te t ha t when t he panel l ing was firs t
brough t to t he Museum t he paint covering i t was removed,re
veal ing wood of a fine surface and co lour and adm irable mark ing .I t i s probable tha t t he wood was not painted whenfirs t pu t up .Apparent ly i t was not unt i l t he eigh teent h centu ry t hat i tbecame t he fash ionto paint t he pane l l ing of a room .
The book publ i shed by t he V ictoria and Alber t Museumdescrib ing t h i s room contains , besides a brie f h i s tory,
severalpho tograph ic p la tes and p lans , and is compi led by Mr. Ol iverBracke t t , assis tant—keeper in t he Department of W oodwork a tt he Museum .
RECENT BOOKS .
Home Repairs.
The Hou se Doctor. By R . R ANDAL PH ILLIPS . London Country .
Life Ltd . Pri ce 2 5 . 6d . net .
The increased interest wh ich th is generat ion i s w i tnessing inthe home and all t hat appertains t hereto is not l imi ted tointerna l planning and decorat ion,
bu t extends,qui te definitely ,
to the prac t ica l and mechanica l s ide . The modern owner'
of
a med ium-s iz ed house , squeezed as he is be tween t he upper andnet her economic grinds tones , finds t hat bybecoming fam il i ar w i t ht he w ork ing of h i s house he. is able to save a byno meansneg l ig iblese ries of annual b ills onminor repairs . Brokensash l ines
,dripping
taps , a fau l ty bal l-valve ; t hese are mat ters wh ich , in t he notdi s tant past , few ama teurs would have at tempted t hemselves
,
bu t now not only are there severa l popular monthl ies wh i chinst ruct thei r readers insuch mat ters
,bu t a lso from t ime to t ime
books appear couched in simple terms,whose purpor t i t i s to
help t he ordinary householder . One of t he mos t recent of t hesei scal led The. House Doc tor.” W ou ld t hat our human ailmentscou ld be compassed by so smalla volume . Certainly we feel t ha tw ith
‘
such a comprehens ive t i t le w e migh t expect rather moremat ter ; nevert he less , what t here is is al l to the po int , and for theinves tment of hal f-a-crownmany a prec ious pound may be savedin the course o f a year by one who is not above tak ing-off hiscoat to do a “ j ob of w ork ona S aturday afternoon. The hooki s c learly illust ra ted w i th numerous pho tographs and a few l ined raw ings .
London of the Future.
London of the Fu ture . T. IE. Cou ccrr, London:Leonard Pa rsons. 3 5 . 6d . net .
A lmos t every th ink ing c i t izen must , at some t ime , havemetamorphized his ci ty in h is mind , and rc-cas t i t in a formt ha t b et ter pleased h im . Some , of course , are more acu telyconsc ious t han ot hers of t he blemishes they see around t hem ;t he fau l t s t hemse lves , too , are var iously important to t he differentbeholders . Thus w i th one , the ex istence o f s lums takes pre ~cedence ,
w i t h ano t her i t is the traflic conges t ion; w it h ath ird t he smoke t hat a lmos t constant ly darkens t he c ity 's sky,
and w i t h a fourt h the was ted opportuni ty for grandeur wh ichsome open square. affords . Ofallprofessions and c lasses of t hecommuni ty i t migh t be expec t ed that the arch i tec t was mos taddicted to such specu lat ion,
and moreover , t ha t h is sp ecu lat ionwould be, not only t he mos t int erest ing , bu t also t he most valuable ,
by reason of h is knowledge and t raining. W he ther suchspec ula t ioni s ri fe among arch i tect s we do not know , a t al l event sthere i s l i t t le enough ou tward ev idence of i t ; for th i s reason,
among o t hers , t here fore , we we lcome .\Ir. (follcut t'
s l it t le
M r. Collcut t is moved by broad humani tarian inst inct s torecord , not only t he reasons of h i s d iscontent , bu t a lso h issugges t ions for remed ies ; neit her does he concent rate exclus ivelyuponone of t he ev i ls wh ich we ment ioned bu t touches on t hemall, although ev ident ly finding t hat in the slums l ies t he firstclaim for act iv i ty.He t akes as h is text a passage from t he S peech of t he King a t
the opening of Parl iament in Apri l , i org: A grea t offensive.mus t be undertakenagains t d ise ase and crime , and t he firs t pointat wh ich the at tack must be del ivered is the unheal t hy , ugly ,overcrowded house in t he means t reet , wh ich all of us know sow el l . The au t hor po ints ou t how l i t t le , inh i s opinion, has beendone since t hose words were u t t ered . W i t h th is conc lusionwecanno t agree . “'e admi t t hat wha t has beendone is neg l igiblecompared w i t h wha t awai t s at tent ion; neverthe less , the erec t ion,
since the a rmist ice , of dwell ings on new es tates suffi c ient forsome persons , the clea ring of t he Brady S t ree t area andthe Tabard Garden Es tate by t he are no mean feats .Moreover
,many of t he ind iv idual boroughs w i t h inthe area have
t hei r own schemes , w h ich swel l t he total new accommodat ion.
And all t hese houses and fla ts are superior to those prov idedbefore t he war.Nevert heless , we fee l that , for t he most part , t here is j llS tlficat ionfor M r . Collcut t ’s indignat ion, for t he. apat hy evenamongs t
Tw o German Scu lptors.16 pp . and 3 3 i l lustrat ions.
DETA IL OF A GRAVE MEMOR IAL.
ByBernhard Ho‘
etger.(From
“ Bernhard Hedger.
1 1 3
Svo,
arch i tects concerning such th ings is,s t il l very great . The book
i s wri t ten in a del ight ful ly st imu lat ing s tyle w i th rich veins ofi rony at current ins inceri t ies and hypocrisies , the sharpes t barbsbeing direc ted agains t t hat . i l l-conceived and happi ly deadBr ighter London movement wh ich , as events proved , wasno th ing bu t a specious organizat ion to obtainanex tra hour forevening drink ing .Smoke abatement , unrest, Charing Cross Bridge , t he crying
need for a sou th embankment , are . among the mat ters toucheduponin the book
,wh ich also contains some persona l experiences
of t he. au t hor inconnect ionw i th h is invest iga t ions int he poorerquarters of t he Ci ty . W e wou ld t ha t o ther arch i tect s wou ldfol low h is example
, and study contemporary condi t ions at firs thand , for theyaret he people to whom al l shou ld look for gu idanceinma t ters of citv improvement .
Edw in S charff. ByKU RT PFIS TE R .
boards. (j unge K unst .)
Bernhard Hoe tger. By CARL EMU. UPHOFF. 16 pp . w ith 3 2 i l lustrat ions.Syo
,boards. (j unge K unst .)
Leip z ig : Klinkhard t and B iermann.
Edw inS charff is a scu lp tor in bronz e , terra-co t ta and s tone ,and he is a draughtsmaninpen-and-ink and anetcher . He w as
born in 1887 and is one of t he young school of German art istswho have defini tely arrived . H is art educat ionwas obtained inMunich and Paris and cont inued inS painand I taly , unt i l 1913 ,
whenhe beganto exh ibi t important works , and at the same t imeto pract ise t he graph ic arts. Excel lent asis t he s ty le of h is fullfigures
,h is portrai t bust s have an original form wh ich gives
1 I , TH E ARCH I TECTURAL REVIEW.
them grea t d ist inc t ion ; c lean cu t asan etching,thei r l ines and p lanes
demons t ra te an unusual accuracy ofmodelled presen ta t ion , e v en when int erra-cot ta,in w h ich medium art ist s
frequen t ly resort to simpl ified mode ll ing . Scharff ’s w orks are to be seenin the museums of M annheim , M un ich ,Hamburg , Dresden , and Dan tz ig . Tothis brochure he con t ribu tes a six-pageau tobiography of cons iderab le psychologi ca l in terest .Bernhard Hoetger does the same ,adding grea t in teres t to t he carefu lana lysis by Carl Emi l Upli off, wh ichprefaces the admirab le i l lus trat ion s .He is an older man than Scharff,hav ing been born in W estpha l ia in 1874and having
,too
,a more fi rm ly estab
lished and wider repu tat ion . H i s rangei s broader,and inc ludes , bes ides manysubj ec t figures and portrai t busts , fount ain s
,l ike t he beau t i fu l one a t Darm
stad t,w here he l ives , grave memoria lsand fum i ture. He has decorated the g
ex t raord inary house he has designedfor h imse l f wi th carved re l ie fs of anunusual charac ter wh ich match thearch i tec tura l fea tures of t he st ruc ture .He was a studen t a t Dusse ldorf andthen w en t t o Paris , where t he worksof Rod in and Mailloe defini t e ly influenced h im . Th is infl uence was part lymodified by study at F lorence, bu t th est rong indiv idua l i ty of Hoe tger hassurmoun ted a l l influences and he standsou t as one of t he most origina l of allG erman art is ts . He works i n variousmedia and attacks s tone and wooddirec t
,a l though he i s essen t ia l ly a
mo de l ler , and hi s work in maj ol ica i s STAND ING W OMAN.dis t inc t ive . A rev iew of h i s ou tpu t ByEdw in S charfi .s ince 1903 revea l s th e rea l i sm of (From “ E dw in S chmyj‘
.
Rodin,the c lassic feeling of M a i l loc .
w hich become modified as t he yearsgo on u n t i l int he years a fter the war cubism and n egro scu lptureare reflec ted in h is deve lopmen t , and he is now dist inc t ly a A BOOk Of Ital ian ArtlS tS ‘
Prlmltlw R INETON PARKE S Rim mi d’Anigti imam . By U GO 0mm . M ilan: Fratelli Tre v es.
Small 8vo, pp . x ii 2 5 4 and 16 por trai t i llustrat ions. Paper, 1 2 1
S econd S eries.Modern E tch ings.
66 E tching. by Members of the Print S oc ie ty. Breamore ,Hampshire : The Print Socie ty. Price z ls. net .
There i s no doubt tha t for th e fu l les t apprec ia t i on of ar t someknow ledge of i t s tech n i que i s essen t ia l . For a commons tandard ,of apprec ia t ion , however , the extent of thi s know ledge varies ;varies inversely wi th th e emot iona l q ua l i ty of th e art . I f sucha scale of t he art s were con s t ruc ted we shou ld find music a t oneend fol lowed presumab ly by poe t ry , and a t th e ot her end thegraph ic art s . Pursu ing th i s theory a step farth er we find thatt he music of W agner requ ires l ess techn ica l know ledge for i t sapprecia t i on th an tha t o f Bach , or an ode of K eats than a sonne tof M i l ton , and in the graph ic ar t s the sca le ex tends from ,
le t u ssay , a fu l l-figured canvas by T in t ore t to to a de l ica te e tch ing byLegros . The poin t th a t we wish t o make is t hat t he. e tch ing fori t s fu l les t apprec iat ion certain ly requ ires some knowl edge of t h evarious processes , the i r l im i tat ion s and the i r poss ib i l i t i es , andtha t i t i s , for the mos t par t , an in te llec tual art form . I t was nodoub t t he rea l i zat ion of th i s t ha t led t o t he format ion of e tch ingc lubs for t he benefi t a l ike of ar t i s t and pat ron. One of t he lates tof these i s the Prin t Soc ie ty and the i r vo lume of si x ty-s ixe tch ings i s the i r second pub l icat ion (t he book a lso con tainssome l i th ograph s and wood engravings bringing the to ta l numberof p lates to seven ty-three) .E tch ing i s a medium par t icu lar ly sui ted to the represen t at i on
of arch i tec t ure,and many of the fines t
p la tes are devoted to arch i tec tu ra l subjects. Of t hese may be men t ioned M r.j oh n Tay lor Arms
’
s e tch ing on coppe rof t he W oolworth Bu i lding , New York ,t he vi ew be ing taken , i t would appear ,from between the co lumn s of t he port i co of the New York M un ic ipa l Ofli ceBui lding , wh ich be somewha t cyn ic al lyca l ls An American Cath edra l and
M r . Hugh Paton ’s “ The Li t t le Voorstraathavn. Of t h e ot hers w e werepart icu larly de l igh ted wi t h M r . Heske thHubbard ’s e tch ing on z inc
,\Vindmill
at Enkhu isen, a bo ld and decorat iv etrea tmen t of an ever-fasc inat ing subject , and M r . George. Gascoyne’s TheHarrow
,wh ich i s a c l ever composi t i on
of a b lack -and -whi t e t eam pu l l ingagains t a bare sky l in e and a windsweptbackground of ro l l ing cloud .M r. K ine ton Parkes supp l ie s an in
terest ing in t roduc t i on in w h ich h et ouches upon t he charm of t he prin t ,i t s part i cu lar appea l , t he purpose ofthe prin t c lub , meth ods of prin t mounting
,and a hos t of k indred and re levan t
mat t ers . He wri tes in a ve ry de l igh t fu lway
,and is h imse l f obv ious ly an enthu
siast in t he mat ter of col lec t ing prin t s.Thei r va lue , as he poin t s ou t , l i es t o agrea t ex ten t in th ei r cheapness . Toon e manw ho can afford t o buy a goodpain t ing there are a hundred who canafford to buy a good prin t . The pr in t ,therefore
,i s a t once a more popu lar
and a more influen t i a l in s t rumen t . W e
fee l t ha t many arch i tec t s shou ld bein terest ed in t he work of the Prin tSoc ie ty
, and_
for thei r benefi t we addthe in format ion t h a t t he address of t hePrin t Soc ie ty is W'oodgreen Common ,Breamore , Hampsh ire .
Ugo Ojetti , t he author of th is volume , i s one of the mos t d istinguished I t a l i an cr i t ics as we l l as being a nove l is t , poe t , anddramat ist . Th is is a guaran tee for the l i terary quali ty of th es tud ies of ar t ist s here inc luded . The bes t-known subj ec t t reat edis An ton io M ancin i
,the pai n t er , the leas t , E rmenegi ldo Luppi ,the scu lptor. The who le world knows M ancin i , but few theearnes t admirer of Donatello and M iche lange lo
,who
,born inM odena in 1877 , has laboriously passed th rough the phases ofmodern art to arrive on ly at a con t inued admirat ion of Rena is
sance work . Another scu lptor dea l t wi th by Ojet ti is L iberoAndreot t i,the leader of the young group “which , admiring the
k ind of c lassic ism found in the work of Mailloe, and the pr im i t ivequa l i t ies of some of J oseph Bernard ’s work , have , after Bourde l le
,found themse lves in neo-Gotli icism . There are a number
of young men inth is group and another t reated of in the vo lumeis An ton io Maraini
,who l ives and works in F lorence
,mak ing
portra i t busts of fine qua l i ty,and decora t ive figures for bu ild ings
,in the t rue Goth ic spiri t , warm ed in to modern ism by the st im u lusof confl ic t ing con temporary theories . The book inc ludes s tud iesof six teen art is ts a l toget her , t he prev ious volume hav ing inc ludedfourteen . I s there a market in Eng land for a two-volume workon l iv ing Bri t ish pain ters and scu lptors ? I s there an Eng l i shpub l i sher ready and will ing to find ou t by experimen t ? A rethere th i rty Bri t ish art ist s worthy of l i teraryportrai ture of t h i sdescrip t ion
THE ARCH ITECTURAL REVIEW .
Engl ish C ountryLife and W ork .
English Country Life and W ork. By E RxE S T C. Pl'LnROOK. LondonB . T. Batsford , Ltd . Price 16s. net .
A cen tu ry ago , according to M r. Fu lbrook , those l i v ing in t hecoun t ry ou tnumbered those l i v ing in the town s ; in 185 1 theyw ere equally di vided , in 191 1 the count ry accoun ted for on ly22 pe r cent . , and the fi rs t re tu rn s of t he new census showed t ha tthe urban popu lat ionwas st i ll in creasing. Those dependent onfarm ing are to-day about 10 per cen t ., whereas in 1801 thev
amounted to 3 7 pe r cent .This , t o anyon e who i s fond of the coun t ry and sees the bads ides of tow n l i fe
,must be a depressing t hough t . The fu tu re i s
no t very encouraging whenone cons iders -tak ing the surroundings of London for in stance— tha t what was on ly a compa rat ively few years ago beau t i fu l count ry , wi th p leasan t l i t t lev i llages and perhaps one or two marke t town s
,i s now a dense
mass of suburban houses w i th only the names of the d is t ric t sleft as reminders of the past .One w onders where the t h ing wi l l s top : i f , a s Lord Crewe i squoted as having wri t ten
,Eng land w i l l be turned in t o a gigan t i c
garden suburb “ fu rn i shed for hygienic reasons wi t h a duenumber of art ific ia l w i ldernesses or nature rese rves . Nor i sth i s so very improbab le , for i f th e urban popu lat ion s t i l l increases it wi l l become necessa ry (or i t ough t to do so) to improvethe condi t ions o f l i ving inthe towns for the sake of hea l th , andone can we l l imagine. tha t t h is w i l l be done by bu i ld ing vastgarden ci t ies w hich wou ld gradua l ly absorb all the coun t ry.To prevent any tenden cy t owards a sta t e so appa l l ing as th i si s a d iffi cu l t ma t ter. I t i s sa i d that the only way i s to ge tthe people back to t he soi l , bu t i t i s another th ing to bringth is abou t . W i t h t ime and labou r i t m igh t be done to someex tent . M r. Fu lbrook wri tes sound sen se when he says Flourishing agricu l ture wou ld indeed transfigure t he face o f Eng land , forw hen i t t h rives a hos t o f othe r t rades and indust ries flour ish ini t s t ra in , and a reserve of sturdy manhood i s ra ised for town and
S PEC IAL FEATURESLarge fuel capacity.Large fire and flue doors.
W ater-cooled grate bars.No separate base.Ground
.edges of
.sections, mak ing
smoke-t igh t joints W i thout pu tty.W alls of firebox flat , and thereforeeasily cleaned.
Great reserve pow er.
Made in19 siz es for to sq . ft.of rad iat ion, or 860 to lineal feetof4in. p ipe.
Canbe supp l ied w i th Patent InsulatedGalvaniz ed S teel Jacke t conservinghea t and givingthe boi lers a neat finish .
WRITE FOR LIS TS .
RADIATORCOMPANYOffi ces, S how room s , W ork s : HULL , York s.Telephone : CENTRAL 4220. Telegram s : RADIATORS , HULL .
L lM lTED
London S how room s : 43 9 8: 441 OXFORD S TRE ET , W . 1
Telephone : .M AYFAIR 215 3 . Telegrams IDEALRAD ,
LONDON.
Agents inGreat Britain carrying S tocks of BAXENDALE Co., L'
rn., M iller S treet W orks, M ANCH ES TER.Ideal" Radiators and “ Ideal" Boilers. W I LL IAM Mac t aon Co., 60-64 Robertson S treet , G LAS GOW .
Dominion. New careers wi l l be opened to t hose who long toshake the dust of the c i ty from the i r feet and l i ve more in t heopen a ir. New indust r ies wi l l a rr ive to supply loca l n eeds,more
money wi l l be kept a t home , and cu l t ivators , cer tain of thei rprofi t s , w illbe ab le to experiment for themse lves wi t h less haun ting fear of find ing on ly ru in .M r . Pulbrook sees t hat w i th t he difficu l t ies tha t face t hecoun t ry-dwe l ler to-day a cris i s may soon come , and suggests tha ti f t he agricu l tu ra l prob lem be st ud ied wi th a grasp of the in
terests of landowner , fa rmer , labourer , e t c . , a so lu t ion shou ld befound . M anhood i s more t han wea l t h,he says
,a t t he cone lusion of h is book , and t he general we l l—be ing of t he nat ionsuperior to t he t heories of t he doc tr inai re or success of the
pol i t ic ian. W e are a t a part ing of t he ways . A re we going torev ive the coun t ry wi th i t s own indust ries and its own l i fe , orare we going to spread t he c i ty over fie ld and meadowIn fai rness to the town i t mus t be sa id the town l i fe has i t sadvantages . Inpart icu lar i t i s good from an educat iona l pointof v iew . Peop le in the town s learn th ings from each other
,. and
are broad-minded and c lever as compared wi th t he coun t ryman,who i s i gnoran t and s tupid . Nevert he less
,t he l i fe is unhea l thy ,
and t hough c ircumstances force peop le in to t he town s,given t he
choice t he maj ori ty wou ld undoubted ly l ive in the coun t ry.Perhaps t he au thor of t h is b ook i s be t ter su i ted indiscussingprob lems such as t hese concern ing the cou n t ry thandesc rib ingi t s li fe and work. He ev iden t ly has a wide know ledge of thecoun t ry and i ts ways , and underst ands t he charac ter of thecoun t ryman , bu t h is descr ipt ion s lack fee l ing and present t o t hem ind none of t hose v iv id scenes of count ry l i fe one expect s froma book of t h is nature . Occas iona l ly l i t t le pi eces here and therep lease one
,such as t he descript ion of the end of a marke t
,bu t
t hey occur very rare ly and , on t he who le , t he way in wh ich eachsubj ec t i s t reated in a genera l manner on ly is apt to becomemonotonous . One cannot help being disappointed a t a lack ofan ecdo tes as we l l —a few of which wou ld great ly l iven up thebook .The interes t of the book cannot be denied,
'
how ever. I t gives(Fontinut d onp. xxxiv .)
THE ARCH I TECTURAL REVIEW.
THE ARCH I TEC TURAL REVIEW .
one an in sigh t in to coun t ry l i fe and i ts ways , and one has a be t te runde rs tandi ng of the prob lems that affec t t he coun t ry afte rreading its pages. I t describes t he peop le and the i r l ive l ihoods ,from the squ i re
,farmers
,and cot tage fol k— the t hree c lasses
common to a l l pa rt s of t he coun t ry— t o those peculiar to ce rt aindist ric t s only , as t he bodger and charcoa l bu rner.I t has a remarkab le col lec t ion of i llust ra t ion s , too , and on e
has only to look a t t hem to fee l a yearning to vis i t t he coun t ryA t t he beginn ing of hi s book M r . Fu lbrook quotes some wisewords of W ashington I rving which wi l l bear repeat ing : Thestranger , ” he says , who wou ld form a correc t Opinion of t heEng l i sh cha rac ter mus t not confine h is observa t ion s to t hemet ropo l i s . He must go fort h into t he coun t ry ; he must soj ou rnin vi l lages and ham le ts ; he must v is i t castles, v i l las , farmhouses , cot tages ; he must wander t hrough parks and gardens ;a long hedges and green lanes ; he must loi te r abou t coun t rychurches ; at tend wakes and fa i rs , and other rura l fes t iva ls ; andcope w i t h t he peop le inall t hei r condi t ion s and all the i r habi t sand humours .
Exh ibi t ion.
H olland Park Hall, October 17 .
The Decorators’ Exh ib i t ion 'wi l l be opened on Oc tober 1 7 ,a t t he Holland Park Hall,London
, W . A lmos t everyone i sin teres ted i n decorat ion,and the idea of a huge exh ib i t i on a t wh ich
wi l l be show n the bes t and th e l ates t in wallpapers , cre tonn es ,wall fin i shes of every,
k ind,and the hundred and one in teres t ing
impedimen t a of the house decora tor’s craf t, w ill make a wideappeal .
The exh ibi t i on i s not a commerci a l ven ture,bu t i s being or
ganiz ed by the master decorators themse lves th rough th e i rNat iona l Federat ion
,as a means of s t imu lat ing i n teres t in t h ei r
A Decorators’
craf t and i ts doings . The decora tors are grea t be l i evers in theva lue of th ei r ca l l ing as a means of mak ing more beau t ifu l thehomes of t he people , and they hope to show a t th is exh ib i t ionsome fine examp les of mater ia l s and me thods .
Imperial Flying.
The Federat i onof Bri t ish I ndus t ries h as pub l i shed the secondin ter im repor t of the commi t tee se t up t o enqu i re in t o th e fu t ureof i n ter-Imperia l t rade . Perhaps the mos t importan t recommendat ionmade by th is comm i t tee i s th at concern ing the fu tureof flying in t he Bri t i sh Empi re . The s t atemen t run s as fol lows
I M PER IAL AIR COM M UNICAT IONS .The Federa t ion i s conv inced tha t the es tab l i shmen t of rapid
and effi c ien t postal and passenger serv ices by ai r cannot fai l t oh ave a mos t importan t e ffec t in binding the Empire toge ther.The reasons for t h is be l ie f h ave been so of ten ana lysed tha ti t i s h ardly necessary to go further i n t o de t ail.I t w i l l suffice to emphasiz e the be l ie f of the Federa t ion 21 . That services of th is k ind canbes t be bu i l t up and operatedby pri va te en terpri se wi th the min imum of Governmen t con t ro l .2 . That to enab le t h is to be done some amount of S ta te assis tance wi l l be necessary in the ear ly st ages .3 . That t he sympathe t ic co-operat ion of t he Imperi al andDomini on Governmen t s w i l l be essen t ial t o t he proper work ingof any scheme .Two import an t proposa l s h ave a l ready beenpu t before H .M.O.
for th e deve lopmen t of c iv i l av i a t ion . F i rs t of a l l in t he ai rsh ipscheme
,formu lated by Commander Burney i n th e spri ng of 1922 ,and second ly in t he repor t onGovernmen t financ ia l ass i st anceto c iv il ai r t ransport compan ies , presented by the Hamb l ing
Comm i t tee on 1 5 Feb ruary 1923 (Cmd.
The Federa t ion desi res most s t rong ly to urge t h at the conference shou ld come to a dec is ion on t he princi p l es u nderlying these
(Continued onp. xx xvi .)
TH E ARCH ITECTURAL REV IEW .
report s and shou ld . i f possi b le , agree upon defin i t e sch emes forfac ili ta t ing the rapid deve lopmen t of effi ci en t ai r t ran spor t servi ces be tween the d ifferen t port i on s of t he Empi re .They wou ld also suggest tha t t he Domin ion s and Coloni e sshould be consulted wi th regard to the deve lopmen t of thei rloca l av iat ion serv ices wi th a v iew t o thei r being l inked up w i thImperi al services when the la t ter are pu t in to opera t ion .
The Shepherd ’
s Bush Pavi l ion.
The Shepherd ’s Bush Pav i l i on has beendesigned by M r . Fran kVe ri ty. He has t aken as h is theme the grea t Roman Bat h towhi ch the Emperor Caracal la gave h i s name and whose bus t hasbeen p laced in the foyer of the thea t re .The Shepherd ’s Bush Pav ilion i s one of th e larges t t heatresin Europe
,though the casua l observer wi l l not at on ce apprec iat e
the t remendous size of th e bu i lding . By j udi cious use of aun i form scale based on a un i t of 5 f t . and work ing in mu l t ip les ,th e de tails of the s t ruc t ure and the decorat ion s have beencarefully designed to be in j ust propor t ion s and balance to each oth er .The ce i l ing ri ses to a heigh t of near ly 75 f t . above th e floor of theaud i torium . The wi d th across the parterre i s 100 f t . and from therear wall t o the orches tra 160 f t .The cei l ing con si s t s of th ree sec t ion s
,of wh ich the most impor
tant , un i t ing wi th the st ruc ture of the proscen i um ,i s so formed
as to represen t a vau l ted arch . Th is arch con t ains a ce iling l igh tg laz ed wi th amber glass , and sim i lar cei l ing l igh t s are in t roducedin t he sec t ion s of cei l ing o v er t he upper t i er . The flat surfacesare r ich ly decora ted in colou r ornamen t . The band of co lourform ing the border t o t he large cei l ing l igh t over the upper t i eri s cons idered one of th e mos t e ffec t ive pieces of colou ring in t hebu i lding .The main mot i f of decorat ion i s cen t red i n two arched open ingson e i ther side of the audi torium . These archways are drapedwi t h rich ve lve t h angings , t erra—co t t a in colour , forming a background respec t ive ly to two l arge pedes tals , each support ing at ripod .
L I NCO L N H O U S E
HEATING,
VENTILATING.
E S T A B L I S I I E I ) 1 3 1“
LTD.
6 0 K ING S W A Y , w .C .2
Head Oflice 6 Works :TROW BRIDGE
“’
t zu'r C E NT ,
L o xm i x
G. G ILBERT SCOTT. ESQ ,R .A.,
The proscen ium curt ain s are said t o be one of th e larges t pa i rsof curt ain s in the world . The i r we igh t i s 10 cwt ., and 500 yds .of Ve lve t alone were used in mak ing the curt ain s and pe lmet .I t may serve as a fur ther indicat ion of the si ze of the bu i lding tomen t i on th at o v er two miles of ca rpet h ave been l aid in theaud i torium a lone .The work ing of the large s t age
,which i s capab l e of h o lding
severa l hundred peop le , was p lanned and equ ipped by W aringand Gillow , Ltd ., w ho a l so carri ed ou t th e rest of the decorat ion s .W i th i t s flying screen and s lung draperi es the stage can be c learedt o i t s fu l les t ex t en t for spec t acu lar pe rformances in five seconds .The spec ial gear necessary to at tain th is in i t s en t i re ty h as n everbefore beenins t a l led in a c in ematograph th eat re .The Shepherd ’s Bush Pav i l i on wi l l be i l lus t ra ted in th e Oc toberi ssue of THE ARCH ITECTURAL REV IEW .
Bush House.
I n a recen t i ssue of “ The A rch i t ec t s’ Journal, th e Edi tor ,wri t ing of Bush House , says : W i th the scaffo lding removed,the cen t ra l b lock of Bush House a t l as t s tands revea led in alli t s e th erea l wh i t eness . Not un t i l t he flank ing wings are added
w ill i t be possib le to j udge the design proper ly , bu t i f what wen ow see affords a fai r s tandard of j udgmen t , London i s t o have agroup of bu i ldings a t i t s heart th at would do honour to any ci ty .Bush House has i t s c ri t ics ; th ey make much , for examp le , of i t snon-ax iali t y wi th K ingsway . A bu i lding th a t d id not s t imu l atecri t i c i sm wou ld probab ly not be wor th look ing at at al l . A l l wewou ld say here is t h at M r . Corbe t t , by rais ing in the heart ofLondon a typ ic a l examp le of mode rn American arch i tec ture , hasrendered English arch i tec ts and arch i tec ture a not ab le serv ice .He demon s t ra tes convincingly th e value of re t icence
,and t he
arch i tec tu ra l e ffec t iveness of plain,.
smooth surfaces . ProfessorRe i l ly pu t i t very c lear ly, i f ra ther p ic turesque ly , when he saidth at Bush House h as the appearance of be ing c lean-sh aven wh i lemany of i t s neighbours have grown wh iskers . Bush House wi l lha v e don e excellen t work i f i t does no more th an s t imu l ate acer tain amoun t of ac t iv i ty wi t h t he razor .
TH E ARCH I TECTURAL REV IEW .
TH E ARCH ITECTURAL REV IEW .
The Alfred Bossom Travel l ing
S tudentsh ip.
The fo l lowing condi t ion s concern ing the A l fred BossomT ra v e l l ing Studen t sh ip
,w h ich prov ides for the. successfu l com
pet i tor 5 v is i t t o t he Un i t ed S ta tes , have been approved by theBoard o f A rch i tec tural Educat ion1 . The Board of A rch i tec t ura l Educat ion wi l l appoin t a spec ia lj u ry cons i st ing of t h ree arch i tec t s (inc lud ing , i f possib le , t hePresiden t of t he Roya l I n st i t u te of Bri t i sh A rch i tec ts) , a bu i lder ,and a property owner , t o con t rol and conduc t the compet i t ion sfor the award of the si lver meda l s , t he gold medal , and thest uden t sh ip . The bui lder serving on t he j ury wi l l gu ide h i scol leagues on the est imates of cost
,and the property owner on
the est ima tes of revenue .2 . The compe t i t ions wi l l be confined to .t hose s tuden ts of th erecogn i zed schoo l s of arch i tec t ure wh ich enj oy
.exempt ion
from the F ina l Examina t ion who , af ter passing th roughthe schoo l courses,have a t ta ined th e A ssoc iatesh ip of the
3 . On the recommendat ion of the . Board of A rch i tec tu ra lEduca t ion other schoo ls of arch i tec ture
,a t presen t no t recog
niz ed for fina l exempt ion,may be admi t ted to t he compet i t ion ,so tha t those of thei r s t uden t s who have passed th e
q ua l i fying examinat ion s and have a t t ained the A ssoc i atesh ip oft he may take par t i n the compet i t ion .4. An addi t iona l compet i t ion wi l l be arranged by the j urywh ich wi l l be open t o Assoc iates of the Roya l I ns t i t u t e w ho haveno t passed th rough one of t he recogn i zed school s or one ofthe schoo ls men t ioned in paragraph 3 . A s i lver meda l wi l l beawarded to the winner .5 . The j ury wi l l se t a subj ec t each year and send i t t o t heschool s . Each of the schoo l s will appoin t a loca l j ury of sim i larcomposi t ion to the j u ry men t ion ed above , t o conduc t th e com
THE DEVON FIRE
The “Devon Fire gives a select ion of 60different designs and over 100 colourschem es
No one know s bet ter than the
experienced archi tect that anunsui table or inar t ist ic fireplacemaymar the w hole beauty of
his w ork.You can guard against this ifyou specify Devon Fires on
your plans, for amongst thei rw ide range of ar t ist ic designsand art colourings there is sureto be one w hich exactly fulfils
your most exact ing requi remen ts.The Devon w ins favoureveryw herebecause ofitsbeauty,cleanl iness
,sound construc t ion,
moderate price,and pronounced
economyin fuel .W ri te for our I l lustrated Cata~
logue of designs and pricesand the Resul t of the Offi c ialGovernment Test.
CANDY CO. LTD.
87 New m an S t reet , Oxford S t reet , London , W .l
W orks : Heatbfleld S tation, New ton Abbot, Devon.
pe t i t ion and award th e s i lver meda l for th e best design submi t tedby a graduate of the schoo l . Each design wi l l be accompan i edby an approx imate es t imate of the cost of th e bui lding and 'thefinanc ial re t urn from i t . The si lver medal s awarded at the school sw i l l be known as t he A l fred Bossom Si lver M eda l s for Commercial A rch i tec tu re . The si lver meda ls wi l l be handed to th esuccessfu l compet i tors a t t he annua l di st ribu t ion ofpri zes and s tuden t sh ips .6. The design s of each of the winners of the s i lver meda l swi l l be forwarded to London
,where th ey wi l l be j udged by
the j ury .7 . The j ury wi l l award th e A l fred Bossom Gold M eda l andthe “ A l fred Bossom Tra v e l l ing S tuden t sh ip ” t o the au thor ofth e bes t design submi t ted to them . The gold meda l wi l l behanded to the successfu l compe t i tor a t the annual d ist r ibu t i onof t he prizes and studen tsh ips .8 . The ho lder of th e st uden t sh ip w i l l be requi red wi th in aperiod of not more than s ix mon th s from the date of t h e aw ardto j ourney to the Un i t ed S t ates of America and spend not l essthan s ix mon th s t here in the s t udy of commerc ial arch i t ec t ure .9 . On arriva l in t he Un i t ed S tates th e st uden t wi l l reporth imse l f to the A rch i tec tura l League of New York , wh ich wi l l ,by means of a spec ia l commi t tee appoin ted for t he purpose , gi v eh im advice and guidance on the subj ec t of h i s s tudies .10. At
'
the conc lus ion of h i s s tay in the Un i t ed S tates th eholder of the s tuden tsh ip wi l l be requ i red to submi t a de t ai ledand i l lust rated repor t on a part icu lar branch of th e subj ec t l aiddown by th e j u ry . Th is report , when approved by the j ury , wi l lbe prin ted
,and copies wi l l be sen t t o each of t he compet ing
school s of arch i tec t ure and to each st uden t who has t aken par tin the compet i t ion of t he year .1 1 . The trave l l ing s tuden t wi l l be paid the sum of £250 t omee t t he cos t of h is j ourney to and from the Umted States andh is s t ay of not less than s ix mon th s in th a t coun t ry .
(Confi rmed Onp. xl.)
THE ARCH I TEC TURAL REV IEW :
1 2 . The comp let e ro l l of si l v er meda l l is t s and gold meda l l i s t sw i l l be kept a t the Roya l I n st i t u te of Bri t i sh A rch i t ec t s , andcopies of t he reports w i l l be preserved in the l ibrary.
1 3 . M r . A l fred Bossom has generous ly undertaken t o pro v idefunds to meet t he cost of t he scheme , inc lud ing th e pro v i s ion ofthe meda l s and the paymen t. of the t ra v e l l ing studen t s , for aperiod of five years .14. A t the end of five years the Board of A rch i tec tura l Educat ion w i l l submi t a report t o M r . Bossom on the work ing of t hescheme
,and wi l l d iscuss w i t h h im any modifica t ion s wh ich maybe found to be desi rab le wi th a v iew to p lac ing i t on a per
manen t bas is .1 5 . M r . Bossom wi l l arrange for the design , cast ing , and
suni Iv of old and si l ver medals .l P
Threat to London’
s
Spaces.
The Open
A recen t issue of The A rch i tec ts’ Journa l con tain s the fol lowing note on London garden s W hat M r . Joh n Burn s oncedescr ibed , in referr ing to the London squares and open spaces , as‘ t he en l igh tened se l f-in terest of priva te ownersh ip
,
’ seems wi ththe lapse of years to have done noth ing more thanprovide privateownersh ip w i t h an opport un i ty of exp loi t ing se l f-in terest ofm other k ind . are th ink ing of the th rea t t o EndslcighGa rden s , in the Eust on Road , a pic turesque garden area abou tt\vo acres i n ex ten t . The danger of th is ground be ing bu i l t uponwas poin ted ou t in a l ead ing art ic l e
,by M r . Percy Love l l , in th is
j ourna l some mon th s ago . Endsleigh Garden s i s not the on lyopen space th reatened , for , according to M r . Basi l Holmes ,Secre tary of the M e tropol i t an Pub l ic Garden s A ssoc ia t ion,many
of the four h undred odd other areas in London are in danger ofbeing used as bui lding s i tes , as soon as th e r igh ts of the adj acen tlessees to use them as priva te garden s come to an end wi t h th e
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OntheLlltlofContractore to theAdmlralty,l lrmnletry,W aromcemtnlstryof l unltlone, lndlaOffice.Post Offi ce, CrownAgents for the Colonies, etc.
expi ry of the leases . M r . Ho lmes suggests t ha t t hese areas shou ldbe ster i l i zed or rendered ine l igib le for bui ld ing si tes,l ike disused
churchyards and buria l grounds ; fai r compen sa t ion being paidt o owners for pl ac ing such a l i en upon th ei r propert ies . Th i scourse , he says , wou ld be much less expens ive t han buying th emou tr igh t for conversion in to pub l i c garden s . W ha te v er i s donemust be done qu ickly
,or i t may be t oo late . The London Coun ty
Counc i l must formu late some compreh en s ive sch eme of preser v at ion as qu ickly as possib le
,oth erwi se London wi l l wake up oneb i t t er morn ing to find that i t s lungs are gon e .
TRADE AND CRAFT .
A New Book let on Expanded S teel .
A n ew book has recen t ly been pub l i sh ed by the ExpandedM e ta l Company desc rib ing and i l lust rat ing the company 's ch iefproduct s and the i r genera l appl i ca t ion . The book Cert ain lydisp lays the grea t vari e ty of bu i ldings and s t ruc tures for wh icht hese produc t s are usab l e . They inc lude br idges , c inemas ,houses
,cu lverts
,docks
,racecourse and footba l l grandstands ,water towers
,pub l ic bu i ldings seaside schemes
,fac tor ies , andboa t s .
Expamet expanded s tee l , the mos t famous of th i s company
’
s produc ts , i s manufac t ured from b lank mi ld s tee l sheet sand p lates ; i t i s mach in e-made , of meshwork format ion , and hasno j o in s
,no we lds
,and no loose or separa te s t rands or a t tach
men t s : th e j unc t ions be tween the meshes remain uncu t , anda l l th e s trands or members in a shee t are connec t ed rigid ly andhave con t inuous fibres—w important feat ures pecu l iar to Expanded
l
Metal. I t i s main t ained th at the fin i shed produc t i s i tse l f ev idencetha t the materi a l from wh ich i t i s made is free from flaws anddefec ts ; otherwise , in t he expanding , any fau l t in the b l ank wou ldcause frac ture of th e s trands : the process of manufac tu re i s ,t herefore
,a thorough tes t of the qual i ty of t he s tee l .
MANOR; LAPlfl fi
InE (inAffw .
G um A . PM };
Plate I October 1 92 3 .
MA I SONS LAFFITTE : THE CHATEAU .
From a VVater-colour byCyri l Farey.
1 16 TH E ARCH ITECTU RAL REV IEW .
PLAN OF “’
E ST GATE , SHOVH NG CHAPEL AND BULL HOUS E .
Ringmer,haberdasher) sold the Bul l to Thomas Ol i ver , !
of Lew es , merchan t , for £3 2 5 . Then fol low s an ex trac t fromthe w i l l of John Ol iver
,of Lew es , w h ich con tained a codic i l
da ted 1698 ,di rec t ing tha t h is w i fe
,Mary
,shou ld have the
i ull I nn (occupied byJames Attree) for l i fe . To th i s end , tw o
t rustees w ere appoin ted the tes ta tor 's bro ther-ih -law,Pe ter
Courthope ,of Danny
,and h i s cousin
,Richard Istcd,
ofLewes . I n 1698 ,
Mary Ol i ver and Pe ter Courthope (th esurviving t rus tee) sold the Bul l to Thomas Adams , ofMeech ing (Newhaven) , for £2 10,
and he conveyed i t i n thesame year
,and for a l i ke amoun t
,to Thomas Barnard ,
thefounder of W es tga te Chapel .So far the sequence of ownersh i p as regards the 3ul l i s
fai rly comple te , bu t we are lef t i n doub t as to the sou thernbui ld ing
,wh ich has been t radi t ionally associa ted w i th the
Goring family and wh ich Barnard requi red in 1698 to conver t in to h i s chapel . Some ligh t
,how ever
,appears to be
obtainable from another series of deeds in W'
oollgar'
s collec
t ion deal ing w i th proper ty in ano ther part of Lewes . I t i snecessary to. recal l the fac t tha t Lord Goring experiencedheavy losses during the Civ i l W ar, and no t leas t from the
dissipa ted career of h i s son,the i‘oyalist sold ier , and he was
forced to sel l h i s estates,including h i s beau t i fu l mansion
of Danny , to Pe ter Courthope ,
’
in the hands of w hose descendants they s t i l l remain . I n the deed in quest i on ,
datedPe ter Courthope pays to Lord Goring £500 to
.
the use
of his son George Goring,and receives all tha t Capi tal
messuage or mansion house lying i n the ’
Borough of Lew es
john Row e (c. 16 20) has this note : Thos Oliver a Tent ‘
call Le
Bullnear the W'
estgate late Goringcs and before one Matthew s,rent one
race ofginger; forye adjoininggarden 3d .
some t ime the mansion of the said Lord Goring , beside otherpropert i es . Henry Goring , of Burton ,
and o ther members ofth e fami ly , are par t i es to th i s deed of sale. From a later deedwe find tha t the house was occupied by Pe ter Courthopeh imself from 1649 to 165 3 , and was sold in the la t ter yearto Si r Thomas Pelham , wh o already possessed a fine housein S t . Andrew ’s Lane
,wh ich had been in h i s fami ly a t l eas t
as far back as 1620. I t i s probabl e tha t Pelham,therefore
,
did no t purchase the house for h i s own use , and al though'
w e have a t presen t no further record , we may imagine tha tfor some reason i t fel l in to decay and was probabl y purchased byth e Ol ivers (w ho married in to Courthope’s fami ly
‘
during the t ime tha t they held the. Bull. In any case,
the tw o bui ld ings seem to have been t rea ted as one whenthey came in to the hands of Thomas Adams , w ho appearsto have ac ted as agen t for Barnard i n the ma t ter of thechapel, as w i tness the fo llow ing descrip t i on in the Chapelt rust deedAll that ed ifice or bu ilding inlength from the east end thereofto the w est end thereof , 60 feet , and in breadth from the norths ide thereof to the south s ide thereof forty and four feet , e i thermore or less , s i tuate. and be ing in the par ish of St . M ichael ,w i th in the borough of Lew es , near the W est Gate of the saidBorough , and on the south s ide of the H igh Street of Lew es aforesa id ,
w h ich edifice or bu ilding , or some part thereof , adj oined tothe sou th s ide of a messuage or tenemen t there
,formerly an li me ,
and then called or know n by the name of the Bull,al l w h ich said
hereby granted ed ifice and prem ises , or such part thereof as w asnot bu i l t before the purchase thereof by Thomas Adams
,together
w i th the said messuage and gardens thereun to belonging, w ereformerly sold and conveyed by Mary Ol iver , w idow ,
and PeterCourthope, Esq , to Thomas Adams and h is he irs , and w ereafterw ards , by the said Thomas Adams , sold and conveyed toThomas Barnard
,the elder
,Gen t
,and h is he irs ; and w ere s ince
BULL HOU SE TH E W EST‘
GATE, LEW E S .
“E ST S IDE OI" V IEW’
O I“ HOUSE FROM THE
THE EAST W ALL OF CHAPEL AND BULL HOUS E .
1 1 8 THE ARCH ITECTU RAL REV IEW .
OAK F IGURES ON THE E L I ZABETHAN “’ING .
the bu i lding some part thereof by the said Thomas Barnard , soldand conveyed to the said Samuel Sw ayne and John Ollive andthe ir he irs .The t rus t deed was execu ted i n 17 19 , bu t i t was in 1698
tha t Thomas Barnard acquired the proper ty and gu t ted theGoring’s s tone-buil t house , or that par t of i t wh ich he h adbough t , leaving on ly the ou ter shell to form th e chapel .Large w indows w ere formed ou t of s tone mul l i ons and t ransoms of the old bui lding
,the roofs were
recons truc ted , and oc tagonal pos ts wereinser ted to break th e span and carry thein ternal framew ork . The al tera t ions wereso comple te tha t al l t race of the originalarrangemen t of the house has been lost
,
save an old doorway and some few i ndicat ions of form er w indow open ings in theeas t wal l .After the al terat ions had been e ffec tedthe Rev . Thomas Barnard did no t w ish tore tai n more than the chapel i tsel f
,and so
,
a t the da te of the t rus t deed j us t quo ted,
the t imber bui lding known as “The Bul l
"
was sold to Mr . Ol ive for £100. W i th th i swen t a garden , nort h of the chapel fron tage ,con tained be tween the chapel approach andthe curving bas t ion of the wes t ga te . Th i sl i t t le garden was al iena ted in recen t years .Ano ther garden was sold to Mr. ThomasS tonestree t for £3 2 . The chapel has re
mained an importan t cen t re of noncon This figure (to the right in the foregoingform ist worsh i p , i ts presen t denomina t i on picture) has only recently beenrevealed .
being Unitarian. It was res tored and refi t ted in recen tyears under the di rec t ion of M r . Ronald P . J ones , arch i tec t .The ex ternal stone wal ls of the chapel are no t con t inued
in the d iv ision be tween i t and the o lder building wh ich wew i l l cal l Bul l House . The party wal l was merely a par t i t i onof re-used t imbers , brick-fi l led for on ly a few
'
fee t in heigh t ,and plastered . The west wal l o f Bu l l House w as, however ,a th ick wal l ofHim,
s tone-faced , and a considerabl e por t ionof th i s remains on th e ground and fi rs t floors .The res t of the bui ld ing is oak-framed , alarge proport ion of the massi ve t imbersbeing s t i l l preserved and show ing clearevidence of mediaeval da te . I n the northeas t angle formed by Bull House and thechapel is a '
t imber ann exe of two storiesand an a t t ic wh ich appears to da te fromthe t ime of Goring’s work (temp . E l izabe th ) .The mos t probab le explanat i on of i ts purpose i s tha t it formed a porch and en t ranceto the s tone-bui l t house from t he stree t .The carved satyr on the angle-pos t has longbeen a famil iar obj ec t of in teres t i n Lew es ,and those who had consul ted Mr . Wi l l iamFigg 's paper en t i t led Some Memorials ofOld Lewes in the Sussex ArchaeologicalCol lec t i ons of 1861 were al ready acquain tedw i th the fac t tha t a second carved figurewas in existence. “
I t had been concealedbenea th the] plastered fron t w i th wh ichsome over-zealous res torer had masked theoriginal hal f-t imber work tha t had fal len
T H E ARCHITECTURAL R EV IEW ;
BULL HOU SE AND TH E W E ST
ROOM ON TH E F I RS T FLOOR .
forward th rough the fai lure of a t ie-beam . Th i s is thecompanion figure w h ich has now been revealed
,toge ther w i th
the oak framing ; and h i s long incarcera t ion has kep t. h im inpe rfec t prese rva t ion .
The fron t room on the ground floor has no doub tbeen shortened on the s tree t side , bu t i ts cei l ing retainsthe heavy oak j oists of probab ly fifteenth -cen tury date .
The remain ing fea tures haVe been inserted,and consis t
of a Georgian man telpiece (w i th carved panel represen ting Mars in a car draw n by l ions) rescued from No. 2 19
H igh S t ree t , Lew es , some fine oak cupboard doors,and
a smal l e ighteen th-cen tury balust rade to the en t rances teps . The ball, w h ich i s spanned by the remains of afifteenth-cen tury beam , has been furn ished w i th an oakstair from the demol ished No . 63 H igh S treet . The balusters1nd handrai l are new . The large si t t ing-room to the sou thof the hal l possesses moulded beams (c. 1500) and oak
j oist s. The open fi replace,recons truc ted w i th the original
bricks , is spanned by a moulded Tudor ch imney beam ,
wh ich , though mu t i la ted in past al tera t ions , could be piecedou t w i th new oak. Over the beam is a stone sh ield of armsof the Pelham family (th ree peli cans in p ie ty) , which wasfound bui l t in to the ch imney , and in the hear th i s se t a smallm i l lstone , simi larly re t rieved ,
w h ich i s though t to havebelonged to Thomas Paine ’s tobacco mil l . The ki tchen
,e tc . ,
occupies the E li zabe than annexe,already referred to , and
has oak cei l ing j oists tenoned in to a d iagonal beam suppor tedby the. old satyr corner-pos t .The fron t and back rooms on the fi rs t fl oor are separated
from a cen tral room or landing by mediaeval oak par t i t ions ,the nor thern one having a king post
,and bo th possessing
massive corner posts and curved braces . The nor th room(tradi t ional ly called Tom Paine ’s) has in tersec ting beamsw i th mould ings of
.Tudor charac ter supported in the cen tre
by an old oc tagonal oak post . The fi replace is a copy , in
Reiga te s tone,of a six teen th-cen tury one from a house
opposi te, and now pul led down ,
the original one being inMr . li very ’s museum . The panelled dado is of Georgian da te .The second floor rooms have been recl aimed from the
roof,w i t hou t
,however
,dis turb ing the roof covering or
al tering any of the or ig inal t imbers . Por t ions of the oldk ing pos t t russes remain
,bu t mos t of the oak is no t earlier
than the t ime of E li zabe th . From th e. landinga dormer roofhas been th row n ou t to form an oak covered-ia balcony fromwh i ch a fine view of the Dow ns and of the si te of the K ings tonwindm i l l s canbe obtained .
Al though i t was necessary to reconstruc t the mainch imney-stack from the ground and to strengthen and bracethe whole of the oak framework of the house , w h ich i nplaces had given w ayal together , the roofs were no t stripped ,
and every th ing possible was left insitu. All the old plas terhad peri shed and had to be renewed , or where cei l ings wereou t of level Beaver board was laid over the j oists and thefloors firred up over th i s. The house is a pic turesque mixture of s tyles
,left to tel l thei r own tale
,from the original
s truc tural frame of the fi fteen th cen tury down to modernt imes , and Lewes i s indebted to the publ ic spi ri t ofM r . j . H . l i very ,
who has made i t possibl e toj
reinstate.
and preserve i t for pos teri ty . The build ing work wasch i efly carried ou t by direc t labour , bu t the repai r ,
of the
oak frame and the j oinery was in the hands of M r . GeorgeJ us t ice
,of Lewes . W ALTE R H . GODFREY .
Hans Poelz ig.
I . REV I S ED DE S IGN FOR THE FE STS P IELHAUS, SALZBURG.
ANS POELZIG i s the mos t puissan t and monumen tal crea tor and t ransmu ter of arch i tec turalforms in modern Germany . I n his ges ture as amaster-bui lder there i s some th ing magn ificen t ly
broad,h igh
,and deep , some th i ng mys t ical tha t reaches
forward and backward beyond the epoch in wh ich he works .From every bui ld ing tha t emerges under h i s h and therebrea thes a k ind of arch i tectonic sermon . H is bui ldings ,those born in ma t ter
,and those s t i l l gesta t ing upon paper ,
seem to preach a new reconci l i at ion be tween arch i tec tureand rel igi on . I t i s a divine
,dionysian elemen t of aesthe t ic
i n tox ica t ion wh ich Poelz ig has s t ruggled to bring back in toarch i tec ture
,a Formenrausch
” under the influence ofwh ich arch i tec ture becomes plast ic , s trange , fecund , ful lof Spon taneous impulse and expression— vocal— daedal i an .
H is name , coupled w i th tha t of Max Reinhard t as thecreator of das Grosse Schauspielh aus
,h as been carri ed
to the ends of the ear th . I n th i s gargan tuan fabric ,Poelz ig
’
s everlast ing st ri fe to weld “ purpose andfan tasy in to one found a t l east a par t ial reconci l ia t ion .
(Figs . 7 ,8 ,
During the period in wh ich he fulfi l led the func t ion ofconsul t ing arch i tec t for the Ci ty of Dresden , Poelz igdesigneda number of impor tan t and monumen tal bui ldings for th i sold ci ty of baroque towers , churches , and colonnades . Al lof them were new i n inspi ra t i on and concep t ion
,aggressi ve ,
or a t leas t asser t i ve in thei r presen ta t ion of new form andfea ture— the rhythmical ly-undul an t-symphonic Ci ty Hal l , abui lding wh ich even in the plaster model seems to move andswel l l i ke music , the bold , mascul ine , audacious Col iseuml ike ci rc le of the munic ipal fi re b rigade
,the “ doub l e pub l ic
school,chaste and s ta tely as a n aked princess .
Poelz ig shuns and abhors all the bondage of t rad i t ion .
W e find echoes of many arch i tec tures in h i s work bu t h i sfi rs t wrest l ing w i th h is prob lem is always an agon i z ing one— the struggle for sheer puri ty and independence of inSpi ra t i on— arch i tec ton ic vi rgin i ty . Ye t in all three of th erevolu t ionary modern s truc tures men t ioned above there i s anote tha t uni tes them vi tal ly w i th the arch i tec ture tha t hasgiven Dresden i ts dominan t face -the Hofk irche , ” the
Frauenki rche , the splendid Zw inger . I t i s th i s underlying principle of the baroque
,the avoidance of al l hard
,
s t raigh t l ines in the ground plan,the harmonious play o f
curves across the facades , th e organ-pipel ike in troduc t i onof c lus tered pi lasters , the concavi ties and convex i t ies thatcon j ure forth unfami l iar w i zard ries of l igh t and shade .E ven the endless repet i t ion of detai ls
,one of Poelz ig
’
s grea tpassions , composes i tsel f to a st ruc tural , Op t ical music .Th i s chord is one wh ich in wha t may be called t he chasteexpansiveness of h is style reveals h im as the mas ter of anew emo t ion of arch i tec ture .The w i l l to d ign i fy and ennob le even the commonplace
and the banal , wh ich i s so marked a t rai t in Poelz ig’
s ar t,
may bes t be seen in h is designs for such u t i l i tari an st ruc turesas gasworks , gasomet'ers , water-towers , and chem ical factories . For example , the grea t modern gasworks a t Reick ,
a complex technical plan t of concre te,a t once arrest s the
eye and in t rigues the aesthet ic nerve by the absolu te honesty,
the rarefied,ul t ima te simpl ici ty of i ts l ines . The monu
men tal inthe best sense makes i tsel f fel t , and the grea t uni ts tands sh immering in a new beau ty— tha t of a means madeperfec t to an end . E ven the in terior of th i s vas t indust r ia lshed has some th ing symphon ic in i ts nakedness .The remarkab l e water-tower erec ted a t Posen (Fig .
a hep tagonal s truc ture of steel and brick,w i th an in trica te
in terior bea‘
m-and-girder cons truc t i on,i s ano ther of Poelz ig’
s
vic tories over conven t i onal , indus tr ial ugl iness . Th is great ,tru nca ted
,pen t-housed tower bui lds i tsel f in to a mass
,the
severe ye t lordly con tours of wh ich would ennobl e anylandscape . I n the Luban chemical works near PosenPoelz ig has given us a new type of fac tory . The membersof the ex tensive plan t are co—ordina ted w it h so del i ca te abalance
,and the fenes trat ion , bo th rec tangul ar and ci rcular
headed,flush w i th the wal l-surface , arrests the eye in such
unusual places,tha t the whole complex
,moun t ing sheer ou t
of the ground to the terraced roof and the b l ank-faceds tepped gab les w i th thei r bu t tresses and square turret s ,assumes some th ing almost theat rical ly pic turesque . Herethe charm of the materi al , a pecul iarly coloured and grain edb ri ck , adds to the cap t iva t ion of the form.
TH E ARCH ITECTU RAL REV IEW .
4. A FROM THE COURTYARD OF THE
CULTURAL EXH IB IT ION ,BRE S LAU .
audi torium w i th i ts enormous dome of pendan t s talac t i teforms poised magical ly overhead
'
and s tudded w i th myriadsof l igh t-po in ts , the grea t voids and terraces of the stage , andthe t iers of sea ts .The sculpturesque is so st rong a fea ture of Poelz ig’
s
gen ius tha t there remains abou t mos t of h is crea t ions theimpression of having been cas t in one mol ten th row
,or
hew n w i th boldes t s trokes w i th a modell ing tool ou t ofsome plast ic ma teria l . Th i s aspec t of h i s work has beenheigh tened by h is harmonious co-opera t ion w i th the youngsculpt ress
,Fraulein Moeschke,
who designed the pecul iarpalm-l i ke candelabra and in terio r columns of the Schauspielhans (Fig . These b izarre ye t fasc ina t ing foun tains of l igh tind colour , flaming torches of h idden ye t reflected laminosity,
swel l from a s talk in to flu ted and ever-w iden ingcal i ces
,grow ing one ou t of the o ther
,moun t ing to the
cei l ing of the vau l t and then descending in del ica te fla tilut ings to the floor . The effec t , to be sure , i s in i ts w aymore theat rical than arch i tec tural .Poelz ig
'
s plas t ic concep t ion of arch i tec ture has also beenpu t to bri l l i an t use in the field of the fi lm . A sensa t ion wasc rea ted by h i s arch i tec tural backgrounds and se t t ings to afilm-play cal led Der(iolem . Th i s was a fan tast ic romanceof ancien t Prague , based upon a cabbal i s t ic legend of thej ews . Here Poelz ig trea ted space in terms of sol id concre
t i ons congealing to organic and expression is t ic forms under
MA IN BU ILD ING OF THE H I STOR ICAL
h i s hands . The arcl'
i itecture was consequen t ly hand led inthe sol id masses of the scu lptor . There was born a st rangebu t spon taneous in tern al arch i tec ture , th e inner organs andviscera
,as i t w ere
,of a l i ving house . I t reflec ted the b i zarre
and sombre spi ri t of the tale . I t was remin iscen t of hoaryb i ts of age-gnawn Go th ic
,of th e convol u t ions of sea-shel ls ,
of the smoo th sinuosi t ies of wa ter-worn caverns , eccen tric ,flow ing
,craw l ing
,ye t tortured l ines
,hal t ing now and then
in ful l career— the spi ri t of Jew ry as seen against a rel ief ofmediaeval ism . I t w as as though the flame—l ike let ters of theJews had b len t w i th the leaf—l i ke flames of Go th ic t racery .
I n h i s design for a large bank bui lding in Dresden , Poelz ig
t rue once more to the baroque charac ter wh ich has beenimpressed upon Dresden by i ts palaces and churches— h asgiven us the broken
,flow ing , and res t less line , th row i ng an
immense movemen t in to the facade , a recurren t rhythmfrom pi last er to w indow-recesses
,a magnificen t b l ending of
convex i ty and concavi ty . The whole a t tains a monumen talmassiveness
,i n tensified by the undulan t bel t-courses a t
every s tory and cu lm ina t ing in the ou tcropping tops ofthe wal l-pi las ters in the form of coupled bu t t resses dw indl ingin to finials.
Poelz ig’
s design for the grea t reservoi r dam a t K l ingonberg
,a monumen tal work cu t t ing offan en t i re val ley w i th i t s
hamle ts and farms,once more evokes h is cyclopean ges ture
(Fig . There is no pet ty de tai l abou t th is ove r whelming ,
H A N S PO E L Z I G .
October 19 2 3 .
H lS TORICAL CULTURAL EXH IB ITION ,BRE S IA U .
The Century E xhi bi tion at ltrcslau in (9 13 presented Poe z igw ith an opportuni tyforformulating a new amt li berated
Greek Doric order and of proving [malformal-ism may, afterall, invest itselfw i th anairoflight /reorient , and spontanei ty.
This 1a 1 was devote to the history of the ci ty of Brcslau.
[ 26 THE ARCH ITECTURAL REV IEW .
7 . THE GROS S E SCHAUSP IELHAU S ,BERL IN.
The circular lobby show ing the central illuminating pillar.
8 . THE AL’
D ITOR IUM AND DOME , GROS S E
SCHAI'
SPIEII IAL'
S,BERL IN .
Hans Poelz ig'
s indefat igable industry and res t less srarchfor the new and perfec t solu t ion have since evolved anotherand , for the presen t , final set of designs . A grea t simplificat ion has taken “ place . The flames and b i l low s havequieted dow n or van ished . The general basic fom i hasremained , bu t the pyramid of cusps and poin ts has resolvedi tsel f in to a series of some tw elve t erraces
,dw indl ing to a
blun t apex ,w i th the genera l effec t of a fla t
,slow
,hel ical
curve . E very terrace is supported on arches , decreas ing inheight and bread th tow ards the top . The stage-housei tse lf and the low er part of the aud i torium are encased fromw i thou t in blun t
,naked wal ls , pierced a t regular in tervals
by a repe t it ion of the arches of the colonnades in the formof w indow s . The w idely -ramifyi ng side-s t ruc tures havebeen done aw ay w i th ; the en t ire mass has become morecompac t . The effec t as a w hole is tha t of a comb ina t ion ofthe Roman col iseum and the fan tast ic represen ta t ions of theTower of Babel. The t iers are el l ipt ical in plan and concen t ric . There is no hel i x
,ye t the eye unconsciously sus
pe
cts a spi ral and t ravels w ith th is to the blun t pla tformw h ich forms the apex .
10. THE GREAT “AM AT Ix'
LINGENBE Rt
POE IZ IG.
THE STAGE OI." TH E GROS SE SCHAU S PIE II IAUS ,
BERL IN.
HERMAN GEORGE Scrusrriw isn.
The subt le ty of the whole i s accen tuated by the fac t tha t,
as already revealed , the plan of the thea tre is oval and no tci rcu lar . Anopen-ai r theat re of s tone is to be bui l t in fron tof the theatre , the open arcades of w h ich are to serve asgal leries for the spec ta tors . I n place of the flami ng gal leriesproceeding from the focus of the stage
,we now have an
ovalaudi torium vaul ted by a great ribbed domebroken in toa kind of netw ork of t racery and merging harmon iously in tothe tracery of the organ-lof t above the proscen ium arch .A happy abbey of Theleme is to be crea ted here for thech i ldren of Mozar t , Shakespeare , Mol iere , Goethe , Beethoven ,
Grieg , S t rauss , for\ the grea t E l i zabe thans
,for the modern
German myst ics and the tears and laugh ter of the I rishdrama .
Poelz ig'
s clear and defini te ambi t ion,how ever sh rouded
by the glamour of a sensuous abandonmen t to the in tox icat ion of the immed i ate or in termedia te form
,i s direc ted
s teadi ly tow ards the crea t i on of an ul t ima te form or formssuch as w ould mos t fu l ly sa t isfy the zesthetic l ong ing of thehuman being of the fu ture . Or i f th is goal be too h igh
,
vague or distan t , he is con ten t to remain a pioneer in thetask of creat ing the condi t ions , the milieu. under and w i th inwhich these forms migh t grow and blossom .
I t i s th is in spi ra t ional fac tor,th i s in tui t ive impulse
tow ards a syn thesis of purpose,beau ty and permanence for
wh ic h Poelz ig st rives . H imself often lost i n the tossingw aves of h is baroque imaginat i on or tangled in the j ungleof h i s bizarre vegetable forms or enslaved by the very fi resw i th wh i ch he. consumes th e old
,steri l e
,and l i fe lessforms
,
he succeeds , nev ertheless , i n emerg ing t riumphan t ly “fromthe bat t le w i th h is problem and w i th the three aforesaidideals wonderful ly in tac t . The heat of the zesthet ic intoxi
cat ion w i th w h ich he w orks keeps h i s form plastic,and the
pass ion and speed and creat i ve fury w i th -w h ich he be~
labours and man ipulates i t , enables h im to gi ve i t sh apeafter shape before i t cools . And when i t comes fromth i s mas ter ’s hands the final congeal ing of the w orkbears no t on ly the. marks of an inspi red permanence ,
bu t of tha t inevi tabi l i ty wh ich crow ns and consec ratesall w ork tha t carries w i th in i t the l i fe-spark of t rue andSpon taneous art .
Ma isons Lafli t te.
Bv Cyri l A . Farey .
J
THE PARK FAQ‘
ADE ,CHATEAU DE MA I SONS .
Francois Mansart , Architect (1 5 9 8
130 TH E ARCH I TECTU RAL REV IEW .
DETA ILS OF THE CORN ICE IN THE VE ST IBULE .
MA I SONS LAFFlTTE .
DETA ILS O ls‘
COLUMNS IN THE VEST IBU LE .
The Sheph erd’s Bush Pavi l ion,London .
Designed by Frank T . Veri ty .
W [171 PlzolOgmphs by F . R Yerbury, The Archi tectural Review .
bui lding to wh ich Mr. Frank T. Veri ty h asveryproperly pu t his graven name faces the broadend of the Shepherd ’s Bush green, w i th a countenance tha t en t i t l es i t to be called an essay in
the Roman manner . By th i s I mean a great deal more thantha t i t i s a Classic design .
Coun tenance , as i t h appens , i s a misleading expressionfor whereas th e maj ori ty of s tree t designs are coun tenancespure and simple
,and none the worse for tha t
,the pecul i ari ty
of M r . Veri ty’s’ bui lding , and i ts special ly Roman aroma , aredue to a restr ic t i on of the coun tenance proper to a‘
portion
of the composi t i on . I n th i s I see no t parsimony,bu t ski l l
Economy if you l i ke , bu t economy in the sense wh ich meansnot the avoidance bu t the regu la t i on of expendi ture“Dim ly th rough the trees th e approach ing passenger i s
made aware of a mys teriously red bulk w i th a mys teriouslygrey roof— a roof formed no t on Bri t i sh lines bu t on th egenerous curves associa ted w i th tha t La t in Empire to whomall th ings seemed possib le so l ong as they were b ig enough .
Nearer approach confi rms the Roman impression ,and
once th rough th e barrier of t rees one reads w i th increasedin teres t wha t I may cal l the wri t ing on the wal l . Red bri cki s the prevai l ing mo t ive coupled clearly enough w i th amessage as to the b ig span w i th in . And Mr . Veri ty ’s b ri cksobey h im as the Roman bricks obeyed th e Romans . Li keRoman br icks
,they are bricks no t brickwork
,a mass of
mul t i tude,no t a dul l surface . Thei r mul t ip li ci ty
,thei r close
th ronged disposi t ion over w ide surfaces,and the deep reveals
of the openings w i th wh i ch they are pierced,tel l t ruly
,or
perhaps ar t fu l ly,a tale of lavish s impl ici ty . I t i s upon th i s
bric k background,i n i tsel f a design
,tha t there i s drawn
,no t
as a d iagram upon a blackboard , bu t as a face upon a crea turetha t super—design— a design in s tone wh i ch gives thebui ld ingno t charac ter on ly , bu t expression .
I n herald ic language the whole affai r is cat/chant regardant.The metaphor , w i th i ts sugges t ion of an imal organism ,
i s not,
I bel ieve , unh appy ,for i t emph asi zes an “
aspec t of M r .Veri ty ’s design wh ich i s cer tain ly valuab l e . I t i s th e na tu raltemp tat ion of every arch i tec t whose bui lding al igns a s t ree tto make h is facade along th at s tree t i n to a fron t . Facade ,
I suppose,means fron t . The word laterade has no t ye t been
inven ted,or i f in ven ted ; used . Th ree par ts of M r . Veri ty 's
fron tage are side‘. The sou thern quar ter may be,and is
,
facade , bu t laterade,i f th e word exis ted
,wou ld be the name
for th e res t .I t i s a firs t rul e of good manners never to make a j oke on
a, man ’s n ame . I a t temp t no j oke at Mr . Veri ty ’s expensewh en I ask leave , i n es t imat ing h i s design,
to take his su rn ame l i teral ly and to asser t tha t h e has done a very credi tab l e ach ievemen t in the w ay of t ru th . H is grea t pic tureh al l i s frankly and obviously sideways . His en trance(transverse in plan to the h al l) , wh ich i s the second ,
bu tno t secondary
,elemen t in the design
,i s generously direc t .
I t faces the approach es .I have spoken of the overlaying of the s tone design on th ebrick mo t i ve . There i s carefu l res t rain t and me thod inthe disposi t i on of th is .The message of the grea t pic ture chamber i tsel f to the
ou tside publ ic i s,one supposes
,
“Look a t my length
,look
a t my heigh t,look a t my size , bu t above al l , come in side .
I t is i n th i s spi ri t tha t the mons ter (i t i s 100 f t . long i n th epar terre) l eaves its l ength along the side of the roadway bareof s tone al luremen ts save for a severe band of balust rade andone w indow a t the nor thern end , to be men t i oned l ater .The flank is j us t one vas t mass of I tal ian br ickwork rel i eved
,
i t i s t rue,by the necessary and wel l—designed open ings
,and
exh ib i t ing (w i th a good sense of propor t i on ) a nave and ais leforma t i on wh ich i s convincingly basi l ican ra ther than ecclesiast ic. Th i s pre-Chris t ian ais le i s th e arch i tec t ’s all o t t ing fortheexits and s taircases wh ich serve the low—l evel parts ofthe sea t ing .
I t i s the sou th end of the eleva t i on wh i ch gives coun tenanceto the ves t ibule
,or ra ther ves t ibu les
,and here i t i s tha t Mr.
Veri ty changes h i s express ion,or ra ther changes the covering
of h i s bui lding w i th the al luremen ts of welcome .H is mood is s t i l l La t in .
_
Never for an i ns tan t does h erelapse th roughou t the whole effort of h i s design in to th efrivol i t i es of wh a t used to be the accep ted concession t o th esupposed w ishes of the thea t rical pub l i c i n thea t rical arch itec ture . Mr . Veri ty wou ld no t w i sh me to sugges t tha t
134 TH E ARCH I TECTU RAL REV IEW .
_Qnm ri urp 5 am: fnv i LJQ tl
_la£13; £4 3n A f-L Q
3
Lawn/runs; Storm in Ln A D
LONG ITUD INAL S ECT ION ON L INE
_p m f‘ u l tgg q BU S N_ _
PnV I L lo-d .
l: R fi E k _D
_f-1V 1&q
PLAN AT ENTRANCE AND PARTERRE LEVE IThe surround ing black line, marks the boundary of t he site .
TH E SHEPH ERD’
S BU SH PAV IL ION.
THE FRONT OI: THE PAV I L ION LOOK ING TOW ARDS THE ENTRANCE .
among modern arch i tec ts he is a lonely pioneer in adopt ings tric t Classic for these places of amusemen t . There i s
,
indeed , someth ing amazing in the fac t tha t the fi nancialpromo ters of these palaces have allow ed and encouraged afar finer s tyle of arch i tec tural design than was favoured bythe theat re owners of earl i er (though s t i l l recen t ) days .Bu t even so
,I congra tula te h im on a very s teady study in
cons isten t La t in i ty,carried through no t in h is elevat i ons
on ly,bu t carried courageously and austerely i n to h i s vest i
bules,and from them in to the far more diffi cul t regions of
the in terior o f the spectatorium i tsel f.Bu t to come back to the ou tside and in par t icul ar to the.
ou t side of the en t rance block . Th i s i s a huge square tow erhaving near i ts summi t a bold co rn ice , and ,
as i t s centralfeature
,a grea t Roman arch . The base i s gir t in s tone
,s tone
col umns break up th e open ings of ingress , and on the pie rs torigh t and lef t of the centralvoid are two simple , pedimen tedw indow open ings occurring a t some heigh t above the groundand having square-headed open ings benea th them .
The simpl ici ty of th i s adornmen t i s tri umphan t ly suffi cien t ,and I see sk i l l in the discernmen t wh ich told off a singleexample of the same mo t i ve to do du ty alone a t the far-awaynor thern ex t remi ty of the design . By th is device the arch i ~tee t combats h is on ly fear— the fear tha t the almos t stonel ess and conspicuously la teral t rea tmen t of the side of thetheat re migh t seem undulydivorced from the fron tal masonryof the en t rance fron t .The ves t ibule fi rs t en tered is courageously simple in i ts
Augu s tan forms , and leads a t i ts far end to a l i ft and s taircase . The apparen t simpl ic i ty is , ofcourse , the veilwh i chconceals a vi vid complica t ion . The apparen t ly lonely s tair
case is one o f a hos t , and there are few walls in the s truc turewhich cou ld no t —on dissec t i on— reveal an anatomy rivenw i th ven t i lat ion flues . The planning
,i n fac t
,i s elaboratelv
cle\-'er. The ex i ts are voluminous and w ell thought ou t,
and the at tainmen t of the various levels of par terre andgal le ry i s mos t ingeniously con t r ived . Par t icu larly did Ino t ice the ski l l w i th wh i ch the obl ique void under the gigant i c. gal lery was turned to accoun t in symme t rical guise .At trac t ive , among many a t trac t i ons , in the in terior isthe decorat ive and rather Pompeian t reatmen t of theplenum open ings , in wh ich Classic lamps of rose-colouredglow provide the necessary degree of tw i l igh t .The on ly obj ec ts wh ich trouble me in the design are the
ex ternal lamps . These are rather importan t in thei r effec ton the ex terior as seen by dayl igh t . They are poin ts ofchal lenge in a fi eld of quiescen t digni ty
,and to my m ind
the chal lenge is chal lengeabl e .How the Romans would have en j oyed the designing of a
cinemaI am no t sure tha t even i f they were as general ly un
in tel l igen t as some of thei r adverse c ri t ics suppose,they
wou ld,as spec ta tors
,have pu t up wi th any performances
so unin teres t ing and graceless as those wh ich the kings ofthe screen consider thei r best . I n any case the Roman appet i te, would have been more or less na tural
,and would no t
have been caj oled by a Press wh ich gives to the fi lm indus tryand the es ta te marke t an advocacy accorded to no o therin teres ts of the na t ion . Bu t i f for some reason the Romanplebs had been a class devo ted to the pic tures thei r pic turepalaces wou ld have been , I am sure , as good as thei r thermaeand thei r theat res . m ot. W ATERHOU S E .
1 3 6 THE ARCH I TECTURAL REV IEW .
A W'
ORK ING DRA\VING OF THE MA IN ENTRANCE FACADE .
TH E SH EPH ERD'
S BU SH PAV IL ION.
13 8
AN
TH E ARCH I TECTURAL REV IEW .
A DETA IL OF TH E IRONW ORK AND L IGHT ING .
EXAMPLE OF THE DECORAT I VE SCHEME UNDERNEATH THE BALCONY .
Random Idy l l s : A Garden C i ty.
HE plane-t rees benea th my window are cha t tering in the summer shower . E very tree stands ini ts own poo l of water
,and seems to t h row i ts
leaves abou t,luxuriat ing in the ra infall. A pair
of sparrows b ickers somewhere in the shel ter of the we tbranches
,bu t the pigeons have flown away to some drier
re t rea t — the pigeons wh ich parade and ea t and makepompous love all the sli mmer morn ings abou t the broadlevels of the cour tyard
,ri sing now and then in sedate panic
a t some unaccus tomed noise , on ly to re turn again and l aythe ir fa t bodies as near as possible to th e sun-warmed gravel .London sunsh ine has a pecu l iar qual i ty of i ts own mos t daysof the year
,a sober radiance tha t is brown ra ther than gold ,
throw ing faded lavender shadows across old pain ted housefron ts
,and looking quie t ly in to areas where sleeps a tor
toiseshellca t . IfParis , w i th i ts s t one and sla tes and flash ingri ver
,i s grey and si lver
,London is brown and old go ld , and
ever so of ten a flash of green . For i t i s pre-eminen t ly agarden ci ty
,i n the sense of being a ci ty of gardens . E ven in
the obscure corners of pover ty a row of hol lyhocks andscarlet-runners flourishes agains t pal ings th a t are no t ye tfi rewood ,
and w ho shall‘
adequatelysing the praises of al l theli t t l e gardens of the sl igh t ly bet ter—to-do , from Bloomsburyto S trea tham
,from Camberwel l to Maida Vale ? There i s
a l i t t le garden I know i n K ensing ton , wh ich marks foralw ays the firs t day of many a summer hol iday wi th a v isionth rough a w indow framed in bronzing v ine—leaves of anarrow lawn del ica tely shaded by tw o acacias , where , shu ti n by old brick wal ls , you w ou ld always come upon tha tpart icu lar musky scen t of a London garden , compounded ofsunsh ine and smoky ear th and ripen ing vin e-l eaves
,and ,
ever so fain t ly,of ca ts . Or again , as I w ri te , I th in k of ah
o ther garden behind a house w h ich from a screen of treesfron ts on a vil lage green and a pond
,no t hal f an hour from
the Bank here yew s shade th e lawn , and elm t rees , and froman upper w indow you can look over al l the Lea val ley b luew i th rese rvoi rs and shady wi th poplars to the long ridgestha t carry Epping Fores t .
_ Reluc tan t ly and yet b l indly we have al lowed London toengul f i ts c i rcum j acen t vi l l ages ; ve t th e vil lage greensremain
,t hough crossed by t rams , and often a l ine of more
uni form Georgian houses marks the old H igh S tree t . And
how qu ickly the growth seems to have come , for al l i t i s impercept ibl e . An uncle of an old friend of m ine could re
member al l Belgrav ia as a sn ipe-marsh,and surely i t canno t
have been long ago tha t S t . John ’s W ood was a quar ter oforchards . Even now of an Apri l d ay gardens and roads areb low ing w i th wh i te and rosy frui t-b lossoms
,so tha t th e
passing urch in canno t con trol h imsel f from rush ing in andsna tch ing an armful . For our ins t inc t i ve love for coun tryth ings ou t l ives our unders tanding of coun t ry l i fe
,and in the
hear t of the town , though we are con ten t enough to l ivethere , we mus t h ave abou t us a garden or a tree , or a t theleas t a creeper or a w indow-box . And herein
,of course
,we
who l ive in London owe a debt we can never pay to thos e b igl andowners of four , or i t may be five
,genera t i ons ago who
se t t he town abou t w i th gardens in every square,oases o f
green under the shade of t rees as we loi ter on our way fromone tumul tuous s tree t to ano ther : and equal ly to those wh oplanned the s tuden ts’ i nns wh ich l i e abou t the l aw yers’quar ters , quie t spaces of grass and t ree , w al led in from thec lamour of the trafli c, l i t t le harbours in davs of s torm orsunsh ine .London in days of w indy rain i s somet imes very wonder
ful . In golden summer -days no doubt we hear the cal l ofdow n or s tream or sea ; and i t i s indeed a prison-town on thosew in ter days when the fros t wh ich mufli es i t in fog is spark l ingw i th b lue shadows on the coun try roads ten miles ou t . Bu twhen the wes t w ind b lowsth rough her s tree ts and squares
,
w i th a wh isper of grea t wa tery spaces w here waves areturn ing over
,rainbow-maned
,then al l her s tagnan t corners
are fanned to l i fe , and we almost sing abou t our businesses .Bu t the dus t and foul l igh t debris that l ies abou t must fi rs tbe laid by rain . Then of a n igh t every l ight dances in them irror of her s tree ts , and the l i t t le gardens toss themsel vesabou t and laugh . I t w as bu t the o ther day tha t such amood came. upon the grea t t ree—shadow ed lawn of Gray ’sI nn , on a morn ing of sudden rainstorms “ and flash ingsunsh ine be tween . The wh ole green space was dappledin broad pools of shade and sun
,and the peel ing t run ks
of the pl ane—t rees doub led the pa t tern,t i l l a giraffe migh t
have grazed there hard ly no t iced by the draymen passingby in Tlieobald’
s Road . A woodland spiri t w as aler t i nthe mids t of Holborn
,and a j ay seemed to hurry scolding
abou t the tree-tops . Then someone l i t a fi re of leaves,
and the blow n scen t was a sudden memorv of au tumn in themidst OfSummer .
The H i s to r ica l D eve lopmen t of A rch i tectu ralDraw ing to the End of the E ighteenth Century.
I I I .-The Seventeenth Century (Part I I ) .
‘
LTHOUGH the highes t leve l of French arch i tec turaldraw ing in the seven teen th cen tury is seen int he works of Jean Lepautre and Dan iel Maro t ,
en as the Perel les,
I srael Sylves tre , and Jean Berain is no t w i thou t no t iceab l ed ist inc t ion . The w orks of Gabrie ll e Perel le and h i s twosons , Nicolas and Adam , are scarcely d is t ingu ishab le theone from the o ther . The ir princ ipal ac t i vi ty w as the recordof exi st i ng bui ld ings . They developed the resources of theaerial perspec t i ve and carri ed i t far beyond the l imi ta t ionso f du Cerceau . They succeeded
,in a marked degree
,no t
only in an accura te del inea t ion of t hei r subj ec t,bu t also in
conveying the spiri t of the place and t ime . Thei r foregroundsare general ly managed w i th grea t ski l l . Thei r draw ing oflandscapes and figures is scarcely in ferior to their d raw ingof arch i tec ture .I srael Sylves t re , a na t ive of Nancy and t he son of a
pain ter , i s l ess dis t inguished than the Perel les . He i l lust ra tedmany of the importan t bui ld ings in Pari s and many of theimp ortan t Cha teaux in t he coun t ry (Fig Bu t h e w as no t
9 . E l
en t i rely successful in the managemen t of h i s tones , and h isl andscapes and skies are of ten conven t i onal .Jean Berain held the importan t pos t of Dessina teur
ordinaire du Roi , and amongst o ther ac t i v i t ies designedthe scenery for the court masques . He i s bes t rememberedby h is mural decorat ions
,fan tas t ical and often frivolous
composi t ions of arabesques,t rel l i s , and mean ingless orna
men t,l iberally besprinkled wi t h flying parro ts , swinging
monkeys,rococo amorin i
,and the l i ke— frequen t ly in
doubt fu l taste . Bu t h is designs,wh ich earned the name
of Berinades,gained h im a considerable repu ta t ion in h i s
day . H is l ess-known , bu t more serious , engravings for me ta lwork
‘
are execu ted w i th grea t technical ab i l i ty.
No reference to the French draugh tsmansh ip of theseven teen th cen tury w ould be suffi cien t w i thou t men t ion ofthe “ Grand Cab ine t du Roi — the immense under takingwh ich w as to record the no tabl e even ts of the reign ofLouis X IV . I t ac tual ly advanced to the twen ty—th i rdvolume . Prac t ical ly every con temporary draugh tsman andengraver of di st inc t i on was engaged in i ts produc t i on . Jean
5 VI. VE S T/(I
College des Quatre Nations, Paris. Engrav ing.
14“ TH E ARCH I T ECTURAL REV IEW .
10. N ICOLA S PE RELLE .
Commines en Flandre,from the Cabinet du Roi . Engraving.
Le Pautre had con t ribu ted to i t . Bu t Le Pautre,un l i ke
Dan iel Maro t , i s no t a t h is bes t i n the “Cab ine t du Roi . ”
The Perel les were responsib le for many of i ts fines t engravings . Van der Meulin,Genoels,
and d '
Oliver, the draugh tsmen ,
Bonnart , Erlinger, and Bauduins,the engravers
,and many
o ther art i s ts found scope and employmen t i n i ts ampl e pages .The numerous plates of ba t t le scenes , the plans and v iews
of towns besieged and cap tured , though , s tri c t ly speaking ,topograph ica l ra ther than arch i tec tural
,offer valuab l e
sugges t ions to the arch i tec tural draugh tsman . The necessi tyor advisab i l i ty of including more than one subj ec t on asingle shee t— a perspec t ive vi ew and a plan
,for instance;
frequen t ly presen ts a difii culty. I ts solu t i on ,in these pla tes
of the Cab ine t du Roi,
" i s often mas terly . For example ,in the pla te of Charleroy
,by Pierre Le Pautre (A .R . Sept ) ,
the plan o f the town , the dis tan t v iew of i t , and the descript ive scrip t are included in a composi t ion wh ich l eaves no ideaof a lack of un i ty of e ffec t
,though each par t i s perfec t ly
dis t inc t in i tsel f. For these elabora te designs a number ofpla tes were used . The same border , or frame , cou ld beemployed for several i l lus t rat i ons . For the “
Charleroy ”
engraving four separa te pla tes were required . Three plateswen t to the making of the un finished Commines enFland re
,by Nicolas Perel le (Fig . A four th wou ld be
needed for fi l l ing in the emp ty oval medal li on,general ly
reserved for a por trai t of the officia t ing general .Meanwh i le
,France had made two impor tan t con tribu t i on s
to archaeological l i tera ture . Roland Fréart’
s Paral leled
’
Architecture” appeared i n 165 1 . An toine Desgodetz
’
s
Edifices An t iques de Rome,was pub l i shed i n 1682 .
Desgodetz had been sen t to I taly ,a t the ins t iga t ion of
Colber t,i n 1674. Four years la ter
,after an adven turous
j ourney , he re turned to Paris , where he engraved the drawings he had prepared in Rome (Fig . He was a capab l edraugh tsman and a conscien t i ous archaeologist . H is workhas some value to-day . Fréart
'
s and Desgodetz’
s works areimportan t as being t he fi rs t of a long series of valuab l eaddi t ions to archaeologi cal knowledge wh ich have beenmade , and are st i l l being made , by th e French Academy a tRome . i nt thei r work is no t typical of the seven teen thcen tury in France . A t tha t t ime draugh tsmen found ful lscope for thei r ski l l in decora t ive design
lai d : OF THE TEMPLE OF JUPITER THE HU ME
1 1 . DETA IL FROM MARSHALL’
S TRANS LAT ION OF
DE S GODE TZ’
S “ ED IF ICE S ANT IQUE S DE ROME .
Engrav ing.
There is a w ide di fference be tween the work of the Frenchornamen tal is ts of the si x teen th and the seven teen th centuries. The Grotesches of du Cerceau , th e inven t ions ofde Vries
,Dietterlin Samb in ,
and thei r k ind , had been bu tpurposeless col lec t ions of t rivi al forms , no t beau t i fu l inthemselves
,poorly presen ted
,and unconnec ted by any
uni ty of though t . Ornamen t was s t i l l the theme of theFrench draugh tsmen of the seventeen th cen tury . Bu t , w i thth e excep t ion of the Berinades, i t was ornamen t of adifferen t s tamp and on a nob ler scale . I t may no t h avebeen s tri c t ly arch i tec tural
,bu t i n as far as i t sough t and
main tained an organ ic sense,a subordina t i on of par ts , and
uni ty of effec t,the arch i tec tural sense was th ere . Thei r
work had never been equal led ; in thei r own line i t has neverbeen surpassed . Decora t i on had been thei r aim , and tha taim was splend id ly , magnificen t ly ach ieved .
A t the beginn ing of the seven teen th cen tury the Engl isharch i tec t I n igo Jones did much to s tab i l ize the ar t of theRenaissance in th i s coun try . He did much to raise thes tandard of arch i tec tural draw ing. Bu t h e nei ther revolut ioniz ed E ngl ish arch i tec ture nor I tali an ized Engl ish arch itectural draugh tsmansh ip . The draw ings of W i l l i am Talman
,who bui l t Thorley House , Chatswor th , and Dynh am ,
in THE ARCH I TECT URAL REV IEW .
14. INI GO j ONE S .
Ceiling of the Cabinett roome.— \Vilton. Pen and ink , w ashed .
TH E H IS TORICAL DEVELOPM ENT OF ARCH I TECTURAL DRAW ]”
G .
1 5 . DA VID LOGGAN .
Christ 's College , Cambridge, from “ Cantabrigia Illustrata. Engrav ing.
of seven ty , and di ed in pover ty and neglec t . David Leggan ’sOxonia l llus tra ta " was publi shed in 1675 ,
h i s CantabrigiaI l lus tra ta in 1688 (Fig. He popularized in England theaeria l v iew . H is work is no t equal to the Perel les
,though
considerably in advance of du Cerceau . Ye t,l i ke du Cerceau
,
h i s in terest rarely ex tended beyond h is immedia te subj ec t.
H is engravings are consc ien t ious records of what they in tendto port ray , bu t they fai l to gi ve the advan tage of thesurrounding scene .Compared w i th French draugh tsmanship of the same
period , Engl ish arch itec tural d raw ing in the seven teen thcen tury was dul l and l i feless . W e had produced bu t oneno tab le draugh tsman in In igo Jones . England was st i l linsu lar and isola ted . The days of the Grand Tour were n otye t . To the maj ori ty the grea t work of the Con t inen tala rt i s ts was s t i l l a closed book . JAMES BURFORI) .
CHRONOLOGICAI. LI S T Olf"D RAUGHTSMEN.
I TA LIAN.
Bernini , Giovanni LorenzoBorrom ino, FrancescoRainaldi
, CarloFalda
, G iovanni Batt istaFRENCH .
first halfofseventeenth century.
ENGL IS H AND Foaici ounns IN ENGLAND .
TH E ARCH I TECTURAL REVIEW .
THE CLOCK BY THOMAS TOMP ION .
Correspondence.
The Processional Cross at ChesterfieldParish Church .
To the Edi tor ofrm: ARCH ITECTURAL REVIEW .
S i R,
— l have in my smal l collect ion of old metal w ork a crossthat is apparen t ly a cast from the same mould as the ChesterfieldCross i l lustrated in the September number . I t is part icularlyinterest ing for compar ison for
,al though the branches and the
low er plaque w i th the cast symbol of St . Mat thew are m issing , i thas the knop and the socket for the cross complete , together w i ththe socket for the pole . I t also has the figure on i t , bu t as theold r ivets that at tach the figure to the cross are m issing I cannotvouch for i t be ing the r igh t figure . I t almost certainly is , for i tis of the same date and is the same as the figure on another crossI have . Th is other cross is a smal ler one of a s im i lar design , bu tof very much rougher make . I presume the restorer of theChesterfield Cross did not w ish to get h is figures l ike the old .
Bu t i t w ould be in terest ing to know if the cross before restorat ionw as dr i lled for r ivets and ,
if so, did the holes suggest so l arge a
figure , w h ich w ould be rare , i f not un ique , in a cross of that s i ze
CROS S BE LONG ING HARDMAN.
24 W estfield RoadEdgbaston .
CHE STERF IE LD CROS S .
and date . In the restorer’s anx iety to al ter as l i t t le as poss iblehe seems to have used the tongue at the bot tom of the cross aspart of the shaft , w hereas the tapered socke t of m ine togetherw i th the long-socket for the pole make a very much bet ter des ignand give an appearance of support to the branch sockets tha t ismuch needed in the restored Chesterfield Cross . My cross hasno enamel on the back , only engrav ing, and has been gi lt allover .
I am ,
Yours fai thfully,
JOHN T. HARDMAN.
{The processional cross at Chesterfield (i llustrat ions and anart icle on w h ich w ere publ ished last mon th in THE ARCHITEC
TURAL REV IEW ) dates abou t A.D .1 500, and was discovered amongthe an t iqu i t ies of W ingerw orth Hall
,hav ing ev iden tly been
connected w i th W ingerw orth Church adj o in ing the hal l . The
Hunloke fam i ly , to w hom the W ingerw orth estate belongeds ince 1492 ,
w ere recusan ts and rece ived much persecut ionafter the Reformat ion , and i t is l ikely the cross w as muchin use dur ing those uncomfortable days . On the recen tbreak-up of the estate , Maj or Ph i l ip Hunloke presen ted th isin terest ing rel ic to Chesterfield Par ish Church
,w here i t is
now used both on the al tar and as a process ional cross .In adapt ing the cross to i ts presen t purpose some s impleaddi t ions w ere made on the l ines of the old w ork . The s idebranches and or iginal figures w ere m iss ing
, and the m issingparts w ere replaced after careful study of ex ist ing examplesof the per iod had been made . One example in the Sou thKens ington Museum corresponds to th is cross in almost everydeta il ]
Exh i b i t ions .THE BRm snINSTITUTE or INDUSTRIAL ARE — The Exh ib it ion ofIndustri alArt of To—day,
now be ing held by the courtesy ofthePresident of the Board of Educat ion in the North Court of theVictoria and Albert Museum , is full of in terest ing th ings , and tothose ignorant of the splendid arts and crafts w ork now beingdone in this country , a v is i t w ill come as a revelat ion . The
pot tery w ork is spec ially interest ing— the general des ign and
craftsmansh ip of w h ich is adm irable .There is so much here for those w ho have art ist ic taste to
adm ire and to love , even though they cannot often explain w hyi t is,bu t the various beau t ies of colour and shape satisfy some
inw ard aesthet ic crav ing , conv inc ing them tha t these things arefounded upon some fundamen tal necess i ty, and supplying something w h ich
,unt i l seen , theyhad not know n was lack ing. The
only pity is that so many of these beau tiful th ings are not easi lyobtainable by the. general publ ic the cost preclud ing th is possibili tyexcept to the comparat ively w ealthy. Onthe other handi t is to b e adm i t ted that th ings w orth hav ing are w orth sacr ific ingsometh ing for , and very often only after a sacr ifice has been madeto obtain a th ing is i ts full value apprec iated.
Russell and Sons , of W orcester , have on exh ibit ion some verysubstant ial and w ell-constructed furn iture designed by Mr .Gordon Russell some of the stools in Engl ish oak , the seats ofw h ich are made by interlacing leather thongs , are very comfortable ,
and the s impl ic ity of the unstained oak gives them dis~
t inc tion . Th is firm show s var ious other art icles of fum ituregate-legged tables and rush-bot tomed chairs , and there is agrandfather clock ,
every w heel of w h ich is made by hand .
In the exh ibi t of Messrs . W ar ing and (i illow is some of thebeau t iful blue pot tery associated w i th the name of Moorcraft ,w h ich looks very dist ingu ished , placed upon the dark pol ishedsurface of a table .The Chale W eaving House show some beau t iful hand-w ovenfabrics w hich are br il l ian t and st imulat ing in colour.In the sect ion devoted to pr int ing , one of the. best posters is
by Mr. Edw ard W adsw orth , advert ising the Board of TradeExhibi t ion of Brit ish Graph ic Art. show n in Zurich in 1923 ,
w h ich could not be bettered for the purpose in i ts harsh economyof means i t is anach ievement .The Underground Rai lw ay has an exh ib it ion of i ts posters ,among w h ich s ome of the best are those by Mr. If. McKnightKaufi er.
“The Fire of London by th is artist , advert is ing the
London Museum , is perhaps the most or iginal poster in thecollect ion . Kensington Gardens , by Mr . G . Barraclough , isvery good too
,be ing executed wi th freedom and s impl ic i ty , but
is,perhaps , a l it t le th in and empty. There is also show n tha t
banal poster featuring Henry VI I I , advert is ing HamptonCourt .Among other exh ibits isapostercalled Sw allow s , by
"Shep,
that appears to haye b een much inspired by a poster of afl igh t of birds by Mr. Raufler, w hich “
The Dai ly Herald usedfor advert ising purposes .Mr. Spencer Pryse
's coloured l ithographs advert is ing theBri t ish Empire li xhibit ion, 1924, depic t the var ious industr iesand ac tivi t ies of some of the Empire ’s Colon ial Possessions. Theyare
,of course, w ell done , as Mr . Spencer I
’ryse is a master of th is
met hod , but they are not real posters— that is in the sense thatMr. Wadsw orth 's and .\Ir. Kaufi er
'
s w orks are— they are j us tpret ty pictures. A poster is someth ing to look onto , notinto. and Mr. l’rvse '
s l ithographs are decidedly of the lat terdescript ion .
I f one has anycrit ic ism to offer regarding the exh ibit ion , i t isconcerning the confus ion that ar ises through being unable tofind the exh ib its in the catalogue . Very often , al though thenumber of the cases in w h ich the exh ibits are show n , and the ircorresponding numbers,
are easi ly found in the catalogue , theind ividual exhibits themsel ves,
although appearing in thecatalogue under let ters of the alphabet , have. no correspond ingletters at tached to them . Some of the cases , too , have old
numbers on them , w h ich have been allow ed to rema in on probablyfrom some prev ious exh ib it ion , and th is natural ly adds to theconfusion.
One th ing more , w h ich one must take exception to, and thatis the w ax figures upon w h ich the Not t ingham lace is d isplayed.
The cases of th is exh ib i t low er th is part of the exh ib it ion to" thelevel of a w indow d isplay by a second-rate prov inc ial draper.
RAYMOND MC INTYRE .
THE cusves ART GALLERY .— Mr. Henry T. W yse , of Edinburgh ,
is hav ing an exh ibit ion of pa int ings and pastels in th is gallery,
and there are also examples show n of h is pottery.
ar
The Scotch are fairly defin i te ln the ir conv ict ions in regard to; they are thus incl ined to be rather conservat ive, and th is
makes them prone to look w ith suspic ion upon anyth ing new .
They do not open themselves readi ly to fresh ideas . In the irexplorat ions to d iscover a sat isfactory method of pa int ing
,they
formed a style— as represented by the Glasgow schooL— w h ichthey establ ished 011 sound foundat ions . Th is school of pa int ingis low in tone , heavy in pigment , and monotonous incolour, and ,
at i ts w orst , gloomy in effec t . At i ts best i t has dign ity andw e igh t— part ly obta ined by the use of earth and iron pigmentsbu t th is is at “the expense of freshness and puri ty of colour.Modem movements in art have not obtained a very strong foothold inScot land,
w here tendenc ies tow ards w hat is called postimpress ion ism are not encouraged but up to the po in t w herethey have been able to take the ir art— or i t has taken them theScotch art ist ic sense is sound , and to a certa in ex tent consistent lylog ical. There have been a few Scott ish art ists w ho have. brokenthrough these l im itat ions
,notably Mr. S . J . Peploe and Mr. J . D.
Fergusson . Mr . Peploe appears to have been able to entrenchh imself in h is owncoun try and to have val ian tly remained there.
Mr. Fergusson w as d isow ned by the Sco tch , and I bel ieve theFrench claim h im ,
w h ich , as a mat ter of fact , they do al lfore igners w ho make a success in Par is . I f the Scotch school hadonly adm it ted a l it t le of the k ind of ar t Mr . Fergusson w as ableto give them , th is w ould have ac ted as a useful leaven , and w ouldhave shaken them ou t of the ir rut , but onemust suppose th is wasexac t ly w hat they did not w ish , hav ing come. to the conclusionthat there was noth ing l ike leather , in th is instance exempl ifiedby m ix tures of yellow ochre , raw umber , and venetian red.
Mr. W yse follow s the usual Scot t ish l ine of most resistanceThe indiv idual nature of h is particular trend is one of detachmen t
,h is w ork does not seem related to human experiences .
Most of h is landscapes consist of var ious facts ofNature vapours ,l iqu ids , and sol ids , j ust chem ical and geolog ical elemen ts , brough ttogether and arranged in p ictor ial forms . One feels that theart ist brough t all these props " together to express some tremendons emot ion , but upon fir ing them off, asi t w ere , the cloudsof vapour that arose dom inated and obscured the emot ional.intent . I th ink i t was Mr. Charles Marr iot t w ho once descr ibedsome p ic tures as “ pain tings of w eather, and th is descr ipt ionaptly appl ies to Mr. W yse’s landscapes , part icularly h is pastelsand w ater-colours bu t one m igh t add , w i th a tendency tow ardsram .
Th is art ist 's o i l-pain t ings are somew hat rem in iscent of Coro tand James Paterson ,
w ith an occasional dash of D. Y . Cameronas in Loch Fyne, Scotland H is tw o scenes in“ Genck(19 and 2 1 ) are altogether too laboured, and the style is ratherteased,
mak ing the paint look ‘‘
.t ired I th ink that Mr . \Vyseapproaches h is h ighest level in the Coro t l ike Even ing in E arlyS ummer ”
Th is pain t ing pleased me most, w ith its w el l
rendered and pleasant ly calm even ing atmosphere .Some of Mr. W yse ’s pottery is very beaut iful
,ch iefly for the
lovely quali ty of the glazes he has obta inedThere is also in th is gallery pot tery by Mr . W S . Murray andMr R. F . W ells . Mr Murray 15 ch iefly interested in the decorations imposed upon h is w ork , w h ich show s that he is capableof plac ing designs j ust w here they w i l l have the most tell ing effect .Mr. W ells , on the other hand, is interested inthe shapes of theth ings themselves , and does not add any decorat ion : the vasesare beaut iful th ings in themselves , and rely onnoth ing but thetalent and exper ience of th is art ist , embod ied in beaut iful ands imple forms inmak ing the ir appeal .
1 50TH E ARCH I TECT URAL REV IEW .
1 5 : TH E ARCH I TECTURAL REVIEW.
S IR CHR I STOPHER \VREN'
S F IRST DE S IGN FOR ST. PAUL'
S CATHEDRAL .
(From"S ir Clzrislopher W ren, .4.D. (63 2
— 1 723 , published under the auspices of the
art,and who have had few opportun i t ies of read ing in an at trae
t ive form the l ife story and ach ievemen ts of the greatest Englisharch itec t . Everyone know s the story of W ren return ing yearby year in h is old age and on h is birthday to si t under the domeof
‘
S t . Paul 's and gaze in to the vast spaces w h ich he robbed fromthe air to give to the earth , bu t few know the story of how he
learn t to do i t and w ha t romance_
ofadventure in the realms ofbu i ld ing led to the fulfi lmen t of h is gen ius .Th is l i t t le book in easi ly in tel l igible p ic ture and p rose w i l lhelp the arch i tect and the layman to understand some of th isromance .
MAURICE E . W EBB.
S irChristopherW ren, AD . 16 3 2-172 3 . B icentenaryMemorialVolume,
published under the ausp ices of t he 'Royal : Institu te of' Brit ish
Architects. London l—Iodder S toughton. Price 5 Gu ineas net .S ir Christopher W ren,
S cient ist , S cholar, and Archi tect. By S ir
LAW RENCE \VE AVE R,
London: “ CountryLife,Ltd . Price
75 . 6d . net .
Ann iversary celebrat ions of famous men ,l ike every other orgy ,
produce'
react ions. On the great day w e all shout together , “A
w onderful w onderful man I” On i ts morrow w e all w h ispertogether , Bu tS ir Chr istopher W ren stands on a he igh t from w h ich no bu ts
can cast h im dow n ; h is sustained reputat ion ,together w i th the
obv iousness of h is defec ts,show of how l i t tle accoun t those
defec ts appear in the eyes of h is coun trymen . His bu ildings havethat inest imable quali ty of lovableness w h ich ,
w i th our presen tknow ledge of zesthet ics
,w e can recogn ize bu t not define . Many
of them are perversely and il log ically conce ived , bu t very few ofthem fai l to give us pleasure .Moreover , i t does not seem l ikely that the pow er of rece iv ing
pleasure from the w orks of W ren is dependen t upon an teceden tsympathy w i th h im in the m ind of the beholder . For over tw ohundred years they have sat isfied cr i t ics of great ly differing
tempers and prej ud ices. Adam m igh t not have praised them , bu tAdam w as an amb i t ious art ist , and to an ambit ious art ist a r ivalis never dead .
“
Rusk in d isl iked them , bu t Rusk in was a pervertedascet ic w ho iden t ified the Renaissance w i th lust . Butterfield,
w i th the ardour of_
his strange gen ius, w ould probably have rebu il t them all w i th pleasure . These men w ould have fol low ers,but the ir number w ould be small compared w i th the great bodyof Engl ish folk , let tered and unlet tered ,
w h ich has loved S t .Paul’s and the hospi tals at Greenw ich and Chelsea ever sincethey w ere bu il t , and w h ich is l ikely to go on lov ing them un t i lthey fall .Bu t ! Bu t W ren 's defects as an arch i tect do not con tributetow ards the acknow ledged lovableness of h is bu ild ings . Of
course they do not . Nevertheless , b icentenary fervour has ledsome people
_to speak and w r i te as though they did. Dear old
Chr istopher , they say in effect , of course you couldn ’t alw aysbother to make your elevat ion fi t your plan ; after all , you w ereonly human , and w e love you for i t .There is no sen t imen tal i ty so base , or , alas so general , in art
and in l ife , as that w hich tempts us to j ust ify our tendency toturn from that w h ich embarrasses us by i ts super ior i ty to ourselves to that w h ich comforts us by i ts part ic ipat ion in our w eaknesses . An ic i ly regular l ife may j ustifiably be found i rr i tat ing,but i ts des irable an t i thesis is not a w arm and irregular one . To
the deep throbb ing heart of the sent imen tal ist i t is in tolerablethat the fine arts should hold anysecrets w h ich only the d isciplined and the educated can know . The sen t imen tal ists lovebest the art ist w ho “ know s noth ing abou t art , bu t w ho know sw hat theyl ike .Wren w as no t an arch i tec t w ho knew noth ing abou t architecture ; he knew a great deal abou t i t , and abou t a great many othersubj ects beside . He w as a man of outstand ing character andab i l i ty w ho w as bound to succeed , humanly speak ing , in w h ichever ofh is many interests should be h is call ing. Acc iden t combined w i th incl inat ion made h im '
an arch i tec t , and opportun ity
RECENT BOOKS .
(INRT PALACC.
HAMPTON COURT PALACE .
From a Dra w ing bv A . E . Poley.
'From S ir Chri stopher Wren,A .D . 103 3 4 723 , published under the auspices of She R . I .B
favoured h im above all others of h is coun try before or since .Ofth is opportun i ty he proved h imsel f w orthy in all the essent ialsof h is art , though in non-essen t ials he was cont inually hamp eredby lack of special i zed train ing.
The W ren Memorial Volume publ ished th is year by theRoyal Insti tute of Br i t ish Arch i tects con tains art icles on W renas an astronomer
,as a biologist , as amerchan t adventurer , as a
town planner , and one by Mr. Somers Clarke , w h ich is ch ieflyconcerned w i th him as an engineer . All these th ings he w as, bu the chose pr imar ily to be an arch itect . I t contains also an art icleby Professor Richardson discussing W ren as the arch i tect ofHampton Court , of the hospi tals at Greenw ich , at Chelsea , andat K ilmainham (as to h is authorsh ip of the last of w h ich there issome doubt ) , and of many other bu i ldings including the l ibrariesat Trin i ty College , Cambridge , and at Lincoln . The arch i tect of allthese he was, but the w orld chooses to regard h im primar ily asthe arch i tect of St . Paul 's Cathedral . The same volume includesnot only an adm irable summaryof the h istory of the bu ilding ofS t
.Paul 's
,by Professor l’i te , but also other art icles on i ts espec ial
features. St . Paul 's has,as i t must have , the place of honour in
th ismemorial of W ren .
The story of i ts bu i lding has never been bet ter told than byProfessor Pi te . The gradual and unw ill ing recogn i t ion by theauthori t ies of the neci-ssityof rebu ilding rather than repairingthe cathedral must have been a hard tr ial of temper for theen thusiast ic W ren . Nowadays , of course , he w ould not havebeen allow ed to rebu i ld it at all , but w ould have been employedfor the rest of h is l ife in the careful conservat ion of the ru ins.In ages capable of produc ing W rens, howe ver, ant iquarian pietyis l iable to be neglected . It is to be feared that the comm issioners,when they obstruc ted the vandal ism of the restoring arch i tect ,had nomore respec table mot ive than dread of expense . W hateverthei r inten t ions they w ere powerless w hen confronted w i th a manlike W ren w ho mean t to bu ild a dome ; and w ho apparent ly w as
intended byFate to bui ld a dome even if the w hole of London
I S3
had to be burn t dow n to br ing i t about . The great fire put twom i ll ion pounds at W ren’s ul t imate disposal, and gave him theopportun i ty of des igning not only a dome bu t a cathedral tomatch .
W ren 's first not ion for the new cathedral may be seen in adraw ing in the All Souls’ collect ion ,
reproduced in the memorialvolume . His dome was to surmoun t a c ircular nave surroundedby four.large compartments on the east , south , w est , and north ,and four smaller compartments on the diagonals . Of the largercompartmen ts three w ere to be square and vaulted , the fourth ,be ing the eastern compartment or cho ir , was to be an in terruptedc ircle in plan , and presumably to be covered by a dome . The
triangular spaces betw een the large and the small compartmen ts w ere to be throw n open to both and covered (w i th greatingenu i ty) each by a combinat ion of tw o quarter-domes. The
in ternal effect of th is plan w ould have been magn ificen t , moresplendid than anyth ing else w h ich W ren ever conce ived . Bu tthe cleverness of i ts author turned against h im w hen he came todes ign i ts external express ion . In an unlucky momen t he musthave. perce ived that the bounding l ine of the compartments emc ircl ing the nave approached that of an octagon of w h ich thediagonal sides w ere concave . To complete th is figure w ould bea del igh tful exercise in geometr ical con tr ivance . Such an exerc isew as i rresistible , the design w as pushed and poked unt i l i t fi t tedonly too perfect ly, and the art iculat ion of the compartmen ts wasutterly lost . Th is done , there w as noth ing for i t bu t to veneerthe octagon w i th a un iform screen w allregardless of the vary inghe igh ts of the things‘
behind i t and to chuckle at the bew ilderment the external spectator must feel as to how the
‘
strangelyshaped space betw een the outer w alls and the substructure ofthe dome could possibly be ut i l ized and div ided . In architec~
ture,how ever , as in l ife , the nat ure of th ings cannot safely
be thw arted , and W ren's dissimulated plan '
got i ts own backin the com ically irregular w ay in w h ich i ts w indow s piercedh is screen w all .
[ 5+ TH E ARCH I TECTURAL REVIEW.
This steeple, designed byCornelis Danckertsshow s the influence of Dutch arch itecture
on S ir Christopher“’ren.
(From S ir Christopher I'Vren
, A D . 163 24 1 72 3 ,
published zmder the auspices of the
W hat is commonly know n as the favour i te des ign forc athedral consists of a more fully stud ied version of th is plan w i ththe add i t ion of a small eastern apse and of a lud icrous w esternappendage composed of a domed an te-church preceded by a port ico cons iderably broader than i tself . Th is Corinth ian port icois a curi ous m isfi t not only in plan , but also in elevat ion ,
hav ingno connect ion w hatever w i th the Cor in th ian order of the bu ildingbeh ind i t . I t is imposs ible to bel ieve that W ren in his favouri t ismvalued th is strange ou tgrow th from h is or iginal concept ion ,
w h ichprobably w as produced s imply to conc i l iate the disl ike of thecomm iss ioners to a cathedral plan as broad as i t w as long ; j ustas the strange p ineapple surmoun t ing h is first des ign for a domewas probably a concess ion to the spire conservat ives .Londoners are no less to be congratulated upon hav ing been
spared the ou ts ide appearance of th is favour i te ”
des ign thanupon hav ing been spared that of the much-abused w arran tdesign
,for w h ich the disappo inted W ren even tually ob tained
approval . I t is obv ious that the spire conservat ives w ere againin the ascendan t w hen \'Vren dev ised the eccentr ic telescopel ike lantern of th is proj ect
,w h ich
,though not w i thou t w i ld
grandeur , is the bet ter for hav ing remained only on paper . The H . S . GOODHART-RE NDEL .
telescope i tself they possess in the subsequent ly bu i l t steepleof S t . Br ide’s Church .
'
The body of the church in th is w arran tdesign , how ever , developed as W ren w ould have developed i t ,m igh t w ell have been a noble th ing in i ts way.
That the des ign even tually adopted and bu i l t from is a nobleth ing in i ts w ayfew people w i l l d ispu te . The plan,though no t
that of W'
ren ’s first cho ice,must none the less have sat isfied him
w el l . The cathedral has,as is w ell known , two grave defects :
the ex ternal concealment of the nave and the in ternal d isgu is ingof the great p iers w h ich carry the dome . Concealmen t and disgu ise in themselves are no aesthe t ic faults
,bu t if , as here , they are
imperfec t or result in amb igu i t ies they are to be regret ted .
Pathetic lovers of truth have at tempted to j ust ify the s imulatedupper stor ies of the aisles in S t . Paul 's by prov ing that the shamscreens serve as coun terw e igh ts to the thrust of the vaul ts . Th isis l ike defend ing the design of a hall-stove made to im i tate asu i t of armour because as a stove i t real ly does give ou t heat .S t . Paul ’s Cathedral possesses a dome , two tow ers , and tw o
transep t facades w h ich g ive to most of us an altogetherexcept ional amoun t of pleasure
, and w i th that surely w e maybe content . I t is unnecessary and sp i teful i f w hen w e re—readW ren ’s epi taph w e immediately fix our eyes upon the p iersbelow the dome .I t is questionable w hether W ren’s repu ted masterpiece among
h is London churches (lees not suffer in beauty from the samei l logical i ty '
w h ich mars port ions of the design of h is cathedral .I t is no doub t ex tremely clever to support the complex roof of adom ical double-aisled cross-church on columns stand ing abou tin an oblong room . But if the process resul ts in all' the d ifferingloads of the superstruc ture be ing carr ied upon columns of precisely s im ilar bulk i t is doub tful w hether the cleverness is notmisdirec ted . St . Stephen’s , W'albrook , is a tour deforce w h ichreaches a surpr isingly h igh degreeof beauty. But great arch itec ture does not consist in invent ing insoluble, problems andthen very nearly solv ing them .
This love of a puzz le for i ts ownsake ,-so characteristic of theconce i ted Renaissance , w as W'
ren’s great w eakness, and thatw hich
"'
w ill alw ays preven t h is masterpieces b'e ing completelyacceptab le by ' those w ho love s impl ic i ty and d irectness . Forconcealed ar t he had no use , he alw ays left a corner of the ar ts t ick ing ou t so as to show that i t w as there .
'
There w ere pDIenty
of o ther possible w ays of design ing Tr in i ty College Library ' es idethe
.w ay w h ich W'ren adopted bu t that '
w ay conspicuouslyw ouldn
’
t‘
fi t ; and i t amused him to make _
i t'
fit somehow .
'
VVhen
dev ising.“anart ific ial eye , w i th the humq urs truly and dioptically rii adé,
‘ he must have. been nearly perfect ly happy‘“ L ikeso many Engl ishmen he had the Pur i tanpre-concept ion that alldesirable th ings must be difii cult .He had an amaz ingly r ich imaginat ion , and excelled in all
th ings of cur ios i ty and of fan tasy . He also had an except ional lyacute sense of harmony in proportion w h ich almost never failedh im . As a man he must havebeen possessed of great energy andgood sense , and how great w as h is personal charm those w ho do
'not know already may learn from Mr . Gotch’
s art icle in thememor ial volume . In that volume also may beproper to the occas ion from many w ise men , and a w ell-chosenselect ion of il lustrat ions . The papers-byMr . Gotch , Mt . SomersClarke , Professor P i te , and Mr . W ard are particularly veiluable.
S ir Law rence W eaver, too ,has laid h is w reath before the
monumen t in a small and most readable_book.
‘ ent i t led S i rChr istopher W ren— Sc ien t ist , Scholar , and Arch i tec t: Not all
of h is fac ts are accurate,the inter ior of St . Maryéat-H ill , for
example,w as no t somew hat havocked in the n ineteenth
cen tury ,bu t w as ent irely rebu il t by James Savage (the d is
t ingu ished arch i tect of S t . James's , Bermondsey
‘
, among otherchurches) toa des ign only founded upon that '
ofV\-'
ren . A goodmanyfof h is opin ions , also , inv i te dispute . H is book , how ever ,as a w hole , is an excellen t W ren pr imer wh ich few people w i l l readw i thou t profit and none w i thout pleasure . I t makes no pretenceof fin ished w r i t ing or labprious research , but i t is con ven ien t ins ize
,arrangemen t
, and cho ice of material , and is w el l i l lustratedby photograph ic plates and by blocks’ inthe tex t after draw ingsby Mr . E. H . New .
TH E A RCH ITECTU RAL REV IEW .
Some Brigh ton Churches.S om e Brighton Churches. ByH . H AM ILTON MAUGHAN.
‘
L‘
Ondon:
Press, Lim ited . Price 3 5 . 6d .
‘
Faith
For a brief descr ipt ive accoun t of some of the pr incipalchurches inBr igh ton th is is» an adm irable book . As the authorpoints ou t in h is preface , no at tempt has been made to w r i te anarch i tectural treat ise ; technical detai ls are not used to any greatextent
,the author having confined h is observat ions to a br ief
h istory of each church,i ts trad i t ions and assoc iat ions , and a
descript ion of i ts arch i tec tural features . For th is reason i t is abook w h ich not only appeals to those in terested in eccles iast icalarch i tecture
,bu t to anyone w ho l ikes to know the story of the
Church ’s grow th in any tow n or c i ty .
As i t has not been possible to deal w i th all of Br igh ton ’snumerous churches , the author has selec ted , bes ides the old andnew parish churches , those connected w i th the Rev. A . D .
\Vagncr, w hose somew hat advanced ideas— advanced for the dayshe l ived in— caused not a l i t t le st ir in Brigh ton at the t ime , andmade th ings unpleasan t for h imself and h is follow ers . He persevered , how ever, and to-day Br igh ton is indebted to h im forqui te a number of her churches . Thus those descr ibed includeSt Nicholas’5 and S t . Peter s (the old and new par ish churches) ,S t . Paul’s , S t . Mary Magdalene s , the Church of the Annunc iat ion , St . Bartholomew ’s
,S t . Martin ’s , S t . M ichael ’s , and St .
Mary’s , Bux ted, w h ich lat ter churches are ,al l connected w i th
the name of Mr. W agner . A c hapter is also devoted to theCommun i ty of the Blessed Virgin Mary
,an inst i tut ion founded
bv h im .
I t is remarkable how rapidly Br igh ton has grown Madefash ionable by George IV the small tow n of Brigli tli elmstone, as i tthen w as, in 1 761 had tw o thousand inhabitan ts ; a : hundredvears later that number had r isen to nearly e1ghty
‘ thQusandThe Church at Br igh ton was at first unable tolgeep up with-,th israpid change, and i t i s a great ach ievemen t that under the ihfluence of the Tractarian Movement in the m iddle, of the n ineteenth cen tury Br igh ton w as able to make up for lost t ime, sothat to-day i t has a full complemen t of churches
Mr . Maughan is ev iden t ly an en thusiast on church architecture , and has a keen apprec iat ion of i ts beaut ies. He deals w i ththe subj ec t frankly, and in describing the good poin ts of eachchurch he does not pass over i ts fai l ings i f i t has any. Al togetherhe has w ri t ten a h ighly cred i table w ork and one w h ich shouldprove an excel len t gu ide to those w ho w ish to acqua int themselves w i th the churches described .
To the instruct ions and draw ingsZof Arch i tectsHamptons are alw ays pleased to prepare
Colou r Schemes
for any Inter ior.H amptons supply, free of charge ,
compet i t ive
E ST IM AT E Sfor everydescr ipt ion of
S tructural A l terat ions, Sanitary
and E lectrical W ork , Interior or
Exterior Decoration, Pane l l ing.
A rch i tects are specia lly i n v i ted tow ri te for a copy of the new book
I N T EBI O R S
H A M P T ON ?CONTRACT DE PARTMENT.
A F ITTED BEDROOM IN THE LOU IS S E IZE S TYLE .
The bu ilt-inLavatory basin i s fi tted w i th hot and cold w ater, the low er part being enclosed wi thpanelled doors. The walls are handsomelypanelled , and spacious hanging cupboards are a feature
ofthe room . All the woodw ork is painted indeli cate tones ofEau de Ni l.
PALL MALL EAST,
LONDON , S .w . l
Telephone (i ERRARD 30
The Gas Industry.
Dur ing the lat ter half of last mon th the Nat ional Gas Exhibit ion
,w h ich has been held a t B irm ingham
,has brough t into
prom inence the much—discussed subj ec t of how to combat thesmoke trouble in the large tow ns. The purpose of the exh ibit ionis
,of course
,to br ing to the not ice of the publ ic the remedy for
th is by us ing gas instead of coal fires . The subj ec t is a mostimportant
'
one from the po int of V iew of health,and one w h ich
wi llhave to be at tended to some day.
The Manchester Guardiari ” ~ —Manchester be ing one of thetow ns most affected— has issued a ser ies of three large supplemen ts dealing w i th the Gas Industry . Prom inen t men of thevar ious profess ions have con tr ibuted articles poin t ing ou t thedangers of smoke . In the second number an art icle by ProfessorC. H . Re i lly condemns coal-smoke from the arch i tec t’s poi n t ofV iew . I t is obv ious
,of course
,the bad effect smoke has on
bu ildings,and how qu ickly a new bu i lding in a large manufac
tur ing town w ill lose the or iginal colour of i ts exter ior. Not
alw ays is th is bad , how ever , as Professor Re illy po ints ou t inrelat ing the story of a fr iend of h is w ho,
one day v isi t ing h isbank at Leeds , instead of find ing the usual big , gloomy, smokebegr imed building, wasaston ished to see a new ly-cleaned w h i tebu ild ing in glazed terra-cot ta
,much to the d iscomfort '
of h is. art ist ic sense .3 , St i ll , though in a case l ike th is smoke may serve a usefulpurpose
,i t can hardly be used as an argumen t w hen the quest ion
of heal th is concerned .
E v en S u nsh ine
The experience gainedfromexhaustive experiments andmanyyears
’
observalionof
practical measures for the
preventionand cure ofcondensationare embodied in
our booklet which is sent
free on requesl. lVe also
place al the free disposal
of our clients (he servicesof our engineer in lhe
solution of their waler
proofing problems.
TH E ARCH ITECTU RAL REV IEW .
BRAND
CEMENT WATERPROOFER
Bone Dry
hi ids’i C lou d selfi sh
anks to
BRAND
POWDER
TW O FACTS .
IW HEN bui ldings are waterproofed w ith ‘
PUDLO'
Brand
Powder they are not on ly bone drybut they are also warmer inw inter and cooler in summer. The air ce l ls in a perfectly dry wal lprevent the passage ofsome ofthe heat from or into the building.
2 W hen external w alls are formed ofhard, dense concrete, the inside faces are
frequently cold and subject to sw eating or condensation.
W hen cement stucco , or roughcast (waterproofed w ith Pudlo '
Brand Powder) is applied to a
wall of coli c breeze orother porous concrete, there is a happy combination of economy and
efficiency. That is to say, the porous interior cannot sw eat, the exteriorofthe wall is non-porous,and coke breeze is generallythe cheapest concrete material.Used by the Admiralty, W ar Offi ce , Crow n Agents, Office of W orks, General Post Oflice, etc.
Used for Reservoirs, Damp Walls. Basements, Tanks, Baths, Garage Pi ts, Concrete Build ings. etc.
Tested by Faija, Kirkaldy, Cork Universi ty, the japanese , I talian, Dutch, S panish Governments.
KE RNE R GRE ENW OOD CO L td . narm sq um . K ING’S LYNN.
J. H . Kannan-Gnmnwoop , Managing Director.
TH E A RCH ITECTU RAL REV IEW .
TheJames Smith Bequest to li verpool .L iverpool , despi te her comparat ively short importance as a
c i ty, has a l ively art h istory— a trag i-comedy of art effor t versusthe c ivi c m ind .
I n the m iddle-n ineteen th cen tury South Lancash ire w as thehome of some of the finest private collect ions in the coun try .
Few of these have found a perm anen t home in the Liverpool civ ictreasury , though the art gallery w as i tself a gift . Perhaps themanagemen t of c iv ic art d id not insp ire the confidence w h ichprobably led to the many fine bequests w h ich Manchester , forinstance , has rece ived .
From the days w hen the men of the Liverpool school came in tov iolen t con tac t w i th the ir fel low c i t izens on the subj ec t of preRaphaeli t ism ,
Liverpool art ists have been less loved by the ir c i tythan the
“ people 's pai nter ” from ou ts ide,al though there have
been except ional t imes , and some good w ork has then been purchased , e i ther from nat ives or ou ts ide men of the greater sort .The debatable “
Roscoe Collect ion ”
and the loaned “Cunl i ffe
Collect ion are main features of the present gallery, and to these
is now added the James Sm i th bequest,consist ing of three main
features— a ser ies of studies by G . F .W at ts for h is pic tures in theTate and other galleries
,together w i th some easel p ictures ,
several bronze and marble studies by Rodin,some del igh tful t iny
pre—Raphael i te studies byW indus, some Monticellis, and a massof w ater-colours by the late D. A . W i ll iamson .
W ill iamson w as one of the Liverpool school,most of w hom left
Liverpool . He found a refuge in the Lake Distric t; w here h isl i fe approx imated to that of W ordsw orth
’
s“ v iolet by a mossy
stone . Mr. James Sm i th , how ever , a man w ho understood art ,and w as no dealer’s col lector of the accustomed type
,follow ed
him, and wi th love and determ inat ion as inspirat ion ,
becamepossessed of the greater part of the reeluse’s w ork .
I f not a gen ius of the firs t w ater,W i ll iamson w as a true art ist
— am inor, i f not a maj or , prophet . He was very much influenced— Turner part icularly seems to have been h is master— and h isw ork under the Turner influence is bet ter than that in w h ich h isreflec t ion is from the Engl ish water-colour ists . I t is th is obi/ious
J . W ALKER STEPHENS .
incl inat ion tow ards a m irror m ind w h ich makes one hes i tate tocall h im a master m ind . Some of h is w ork , too , has a lack ofdeterm inat ion— a grop ing feel ing ; but at the best i t is d ign ifiedand v is ionary ,
as of one w ho has heard the stars s ing.
The finest example of W at ts is the study for Hope , the mostin terest ing Rodin the s tudy for “
Eve.
"There is not a puer i le
or mean exh ib i t in the Sm i th collect ion, though op in ions mayd iffer as to the mer i ts of some of the w orks i f v iew ed from a h ighart ist ic standpo in t , and i t w ere w ell for Liverpool if noth ing inthe gallery w ere on a low er plane . The gift of these w orks raisesagain the plea for a larger gal lery ; in the case of the more modernrooms there seems to be too much gallery already, and much toomuch pai n t ing. Quan t i ty in ar t is not the only a im , though i tw ould seem to be the sole des ire of Liverpool . E l im inat ion ,
follow ed by an en tirely new and more enl igh tened system ofacquis i t ion and hanging
,should precede any effort for more room .
I f no w ork w ere al low ed of the popular type beloved of theignoramus
,there w ould be space for everyth ing w orth hav ing
wh ich L iverpool has so far acqu ired , and also space to spare forthe great '
old or modern pa in ters w ho are unrepresen ted andshould
,slowly and careful ly , be bough t
The Virgin of the Rocks.The enqu iry at the Louvre in to the authen t ic i ty of La Bel leFerronn iere , ” w hose Amer ican possessor claims i t as an or iginalLeonardo da Vinc i , has gi ven rise to a statemen t by AdolfoVen tur i , Director-General of the I talian Art Galleries , w ho
throw s doub t on the genu ineness of a picture by the same art istin the Nat ional Gal lery . Th is p ic ture is en t i t led The Virginof the Rocks ,
" and hangs in Room V of the Gallery .
S ir Charles Holmes , Direc tor of the Nat ional Gallery—'
A vho
also took part in the Paris invest igat ion— ou h is recen t returnto London , s tated that th is was no t the first t ime that ProfessorVentur i had expressed a doub t as to the origin of “The Virginof the Rocks A contemporary documen t relat ing to the
(Cont inued onp.Xlv lil.)
TH E A RCH ITECTU RAL REV IEW .
p icture,w h ich w as recen t ly publ ished , show ed , how ever , that
the p icture w as undoubtedly by da Vinc i , although other partsof the al tar-p iece of w h ich i t w as or iginally a sect ion w ereadm i t tedly by assistan ts .The scene of the pic ture seems to be. a cave , for there are rocksin the background
, and gl impses of sky and w ater and otherrocks in the distance . The Virgin , clad in a dark blue man t le ,her hai r fall ing rOtui d her neck , is kneel ing in the cen tre , and ,
w i th her r igh t hand laid affect ionately on the shoulder of theinfant Saint John ,
is present ing h im to the infan t Chr ist , w ho,
seated on the floor, and attended by an angel , has h is fingers
uplifted in the s ign of benedict ion . All the figures are nearlyl ife-size .Un t i l some per iod betw een 1 75 1 and 1 787 , the pain t ing w as
in the Chapel of the Concept ion , Church of St . Francesco , M i lan .
Oneach s ide of i t w ere tw o panels con tain ing an angel playinga mus ical instrumen t . In or abou t 1 777 the picture is said tohave been brough t to England by a dealer named Gav in Ham i l ton ,
and sold to Lord Lansdow ne . At a much later period i t passedby exchange from the Lansdow ne collec t ion to Lord Suffolk’scollect ion at Charl ton Park ,
W il ts . I t w as purchased in 1880
from Lord Suffolk forA peculiar i ty of the p ic ture is that the nimbus over the head
of the Virgin, and the reed cross w h ich rests on the shoulder of
S t . John ,are i l l—draw n and clumsy . These are know n to be
addi t ions of a comparat ively late per iod , probably of theseven teen th cen tury .
The Scutari Memorial .The memorial .stone se t up inthe Cr imean cemetery in honour
of those w ho gave the ir l ives for their coun try in these partsdur ing the Great W arwas unvei led recent ly by Mr . Henderson ,
the. Bri t ish Ac t ing H igh Comm iss ioner, and was dedicated byLiettt .-C010nel the Rev. L . A . Hughes , the Sen ior Chaplain .
L ieu t .-General Si r Charles Harington , the A ll ied Commander—in~
Ch ief, and Adm iral S ir Osmond Brock , in command of the
SPEC IAL FEATURES
Large fue l capaci ty.
Large fi re and flue doors .
G ra te s guaran te ed n o t to burn ou t.No separate base .G round
.edges of
. sect i ons, mak ingsmoke-t igh t j ow ts W i th ou t p u tty.
W al l s of fi rebox flat, and th e r eforeeas i ly clean ed.
G reat r ese r ve p ow e r .
Made i n 19 s i z es for to sq . ft.of rad iat i on , or 860 to l i n eal fe e tof4in. p ipe .
Can be supp l i ed w i th Patent I nsu la tedGal van iz ed S tee l Jac k e t con se rv ingh ea t and gi v ingthe boi l e r s a n ea t fin i sh .
London S how room s : 43 9 441 OXFORD S TREET , W .l.
Telephone : M AYFAIR 215 3 . Telegram s : IDEALRAD , LONDON .
Offices , S how room s , W ork s : HU LL , York s.Telephone : CENTRAL 4220. Telegram s : RADIATOR S , HULL .
Agents in Great Britain carrying S tocks of BAXE NDALE LTD., M iller S treet W orks, M ANCHE STE R.Ideal" Radiators and “ Ideal" Boilers. W ILL IAM M ACLEOD C0., 60-64 Robertson S treet , GL AS GOW .
Med i terranean Fleet ,w ere presen t , as w ellas detachmen ts from theNavy and the remain ing m il i tary forces
,the Al l ied commanders
and troops , and a considerable number of members of theBr i t ish colony.
The memorial is of a s imple des ign ,by S ir John Burnet t ,
and has i ts coun terpar ts inthe cemeteries of Gal l ipol i .The ceremony w as at once s imple and mos t impress ive . There
was no address,but the choice of the hymns and the prayers w as
so appropr iate that the s ign ificance and solemn i ty of th is lastceremony onthe As ia t ic shore w as not lost on any memberof the congregat ion that stood round those ranks of w h i te crossesgleam ing br igh t ly in the hot sunsh ine .
Excavations at Kish .
W ork on the s ite of the_ancien t K ish , near Babylon ,
has beenbegun aga in by the H . W e1d=Blundell (for the Un ivers i ty ofOxford) and the F ield Museum Exped i t ion .
The D irector of the E xped i t ion ,Dr. S . Langdon
,Professor of
Assyr iology in the Univers i ty of Oxford, w i l l be presen t at theexcavat ions dur ing a good part of the coming season w i th thefield d irector, Mr . Mackay . Colonel W . H . Lane, formerlywith the troops in Mesopo tam ia, and author of a recent ly published w ork on Babylon ian topography ,
“Babylon ian Problems,
"
w as sen t out recen t ly as a new assistan t to the fieldstaff .W ork has already been begun at Oheimer
, the temple s ite , andthe expedi t ion is now clear ing the building at the south—easterncorner of the stage tow er , w here i t came at the close of lastseason upon w hat are though t to be the temple arch ives. The
w ork dur ing the com ing season w i l l be that of clear ing the greattemple area and of at tack ing the older mound , Ingharra, two
m i les east of Oheimer, w h ich represen ts another sect ion of thegreat c i ty . In anc ien t t imes , from 5000
—2500 B.C., K ish cons isted of tw o c i t ies , w ith the old course '
ofthe Euphrates betw eenthem .
THE ARCH ITECTU RAL REV IEW
TH E ARCH ITECTU RAL REV IEW .
Recent Acquisitions by the Victoria and
A lbert Museum .
Bes ides the tw enty-e igh t cartoons by Mr . E ric G i l l of h isfourteen stone panels of the Stat ions of the Cross in \Vestmin_
ster
Cathedral , w h ich , as announced inTHE ARCHITECTURAL REV IEW ,
the Victor ia and Albert Museum recen t ly acqu ired, is a w atercolour draw ing by .\Ir. G il l of a north transep t and nave bu ttresses of Chartres Cathedral . In the adj o in ing rooms are otheracqu is i t ions . Among these are a series of full-s ize copies , madefor the Royal Comm iss ion on H istor ical Monumen ts by Mr.Sydney Eden ,
of stained—glass w indow s in E ssex . A group ofart ists ’sketch-books con tain ing examples of books byDeW in t andAlfred Rich , and ,
notably , a set of tw enty-three volumes , dat ingfrom 1 763 to 1 8 1 2 ,
by Joseph Far ington ,R .A .,
w h ich are ofspecial in terest in connex ion w i th the publ icat ion of h is Diaryin “
The Morn ing Post ." The la te Claude Shepperson ,
is represented by several original draw ings and l i thographs .Among var ious examples of book-il lustrat ions are or iginal drawings by Charles Green , Hugh Thomson , Mu irhead Bone , RussellFl in t
,and T. Austen Brow n . There is a large group of colour
prin ts,etch ings
, and w oodcuts, among the art ists representedbe ing S teinlen,
Hervier, Theodore Roussel , Augustus John ,
J . HeBey,E . Lumsden , W . P . Rob ins , Franc is Dodd John and
Paul Nash , J . J . Murphy , HallThorpe , and Y . Urushibara.
Among addi t ions to the exh ib i t ion deal ing w i th Theatre Artin Room 70 are n ine of the original designs by W i ll iam Nicholsonfor the costumes in “ Polly , and a series of costume, notes, andcaricature studies , by A . E . Chalon , R.A .
, of actors , actresses ,and s ingers appear ing in var ious plays and operas from 1815 to1833 .
Ramb les in Old London.
The Homeland Assoc iat ion ,are issu ing a series
of booklets en t i t led Lunch-t ime Rambles in Old London .
They are designed in part icular for the, young p eople of London ,
and to encourage an in terest in the l i terary and h istor icalassoc iat ions of the ci ty. They are an excellen t inst i tu t ion andi t is to be hoped wi l l have a large c irculat ion . Br iefly eachbookle t descr ibes the h istor ical assoc iat ions and places of in terestw i th in i ts part icular range . The first of the ser ies
,en t i t led
Round Flee t Stree t,as can be imagined , has plen ty of matter
w orthyof note . The second bookle t is en t i tled Over the W aterA Ramble in Lambeth
,and the th ird is cal led In and Out of
Smithfield .
"
Each bookle t con ta ins a plan of the area deal t w i th and somedel igh tful draw ings by Mr. Gordon Home . Further rambles areinpreparat ion .
TRADE AND CRAFT .
The Shepherd’s Bush Pavil ion.
The follow ing w ere the con trac tors and sub-contractors forthe Shepherd’s Bush Pav i l ion
,designed by Frank T. Ver i ty ,
Messrs . F . Bradford Co. (re inforced concre testeppings to pier) ; Clark and Penn (all plaster w ork , includ ingdecorated fibrous-plaster w ork) ; G . C. Cuthbert (copperliteglaz ing) ; W . H . Collier 8; Co. (spec ial br icks and arch t iles) ;J . Compton , Ltd. (organ) ; C. W . Courtenay Co. (stonew ork ) ;Arch ibald D. Daw nay and Son (steelw ork) ; Express L ift C0.
(l ifts) ; J . W . Gray and Son (l igh tn ing conductor) ; Hay wards ,Ltd. (easements) ; Hell iw ell C0. (easements) J . A . K ing Co.
(pavemen t l igh ts) ;LondonAsphalteC0.(asphal t) ;MalcolmMacLeod8: Co., Ltd. (concrete steps throughout bu ilding) ; M . and R .
Moore (marble w ork) ; F . H . Pr ide (electric l igh t fi t t ings andbronze standards) ; Geo. Pixton C0. (theatre chairs) ; Read ingBo i ler Sett ing Co. (bo i ler set t ing) S incla ir Co. (fire hydrants)Stephens and Carter (flagstaffs) ; Sturtevan t Eng ineering Co.
(vacuum clean ing installat ion) ; Synchronome Co.,Ltd.
(electr ic clocks) ; W ar ing and Gillow (pain t ing, decorat ion ,
(Continued onp. In.)
Plate I .November 192 3 .
THE EAST W INDOW, MELROS E ABBEY.
From anE tch ing by S ir Duncan Rhind .
Ifthou wozild'
st view fairJl/Ielrose m ight , The Jlloononthe east orielshoneGo visi t
‘
i t bythepale moonlight ; Through slender shafts ofshapelystone,
For thegaybeamsoflightsome day Byfoliaged tracer-ycombinedGild
, but toflout, the m in-s grey. Thou would’
st have thought somefairy'
s hand’Tw ixt poplarsstraight the oz ier wand,
In many‘
a freak ish knot, had tw inéd.
sm W ALTER scorr : The Layofthe Last M instrel.
Random Idyll s
The Eleventh
HE vi llage of Philosopli e l ay i n the th i n sunl igh tof a November morning , i ts one s t ree t w i thnarrow bric k foo tw ay shadowed byred co t tages ,pan t i led . Other groups . of co t tages stood back
from t he s tree t among narrow vege tab le gardens enclosed bywooden palings . To the west , above the pan t i l e roofs ,appeared the larger bulk of the mine bui ldings , a chimneyshaf t
,and a pyramid of slag. No b lack-faced miners in
dingy b lue overalls and bri lli an t pin k or yellow scarves weremovi ng in the s t ree t . No ch i ldren played . The
"
chimneyshaft was shat tered
,the mine bui ldings a ru in of warped
s teelwork and broken wal ls . The houses afforded a cu riouscon t ras t . One would be emp ty as a skull , bl an k wal ls andframeless w indows i ts neighbour , perhaps , roofed and l ivedin ; for here and there a fami ly s t i l l l ingered on the edge ofw ar
,and ga th ered a precarious harves t of francs for thei r
temeri ty. The w indow -panes everywhere had been brokenand pieces of sacking or board nai led in to the emp ty frames .All day long , and often in the n igh t , the vi l l age echoed tothe clamour of near-byf ri endly ba t teries , a concussi on tha tseemed
,as i t w ere , oddly resi l ien t , l i ke the sound of a racque t
bal l h i t i n some monst rous cour t , a very di fferen t sound fromthe sul len crash of an explod ing shel l . All day long thewal ls vibrated to th i s res i l ien t impac t , humming like a j arredpiano
. Now and then a loosened t i le w ould sl ide clat teringto the groundSold iers are abou t the s tree ts , clean ing clo thes tha t forthe las t fortn igh t have been l i t t l e e lse than sodden slabs ofmud abou t thei r l imbs
,and bea t ing them i n to dus t-clouds
in the sunl igh t . Faces tha t have been s t iff for days w i th thesubt le and almos t unno t iced accumula t i on of c lay and chalkt i ll even eyelashes are hung w i th a w h i te pow der can nowbe made feel ing fl esh again under the pump ,
w h i le an olddame up the road is w ash ing underclothes . All i s hust leand quie t gaie ty .
Suddenly the bl ue sky i s flecked w i th a score of l i t t lec louds
. Li t t l e detona t i ons , fain t and far away , j erk thea t ten t ion S kyw ard . H igh over the vi l lage sai ls an aeroplaneminu te and sh in ing as a gna t on a summer even ing , thehum of h i s engine scarcely audible . I t i s fasc ina t ing tow atch the l i t t le w ool len shel l-burs ts s tart ing up around h im ,
borne si len t l y ou t of the b lue , as i t seems , c risp-edged a t fi rs t ,to grow fain ter and filmier, t i l l they l inger and dri ft downw ind l i t t le more than a stain agains t the dayl igh t . And thed im reports long after .I t w as abou t an hour la ter tha t the shel l ing began .
The men W ere indoors , the old w oman had taken in herw ashtub . The vi llage seemed emp ty . From far aw aycame a sound l ike the slam of a di stan t door , and w i th
VOL. LIV— R
of November.
i t a low wh is t le , as bf one man cal l ing to ano ther in acoun try l ane . The wh i s t le died and grew and died andgrew agai n in an ever louden ing cadence . A shel l c l imbsto a grea t “ heigh t before i t reaches the turn of i tst raj ec tory . . Then from thrice the heigh t of Snowdon i tbegins to fall, and the wh i st le becomes a rush ing sound l i kethe tearing of a rocke t through the ai r , bu t of a rocke t tha ti s aimed at youand no t away . Louder and louder. And asa manmays tand on a wayside plat form and see the hastys team and feel the throb of an approach ing express
,wh i l e
nearer and nearer the engine comes swaying t i l l al l thes ta t ion roars and thunders to i ts passage , and allh i s inst inc ti s to cower away from i ts onse t , so tha t i t i s w i th rel ie f thathe turns and sees the was te-paper flyi ng in pursu i t
,and all
the pla t forms and fences s tanding,and the s ta t i on-mas ter
s t i l l a t h i s cabbages . So w i th the “onse t of a'
grea t shel l theins t inc t to cower i s almos t i rresis t ibl e .The crash of the explosion breaksthe spell . One house
,
tw o houses are s truck . The fumes and brickdus t go up in arose-coloured pil lar in the sunsh ine
, tha t hangs brooding fora t ime and then moves away down w ind.
"
There is si lence,
then cries for st re tcher-bearers,and a hurrying of fee t .
From the tangled ru bb i sh a grey figure is s truggl ing to emerge .I t i s gro tesquely l ike some insec t pale w i th “cobwebs
,hurrying
and ye t impeded from i ts ruined lair . Friend ly hands soonlend thei r aid . I t i s the old w omanw howas wash i ng sh i rts .Her crimson hand hangs by a th read . All the in j ured aregrey w ith the impalpabl e fine dus t of the van ished h ouses .Pow dered from head to foo t , as for some s trange masquerade , they are carried , chalky spec t res , down the v i l lages tree t . I n one of the houses w ere, fourteen men si t t ing roundthe s tove
,ea t i ng and playing cards . There
,under the
tumbl ed cei l ing , they s t i l l s i t , thei r flesh black , thei r clo thallwh i te . One
' l ies Wi th h i s body bowed t i l l h i s forehead isrest ing on the top of the s tove , as in “deep though t
,the face
calm , bu t the l ips and nose slight l y puffed in ,death
,so tha t
the b lac k scorched face l ooks oddly negroid in i ts wh i tera imen t . Reveren t ly each i s carried out and laid on awa terproof shee t in the sunsh ine , w i th a bl anke t draped toh ide the dark unb leed ing in j uries tha t s t i l l smoke a l i t t l e inthe co ld ai r .They were laid to res t tha t nigh t i n a field near the rai lway l ine , and , l a ter , men of thei r company made thei rgraves a l i t t le gay w i th bric k rubb le and a border o f chal k .Four teen th i n wooden crosses by the rai lway l ine . Andal l n igh t long the broken vi l l age echoed to the guns ofthe near ba t teries , l i ke a j arred piano . Now and then at i l e fe l l .
Th e H i s to r i ca l D eve l opment o f A rch i tec t u ra l
Draw ing to the End of the E igh teenth Centu ry.IV .
—The Eighteenth Century (Part I).
HE long reign of Louis X IV of France drew toa close in 1 71 5 . W i th the Regency wh ich fol lowedcame a reac t ion against the compara t i ve severi tyof archi tec tural form wh ich had marked th e reign
of the Grand Monarque . The new freedom , amoun t ing a tt imes almost to l icence , was confined , how everj mainly t othe decora t ion of in terio rs . Design became defin i telycurvi l inear . Draugh tsmen and designers of the day has tenedto supply the demand for th i s freer type of decorat ion .
One of the earl ies t exponen ts of th i s curvi l inear s tyle wasGi lles Marie Oppenordt . Oppenordt , born in Pari s i n theyear 1672 ,
was the son of.a Du tch cab ine t-maker . He
began h i s career in the office of J . H . Mansar t , and cont inued h i s train ing w i th eigh t years of s tudy in Rome . Therehe bec ame inbred w i th the barroco spi ri t of Borromin i andh i s school . The spi ri t was , indeed , al l h e acquired . W i thFrance
,adap ta t i on
,no t adop t ion , was the rul e , and Oppen
ordt was t rue to the tradi t ions of h is coun try . H isnumerousengravings of h i s designs are cleverly and freely handled ,
though they lack the arch i tec tural sense of a Daniel Maro tor the gen ius of a Le Pautre.
W i ld as had been the work of Oppenordt , i t was farexceeded ,
i n tha t respec t , by Jus te Aurel le Meissonnier.
E ven h is con temporaries term ed hi s s tyle “ tourmen té et
b izarre . His designs were col lec ted and pub l ished byHugui er , under the t i t l e of (Euvres de Meissonnier.
Original copies of i t are to-day rare . Meissonnier madedesigns for an enormous number of differen t th ingsno thi ng came amiss to h im . I n h is hands form becameplas t ic
,even vi scous . Bu t , unl ike t he I tali an school , he
canno t be charged w i th the improper use of s tri c t ly arch itectural forms . I f h i s des igns overs tepped the bounds ofproprie ty
,even of possib i l i ty , h i s choice -of mo t i fs was a t
l eas t as free as h is t reatmen t of them . His mission wasrather to s t imula te the imagina t ion than to prov ide modelsfor ac tual reproduc t ion . Ye t where h i s designs were in tendedfor execu t ion
,they re tain a sense of s t ruc tural possib i l i ty .
His facade for S . Sulpice , i n Paris , wh i ch was no t bui l t ,is brilli an t ly conceived , and the engraving of Riolet i s adequate for i ts subj ec t (Fig. I ) . Meissonnier
'
s work exerciseda considerab le in fluence i n hi s own t ime and is of valueto-day for the sugges t i veness of h i s numerous composi t i ons .The decorat ions of Oppenordt were fol lowed , at a la ter
da te,by the work of the elder Francois Cuvilliés, ch i ef
arch i tec t to the Bavarian Cour t a t Munich . H is son succeeded h im in tha t pos t , and collec ted and pub l i shed h i sfa ther 's works be tween 1769 and 1772 . The engravingsmade by the younger Francois Cuvilliés, by J . Raltner,Roesch
,Lespilliez ,
and o thers are ch iefly remarkab l e forthei r Ch i aroscuro and expression of tex ture . Amongs t animmense number of mural decorat ions
,bui l t up of coarse
“ rocai lle ornamen t and con tain ing invari ab ly a w ild '
and
often morb id landscape , are several excellen t designs forpalaces and gardens . The large “lay-ou t ” plans are c learlydel inea ted . The elevat ion al draw ings often show the t ricks
of draughtsmansh ip for obtain ing an effec t of bri l l i ancy andsparkle wh ich are to—day commonly associated w i th thedraw ings of the E cole des Beaux Ar ts (Fig.
I n the fi rs t par t of the eigh teen th cen tury in France,the
decorat i ve designers excel led in their power of draugh tsmansh ip the men who were recording ex ist ing bui ldings orpub l i sh ing purely arch i tec turaldesigns . From the draugh tsman ’s poin t of view the work of the l at ter i s generally dull.The
“ Arch i tec ture Francois , wh ich had been begun byMaro t
,was con t inued by Jaques Francois B londel , who
drew and engraved the larges t part for Mari e t te,the
publ i sher . E igh t volumes were even tual ly completed .
Blondel's De l a Dis tribu t i on des Maisons de Plaisance ”
was issued in two volumes in 1 737 . It con tained 160 plates .To h i s annoyance the work was sold as a con t inuat i on ofano ther by Tiercele t , en t i t led Arch i tec ture M '
odern e .Blondel i s , perhaps , be t ter remembered by h i s l ec tures ,wh ich appeared in n ine volumes as the Cours d’
Archi
tec ture Ci vi l,be tween 1771 and 1 777 . The fi fth
,si x th
,and
n in th volumes were , however , con t ribu ted , af ter h i s dea th ,by Pierre Pa t te .Germain Boffrand, and Here
’
de Corny , who succeeded h ima t the brilli an t l i t tle Cour t a t Nancy , bo th produced i l lustrated works on arch i tecture . Boffrand
’
s“Li vre d’Archi
tec ture was brough t ou t a t Paris in 1745 . Herede Cornypub l ished th ree works of no te . The Recuei l des Chateauxque le Roy de Pologne occupe en Lorrai ne , and th e Planset ele
’
va t i on s de la Place Royale de Nancy ” were issued a tParis . His Recuei l des fonda t ions et étab l issemen ts fai tpas le Roy de Pologn e ” was publ i shed later a t Lunevi lle .Bu t th e larges t under taking of i ts kind , in the m iddle
years of the century , was the Recuei l Elémentaire
d’
Architecture of Neufforge, a work whi ch ran in toseveral volumes and con tains design s for orn amen t
,decora
t ion,and bui ldings of many kinds , and for many purposes .
Volume I I I i s devo ted to smal l houses and shops .The engravings in these works never, or rarely ,
rise abovemediocri ty. They fal l below the s tandard set in Engl and byCol in Campbel l wi th h i s “ V i truvius B ri tann icus . The
draugh tsman has li t t l e to learn from them , though to thes tuden t of the arch i tec ture of the peri od they are invaluab l e .Thei r influence , a t the t ime of thei r pub l icat i on ,
was considerable,
bo th i n the coun try of theira origin and in th eGerman S ta tes . Much of the German design of the secondh al f o f the eigh teen th cen tury can be traced to the pages ofNeufforge.
The Empire had depended for i ts arch i tec ture largely onforeign models and foreign talen t . I n the six teen th and thefirs t half of . the seven teen th cen tury , I taly had been
’
the
decid ing fac tor . Bu t the amb i t i ous poli cy of Louis X IVex tended French i nfluence in Ar t far beyond the bounds ofFrance
,and to France
,i n .the la ter par t of the seven teen th
and the greater par t of the eigh teen th cen tury , the Empireturned for inspi rat ion and assis tance . German arch i tec turaldraw ing had consequen t ly fol lowed the lead and changed
i < 8 TH E ARCH ITECTU RAL REV IEW .
4. FRANCOI S CUVI LL IE S .
Facade of a Country Lodge . Engrav ing.
w i th the fash ion of the coun try whose in fluence wasj pre
domina te . Not un t i l the close of the eigh teen th cen tury ,
w i th the w ork of Sch in kel,Langhans , the Gi l lys and thei r
school,w as German arch i tec tural draughtsmansh ip marked
by na t i onal charac terist ics .I n the second hal f of the eigh teen th cen tury in France
,a
renewed in teres t was taken in the arch i tec ture of an t iqu i ty .
Research,wh i ch h i ther to had been desul tory
,now became
sys tema t ic . V i truvius,and the works of h is d iscipl es
,were
w eighed in the l igh t of newer knowledge and found wan t i ng .
Thei r au thori tywas superseded by such pub l ica t i ons asS oufflot
’
s Paestum , le Roy ’s Greece,
” and Houel
d’
Orville’
s Sici l i an Temples .” Engl and was taking thelead in archaeology
,and the works of W ood and Dawkins ,
S tuart and Revet t,and Rober t Adam were w idely ci rcu la ted
in France . Cleii sseau’
s An t iqui tés de France ” was i ssuedin 1 778 . Charles Louis Clerisseau was no tab l e as an arch i tec tand w a ter-colouris t . He made many of the draw ings forRober t Adam ’s Spalatro. H is own Monumens deNismes , w i th engravings by Poulleau ,
and figures byAn tonio Zucchi , i s a model for works of the kind .
The record of exis t ing bui ld ings or con temporary proj ec tswas ab ly carried ou t by such men as Peyre
,Pierre Pa t te
,and
V ic tor Louis ; though here again thei r engra v ings , wh i l esimple and di rec t
,have l i t t le art i st ic value . Joseph Peyre ,
born a t Paris in 1 730,gained the Pri x de Rome before h e
had reached the age of twen ty-one . He pub l ished in 1 765
h i s “
(Euvres d’
Architecture ; proj e ts qu ’
il avai t dessine’s aRome ." I t con tains , amongs t many plans of varying complexity, h is res tora t i ons of the Ba ths of Diocle t i an andCaracalla . The engravings in Pierre Pa t te ’s Monumens
e’
riges en France al a gloi re de Louis XV may be comparedw i th the earl ier work of Coli n Campbel l in theuse of decreasing
tones for the indica t ion of receding planes in the eleva t ionaldraw ings . V ic tor Louis’s Sal le de Spec tacle de Bordeaux
,
”
engraved'
by Sel ler , Ber thau l t , Poulleau and o thers , i s agood example of the comple te and st raight fo rward recordof an importan t bui lding .
The draughtsmansh ip of the ornamen tal is ts i s on a h igherplane . Cauvet , Prieur , Ranson ,
Pillement,were al l capab le
craftsmen . Bu t the mos t no tab le draugh tsman of decora t ionwasJeanCharles
'
de l a Fosse . The 108 pla tes of ornamen t ,foun tains
,fron t i spieces and so forth , wh ich make up h i s
“ I conologie h is torique ”
(1768) are w el l wor thy of s tudy(Fig . De la Fosse , as John W ebb said w i th l ess reason ofI n igo Jones
,i s n o t to be equal led for the swee tness of h i s
touch ing .
”
The Voyage Pi t toresque de la France , a na t i onal work ,
begun in the l at ter years of th e reign of Lou is XV I,under
the di rec t ion of De l a Borde,con tains many engravings of
ancien t monumen ts and con temporary bui ld ings,bu t thei r
t reatmen t tends more to the pic turesque than to the arch itectural. Huber t Rober t , w ho had s tudied some years inRome
,en j oyed a vogue in h i s day as a draughtsman of
ruins and gardens scenes . Bu t the mos t successful i l lust ra tor of arch i tec ture , in the la ter years of the monarchy ,
was Jean Rigaud . H is Recuei l des plus bel les vues dePalais
,Chateaux et Maisons Royales (Fig. publ i shed in
1 780,is a work of grea t in teres t and meri t . As an i l lu's tra tor
'
ofarch i tec ture he i s l i t t le , i f a t al l , in ferior to the Perelles ,whose work he had apparen t ly taken as a model for h is own .
W i th the se t t l emen t of th e Revolu t i on the purely classicalschool gained the ascendancy . The exac t bu t ch i l ly formsof the so-cal led Empi re S tyle were echoed by a correspondinglyhard and unsympa the t ic draugh tsmansh ip . The
pub l ica t i ons of Percier and Fon taine presen t a wel l-known
TH E H I STORICAL DEVELOPMENT OF ARCH ITECTURA L DRAW ING.
ROBERT A KW.
Architectural Composition. Ind ian-ink
6 . j A/WE S GI BBS . S IR II'
IL I JA M'
CHA /WBE IR’S .
A Design for a (larde r. A Lodge for Lord Charlemont .Pen-aud-ink and w at
'
er-r'
o lour. Pen ahd black ink , w i th vellow w aS h on w alls.
160 TH E ARCH ITECTU RAL REV IEW
8. COLIN CAM PBELL .
The General Front of Castle How ard . Engraving.
example of the me thod .
‘ The th i n l ine engraving , devoid offeel ing and vi tali ty , has small ar t is t ic meri t to recommendi t . Bu t i t i s a manner easi ly acquired , requiring l i t t le bu ta mechan ical exac t i tude for i ts execu t ion , and i t re tainedi ts populari ty wi th French arch i tec tural engravers throughou t the grea ter par t of the n ine teen th cen tury .
Meanwhi le there had been in England , a t the beginn ingof t he eighteen th cen tury , a reac t ion agains t the freec lass icism of W ren . Arch i tec t s sough t a purer source ofinspi ra t ion . V i t ruvius became the oracle , Pal ladio was theh igh priest . E ngl ish Pal ladian arch i tec ture needed noelabora te draugh tsmansh ip for i ts expression . The s imples tgeometrical draw ing was adequat e to i ts needs . Thus , i nthe eigh teen th cen tury there was no Engl ish paral le l to theWork of the ski lled French ornamen tal is ts . Engl ish draugh tsmansh ip was main ly confined to the s t ric t ly geomet ri calpresen tat ion of pl ans
,sec t ions , and eleva t ions . I n th is field
England held the l ead .
Col in Campbel l , by the pub l icat ion of h i s V i t ruviusBri tann icus
,
” se t a h igh s tandard for the emula t i on of h i scon temporaries and successors bo th in England and abroad .
H is three volumes were issued respec t i vely i n 171 5 ,1717 ,
and 1 725 . Campbellwas responsibl e for the original draw ings ,Hulsbergh and o thers made the engravings . Campbel l ’swork is dis t inguished by a s trong mascul in e charac ter andsympa the t i c handl ing (Fig . The un i ty of effec t i s skilful lymain tained . Bu t th is un i ty was no t main tained in the l a tercon t inua t ion
,the th i rd and fourth volumes by W oolff and
Gandon . Their over—emphasi s on shadows , and thei r excessive darkening of voids and w indows , s tress unduly theimportance of par ts to the det rimen t of the whole .Col in Campbel l’s work was fol lowed by K en t ’s Designs
of I n igo Jones . His two volumes , con tain ing 1 36 platesengraved from draw ings by Fl i tcrof t and h imself , appearedi n 1727 . I n the fol low ing year , James Gibbs brough t ou t“ A Book of Arch i tec ture . Gibbs was a capab le draugh tsman . He had spen t several years in I taly and h ad theres tudied under Carlo Fon tana . H is ori ginal draw ings arein teres t ing as show ing the progressive developmen t of h isdesign s . The engravings in h i s pub l ica t ion are adequate .They are be t ter than those of Blondel or Neufforge. H is
perspec t i ves are be t ter than those of Campbel l . Sir W i l l i amChambers
'
s“Ci vi l Arch i tec ture ” was issued in 1757 . I t was
a valuab l e work ,though i t scarcely ri ghted the unfor tunate
influence of h i s Ch inese Bui ld ings ” pub l i shed two yearspreviously . James Paine carried on the classic t radi t ion
w i th h i s Plans , e tc ., of Noblemen’
s and Gen t lemen ’sHouses execu ted in various coun t ies
,and also of S tab l ing
,
Bridges , Pub l i c and Pri vate Temples and o ther GardenBui ld ings . The two volumes appeared in 1 767 and 1 783 .
The t i t le , as a t i t l e , i s long , bu t terse as a summary of oneimportan t aspec t of Engl ish Palladian Arch i tec ture .Bu t the eigh teen th cen tury was a t ime of vigorous
developmen t . Engli shmen were taking a leading in teres ti n the newly discovered remain s of an t iqui ty . Many of thean t iqui t ies were , i n fac t , n ewly discovered by E ngl ishmen .
Rober t W ood and James Dawk ins , w i th Bouverie , andJ . B . Borra as draugh tsman , t ravelled through the thenscarcely known coun t ries of Asi a M inor and Syri a . Bouveried ied from th e hardsh ips of the j ourn ey . W ood and Dawki nsre turned
,and thei r two books “ Palmyra ” and “
Baalbec”
— astonish ing pub l icat ions a t tha t t ime— were issued in 175 5and 175 7 . I n 175 1 , James S tuar t , Nicolas Revett and Pars ,a pain ter , lef t Paris for Greece . The resul t of their researcheswas revealed in the An t iqui t i es of A thens
, and the“ An t iqui t ies of I on i a. Rober t Adam ’s t ravel s h ad takenh im to Nimes , Por to Fino , and Rome , when ,
in 175 7 ,wi th
CharlesLouis Clerisseau and two draugh tsmen,he sai led from
Ven ice for Spalatro. Five weeks were spen t in measuring andrecordingthe remains of the Palace of theEmperor Diocle t i an .
Adam ’s Ruins of Spalatro” was pub l i shed in 1 764.
Ni ne years la ter .The works of Robert and James Adambegan to appear in par ts . A col lec ted edi t i on in two volumeswas i ssued in 1 778. Rober t Adam was a capab l e draught sman . He evi nced anadmirat i on for the work of h i s fri endPiranesi , and in many of h i s ske tches sough t to emula te hiss tyle . Sim i larly , Piranesi showed an admirat ion for thework of h i s fr iend Rober t Adam , and dedicated to him avolume of the “
Magnificenza.
” Adam’s original draw ingsare of ten marked by a grea t freedom of handl ing. His
innumerab l e designs for ornamen t are l igh t ly indi cated insof t penci l or b l ack chalk . H is sketches
,in pen and wash
,
have considerab l e v ivaci ty , and he found t ime to producea number of h igh ly finished draw ings of in teriors
,imaginat i ve
,
and remin iscen t of the con temporary work of the I tali anschool (Fig. The hard and mechan ical drawi ngs frequen t l yascribed to Rober t Adam are l ess l ikely h i s own work thanthe produc t ion of h i s assistan ts . The di ffi culty in deal ingw i th arch i tec tural draw ings of th i s period is , indeed ,
to di st i ngu ish be tween the origi nal draw ings of capab le archi t ec tsand those wh ich. can only claim thei r offi ces as thei r origin .
JAMES BURFORD.
16 : TH E ARCH ITECTU RAL REV IEW .
THE CHATE AU DE MONTEGNFONI.
opera te i t . He finds these laws opera t ing everywhere inancien t forms of ar t— Egyp t i an ,
Greek , e tc . The same lawsand principles underl ie the bui lding of a temple , the erec t i onof a s tatue
,the decora t ion of a monumen t , or even the
inven t i on .of a mechan ical work of ar t . He comes to theconclusi on tha t al l ancien t crea t i ve forms of ar t obeyed thefixed law s of numbers , tha t no th ing was lef t to chance orwas the resul t of good tas te alone , and tha t th e smal les tde tai l s were always rel a t i ve to a common measure or module .Th i s conclusion i s i l lust ra ted by diagrams of the Templed
’
Elephant ine ,the Parthenon , and sec t i on s o f Notre~Dame,
Paris,wh ich demonstra te the use and con t inui ty of the
Egyp t ian t riangle . I n ano ther pl ace the au thor proceedsto discuss h is own appl ica t ion of the laws of numbers . He
remarks,for instance
,tha t inpain t ing the figu re he cons t ruc ts
the body piece by piece , l i ke a mach ine . These pieces areuni ted w i th precision . E ach has i ts func t ion , and thewhole i s perfec t . Each piece has , i n fac t . the logic of arch itec ture . Th is part icu lar explanat i on is accompan ied byth ree pages of diagrams i l lustra t ing the me thod . Th eserecal l some of the d iagrams by Leonardo da V inci .I n h i s frescoes Severin i i s seen resolu tely s t riding alongth is pa th of classicism . And on the whole i t i s a del ight fu lpat h . He has all the luck in doing so . Th i nk ' wha t i t meansto a young
,bri l l ian t
,and en thusiast i c pain ter to be cal led
upon,as M . Severin i was , by Sir George Si twel l and h is two
poe t sons,Osber t and Sachervell Si twel l , to decorate one
of the chambers of the beau t i fu l cha teau de Montegnfoni ,near Florence . Here
,amid inspi ring surround ings
,he was
free to t reat a subj ec t after h i s own hear t,a subj ec t wh i ch
reflec ted the best spi ri t of I tal ian roman t ic ism and classicism,
and to imbue i t w i th the very qual i t i es wh ich belong toI taly a t the bes t and wh ich spread from tha t favoured landto o thers perhaps l ess favoured . I n The Fete of the MaskedI tal ian Comedy in th e fascina t ing gardens of th e h i storicchateau of Montegnfoni he found a subj ec t admirably sui tedto the charac ter
,the significance
,even the symbol ism of the
arch i tec ture and i ts natural surroundings,wh ich invi ted
him to reproduce the singular and j oyous mood to wh ichI taly of the si x teen th cen tury owes i ts place in h i s tory .
I n,
such work he was able to apply w i thou t h indrance h i stheory of aes the t ic and techn ique as explained i n h i s no teworthy book . His aes the t i c , as i l luminated by h i s frescoes ,i s con tained i n si x words : thought inform,
line,and colour.
Form , l ine , and colour serve to reali ze harmony before they
THE CORT ILE OF TH E CHATEAU .
reali ze the though t represen ted by obj ec t ive real i t ies .Thus Severini ’s aes the t i c , wh ich i s indeed tha t of th e ou ts tanding ltal i an mas ters , i s seen to be opposed to the Frenchand Flemish , according to wh ich form ,
l i ne,and col our are
the elemen ts of obj ec t ive real i t ies . The French and Flemishpain ters th in k in obj ec ts and figures
,no t in form
,l in e
,and
colour . M . Severi n i would say they are pain ters,human
pain ters,bu t rarely art i st s . For
,to h im
,ar t i s no t human ;
i t i s more than human . Perhaps Oscar W i lde w as righ twhen he sugges ted tha t ar t transfigures Nature . At anyra te here we have t he e ternal opposi t i on between Di onysusand Apol lo , be tween the force , i nst inc t i ve and sensorial ,and the idea , the grace , the perfec t ion .
Looking a t the frescoes i t w i l l be found tha t Severini 'stheory of technique is in perfec t accord w i th h i s aesthe t ic .I t res ts on the laws of harmony
,rhythm
,and measure . H ere
i s a detai l of the appl icat ion of the theory . Severin icommenced by measuring the surface of the wal ls of thech amber to be decora ted
,and according to the dimensions
of those surfaces he composed h i s subj ec t . E ach composi t i onwas ru led according to the numbers wh ich the measuremen tof the wall s gave . Prac t ical ly he fol lowed the rules of theMoyennes preport ionnelles on the l i nes
,say
,of the sec
t i on d 'orv 5
2
— 1and according to the rhythmic numbers .
All the composi t i ons were based on the same laws,w i th the
resul t tha t a splendid uni ty was obtained . As to the colours,
they were dic ta ted , so to speak , by the rhy thm of th e l ines .For example
,the angles of the composi t i on being rhythmic
(tha t i s to say , corresponding to a rhy thmic sec t ion of theci rcumference) , he commenced by measuri ng th e anglesdominat ing each composi t i on , and immediately ,
w i th theaid of a ch roma t ic ci rcle , he found colours i n harmony .
I t i s no t necessary to explain the use of the ch romat i c ci rcle,
wh ich i s marked off i n degrees to cocayaspond to the angles .Bu t the general rule fol lowed -was tha t of form domina t ingcolour . The direc t ions of the l ines suggest the d i rec t i ons ofthe co lours . The technique of fresco pain t ing in par t icu lar
,
as appl ied in the foregoing instance , i s c learly explai ned byM .Severin i i n an art i c le con tribu ted to a number of L’
Amour
(le l ’art . W e are told a grea t deal abou t the very difficultprocess of preparing the wal l
,and the pecu l iar ac t i on of ai r on
colour . His frescoes and wri t ings prove tha t M . Severin ihankers after immor tal form and col our and tha t beau ty ofexpression wh i ch we cal l poetry . HUNTLY CARTER .
TH E FRE SCOE S OF G INO SEVER INI .
STUD IE S IN ST ILL L IFE, LANDS CAPE , AND ARCH ITECTURE .
CHATEAU , TREATMENT S IDE PANELS .
164 THE A RCH ITECTU RAL REV IEW .
STILL L IFE . STILL L IFE .
At the foot lies anopen book containing a diagram of This study contains the symbols of the spirit ofthe painter'
s technical formulas. the masked comedy.
TWO F IGURES REPRESENT ING THE ITALIAN MASKED COMEDY.
Ars Aret ina .
TALIANS ough t to leave indust ria l manufac ture t oo ther peoples and to concen t rate thei r w hol e e ffor tin the produc t ion of those hand-made obj ec ts of artfor w h ich they possess a sure and na tural g i f t .
Th i s rather sw eeping remark was made to me recen t lyby an Engl ish fri end w ho l oves I taly as perhaps only an
Engl ishman can , apropos of the successfu l in i t ia t i ve ofw hich I am going to speak .
The revival ofthe old local indus tries in I taly has spreadduring the las t tw en ty years through many region s
,bu t in
very few cases , i f i n any a t al l , h as i t acquired the ar t i s t i cand archzeological impor tance of wha t has been t ried _anda t l as t achieved in Arezzo
,the pic turesque l i t t le town lying
be tween Tuscany and Umbri a . Art l overs should no t passi t by w i thou t s topping to pay a v isi t to the workshop
,
s tarted and di rected by Prof . A . DelV i ta . I had recen t l y thegrea t pleasure of being taken th rough i t by him and hearingfrom h i s own l ips of h is long and pa t ien t effor ts to findou t the secre t of the anci en t Greek and Are t in e vases
,
of wh i ch an admirab le col lec t ion can be seen i n t he localmuseum . The same researches had been pursued for yearsby a good number of archmologists w i th no prac t ica l resu l t .Prof . Del V i ta had a t fi rs t fol lowed i n thei r foo ts teps
,bu t
after a t ime came to the conclusi on tha t thei r fai lure was dueto a to tal l ack of techn ical know ledge of po t tery . He thendecided to t ry prac t ical experimen ts . Close t o an ancien t
THE OVEN BU I LT AFT ER THE ANC IENT S YSTEM . AN ARET INE VAS E \V ITI-I DYONIS IAC SCENE S .
furn ace , brough t to l igh t by excava t ion ,he d iscovered a
l ayer of very fine wh i te clay . Not far from there the samek ind of clay was found benea th the soi l
,wh i ch he conc luded
w as once used for the vases . Bu t in order to obtain the samedegree of l ightness he had no t iced in the smal l quan t i tydiscovered near the old fu rnace
,he l e t i t decan t th rough
several t roughs ful l of w a ter,where i t would gradual ly
deposi t i ts coarser e lemen t s un t i l no th ing bu t a layer ofwh i te dust l ay a t the bo t tom . I t w ould take too long torela te al l th e. dishearten ing obstacles he met on h i s way :how he was thrown back on h i s ownresources for everytl'i ing,
from the oven wh ich he ordered a t l as t to be bui l t af terthe anci en t model (below ) to the peri lous experimen t sin the baking of the vases and the composi t i on of the glaze
,
to the difficul ty of find ing men capab le of helping h im incarrying ou t wha t had become h i s vfde'c fixe. He had to pickthem ou t one by one , to ins truc t them ,
to train t hei r eyesby taking them to observe and to apprec ia te the or iginal si n the museum . Many of h i s helpma tes he found among th eso-cal led good-for-no th ing boys
,whose quick in tel l igence
and lack of d isc ipl ine had made them unfi t for school ordu l l manual work . He t rain ed thei r hands
,s t imula ted thei r
w i l l th rough emula t ion , and now ,toge ther w i th a few more
experienced ar t i s ts , they cons t i tu te the mos t en thusias t i cand devo ted s taff he could desi re for h i s en terprise . Bu tt he begi nn ing was disast rous ; the overhea ted oven caused
ARS ARET INA .
IN THE WORKSHOP.
the th inner vases to burs t . The turner (every th ing is madeon the whee l as of old ) did no t for some t ime succeed ind raw ing the clay to such an ex treme degree of th inness (oneor two mi l lime tres) as was required ,
so that,when st ruck
,
the vases should gi ve ou t . l i ke the old ones,a crys tall ine
ring . Bu t even now , though techn ical d ifficul t ies are final lyovercome , Ars Aretina canno t reproduce more than fiveor si x types and very few copies of them each year
,as the
chances are th ree to one that someth ing w i l l happen to thevase before i t i s finished ; for instance , wh i le drying ,
t heleas t cu rren t of ai r is enough to break or tw i st i t ou t ofshape . The same th ing mus t have happened to the ancien tpo t ters i f one is to j udge from the layers of fragm en ts to befound near the old ovens ; bu t then the financial drawbackd id no t coun t as the ex t remely del ica te process was carri edou t by careful lychosen slaves . No smal l difficultv i s offered
MYTH OF AND HYPPODAM IA .
VAR IOUS REPRODUCT IONS OF GREEK VAS ES
F IGHT l-i
'
ETVVEEN HERCULE S
L I S A SCOPOL I .
AND TE !.AMON.
by the pain t ing of the surface,wh ich mus t be done '
Witli
very th ick colours . The few specimens wh ich can be turnedou t are eagerly sei zed upon by ar t connoisseurs , especial lyas models for schools of ar t , bu t i n order to go on , o thersmal l vases , copies of bas rel iefs , e tc are also made andsold . For the Are t ine vases
,Prof. Del V i ta , who is also
I nspec tor of the Monumen ts of the province , has beenallowed to make use of the
'
ori ginal mou lds preserved inthe museum .
An admirab le col lec t ion of h i s more impor tan t works isnow exh ib i ted a t the Art E xh ib i t i on in Rome , wh ere i tcons t i tu tes one of the ch ief a t trac t i ons . Prof . Del V i ta canbe righ t ly proud of h av ing
,th rough s teady e fforts and
financial sacrifice , succeeded in restoring to E t ruri a i ts oldindus try tha t one though t los t for ever .
Sherfield Court,Hampsh i re .
The Residence of Lord and Lady Gerald V Vellesley.
W i'
th Photographs byF. R. Yerburv, The Architectural Review .
F you travel abroad the past i s always wi th you . Ye t i ti s often a pas t tha t i s dead and has no memories . The
reli cs of forgot ten people we are inclined to treat asnatural phenomena ra ther than as the works of men .
And often i t i s only our own longing to be kep t ali ve (and inremembrance) th rough the fu ture , ei ther by our work or inour chi ldren , tha t l eads us to turn our eyes w i th curiosi tyto those who l ived before us . W hen we visual ize the fu turewe appreciate the pas t . For we canno t help bu t real izetha t the work we do to-day
,and the th ings we t reasure ,
will in a few years come in to the hands of a new race ofmen . The laws we made , the houses we bui l t , the t radi t ionswe honoured
,the very coun try we knew— al l wi l l be a t the
mercy of s t range people . I n a sense every new genera t ioni s a new nat ion wh ich
,vanquish ing the old , i n troduces a
new manner of l i fe . And because we real i ze th i s , and seeour own in t ima te world wh i ch appears so t ime-defiant ,vanish li ke a scene in a play ,
'
w e canno t resign ourselves todea th wi thou t an appeal to t he fu ture generat ions to re
member us, who had the same sen t imen tal a t tachmen ts andlove of l i fe and company and ci t ies and laughter as they .
Bu t when we appeal to the fu ture for a memory a thousandvoices of the Pas t appeal to us for no thi ng less ; so a t theplace where we recognize tha t we too shal l be of the pas t ,we begin to look wi th a new fel lowsh ip a t those who preceded us, preserving what i s possib l e of thei r l i ves , hab i ts ,
customs , condi t ions , par t ly in the bel i ef tha t wha t we havedone for o thers w i l l be done for us.As a natural ou tcome of our real iza t ion tha t the world aswe know i t i s evanescen t , we develop a passi on for al l tha ti s old , and for tha t especially wh i ch shows human usage .Th i s passion con t inues in to our individual li ves
,so tha t we
cheri sh above all th ings the Obj ec ts round wh ich our ownold associat ions cl ing, as though by preserving the obj ec t wecould make incorrup t ib le the precious memory of wh ich i tis the symbol . E ven tually a man ’s ordinary belongi ngslose th ei r u t i l i tarian impor tance and assume a new vi rtue .He sees them as ma terial i za t ions Of memori es
,as h iero
glyphics, ra ther than as obj ec ts of use . And they come torepresen t for h im the whole of h i s own l i fe . A wel l-b i t tenpipe
,a much-read book , a coat baggy w i th wearing ,
a cricke tba t bound and pegged— these are the furn i ture of h i sspi ri tual house
,and make tha t a home
,rich and ful l of
colour , wh ich would o therw ise be a barrack or a p rison .
W ha t the world in general seems to have forgo t ten i s tha tan old house i s a possession of th i s na ture . Blessed are theywho beli eve in old houses . Homes l i ke Sherfield Cour tare the records
,no t of one , bu t of a ,
thousand l ives,to
wh ich we add our own record w i thou t ob l i terat ing thoseof our fa thers . The Engl ish coun t ry house has grownup as i t were on th i s unders tanding . Few Engl ish housesare thus grea t works of ar t i n the sense tha t the term can
THE PLAN OF SHERF IELD .COURT SHOW ING THE OLD AND THE NEW’
W ORK .
SHERFIELD COU RT, H AMPSH I RE .
2 . A V IE\V FROM THE ORCHARD W ITH THE S UMMERHOUSE
3 . THE EL IZABETHAN BACK W ITH THE OCTAGON ROOM ON THE R IGHT.
VOL. LlV .—S
1 70 TH E ARCH ITECTU RAL REV IEW .
4. THE HALL :
be appl ied to an absolu te French cha teau,bu t they are
grea t works of l i fe . I n them you have h is tory ma terial i zed :and no t the h i story of da tes and fac ts
,bu t the h istory of
l i ving people w i th passions and pleasures . I ndeed , th a t i sone way to view arch i tec ture as h i story in pic tures . He whocan read bui ldings has the s tory of England in h i s pocke t .Sherfield Cour t i s no t un ique in i ts h istorical associa t i ons .
Li ke many ano ther house i ts family tree i s various bu t no tdis t ingu ished . So much the be t ter . One can grow t i red ofdiscovering the celebri t ies . I t i s more fascinat ing to s tri kein to the unknown, to touch the l ife of a s trange person ,
tomake a new fri end . I n an old house you are surrounded byancien t bu t unknown comrades . Such a t Sherfield Cour t arethe Fi tz Aldelins, the W arblingtons, the Puttenhams, theColbys , the Saltmarshes, the Haskers. To-day they are
no th ing more than names,ye t they l ived on th is ground
before we were heard or though t of.The fi rs t of them , W i lli am Fi tz Aldelin,
was gran tedSherfield M anor (as i t then was) by H en ry I I in 1 167 , andi t was subsequen t ly held by the W arbertons or Warblingtons
for more than 3 50 years . I t had been inexi stence earl ier , bu thad formed par t of the Royal Manor of Odiham when
,
Domesday Book was wri t ten . From the W arblingtons i tpassed to W i l l i am Pu t tenham
,whose fami ly remained there
un t i l the manor i tself came to an end,toge ther w i th h i s
great-grandsons , a t the end of the six teen th cen tury . Throughou t that peri od i t w as a powerful Hampsh i re s tronghold . I twas fort ified and had a moat
,and surveyed the surrounding
coun t ry w i th an impor tan t frown . Ye t frown as i t wou ldno t a s tone or a b rick remains . The di tch survi ved
,however
,
and there i t i s to-day , the moat ,‘
broad ,full and s trong as
ever . Bu t a wooden foo tboard has displaced the drawbridge,
apple blossoms scat ter where the portcu ll is fell,and you
have frui t trees for a roof and flowers for a carpe t . The si te isto-day the orchard of Sherfield Court . During the ho t summerof 192 1 , when the water fel l l ow ,
the ou t l ine of the foundat ions of the old manor could be discerned ; and the presen tb ridge is itself supported by decayed brick piers wh ichmay wel l have been the origi nal base of the drawbridge .Richard and George Pu t tenham
,the grandsons of W i l l i am
Pu t tenham , were the las t owners of the manor . Richard ,born in 1 5 20,
'
was an in terest ing bu t disrepu tab l e person .He (i t i s fai rly cer tain) wro te the famous “
Arte of EnglishPoesie
,Con t ri ved in to 3 books the fi rs t of Poe ts and Poesie ,
the second of Propor t i on,the th i rd of Ornamen t ," wh i ch was 5 . THE OCTAGON ROOM FROM THE MOAT.
pub l ished anonymouslyin1 589 by Richard Field , of London .
I t was the firs t a t temp t at l i terary cri t ic ism in the E ngl ishl anguage . Ben Jonson 's copy is preserved i n the Bri t i shMuseum . Of George
,the o ther bro ther
,the Bishop of
W inches ter wro te tha t he was a no torious enemy of God ’st ru th . No doub t he was . A t any ra te we may presumetha t be tween them the ’
brothers ruined the old manor , forin 1 5 72 i t w as sold in moie t i es to Thomas Colby and GeorgeSpeke
,and since the presen t Sherfield Court , s tanding ou t
side the mea t , was bui l t on the moie ty bough t by ThomasColby abou t thi s t ime
,i t is probab l e tha t the manor had
become uninhab i tab l e . Thomas Colby ’s new house newforms the hal f-t imbered back of Sherfield Cour t , w i th i tsfour h i pped gabl es and i ts loggi a on the ground floor.(Figs . 2 andThus the old house disappeared and the new E l i zabe than
coun try mansion took i ts place . I n th i s charac ter i t s toodun ti l abou t 1 700,when Anne , the grea t-granddaugh ter ofThomas Colby ,
w i th her husband,Ph i l ip Sal tmarsh
,came in to
possession of the property . They made the second add i t ionto the house
,wh ich consis ts of thewhole of the Queen Anne
b lock,though the fron t was al tered later
,presumably by the
Haskers, who bough t the es tate in 1 756. They added thepresen t panel led cur tain wal l
,wh ich masks the dormers , re
sashed the w indows in the l igh ter fash ion,and added the porch .
I n 1838 the Sherfield Cour t estate was bough t ou t of thefunds vo ted by Parl iamen t for the firs t Duke of W el l ington .
The Duke turned i t in to a farm and bui l t far from beau t i fu lfarm bui ldi ngs . As a farm i t remained un t i l i t was purchased in 1 920 by the t rus tees of Lady Gerald VVellesley.
1 7 2 TH E A RCH ITECTU RAL REV IEW .
8 . THE INTER IOR OF THE OCTAGON ROOM . 9 . THROUGH THE PANELLED ROOM TO THE OCTAGON ROOM .
Lord Gerald ,who i s h imsel f an arch i tec t , and h i s partner
M r. Trenw i th W i l l s , then proceeded to give the housei ts presen t charac ter ; and i t i s worthy of men t i on inpassing tha t they bui l t the long l ine of offices wh ich appearto the righ t
-
of the plan on page 168 special ly to shu tou t the ugly farm bui ldi ngs from the garden . A t the o therend of the house they built the w ing con tain ing the pane l ledroom and the oc tagon room . Bo th these addi t i ons arehandled w i th grea t ski l l , for the prob lem was an in t ri cate oneto bui ld in such a way that the add i t ions should be insympa thy w i th
'
the back and the fron t of the house a t oneand the same t ime . The i l lus trat i ons show how sa t i sfac torythe solu t i on is— the w ings are cons truc ted of red bri ck andt i les i n the fron t
,and a t the back of wh i tewashed bri ck and
tha tch .Thus you have the work of the Colbys , the Saltmarshes,the Haskers,
and the W ellesleys, carried ou t a t differen tt imes in differen t manners , toge ther crea t ing a house of abeau ty w h ich i t would be impossib l e to manufac ture .You approach by a long carriageway wh ich en ters a grea t
garden of shor t grass . Onyour lef t s tands the house . I t i sl ow
,l ong
,broad , and l ike all Engl ish houses of beau ty
,
appears to lie ‘
asleep or dreaming. S tre tch ing across thelength of th e garden to the fron t door grows a new ly-plan tedavenue of small t rees . The house i tsel f is as red as a ripepeach . There are some beau t ies wh ich t ime alone can bring.
One i s the gl ow of ancien t brick . Old bricks glow l i ke rub i esand drink in the l igh t
,and an ancien t wal l i s a wel l to
absorb the sun . Of such b ri cks th is house is made . The
w indows space themsel ves liberally,and the doorw ay
,
wi th i ts port ic o ‘ and doubl e s tep , i s suffi cien t to thep lace . Firm and square in every l in e
,ye t del icate
,these
E arly Queen Anne houses have a qual i ty ,a tri umphan t ye t
unconscious lovel iness wh ich i s diffi cul t to define,for one
has to approach i t by nega t i ves . I t i s n o t th i s , i t i snot tha t ;i t i s simply a fi tness wh ich rel ies on no ar t ificial resource .
One i magines that such a fi tness was conveyed to ourfa thers in the ph rase a proper man and how l i t t le weapprehend i ts sign ificance is i l lus tra ted i n our own use of theword normal. W hen we say tha t soland-so i s perfec t lynormal we mean tha t he is perfec t ly ordinary . W hereas inreal i ty the normal man is the abnormal man— a phenomenon who appears w i th a b l ue moon above h is head . The
fron t of Sherfield Cour t i s in tha t sense normal,for i t i s
adequate a harmony so musical tha t , l i ke the music of thespheres
,i t i s inaudibl e .
Once inside the decorat i on i s rich , bu t obvi ously ofcoun try design ”
; for in several ins tances the panel l ing tothe rooms
,wh ich appears to come from des troyed por t ions
of the house (i t belongs to various periods) , i s l aid overthe wal ls in a perfectlyarbitraryway w i thou t the sl igh tes te ffor t to make t he s t i l es range. The hal l (Fig . 4) on wh ichthe fron t door opens is en t i rel y l ined w i th Jacobean oakpanel l ing wh ich comes from a t leas t two differen t roomsand is laid on in some cases upside down . The fireplacei s modern and replaces a cas t i ron one of V i c torian date
,
smal ler than the original open ing wh i ch had been brickedup . W i th the excep t ion of th i s fi replace al l the old rooms
SHERFIELD COU RT,H AMPSH I RE .
10. THE PANELLED ROOM .
This room and the octagon room illustrated on the opposite page form part of the new w ork . The panelling is of
Padauk wood , and the ceiling is coved .
(74 THE ARCH ITECTU RAL REV IEW .
1 1 . THE TAPE STRY ROOM .
The w alls are hung w ith verdure tapestries.
1 2 . THE W R IT ING ROOM COVERED W ITH MODERN CH INE SE W ALLPAPERS .
During the period that the house. w as a farm the old books dependent from the ceilingw ere used to hang hams, etc.
The C i t i z enhe Birmingham Civ i ca profession of fai the case fo r ameni ty ints essen t ial c lauses are
as fol lows .“No th ing in our modern civ i l i za t i on has been more
misch i evously under-est ima ted than the influence’
of thephysical aspec ts of a town upon the spi ri tual and moral l i feof i ts communi ty . People who resen t the di rt and ugl inessin wh ich a commerci ali zed socie ty has en vi roned i ts commonli fe are a t presen t forced to make thei r own private refugeswhere they can indulge their in st inc t for decen t and beau t i fulsurroundings . Th is i s evi l ' a ci t izen ’s home shou ld bebeau t i ful, bu t i t should be so as a happy con t ribu t i on ofthe individual to a beau t i ful c i ty . I nstead of making atolerab le seclusion for h imsel f wi th wha t tas te he can , theci t izen ough t to look upon i t as an honourab l e ob l iga t i on tomake h i s hom e wor thy of the ci ty tha t se ts a clean and nob l es tandard of comeliness . A t presen t i t i s impossibl e for h imto do t hi s , since h is ci ty is mean and unlovely.
The aim of the Bi rmingham CiviC‘
Societyw i l l be alwaysto keep in mind th i s ideal of a regenera te ci ty . I ts membersw ill realize tha t sweeping schemes of recon struc t i on canno tsuddenly be execu ted
,bu t they w ill remember too, tha t such
reconst ruc t ion,however slow ly i t may be ach i eved , i s t he
only hope of maki ng the ci ty we l ive in a monumen t toany th ing bu t our carelessness and greed . I t w i ll in si s ttha t tas te i s a th ing tha t ma t ters
,real i z ing that more than
half the b lunders tha t are made in th i s di rec t ion , to thel ast ing harm and discredi t of the communi ty , are made bymen to whom , s ince thei r aes thet ic j udgmen t i s no t cal ledi n quest ion
,i t never occurs tha t such j udgmen t i s of any
accoun t one way or the o ther . Conscience i n th i s th ingwou ld be s t iffened a t once by mere expression of pub l icin teres t ; no t one man in a hundred who i s abou t to commi tan offence agains t tas te would defend h i s own bad in ten t i onfor ten minu tes i f i t were in tel l igen t ly and generouslychal lenged a t the ou tse t .The relat ive value of aes the t ics i n town s truc ture is an
issue wh ich has been prominen t in the record of townbui ld ing throughou t the ages ; indeed of the two fac torss t ruc tural conven ience and beau ty of fo rm —by wh ichsuccessful town planning is now measured
,the ancien ts have
as unhesi tat ingly preferred the lat ter as we moderns preferconvenience .No on e to-day is l i kely to accep t the Greci an dogma tha t
personal conven ience i s undesi rab le because i t sl ackens themoral fibre , bu t there i s really no reason'
w hywe should soneglec t thei r fai th i n beau ty as a s t imulan t to fine l iv ing.
Nor need we forge t those ideals of the middle ages wh ich ,wh i le less con temp tuous of conven ience (save in the precep tsof monas t i c l i fe) , ye t gave an easy precedence to beau ty ; aswhen Florence , successfu l in her wars , budgeted for beau tyra ther than for new roads or the rehousing of h er people .There i s th i s d ifference
,however
,be tween th e old ideals
and the new , tha t modern condi t ions force us to seek convenience i n amel io ra t ion of a h igh ly ar t ificia l ex is tence , andunl ike our ances tors
,i f we s t i l l seek beau ty
,i t mus t be i n
associat ion w i th tha t wh ich gave them no concern .
Fortunately , th i s associa t i on i s no t only possibl e bu t evendesi rable , i f the max imum effec t of both desidera ta i s to beobtained ; as can easi ly be demonst rated by examples al ready
and H is C ity .
es tabl i shed . I t i s t rue tha t in E ngland,leg is la t ion framed to
foste r th i s resul t has fai led in i ts obj ec t for i t i s eviden t tha tto t he promo ters of the Town Plann ing Ac t of 1909 ,
bo ththese fac tors were of some th ing l i ke equal impor tance ,al though i t canno t be said tha t they h ave re tained th i srela t i on in prac t ice . I ndeed ,
i t i s sign ifican t that the powersconferred by th i s Ac t on ly opera te w i th certain ty in thedirec t ion of conven ience or u t i l i ty ; wh i l e as to amen i ty ,
i tcan now be seen tha t w i th the bes t wi l l i n th e world to doo therw i se , Mr. John Burn s and h i s advisers saw n o way tolegi sla te effec t i vely .
Ye t a new urgency has arisen for imagina t i ve expressionin the physical aspec t s of tow n s truc ture . The na tural progress of en ligh tenmen t among our people
,and the l ibera t ing
influence of travel upon numbers who have been movedfrom thei r rou t ine by recen t even ts
,have w idened and
deepened the need for a dign ified se t t ing to ou r commonl i fe ; and there is a grow ing bel ief tha t the case for amen i tyin our grea t ci t i es
,wh ich legisla t ion has so far fai led to
secure , w i l l n ow be bes t under taken by Civ ic Socie t ies andAdvisory Ar t Commi t tees . I t i s , therefore , to th i s aspec t oft he quest ion now under review tha t I w i sh ch i efly to direc ta t ten t i on ; for the presen t progress of 'some of our Civ i cSocie t ies fos ters a bel ief in thei r me thods as the righ t meansfor solving a none too easy prob lem .
To unders tand wha t Ci v i c Socie t ies ' s tand for and therange of thei r work , i t i s n ecessary to apprecia te ful ly thei rdependence upon pub l i c opin ion and mun icipal tolerance .W here the form er i s s trong
,t he l at ter i s no t l i kely to give
much troub l e. W here the local au thori ty is sympathe t ic ,pub l i c suppor t
,wh i l e s t i l l desi rab le
,i s perhaps less necessary
,
since in such cases the Soci ety can be given as effec t ive useas though i t were par t of the mun icipal s taff
,di ffering only
by i ts honorary charac ter .The fac t tha t a Ci vi c Socie ty works w i thou t remunera t i on
,
bo th adds to and de trac ts from i ts effec t iveness. I t adds,
because i ts mo t i ves are , for th i s reason , presumab ly disin teres ted (unfortuna tely ,
th i s i s no t always the case wi thvolun tary bod ies) , and members of the local admini stra t iveauthori ty are t hereby depri ved of ground for a far tooprevalen t opin ion
,tha t such overtures
,when made by pro
fessional associa t ions , are bu t a screen for sel f in teres t ; a tthe same t ime local represen ta t i ves are also rel ieved of suchcharges of ex t ravagance as they migh t fear would be madeby some of t hei r cons t i tuen ts , i f the services tendered involved any paymen t of fees . Thus , two common difficul t iesare disposed of . I t det rac ts
,however
,because honoraryprofessional services of a real ly effec t i ve charac ter , availab l e
for indefin i te peri ods of t ime , are hard to come by ; and i ti s th i s c lass of serv ice rather than honorary administrativeservice
,upon wh ich the ac tual usefulness of a Ci v ic Socie ty
u l t ima tely s tands .I t i s to be hoped ; indeed i t i s probab l e ; tha t Societ i eswh ich are consi sten t ly usefu l over a sufficien t ly long peri od
,
wi l l even tual ly succeed in obtaining gran ts from those theyserve ,
’
to'
cover th e cos t of office admin ist rat ion ; for i t i seviden t tha t on th is basis the work done could be made tocover every departmen t of 'the mun ic ipal execu t i ve
,w i th “
i ncalculabl e benefi t to our publ ic serv ices , a t very small cost .The me thod of working Ci vi c Societ ies w i l l vary w i ththe condi t ions of each locali ty ; and in d ist ric ts where thear ts are so l i t t le prac t i sed tha t the counci l and execu t ive of
TH E CIT IZEN
the Socie ty are l imi ted in thei r represen ta t ive charac ter,
work wi l l be handicapped ; especially a t the ou tse t , whenopportun i t ies of service of whatever k ind should be accep ted
,
and so used as to qual i fy for fu rther trust .As a mat ter of pol icy , i t i s found to be sound tac t ics to
avoid the discussion of abstrac t beau ty ,and to concen tra te
on Oppos i t ion to obvious ugl iness and fussiness . One i sbe t ter unders tood when mak ing a plea for simpl ici ty andorder , than when expounding theories of art . Thi s h in t i sof importance in all nego t i at ions wh ich are concerned wi ththe useful arts , from arch i tec ture downwards ; bu t in ma t tersconcerning wha t are usually known as the Fine Arts
,the
on ly possibl e a t t i tude for a Civ ic Society ,i s to influence the
local au thori ty tow ards w ise pa tronage,and to bear w i th
pat i ence such fai lures as may resul t , even when w i sdom has hadfu ll play . I n short , the publ ic m ind should no t be confusedby considera t ions wh ich i t is no t ye t capabl e of apprecia t ing .
As a concrete ex ample of w ork already done in thedi rec t i on indica ted ,
I canno t do be t ter t han ins tance theadmirab le developmen t map prepared by the London Societyduring the war. A work on wh ich we have only thi s commen tto make , tha t i t shou ld be exploi ted i n a simi lar manner totha t of Ch icago , where an ideal plan for the ci ty has beenharmoni z ed wi th the most prac t ical and commercial needs ,and the understanding of i t made a compulso ry subj ec t inthe h igher grades of the c i ty schools .Th is example and compari son may be used indeed to
illust rate the grea t tes t to wh ich al l the work of CivicSoc ie t ies w i l l finally be pu t ; the tes t of thei r ab i l i ty to carryt he schemes they advoca te to so plausib l e a stage tha t thei radop t ion is secured ; and in th i s they would be assisted verygreat ly by a disc rimina t ing use of Ameri can expe rience ; forwhi l e we do no t wan t to see Ameri can methods of publ i c i typrac t i sed in th is coun t ry ,
yet in some respec ts , and especial lyin the ma t ter of training our you th to an apprecia t ion ofci t i zensh ip and civic pa tri o t i sm ,
every ci ty in th i s coun trywould do w el l to copy the example of Ch icago , w here sucht rai ning as th is has been gi ven for the las t eleven years w i ththe resul t tha t an in formed el ec tora te is now avai lab le tow h ich appeal canbe made in any ma t ter of civ ic importance ,wi th the certain ty of i ts be ing unders tood and receivingin tel l igen t considera t ion .
I t i s no t suggested tha t the London developmen t map ismore than an admirabl e nucleus for such general educa t ionalpurp oses as those referred to . Many special ized detai lswould need to be worked ou t , both in designand i n a t t rac t ivefinancial terms , before i t could be said properly to fi l l ou tthe pic ture of a complete civ ic ideal, and so be expec ted tocarry the support of the au thori t ies concerned , or to providetha t embroidery of the main idea w i thou t wh ich i t wouldno t read ily be grasped by the you th fu l mind .
I ns t ruc t i on in c ivics of th is charac ter might wel l serve asthe general aim of Ci vi c Soc ie t ies , and the various ma t terstaken up by them in thei r progress towards th is end maybe regarded as sec t ional con tribu t ions tow ards a ful lyworked ou t programme of local c ivic bet termen t .Some of t hese sec t ional ma t ters are reall y of very grea t
importance,and may wel l be though t an end in themselves ;
such for ins tance is the quest i on of the systemat ic organizat ion of munic ipal recrea t i on ; wh ich inc ludes the improveddesign and in tensive use of exist ing parks , the prov ision ofopen spaces
,adul t neighbourhood cen t res and ch i ldren '
splaygrounds , each upon a si te chosen for conven ien t accessa t all t imes , and espec ially in those conges ted areas of our
AND H IS CITY. I 77
grea t ' commercial towns , wh ich , although they are obviouslymos t in need of such accommodat ion
,ye t are usually the
las t to be provided w i th i t .Th i s phase of c ivi c improvemen t w i l l be found well
represen ted in the Aims ” of the Birm ingham Ci vi c Socie ty,
wh ich are as fol lows(1 ) To s t imula teh istorical i n teres t i n the ci ty and to
preserve all bui ld ings and monumen ts of h i storical worth .(2) To preserve all obj ec ts of beau ty and to mai n tain
a vigilant opposi t ion to all ac ts of vandalism .
(3 ) To promo te a sense of beau ty and to s t imula te civ icpride in the domes t ic and civi c li fe of the ci t i zens , by urgingthe adopt ion of the h ighes t s tandards of arch i tec ture fordomes t i c bui ld ings , offices , warehouses , fac tori es , etc .(4) To work for a more beau t i ful ci ty(a) By advoca t ing the pub l ic acquisi t ion of land forthe provision of open spaces for recrea t i ve purposes
,
parks , parkw ays , squares , gardens , and ornamen talfea tures a t road crossings , e tc .(b) By assist ing w i th advice any scheme or works
con trol led by pub l ic bodies,ranging from town plann ing
,
to designs for parks , bridges , foun tains , memorials , shelters , seats , lamp s tandards , t ramway mas ts , and the li ke .(0) By co-operat ing w i th the Educat ion Commi t tee
and Train ing Gui lds for the developmen t of local ar t,
and helping to co-ordina te the efforts of ex ist ingsoc iet i es , by uni t ing arch i tec tural , engineering , ar t i st icand handicraft groups in a common aim .
(5 ) I n addi t ion to influencing the work of o thers , to selec tsui table proj ec ts to be carried ou t by the Society i tself.(6) The Society shal l seek to carry ou t these aims by
means of newspaper and o ther propaganda,including
exh ib i t i ons,l ec tures
,compe t i t ions
,e tc .
I n working to th i s programme , con tac t w i th th e Ci tyAu thori t ies (o ther than tha t establ i shed by the Lord M ayoras presiden t
,and the annual elec t ion of two members of the
Ci ty Counci l to serve on the Counci l of the Soci e ty) has beenkep t green by the occasional purchase of open spaces forpresen ta t ion to the ci ty as recrea t ive areas . The las t purchaseof 42 acres , ad j oin ing Mr. Chamberlain ’s residence a t H ighbury
,has j us t been comple ted , and the land conveyed to the
ci ty w i th an agreemen t tha t the Socie ty is to be consultedin the lay-ou t and trea tmen t of the grounds. Such purchasesas these have been made possib le by the generosi ty ofanonymous t rustees , who placed a t the disposal ofthe Socie ty for th is purpose in 1918.
From the fi rs t the Socie ty has worked hard to ge t everyphase of recrea t ion in the ci ty co-ordina ted and reduced toa system . A resolu t ion to the Lord Mayor from one of severalmee t ings called for th i s purpose , resul ted in invi ta t ions fromthe Ci ty Parks Commi t tee to represen ta t i ves of variouslocal organiza t ions to discuss the sugges t ions made
,and a
Spec ial Commi t tee now ex ists to consider and repor t uponthe whole ques t ion of recreat ion in i ts broader aspec ts .W orking in con j unc t ion w i th the ci ty departmen ts
,the
Society has made many plans for ex tensions and al tera t ionsto ex ist ing ci ty parks , all of wh ich have been accep ted bythe Mun icipal Parks Departmen t for immediate execu t i on .
Another scheme is associa ted w i th the special trea tmen t ofa road j unc t ion , wh ich i nc ludes the prov ision of a newen trance to the principal suburban park . Lord Cal thorpe
,
the local landowner , is giving two corner sec t ions of land(abou t one acre) , and the Socie ty has al locatedtowards the cos t involved in special fea tures of the proj ec t .
r78 THE ARCH ITECTU RAL REV IEW .
A port ion of th i s work is now in hand as part of an nuemploymen t scheme.Tw o
“ Park Guides have been pub l ished ; one of theLickey H i l ls reserva t ion— n ow in i ts th i rd edi t ion— and oneof Su t ton Park p recently issued . These gu ides are in grea tdemand . They are pub l ished wi thou t profi t all adver t isemen ts are exc luded
, and pains are taken to make these andother pub l ica t ions carry the message of amen i ty wh ich theSoc i ety exis ts to incu lcate .A gold medal i s awarded annually by the Soc ie ty to the
au thor of the work j udged to have added mos t to the recen tameni t ies of the ci ty. Th i s award was in tended original ly tobe gi ven for the bes t s tree t facade ; bu t such a l imi tedappl ica t ion w ould
‘
have resu l ted in far less sign ificance forthe award than i t now has . The fac t that the bronze medalof the is awarded to facades in London is noau thori ty for simi lar ac t i on in the provinces .’
'
Sec t i onal i smis necessary there ; bu t i n o ther than met ropoli tan areas ,such subdivis ion would be weakening ; espec ial ly wh enprac ti sed by Civic Socie t ies .The firs t medal award wen t to music in the personof M r .
Appleby Ma t thews , conduc tor of the Muni cipal Orches tra ;the second to Mr . Barry J ackson in recogn i t i on of thehigh ci vi c impor tance and ar t i s t ic d is t inc t ion of h i s work a tthe Reper tory Theatre ; and the th i rd to Mr. W . H . Bidlake ,for h is dist ingu ished services to arch i tec tural educa t ion .
I n each caSe the ceremony of presen ta ti on was given adefini te civic charac ter ; and i t i s ev iden t tha t th i s pub l i crecogni t ion of noteworthy servi ce to the h igher l i fe of theci ty is warmly approved on al l sides .I n such mat ters as the design of s tree t decorat i on for
pub l i c ceremony,the City‘
Authori ties w i l l ingly col labora te ,and they sough t the help of the Society when s taging theArm ist i ce Ceremony in 192 1 and 1922 . Time
,money
,and
materials were shor t , bu t a dign i ty was gi ven to the occasionwh ich i t had lacked ; and i t i s now usual for the
’
Societyto beconsul ted on occasions of simi lar charac ter.Ano ther phase of
'
work i s represen ted by a proj ect forthe preservat ion of the old vill age of Northfield w i thi n theSou th-wes t Birm ingham town-plann ing scheme . Th i s workhad the sympa the t i c suppor t of the Pub li c W orks Departmen t during i ts prepara t ion , and the proposal even tuallypu t forward new fo rms par t of the towri plan . Moreover , apho tograph ic record of the village having been made andi ts h i s tory wri t ten , the work was pub li shed as one of theSocie ty’s brochures. Schemes of th i s k ind have a specialimpor tance to-day , for they i llust ra te very clearly the needfor preserving such pic turesque bui ldings
,vi l lages and
na tural scenery as remain abou t our ci t ies,a t a t ime when
rapid bui lding developmen ts may though t lessly destroy'
them.
I need do li t t le more than indica te by name such obviouscivic work and propaganda as the organizat ion of exh ib i t ions
,
lec tures on civ ic subj ec ts by first-class lec turers,commi t tee
work on memorials and housing,work on smoke aba temen t
,
adver t i semen t con t rol , designs for s tree t accessori es , and ana t temp t to in i t i ate peripate t ic l ec tures in the local ArtGal lery .
Many wi l l consider tha t the grea tes t work of the Birming~
ham Civ i c Socie ty is the recen t ly es tab l ished Advisory Ar tCommi t tee . The set t ing up of a commi t tee of th i s charac terwas firs t pu t forward by t he B i rm ingham Arch i tec turalAssociat ion in 1917 bu t look ing back upon tha t t ime , it iseasy to see tha t ci rcums tances were n o t then ri pe for suchan experimen t .
The in tervening five years of advocacy by the Civi cSoci ety have been years of increasing knowledge of mun icipalaffai rs
,and an indispensabl e prelim inary to sympa the t ic
co-operat ion wi th the Ci ty Au thori t ies . I t i s eviden t , too ,tha t in th i s in terval of t ime
,a cer tain hesi ta t ion on the par t
of the Ci ty Counci l h as changed . to t rus t and goodw i l l ;w i thou t wh i ch such a Commi t tee as th i s could scarcely hopeto be effec t ive .The na ture of the Advisory Ar t Commi t tee i s best
unders tood from the clauses of i ts const i tu t i on , wh ich areas fol lows
(1 ) The Comm i t tee shal l consist of not more than tw elvemembers ex-ofli cio,
and shall have pow er to co~ op t fouradd i t ional members , w ho shall be selected for techn icalknow ledge in art mat ters. The elect ion of such membersshall be made at the first meet ing in the year , and they shallserve for not more than three years consecut ively.
(2 ) The fol low ing shal l be members ex~ 0fficio of the saidComm i t tee The Lord Mayor ; a represen tat ive of theB irm ingham Publ ic W orks Comm i t tee ; a representat ive ofthe Educat ion Comm i t tee ; the Ci ty surveyor ; the ViceChancellor of the Un iversi ty ; the Pr inc ipal of the Un iversi tythe Director of the 'Schoolof Art ; the Direc tor of the Schoolof Arch i tecture ; the Pres ident of the B irm ingham Arch itecturalAssoc iat ion ; the Chairman and the Hon. Secretaryof the Civ ic Soc iety.(3 ) The _
Comm i t tee shal l elect a Pres ident and Hon.
Secretary from i ts ownmembers , w hose term of office shallbe for one year.(4) The Comm i t tee shall have pow er to adopt i ts own
rules of procedure,and three shall form a quorum .
(5 ) The find ings of the Comm i t tee upon all mat ters subm itted to i t shall be in the nature of recommendat ions only .
(6) The Comm i t tee shall hold allmat ters subm i t ted to i tin confidence . No mat ter referred to i t shall be divulged ,
and no report of i ts proceed ings issued , except by prev iousagreemen t w i th the Corporation Comm i ttees concerned.
(7) The Comm i ttee shall in ord inary c ircumstances reportupon any mat ter subm i t ted to i t w i th in 36 days ; prov idedthat any subm iss ion after the 1 2 th of the mon th shall bedated as received on the rst of the mon th follow ing ; bu tshorter per iods may be arranged w i th the Departmentsconcerned for reports on urgent ‘
w ork , or an ex tens ion oft ime may be arranged where there is no urgency .
(8) Hereafter all such new designs for publ ic bui ldings ,br idges
,lamps
,gates
,fences
,publ ic conven iences , or other
structures to be erec ted upon land belonging to the c i ty , al lsuch proposals for planning and lay ing-out new parks or parkex tens ions
,all such new statues , foun tains , arches , monu
men ts or memor ials of any k ind to be erected in any publ icstreet
,square
,park or mun ic ipal building , as may be
selected for subm ission to the Adv isory Art Comm i t tee bythe Ci ty Departmen ts concerned, shal l be reported upon bythe Adv isory Art Comm i t tee .I n conclusi on
,those who maybe abou t to s tart new Ci v ic
Socie t ies mus t prepare themselves in advance to bear wi thfor t i tude many early d ifficu l t i es wh ich , unless they areexcep t i onally fortuna te , w i l l severely tes t thei r resolu t ion .
Publi c apa thy is no t to be overcome bv a firs t appeal,and Publi c Au thori t i es have seen too many amb i t iousvolun tary efforts finish in the ai r to give thei r coun tenanceto ye t ano ther
, un less i t i s supported by some earnes t of acon t inuous and capab le poli cy of prac t ical co-opera t ion .
Pub l ic ly expressed disapproval of misgu ided ac t i on , evenwhen made by the mos t compe ten t of cri t ics , w i l l no tinfluence ma t ters one way or the o ther un less such evidenceof co-ope‘ra t ion i s forthcomi ng ; and i t i s here tha t promo tersw i ll find thei r fi rs t prob lem , when es tab l ish ing a new Ci v i cSocie ty. W ILL IAM HAYW OOD ,
Hon. Sec . Birm ingham Civic Soc iety .
Hon. Sec. Birmingham Advisory Art Commi t tee.
I 80 TH E ARCH ITECTU RAL REV IEW .
BANK ING HALL .
WESTMINSTER FOREIGN BANK LIM ITEDBRU S SELS .
0C “. 00 no u m“
W 4“
GROUND noon PLAN” w “m u“
GROUND PLAN OF THE W ESTM INSTER FORE IGN BANK ,BRUS SELS .
TW O B E L G I AN B A N K S .
Plate I I I . November 19 2 3 .
THE \VESTM INSTER FORE IGN BANK , BRU S SELS .
Mew es and Dav is, Architects.The si te of this bank zs irregular, as {he planonthe opposi te page shows. The sea—korse illustrated
onpage I 79 is used as a corner Imminent to the balustrade above the cor-nice.
182 THE ARCH ITECTURAL REV IEW .
THE W E STM INSTER FORE IGN BANK , ANTW ERP. A PHOTOGRAPH .
TW O BELGIAN BANKS
THE ARCH ITECTS '
DRAW ING OF THE W E STM INSTER FORE IGN BANK, ANTW ERP.
VOL. l.IV-t
1 84.THE ARCH ITECTU RAL REV IEW .
FRANCE THE COLOS SAL STATUE ON THE MONUMENT OF FRENCH GRAT ITUDE .
Antoine Bourdelle, Sculptor.
This figure w illbe more thansixtyfeet high. Ini ts righ t hand i t holds a lance, round w hich is tw ined the olive branch. Its left handmakes agesture ofexpectationand salute.
Correspondence .
The Chesterfield Processional Cross.
THE ST.“’ILL IAM W INDOW ,YORK M INSTER (PANEL
(Czrca I 42 I .,
Inthis w indow ,Archbishop “'illiam is shownreceiv inga cross sim ilar
to those illustrated recently in THE ARCH ITECTURAL RE VIEW . The
branches,how ever, are m issing.
To the EditorofTHE ARCH ITECTURAL REVIEW .
S IR,— The crosses in the possession of the churchw ardens of
Chesterfield and of Mr. Hardman , w h ich w ere i l lustrated in yourlast issue, seem to have been of a type very common in theM iddle Ages . Another example from Lamport Church wasexh ib i ted at the Church Congress in 1919. The only greatd ifference betw een th is and those prev iously men t ioned is thatthe branches carrying the figures of the Blessed Virgin andSt . j ohn grow ou t of the ma in stern below the low est embleminstead of above i t . St il l another example, though less perfec t ,was loaned to the Church Congress Exhi bit ion last year by theSoc iety of An t iquar ies . In the S t . W ill iam w indow at York(6 . 142 1 ) Archbishop W ill iam is shown rece iv ing just such anothercross . The des igner of the w indow has been at as great pa ins toshow the ferrule for the shaft and the knop above i t on the cross,as to represen t with correc t detai l the Lord Mayor of Yorkw earing the cap of Main tenance and the sw ord-bearer carry ingthe sw ord w hich waspresented to the c i ty by Richard I I , togetherw i th the r igh t to w ear the hat and bear the sw ord w i th po in terec t in the precincts of the m inster i tsel f. The economy inmak ing one cross serve tw o purposes was legi t imate enough ; bu tw hen the pract ice w as ex tended to prov id ing statues w i th tw oheads made to lift offand on so that one body did du ty for twod ist inc t personages , i t w as less defens ible . In 15 18 one W ill iamBronflet off Rypon Carvar agreed to carve “ a Georg Aponhorsebak ,
” copied from one in K irkstall Abbey . The figure wasto have tw o heads and three arms, ev ident ly in order that onoccasion S t . George m igh t for the nonce appear as St . M ichael .Beneath was to be “
A Conterfet te of Barres of hyrynoff temer(timber) no doubt pain ted so as to dece ive the unwary .
(Memorials of Ripon , Surtees Soc ., vol . iv, p.
Yours fai thfully,JOHN A. KNOW LES .
S tonegate,York.
The Protection of National Treasures.To the EditorofTHE ARCH ITECTURAL REV IEW .
S IR,— Ih V iew of the unspeakable horrors w h ich are in con
templation at Avebury and S tonehenge I am send ing you theprogramme of a Soc iety w hich may perhaps in terest you
,though
,
I think ,in I taly places l ike S tonehenge and Avebury w ould come
d irect ly under the I tal ian governmen tal superv ision of His
toricalMonuments. The v i tal importance of pu t t ing some l im i ton the destruct ion and ex i le of England’s treasures by the irow ners , w hether w orks of art or h istor ical places, I have spokenmany timesjabout to Engl ish p t o ,ple and they alw ays scoutedthe idea. The monstrous sale of the Pembroke armour onlyraised one protest by some Oxford professors (in The
too late to do anyth ing good or shame the Bri t ish publ ic intobuying i t for the nat ion .
Th is new I talian assoc iat ion for the protect ion of the landscape and of p ic turesquemonuments is not w i thout in terest I tappears to have struggled w i thout legal support ever s ince 1908— much l ike var ious analogous soc iet i es in England— but to havenow obta ined a legal status by a law guaran teeing such protect ion— and th is is w hat is lacking in al l the meri tor ious but toooften ineffectual English societies w h ich , w hen i t comes to thepo in t
,can only beg for funds to buy the s i te or the bui ld ing or
remains, w i th the prospect of be ing able to do noth ing bu t si tdown and w eep to see i t profaned.
W hat is wan ted is Law . How could anyone pro tec t an imalsor check fur ious dr iv ing without the lawAs to Avebury , absolutely unique in importance , I never metan Engl ishman w ho had ever heard of i t . Then whyrun afterKnossos or Tutankhamen
Yours fai thfully,
EVELYN MARTINENGO CE SARE SCO.
Palazzo Mart inengo , Salo,Lago d i Garda.The Programme runs as follow s
“Landscapes are the belovedfeatures ofthe M otherland.
THE NATIONAL AS SOCIATION FOR THE PICTURE SQUE LANDSCAPE S AND MONUMENTS OF ITALY .
ARTICLE S OF AS S OCIATION .
I . The Associazione Nazionale per i Paesaggi ed i Monumenti Pit toreschid
'
Italia, is formed for the purpose ofdevelop ing the w ork of illustrat ing,
protecting, and restoring the artistic and naturalbeauties of the nation.
2 . The head office is inBologna.
3 . The Association must alw ays remain absolutely unconnected w ithanypolit ical or adm inistrative questions and manifestations.
4. For the purpose ofattaining its object the Associationmust alw avsentertainthe most cord ialrelations w ith othernat ionalorlocal institutionshav inga sim ilaraim .
5 . Members w ill be entitled to receive the publicat ions of the S ociety,
to participate in the trips, excursions, and V isits w hich w ill be organized ,
and to enjoy the facilities w hich w ill be given them to that effect by theManagement . Theyw ill also be ent itled to the Society'
s badge.
6 . There are tw o Classes of members : honorary and effect ive lifemembers. The honorarymembers w ill pay L . I oo
, and the effective lifemembers L . i o once only.
7 . Members w ill be accepted bythe Management .8 . For the management of the Society the members w ill elect a Board
ofDirectors of I 5 members, w ho w illd iv ide the offi ces amongst themselves.Three aud itors w illalso be elected w hose offi ce w ill be that ofsupervisors.
One third of the Board ofDirectors w ill be replaced everyyear. Retiring members may be re-elected . The aud itors must also be electedeveryyear.9 . I t w illbe the dutyofthe Board ofD irectors to dealw ith the develop
m ent of the w ork w ithin the scope of the S ociety'
s aim ; i t w ill have thepow er to leave the actualw ork to anExecutive Council, to appoint representat ives to assist in the w ork of propaganda, organization,
ind ication,
and inventory of art istic and natural beauties, superv ision, etc oneProv incial D irector in everyprovincial capital, one CountyCouncillor inevery cap ital of counties, one District Councillor in every chi ef localityofd istricts.I t w ill be empow ered to frame the various Rules, to appoint specialW ork ing Commit tees, to approve balance sheets inconjunctionw ith theauditors.
10. For the purpose of the actual w ork each prov incial cap ital w ill beprov ided w ith a Prov incial Council, composed of the Provincial D irector
,
CORRE SPONDENCE .
AN ITAL IAN BUREAU .
at auction, although he himself d ied practicallystarv ing.
w ho w ill he chairman, and of the County Councillors. The ProvincialCouncil w illmeet each t ime the Director w ill deem i t necessary, or ifonehalfof the Councillors request i t .
I I . The Board of Directors may refund the expenses of the ProvincialCouncils, if the said ex nses have previously beenapproved .
I z . Everyyear the rd of Directors w ill call a meeting of t he Pro
vincial Directors to d iscuss the programme of the w ork .
I 3 . The Board of Direc tors w ill be emp ow ered to calla meeting of the
members w henever theythink it advisable , and w ill have to issue a reportonthe w ork everyyear.
I 4. Members' votes w ill be valid ,
w hatever the number of memberspresent mayb e
. bu t members must receive the notice. together w ith theagenda, one month before voting takes place . Voting w ill be done onforms w hich W i ll be sent to all the members. The aud itors w ill act astellers.
The d issolutionof the Associationcan only be decided byanabsolutemajori tyofall the members,
w ho w ill also decide on the ultimate use of
the funds available.
Applications for membersh ip to be sent to the Association, NO. 2 ,V ia
Orefici . Bologna.
S ubscriptionfor effective life-members I I0 (Ten) .S ubscript ionfor honorarymembers 1 mo (One hundred ) .The Society'
s Badge maybe obtained bysending anextra Ten Lire tothe Head Office.
A Three—Month C lock byThomasTompion.
To the EditorofTHE ARCHITECTURAL REV IEW .
S IR,— l have read w i th interest .\lr. Ccscinsky'
s remarks in hisart icle in your curren t issue on the number w h ich appears onthe face of th is clock
,becaus e I have a Quare clock w i th an arched
dial and domed hood ,of probably a year or two later than the
Tompion referred to,w h ich also bears the maker's name in a
lozenge and has the number 89 .
I have never seen any o ther Quare clock w i th a number , andi t is perhaps more than a coincidence that both these clocksshould have arched d ials , the bulk of the maker's w ork be ingin square d ials. In V iew of th is Mr. Cescinskymigh t care tomod i fy his opin ion as to the possibili ty of the number hav ingreference to the departure from the Old trad i tion .
Yours truly, S .
AN OLD OAK CUPBOARD .
T hese pie ces w ere originally in the CollectionofMr. R. C. j ackson, the Camberw ell recluse, w hose treasures realized over 5
The Camberw el l Recluse.
To the Editor ofTHE ARCH ITECTURAL REVIEW .
6 New SqLincoln 5 Inn .
Yours fai thfully,
FRANK NASH.
S IR,
— ~ So much publ ic in terest has been taken in the strangel ife of the late Mr . R. C. Jackson (the Camberw ell recluse) , w hod ied recen t ly leav ing two p ic tures to the nat ion w orthnow hanging in the Nat ional Gallery, and w hose treasuresreal ized over at auc t ion , although he h imself w as praet ically starv ing and had bu t 5s. in the bank , that perhaps i t
m igh t interest your readers to see tw o photos of tw o of thecho icest pieces of furn i ture w h ich he had in h is collect ion
, andw h ich I was fortunate. enough to secure at the sale held at h ishouse last July .
The I tal ian bureau , w h ich probably has no equal in th iscoun try , is a w onderful example of I tal ian w orkmansh ip , be ingin solid ebonyexqu is i tely inlaid ins ide and out w i th ivory I tstands 9 ft 6 In. h igh by 5 ft w ide The brass key plate Is intheform of a coat of arms surmoun ted by a crow n .
The con trast betw een the above and the old oak court cupboard is in terest ing , w h ich al though oi an en t irely d ifferen tdescript ion is none the less charm ing. I t was, accord ing to theauct ioneer s catalogue , or iginally In the Oat lands Park (Surrey)res idence of Queen E l izabeth I t has three beaut iful ly carvedfigures of the Madonna type on the upper port ion
, w i th threecarved heads in the corn ice , the centre one be ing that of a crow nedfemale w i th two male. heads , one on e i ther s ide . I t is in anexcellen t state of preservation , and unl ike so many of these oldpieces
,does no t appear to have been renovated or touched from
the. t ime i t was made.
Exh ib i t ion s.
THF. MANSARD G.—Thi ‘ exh ibi t ion of the London Group
now being held inth is gal lery is a depress ing show i f one takesi t too ser iously , bu t one does not do so any longer. There wasa t ime w hen an exh ib i t ion by th is group of art ists was an even tin one 's art ist ic exper ience , bu t as t ime passes a bet ter sense ofproport ion or sense of humour having developed , one is savedfrom excess ive. laudat ion of movemen ts w h ich are. really only ofinterest to the few inside them w ho cannot see any farther thanthe r estr icted r ing of the ir ownc ircle.I t is real ly remarkable the manner in w h ich certa in members
of the London Group del iberately p erver t and contort intoh ideous shap es that wh ich inNature is beau tiful and expressive .The apparent absence of sel f-cr i t ic ism i i i these art ists enablesthem to be sat isfied w i th the most rud imen tary and inexpressiverecords of fonn , and under the ir hands a nude figure becomessometh ing less beaut iful than a sack of coal— w h ich is
,at least
,a
symbol for someth ing One m igh t w ell say of these art ists thatw h ich Hamlet said about the act ing of certain actors , that onew ould hav 1 thought that some of \ a ture ’s j ourneymen had mademen , and not made them w ell , they im i tated humani ty so abom inably To forestall any remark that i t is no t th is group 's aim toim i tate humanit3 , we w i ll subst i tute the w ord ‘
intetpret .’ Bu t
let t ismove on and cons ider the works of some of the more normalof the memb ers .Mr. j ohn Nash , who for a long t ime has been w ork ing along
defin itely ind iv idual l ines, has at last succumbed to the influence.of Cezanne,
wh ich is very apparent in h is “House and Garden "
Ow ing to th is influence h is style has become looser , and theprininess wh ich was formerly the ch ief charm of h is w ork has d isapp eared . W e may look for further developmen ts later on,
andi t wil l be intenest ing to see how h is w ork evolves. Any way ,
i tis to h is cred i t that he is wi l l ing to break up h is style in order tor efor m i t in some new d irect ion . and th is w i ll possibly save h isw ork from becom ing stereo typed in method .
Mr. Al lan W alton show s two paint ings Dan ish Lanscape.(27) and
“
Dan ish Inter ior " (30)— w h ich are simple. in treat men tand set down withou t that too obv iously preconce ived at t i tudetow ards Nature w hich so many members of th is group assume.Mr. Malcolm M ilne is ev iden t ly at presen t 1mder the spell of
Mat isse , and his two w orks—w slxc ially the v iew from a wi ndow(rd— somew hat feebly suggest s im i lar w ork by that art ist . H is“ Flow ers (14) is very clear and pleasant in colour. but th in inqual ity and lacking in body. Th is sense of body is present inMrs. Venessa B e
'
sll Glob e Art ichokes bu t i t is ra therdreary incolour.Mr. W alter S ickert 's La l’olletaise (to) , though not a very
at tracth e type of p erson , show s h is know ledge of form w h ichgives certainty to the draw ing.
“ St ill Li fe (76) by Cyr il Cole , is , p erhaps. the mostsound and sincere piece of paint ing show n here by any of the.younger men The various pla nes of l igh t have been e\ ceedinglyw ell r endered . I f there. is any faul t to fi nd i t is in the colourw h ich is monotonous , and the method of paint ing is a l i t t le toosl ick . But i t is a very prom is ingw ork all the same .THE au uxE CLt
‘
B l‘
rank Morse Rummel 's artsuflers from a surfe i t of cle\ erness He handles paint too eas i ly ;he does not seek deeply because th ings come too easi ly to h imIf he could only stay his hand and p onder more over his subj eei shis work w ould gain in we igh t and character ; at presen t he istoo easily pleased But his greatest w eakness is in h is drau 111w hich 15 much too trite , and done 111 such a mannered st3 le that i ihas become au toma tic , so that , for example. the ch aracter of aneye— w hether of a young w oman or of an old man— has beenreduced to a summarystatemen t of a shap e appro.\ in1at ing thatofa tri angleI n all his figure w orks a sense of const r uct ion is lack ing
,and
the complex ions for all his portrai ts have be en reduced to afom i ulaof3 ellow ish pink ina very high key As a mat ter of fact
,
“r. Morse Rummel has been compelled by the logic of h is Ravuoso Mclxrvmz.
schemes of colour to force all h is work into a ve ry h igh key,and
al t hough there is a certainamount of charm abou t th i s met hod i tdoes not solve any problem , bu t simp ly evades t he problemswh ich are inseparable from t he desire to express form . For t hi sreasonh i s work i s thinand pape ry inquali ty.I t i s ev ident that landscape comes mos t w i t h in the range of
t h i s art i st ’5 capabili t ies, as th is subj ec t gives scope for h is freehand l ing of paint w i t hou t doing v iolence to natural forms . I t 15when he paint s , shall we say , “ c lose-ups " of persons that hi slack of a sense of drawing and const ruc t ion becomes g laring lyapparent . Th is weakness shows very much in h is woodcu ts
,
wh ich appear to have no defini t e conscious intent ion bu t formsare guessed a t in the hope that t he result ing effec t will give t heart i s t some th ing of the impressionhe has bu t too vaguely heldin thought .At a firs t g lance one is incl ined to t hink that M r. Morse
Rummel ’s work i s very decorat ive— and i t i s so ina degree — bu tas one becomes more acquainted w i th i t , i t is seen to be notsuffi ciently cont rolled , and thus has not that sense of defini ted irec t ionwh ich shou ld be present inall work if i t i s to have adecora t ive va lue.S ome of t h i s art i st ’s landscapes have a sparkling quali ty :especially is th is so inh is paint ing of “ Mehavn”
rm: corswou ) GALLERY .— The third annual exhi b i t ion ofwater-colours by Co tswold and o t her art i st s held in this gallerywas soo th ing. Everyt h ing abou t thi s gallery— t he pictures andt he gal lery i t sel f— seem to be inm iniature. Some of the p ictures— notably t hose by Mr . A lexander Russell— are almost of t heright proport ion to place on the wall of an average—sized doll ’shouse . Th i s art i st ’s work has a prec ious charm ; he is ableto convey so much ona few inches of paper, and he pu ts muchcareful though t into i t ; bu t i t i s inno sense l aboured , althoughi t i s so fu llof de tail, because one feels i t is a labour of love .M r. W . Rothenstein
'
s drawings (18 and 2 1 ) do not seem tode termine anyt hing . They may be useful data to ass is t hismemory , incons truc t ing a paint ing , bu t they are not suffi ci ent lyint eres t ing th ings in themselves .Mr.Charles M . Gere and M rs . Ge re show work that i s individual,
and i s not involved inthe snarls of anypart i cu lar school .THE MACRAE G.
-\LLERY .— The exhi b i t ionof works by themembers
of t he Colour \Voodcut S oci ety , held int his p leasant l i t tle ga llery ,gives one some idea of t he interes t now being tak enby arti st s int h i s med ium of art is t ic expression. Much of the work is welldone , bu t few of t he exh ib i tors seem able to keep j ust wi thin theboundari es of the craft ei ther t hey try to express too much ort heir work i s emp ty . Someone once said that i t i s not w ha t isleft ou t of a pict ure that counts , bu t w hat is pu t into i t . Intheart of woodcu ts inco lour , grea t experience has to be boiled downinto a simp le arrangement of colour and mass wh ich will containinside i t t he evidences of that experi ence . One feels that a grea tmany of t hese arti st s, though promising fu ture achi evement , ares t il l too inexperienced to be able to exp ress very much at present .Among some of t he mos t promising is the work of Miss May
S heldon her Theat ri calS cene (2 ) is very pleasant and playfuLbu t rat her scat tered in des ign. The King of S pain" (5 2 ) isfantas t i ca l and show s imaginat ion. M iss Edi th M . Richards
’
s“
Oranges (28) i s good , and perhaps more in the na ture of awoodcu t thananyof the ot hers ; bu t the oranges overpower thepictur e and t hrow i t ou t of balance . Besides, they do not somehow suggest oranges bu t the landscape part is very well put in.
MB F. C Aust enBrown shows work well carried ou t and goodin design,
bu t too pre t ty In fac t , th is is a faul t di scernible inmuch of the.w ork exh ib ited : that i t is too pre t ty , and lack s tha tsense of convi c t ion that the wood is the only thing tha t canproperly render the. parti cular work involved. In many casesthe exh ib i ts might j us t as well— ifnot more fitlyg have beenrendered inwater»colour.
Recent Books.
A H istory of the Renaissance S tage.
THE “TRAGICALL SCENE IN S ERL IO’
S THE
S ECOND BOOK OF ARCH ITECTURE ”
(ENGLISH
TRANSLAT ION) , 1 6 1 1 .
(From S cenes and JVlachines on the English S tage.
S cene. and Machines on the Engl ish S tage During the Renaissance.
ByL ILY B . CAMPBE LL . Cambridge Universi tyPress. 1 5 5 . net .
Just now,whent here i s so much loose t h ink ing and loose talk ing
abou t mat ters connected wi t h stagecraf t unbacked by a foundat ionof h is torical knowledge , t he appearance of a real ly scholarlybook i s immensely valuable . Th i s book , although publ i shed inEngland , i s t he work of anAmerican, and perhaps t h i s is as i tshou ld be
,too
,for much of t he loose talk of wh ich we comp lain
emanates from t hat same country .M iss Campbell's aim i s to show that t here i s a natural and
logi cal cont inu i ty in s tage development , hav ing i ts incep t ion inI taly in t he fi fteent h century w i t h the dawnof t he Renaissance ,and spreading gradual ly over Europe . A hundred years havepassed since t he Malone-S teevens cont roversy of wh ich thefundamental quest ionwas whe ther scene ry— a scene according toMalone’s defini t ion being “ a paint ing in perspect ive on a clot hfas tened to a woodenframe or rol ler — was knownont he Engl ishs tage before t he Restorat ion. S ince t hat t ime animmense amountof new material has come to l ight , and an immense amountof research has beenunder taken. Ofall t h is M iss Campbel l hasavai led hersel f
,si ft ing , weigh ing , and col lat ing t he ev idence .
The resul t of her labours is as conv incing as i t is interes t ing .For t hose who are altoge t her unacquainted w i t h the h i storyof s tagecraf t t he two ou ts tanding fact s w ill be t he early and persis tent use of s tage mach inery and dev ices (mach inery was , ofcourse
,used by t he Greek s) . and t he impor tant par t played by
arch i tects . Indeed,V i truv ius
,t he fat her of modern architec
ture,i s also , and perhaps evenmore emphat ically, the father of ’
modem stagecraft . Those who are fami l iar w i t h “De Architec
tura ” w i ll know that a considerable port ionof Book V i s devo tedto t heat re bu ilding , and Book X to mach inery , including s tagemachinery . M iss Campbel l knows every edi t ion of V i t ruv ius :Sfiififfié
‘
35521
3?2?33?1
31221
32256
if? $1535 THE SATIR ICALL SCENE IN SERL IO'
S THE
accep tance,an inev i table seque l of wh ich was t he study of per S ECOND BOOK OF ARCH ITECTURE “
spective ; a s tudy wh i ch cu lmina ted in t he famous “Architet (From S cenes and M achines on the English S ta-go.
tura of S erl io , w i t h i ts t hree drama t ic orders — the “ Tragicall
,t he "Comicall, and t he Sat iricall.
I t mus t be remembered t hat at t h is t ime dramat i c performances, l ike arch i tecture i t sel f, were dependent upont he patronageof noblemen
,t he publ ic theat re w as almos t unknown,
and S erl iowas concerned w i t h performances innoblemen
’
s houses . Moreover
,bot h V i truv ius and S erl io being arch i tects , t hei r scenes con
s is ted for t he mos t par t ins ta t ic. arch i tectural se t t ings , carefu l lycons truc ted according to the newly formu lated laws of perspect ive
,toge t her w i th t he mach ine ry , a classical legacy, for t hunder
and l ightning , and for bringing onthe gods . But various mo t iveswere a t work wh ich modified t hese se t scenes . There was thedesire for veris imi l i tude
,a desi re. as acu te as that of any late
nine teent h-century real is t , wh ich led to experiment s in scenechanging , and a t once t he supply created t he demand , so t ha tt hese ari s tocrat i c audiences took a ch ildish del ight incurious andmagnificent spec tacles , in changes of scenes , and in intricatemechanical dev ices . The absurd gro t toes , fountains , and mechanicalfigures a t Hei lb'runare bu t a mani fest at ionof the samedesire for t h i s k ind of amusement . Th is demand naturally ledto t he scenic ar t i s ts improv ing thei r me thods (and as t he ir patron’spurse was at thei r disposal t hey were not res tricted by considerat ion of expense) . The scena versatilis, the adap tat ion of theGreek periaktoi , was defini tely abandoned for t he scena ductilis,by means of wh ich flats were drawn off in grooves reveal ingo thers in t hei r place . The idea of a curtain to mask t he changeseems s trangely enough not to have occurred to these experimenters
, and many are t he dev ices to d ist rac t t he at tent ionoft he audience . S ome of t he mos t amusing , and at the sam e t imemos t crude
,are t hose propounded by Sabbat ini . I t i s sugges ted
t hat “ someone a t t he back of t he room may at trac t at tent ion toh imsel f by disorderly conduc t , or t here may be a pretence t ha tpar t of t he spec tators ’ seats have fallendown. Ordrums may bebeaten and ins t ruments sounded . S uch a lack of ingenui tyappears anomalous when compared w i th the prodigal display oft hat qual i ty inthe arrangement and conduct of t he scenes themselves . However , Inigo Jones was more, equal to t he task ; t ruehe had had t he benefi t of a vas t amount of accumu lated experience
RECENT BOOKS .
from h i s predecessors in al l mat ters connected w i t h s tagecraft ,and t he movable scene w as t hen thoroughly es tabl ished inEngland . Th i s is an account of Daniel ’s “
Te thy’s Fes t ival,or
t he Queen's W ake,performed at W h i tehal l in 1610. The firs t
scene is “ a port or haven,wi t h bulw orkes at t he ent rance and
t he figure of a cas t le commanding a fort ified towne w i th in th i spor t were many sh ips , sma ll and great , seeming to l ie at anchor ,some meerer
,some fart her off, according to perspec t ive . Th i s
i s t he change of scene : Fi rs t , at t he opening of t he heavens ,appeared t hree ci rc les of l ight s and glasses , one w i th in ano ther ,and came downe ina s traight mo t ionfive foo te , and thenbeganto move ci rcularly ; wh ich l ight s and mo t ionso occupied the eyesof t he spectators , that the mat ter of al tering the scene wasscarcely discerned ; for in a moment t he whole face of i t waschanged , t he por t vanished , and Te thys w i th her nymphesappeared in t heir severall cavem es, gloriously adorned ."Alongside t he classical influence of presentat ional methods
,an
influence being s teadily moulded for t he requirements of the age ,was t he class ical influence of presentat ional mat ter . The
_
Aris
totelianunifi es of t ime and place were debated and argued w i t hthe u tmos t seriousness and the employment of not a l i t t le soph ist ry . Eventually t he class ic uni ty had to be abandoned l i t t le byl i t t le , and among t he ch i ef apo logi st s for th is iconoclasm wereDryden and Dacier. Great , too , were t he discussions wh i chraged abou t t he quest ion of deat hs “
on or o ff ” t he s tage .The E l izabe thans were dubbed barbarous for thei r frank displays ,wh ich , of course , were ent irely contrary to a classic precedentt hat neveradmi t ted of deaths on, and t he. suscept ib i l i t ies ofthe French academic school were clearly shocked by t hese barbarisms. Eventual ly for a t ime a compromise was effected by t heuse of discoveries, a dev ice , by means o f wh ich ,
murders and suchl ike horrors were commit ted to t he accompaniment of reali st icnoises beh ind a scene wh ich was p resent ly drawnaside revealingt he corpse or the mang led remains of bu tcheries to a del ightedaudience , doubly pleased at being able to feas t their eyes onascene of gore , the ac tua l product ionof wh ich they had not beenforced to w i tness , and so ou t rage thei r inte llectua l professions .I f we have one crit ic ism to make ofMiss Campbe l l 's work i t i s
t hat i t seems to slur over t he trave ll ing stage and t he theatre o ft he inn-yard of the sixteent h century . Almos t her only referenceto Burbage is a presumpt iont hat he mus t have beenacquaintedw i t h the V i t ruv ian theories of t he day . I t would seem to usra ther t hat from t he firs t springs o f t he Renaissance inI t aly thesubsequent course of t he t heatre i s under t he care ofnoble pat ronage . La ter , however , t here developed , and ran coincident , bu tindependent , the simpler stage of t he people , the courtyardt heat re . Int he e igh teent h century t he two were qui te defini telyamalgamated , and grew into the publ ic theat re as we know i tto-day .I t i s qui te impossible insuch a short no t ice to do j ust ice to t heimmense erudi t ion, scholarsh ip , and research of Miss Cam pbel l ’sbook . W e have no hesi tat ion in recommending i t , not only toallwho may be interes ted in t he h is tory of stagecraft , bu t also ,since i ts t heme runs paral le l to t he mainarch i tectural current oft he Renaissance inI taly
, France , and England , and since onemanwas often an exponent in bo th arts , to every arch i tec t whoseinteres t extends to t he h is torical deve lopment of h i s art .
H . J . B.
Books of the Month .
TOW N PLANN ING AND TOW N DEVELO PM ENT. By S . D .
Ansueao . London: Methuen. Price ros.
LOND IN IUM : ARCH ITECTURE AND TH E CRAFTS . By W . R .
LETHABY . London : Duckw orth . Price 1 2s. txl.
THE ROAD. ByH ILAIRE BE LLOC . Publ ished byCharles \V. Ho ls-son,
forThe Brit ish Reinforced Concrete EngineeringCompany.
W ES TM INS TER ABBEY : THE CH URCH , CONVENT, CATH EDRAL ,
AND COLLEGE OF S T. PETE R,W ESTM INSTE R . ByHE RBE RT
FRANCIS \VE S TLAKE . London: Phi l ip A l lan.
THE S ERVANTLES S HOU S E .
The Country L ife Library.
VOL. LlV -U
By R. RANDAL PH ILLIPS . London:
19 1
The House W e ught to Live In.
The Ho so W e Ought to Live In. By JOHN GLOAG andhIANS FI E1.D , London: Duckw orth Co. Price 7s. 6d .net .
There is certainly a dangerous tendency to-day to disal low forthe diversi ty of human nature . I t i s t he danger t hat bese tseugenics and i t i s the danger t hat bese ts town planning ; andwe fear that the au thors of t h i s book have not escaped i t .Ac tual ly i t i s as impossible to prescribe a general type of housefor mank ind as i t i s to prescribe a general type of c lothes
,or a
general way of doing the hair, or even a general occupat ion.
Ye t we know there are ent husiasts who seek to do al l theseth ings . Some wou ld have us dress in a rational uni form andshave our heads '
(so much more sani tary Others wou ld have usall back to t he land .
”
And i t wou ld seem t hat there are s t i l lo t hers who wou ld have us l ive in houses that unpleasant ly re ~
semble sanatoria— heal thy enough we admi t . As a mat ter offact there is far more diversi ty , bot h intype and inequipment , int he medium—sized house to-day t han t here has ever beenbefore .The composi t ion of a household , the occupat ion of i ts variousmembers
,the avai lable publ ic suppl ies , are al l factors whose
influence to-day is far more po tent in de term ining t he plan,
appearance,and equipment of a house than t hey were even ten
years ago .Even t he au thors ' concept ionof the planof the perfec t houseis not w i t hou t i ts fau l ts . The posi t ionof t he staircase i s unsat isfactory
,as is i t s cons truct ioninone long , st raight fl ight of some
four teens teps . A s taircase shou ld be one of t he mos t beau t i fulfeatures of a house ; designed int h i s way i t never canbe . And thel ight ing of i t
,too
,i s not good . The au t hors s tate t he necessi ty
of not wast ing space in landings and passages , ye t on the firs tfloor t hey are compe lled to waste some 25 sq . ft . to obtain l igh tthat w i l l then be insuffi cient for thei r s taircase , and althoughthey labe l th is space l inens tore (the owner of t he house mus t bea frequenter of “ wh i te sales i t i s actual ly no t h ing of the k ind .Nei t her i s i t sound const ru ct ion to be compel led to carry two oft he four ou ter walls on the firs t floor on bressummers for t hei rent i re length .
However , apar t from t hese defects t he book contains muchsound adv ice . The sect iononfit ted furni ture , and some of themat ter re lat ing to t he k i tchen,
i s part icularly va luable ; al thoughhere t here i s a tendency to over-organiz e . American businessme thods of effi ciency are obtaining too much prominence inevery sphere of l i fe . Efficiency is not t he u l t imate goal of man’sact iv i ty . The book i s l iberal ly i l lus t rated inpen-and-ink by M r.A. B. Read, many of whose ske tches are first-rate examples ofclear and del ight fu l penmansh ip.
Printing.
The Year-Book of the London S choo l ofPrinting and Kindred Trades.London : 61 S tamford S treet , S .E . 1 . 19 23 . 4to, I l lus. W rapper.The old school of print ing at S t . Bride ’s Inst i tu te is now housed
inroomy premises wh ich s t i l l do not prov ide room enough for thedemands made uponthe school , wh ich had some indiv idualstudents las t session. I f anyth ing cou ld prove t he value oftechnicaland trade educat ion i t is the year’s record of work j usti ssued . Th i s Year-Book is se t up in type by the s tudents andprinted by t hem , as we l l as t he various i l lustrat ions wh ich go w it hi t , for t he schoo l does not confine i ts act iv i t ies to typography ,being concerned w i t h the mak ing and print ing of l i t hographs ,photo-l i thographs
, and col lotype , as also w i th the designing ofadvert isements. In t h is excellent volume there are examplesof all these kinds of work , and to give i t anexterior interes t , S irJames Barrie’s address at S t . Andrew’s on Courage is includedThi s , and the admirable handmade-paper etch ing prints byHanslip Fletcher , make the volume d esirable qui te apar t fromi ts great interest from the technical point of v iew as print ing.A fine reproduct ion of t he S tat ioners' Company’s Medal is alsoinc luded , as w ell as a good colour-reproduct ion of a portrai t ofH erbert Fi tch , the Master of t he Company. As further ev idencesof the h igh qual i ty of t he work an i l lustrated lecture onChristopher Plant in,
by W . T . F.Jarrold, and a sermonon Patriot ismby Prebendary Hobson, have been i ssued by the school . Theprincipal is J . R. Riddell , and the president Lord Riddell , andt he school 's act ivi t ies are bound to resu l t in a defini te improvement in commercial print ing .
to: THE ARCH I TECTURAL REVIEW .
A \VALNUT S ETTE E (6 . 1 7 1 5
(From“ English Furniture.
Engl ish Furniture.
Engl ish Furni ture . ByJOHN C. ROGERS , 2 1s. net . CountryL ife Offi ces. 19 2 3 .
The fact t hat Mr. Rogers is a young manand t hat t h i s i s h i sfi rs t book i s all to h is cred i t , bu t i t lends an addi t iona l grace tot he almos t fat herly foreword of M r . AvrayT i pping (h imsel f oneof our mos t cultured wri ters on t he subj ec t of Engl ish domes t i carch i tecture and furni ture) , wh ich preludes M r . Rogers’s book .
I t i s by way of the friendly hand ont he shou lder from t he ve teranto the young warrior . H is assis tance int he way of proof-readingand adv ice i s not iceable here , although M r . Rogers i s qu i tecapable of fight ing h i s bat t le unaided . He has the t raining of thearch i tec t (Wh ich i s not disadvantageous , to say t he least ) , andhe knows h i s subj ect , bo th from t he hi stori ca l and t he techni ca lsides . Many of t hese technica l incursions , to wh ich wri ters onEngl ish furni ture are so prone , are oftenmerely i rri tat ing , notonly because t he info rmat ionwh ich i s conveyed is , too often,
i l ldigested by t he wri ter h imsel f , bu t also because t he at t i tude is sooften adopted of despising the cab ine t-maker as a mere workman
,
" forge t t ing t ha t ifhe does not know h i s t rade t henno ou ts ider can. Those who refuse to descend from thei r proud eminenceto learnat t he hands of t hese mere workmen” be t ray t he superficiali tyof thei r knowledge in eve ry sentence wh ich they wri te .The au t hor here has learned at firs t hand , and in a prac t icalmanner ; he has entered into t he field of technique , and hasemerged w i t h success . No angry cab ine t-maker can t h row ab i lle t at h im for h i s presump t ion.
I t i s by way of being a dub ious comp l iment , bu t t he mostadmirable faculty. w hich Mr. Rogers possesses i s t ha t of compression. In an oc tavo volume of less t han 200 pages he haspacked a h i s tory of Engl ish fu rni ture from t he m idd le of t hefi fteent h century to the end of t he eigh teent h ; no meanach ievement ini tse l f , bu t event henhe has found space for several pagesof very,
informat ive cons t ruc t ional diagrams . Th i s faci l i ty forext ract ing the marrow of a subject .and j e t t i soning the dry bonesi s one to be env i ed .The book i s d iv ided into the now fami l iar t hree periods— ofoak
,
walnu t , and mahogany— and t here are i llus trat ions inp lateform and s ixteen, inc luding diagrams , in t he text . The greater F INE EXAMPLE OF A W INGED ARMCHA IRnumber of t he examples are new to books of . t h i s k ind , a welcome
UPHOI STERED IN DAMASK (C 1 680)change from so many of t he weary hacks wh ich have canteredagainand againa t t he touch of a new wri ter's wh ip and spur .As I expec t t ha t t h i s book w i l l l ixe to see i tsel f in a newedi t ion, I shou ld l ike to submi t a few cri t ic isms for t he au thor'sconsiderat ion. Many of t he dates he gives , especially of t he (From
“ English I’um ilum .
The scrol l legs w ith narrow turned tops ind icate that the chairbelongs to the closing years of Charles ll's reign.
pro-Renaissance work , appear to me to be much
too early . Thus t he s tand ing cupboard in t he V ictoria and Albert Museum (Fig. 5 in t he book) is notGo t h ic , bu t a t ravesty of t he sty le , such as onewould expec t after t he dissolu t ion of monas teries(wh ich commenced abou t 1 5 36) had scat tered t heformer cul ture , clois tered w i th in the walls orunder the shadow of some m igh ty abbey,abroad ,to roam t he h ighways or haunt t he th icke ts ofbroad England . I f t h i s be Got h i c of 1 500,
as t heau thor s tates , wha t of t he fine t radi t ions of Engl ishwoodwork of t he fifteent h century wh ich producedsuch t riumphs as t he rood screens of S u ffolk
,
Norfolk ,Devonsh i re
, and W ales , and t he font coverat U fford ? Tha t an inferior school of craftsmenarose abou t 1 5 5 0 we know . They are t he hue/liarsand t he arkw rights, who are ment ioned so oftenin contemporary records ; bu t that t hey cou ldhave ex i s ted side by side w i t h the h ighly-cu l turedj oiners and carpenters of the fifteent h century i smore t handoubt fu l .Mr. Rogers has t aken some of h i s h is toricalfac ts from o ther wri ters ; he could not w ell doo therw i se , but '
i t i s adv i sable to quest ion i f someof these have not been exploded since they werewri t ten. I speak as one who has been misled inthe same way . The old s tory of t he t ri ad of Ch i ppendales , Thomas I , I I , and I I I , t he first and second
194 TH E ARCH I TECTURAL REVIEW .
Survey and other Measuring Instrument
A CELE STIAL SPHERE : SOUTH GERMAN,
16TH CENTUR Y .Die Geachicbte derW iu enschnftlicbenInstrumente. ByALFRED ROHDE .
Leipz ig : Klinkhandt Biermann, Verlag, 19 2 3 . Sm . 4to . pp . v i ii+ 1 20. I l lus. 1 3 9 . Boards, z os. net .
S ome idea of t he beau ty of the work lav ished onast ronomica land horological ins t ruments was afforded inLondonlas t year byt he few examp les offered for sale by S othebys in t he Rosenhe ims‘ale . But l i t t le idea of t he extent of t h is prac t ice of beau t i fyingsc ient ific inst ruments had been obtainable unt i l t he advent ofth is remarkable volume of research and taste . The museums ofGermany have been overhau led and made to yield il lust rat ionsof t he work of t he ciseleur , t he chaser, the engraver, t he workerin mello and su lphur-cast ing— art in t he serv ice of science .Years mus t have gone to t he making of many of t hese exquisite astronomical, astrological, horological, and o ther instrument s of precisionfor t he measurement of t ime and i ts proj ec t ioninto eterni ty ; of distance and i ts proj ec t ion into space . Oldbooks have beenmade to yield t hei r i llust rat ionof t he me thodsof employment of these old inst ruments of science , and th i sadmirable treat ise affords an illuminat ing purv iew of t he pureand appl ied physics of t he period w i th wh ich i t deals— the be~
ginning of the Renaissance to the end of the eighteent h century,
whenmodernscience was abou t to be born.
The period was an ex traordinary one,redo lent of tru t h and
beau ty , and in t hese ins truments of precisiont he. two are al l ied ;t hey were for the purpose of ascertaining tru t h , and t hey wereadorned wi th beau ty. The l ives wh ich their owners l ived wereserene and lofty , apart from t he cries of t he market-place , t hel ives that Roger Baconand Paracelsus l ived , bu t w i t h the addedhumani t i es of Francis Baconand I saac Newton. Arch i tec tureand the sc ience of surveying inpract ice thenpossessed anaddedat tract ion in t he beau ty of the old inst ruments
,the compasses
,
the levels , the t heodol i tes . T ime-keeping was an art in i tsel f ,w i t h i ts ext raordinarily beau t ifu l inst ruments of measurement .Of t he lat ter , horiz ontal , equatorial , and r ing sundials and nigh tdials are i llustrated inprofusion
, and mos t of them are portable ,of most elegant designand decorat ionand perfect workmansh ip.Measures of space are hardly less beau t ifu l— d i rec t ly linear ,ci rcu lar, proport ional and reduc t ional , and t he horometricalinstruments are wonderfu lly various
,int ricate , and elaborate .
The beauty of t he surveying instruments proper is surprising ,
for some of t hem are ornamented not only w i t h convent iona lpat terns of great beau ty and taste , bu t w it h pictorial scenes andfigure subj ects . The astronomica l and astrological pieces aret he fines t of all; t he spheres , t he ast rolabes , and the quadrantst ha t superseded t hem
,seem to have been fabrica ted not ‘
onlyw i t h the greatest sk il l , bu t wi t h the greates t love by the variousGerman, French , I tal ian, and Engl ish craftsmen to whom t heywere due . A b ibl iography of over a hundred au thori t ies on thesubj ec t includes mos t ly Germanworks , bu t no Engl ish , alt houghbooks da t ing from t he year 1496 are noted .
The Beginnings.Die Kunst der Prim itiven. By H ERBE RT K i N . Munich : DelplimVerlag. Large 8vo. pp . 248. Co loured front ispiece and 2 14 i l lustrat ions
in colour, in hal f-tone and intext . W rapper.
No volume on prim it ive ar t has been publ ished t hat can becompared w i t h th is for comprehensiveness
, and,wi t h in i ts l im i ts ,
comp leteness . The i l lust rat ions alone are a compendium of t hesubj ec t , for t he front ispiece represents t he coloured fresco int het emple at Chi'ehen-I tza inYucatan, and ot her coloured plates t hewell-known b i son of Al tamira
,t he African bushman's antelope
,
t he rock figures of nort h-west Aust ralia , and t he animal frescoesof Tyre . The hal f-tone p lates represent t he whole of t he knownwork from t he crude scratch ings of the S tone Age to t he aecomplished bronzes of Benin, and are supplemented by t he usefu ldraw ings pr inted w i t h t he text . Very few sources of knowledgeon the subj ec t have beenneglected by t he au thor , and h i s b ibl iography is a formidable one,
running into no fewer thanth i rty-fourpages, w i th abou t th i rty works to t he page , most ly German, bu twi th a sprinkl ing of Eng l ish , American,
French , S panish andCatalan, I tal ian, Greek , and S candinav ian.
I t i s l i t t le to be wondered at that Gauguin fel t t he spell of t heprim i t ive , and pract i sed h i s art under i ts influence ; t hat othershave fel t i t too , t hose who have only studied i t inmuseums even.
Gauguins tudied i t at firs t hand , and despair ing of mak ing anewar t , re turned to t he elemental. The wonderfu l th ing is that indoing so he rediscovered t he elemental t ru ths . In a survey ofprim i t ive ar t such as t h is volume of Dr. Herber t Kuhn'srenders easy and comfortable , the great t ru t h emerges t hat ar tis a natural funct ionof manand animperat ive inst inct w i th h im .
Int he days of ar t schools and Lat inquarters , th is t ru t h is losts igh t of because ar t becomes anart ifice , a playth ing, an excuse .Palaeol i t h ic man had to draw inim i tat ionof the most wonderfult h ings he saw around h im , so had the bushmanof Africa , and theaborig inal of Australia. The menof the new S tone Age had tocarve t he horns and bones of such anima ls as came t heir way ; t heAfricanniggers had to make wood images t he menof t he BronzeAge,
their images of me tal ; t hose of S ou th America. images ofs tone t he dwellers inCre te , those of clay . Eve rywhere manfounda material inwh ich to express h is overw helming desire to interpre tNature . Indoing so he laid the foundat ions for t he art t hat wasto come , t hat of Greece and Egyp t , Rome and I taly generally ,of o ther count ries
,and in laying t hose foundat ions he bu i lded
bet ter t hanhe knew , for t he Aztec and t he Tol tec carved a headin.s tone of a man; t he Beninartificermade a head _
of a girl inbronze
,wh ich no subsequent scu lptor in Greece or elsewhere
has ever improved uponor surpassed , eveninrefinement of beau ty.In arch i tecture , too , t he prim i t ive has much to show ; the
wel l-known temples of earl ier semi-civ il iz at ions inEurope andAs ia and India , in Cambodia and Ch ina ; t he extraordinaryerect ions in Mex ico , in Maya , and in o ther parts of S ou t hAmerica ; arch i tecture there comb ined w i t h the sister ar tof scu lpture in a lav ish profusion, and in some cases allied w i t hprim i t ive science. Even in Scandinav ia , early man carvedwonderfu lly ingold and made h i s pat terns ou t of h is own fancy ,and establ i shed a defini te system of ornamentat ion, again, notto be improved uponby fu ture artificers. The prim i t ive po t tersof Knossos are be ing im itated at th i s day by t heir successors inGermany and Austr ia ; and the primi t ive dwel ler of Oceania , theNew Zealander , prov ides mot ives wh ich o therw ise wou ld neverhave beenevoked .One overwhelming conclusion shapes i tsel f as t h i s most sat is
fyingbook is read through , and that is t hat however modernconditions may tend to divorce art from l i fe , ar t is anessent ial andan aboriginal and an imperat ive mat ter to man, and canneverbe whollydivorced from humani ty . KINETON PARKES .
TH E ARCH I TECTURAL REV IEW .m
THE ARCH I TECTURAL REVIEW .
FORTHCOM ]
W oodcuts and Some W ords.W oodcu ts and S om e W ords. Bv E DW ARD GORDON CRAIG . London:
J. M. Dent .Mr. Edward GordonCraig , whose woodcu ts are to be found insome of t he bes t Engl i sh and Foreign col lec t ions , no tably at theV ictoria and Albert Museum inLondon, and the Ryks Museum ,
Amsterdam , i s giving us through Messrs. l M. Dent and S ons abook on h is experience as an engraver , i llus trated by sixty fu l lpage reproduct ions of h is cu ts , and w i th an introduct ionby MrCampbel l Dodgson,
keeper of prints and draw ings in t he Bri t ishMuseum .
No book by Mr. Craig canbe expec ted to be qui te free from al lreference to the t heatre , and t h i s volume is no except ion, fo r hetells us how the l i t t le craft of wood-cu t t ing has helped h im int helarger work to w h ich he has devo ted h is l i fe . The book i s to beent i t led W oodcu ts and S ome W ords . Besides t he ord inaryedi t iont here w ill be a smal l ed it ionde luxe of 160 copies , of wh ichI 50 are for sale .
Masters of Arch itecture.Masters ofArchitecture . Under the general ed itorsh ip ofS . C . RAM S EY ,
London : E rnest Benn.
The grow ing publ ic interes t in arch itec ture and arch i tec ts hascreated a demand wh ich i t is hoped th is series of books w il l helpto meet . They form an ent i rely new depar ture in arch i tectura lpubl icat ion. The obj ec t of each is to give by pic ture and pen astudy ” of each of the arch i tects who form t he subj ect of thed i fferent books . They inno sense pre tend to be ei ther a comple teb iography or a comp lete representat ion of all the work of thevarious ar t ists. The me thod adopted bot h int he prose and inthei llus t rat ions is essent ially select ive and cri t ical .Each book in the series w il l be i llust rated by some t h i r ty to
t h irty-five photographs preceded by a wri t ten int roduct ion orappreciat ionby a we ll-knownarch i tect who has made a part icu lars tudy Ofhis subj ect . The pho tographs have beenspecia lly taken
3 1111 13
A Comple te S eries
W ith theNos.Oand 1 siz es now ready, the series
of Ideal Britannia Boilers is complete , and com
prises 29 siz es rated from 280 to sq . ft. of
radiation, or215 to linealfeet of4-ih . pipe.
No. 0Britannia : Five siz es, w ith capacities
from 280 to 580sq . ft. of radiat ion.
No. I Britannia Five siz es, w ith capacities
from 650 to sq . ft. of radiation.No. 0 Bri tannia Boiler No. i Bri tannia Boi ler
w ith Jacket. w i thout Jack et
Both the Nos. 0 and l Boi lers can be supplied w ith sm ok e ou tlet at back or front , and the No . 1 inadd i ti on can be furnished wi th double fi re door .
The Patent Insulated Galvani z ed S teel Jack et i llustrated conserves heat and gives the boi lers a neat fini sh .
Offi ces, S how room s , W ork s : HULL ,York s. London S how room s : 43 9 441 Oxroan S TREET , W .l.
Te lephone : CENTRAL m o. Telegrams : RADIATORS , HULL . Telephone : MAYFAIR 215 3 . Telegrams : IDEALRAD, LONDON.
Agents inGreat Britaincarrying S tocks of BAXENDALE Co., LTD M i l ler S treet W orks, M ANCHE S TER.
i deal Radiators and " Ideal " Boi lers W ILL IAM MACLEOD Co., 60-64 Robertson S treet, GLASGOW .
NG BOOKS .for the series, e i ther by or under the di rect ion of M r. F. R.
Yerbury, who is probably one of our greates t l iv ing arch i tec tura lpho tographers .The fol low ing six volumes are in act ive preparat ion: InigoJones , by S tanley C. Ramsey,
“Hawksmoor
,by
H . S . Goodhar t—Rendel ; Vanbrugh , by Christ ian Barman,
edi tor of “Archi tecture “Chambers, by Trystan Edwards
,
M.A . Oxon. , A .R .I B.A. ; Bent ley,by W . W . S co t t-Moncrie ff
,
M.C., McKim,by C. H . Reil ly , M.A.
Cantab ., Professor of Arch i tec ture , L iverpoolUniversi ty . Crown 4to . E ach w i th abou t th i rty-five plates .Price approx imately 10s. 6d. a vo lume .Theoryand E lements of Arch itecture.
Theoryand E lem ents ofArchitecture . ByRom mrATKINS ON ,
Director of Education at the Arch itectural Associat ion S choo l of
Arch itecture , and HOPE BAGENAL , L ibrarian of the
Arch itectural Association. London E rnest Benn.
I t is ext raordinary how l i t tle during the las t fi fty years has beenwri t ten on t he theory of 'design in arch i tec ture . ProbablyGw ilt
’
s Encyclopzedia was the last book inEngl i sh inwh ich anyspace was devo ted to t h is subj ec t,and the s tudent inarch i tec ture
is oftenat a loss to discover anyre l iable data upont he subj ec t .It is from a knowledge of th is deficiency from many yearsexperience in teach ing arch i tecture that t he present volume hasbeenundertaken, and i t is hoped to cover eventually t he wholeground of designas appl ied to arch i tecture .The firs t volume of t h is work deals w i t h the commonvocabu laryof arch i tec ture , namely, walls , roofs , openings , piers , columns ,mou ldings
, and t he res t , and w il l also containchapters onornament and on sys tems of proport ion. The volume w ill be i llustrated,
and i s intended as a text-book for s tudents ; i t w il l formanint roduct ion to a w ider h is torical v iew of the subj ect of arch itecture wh ich w i l l be publ ished in two subsequent volumes.W h i le primari ly for the use of s tudents , the material gathered isl ikely to be of interes t to a w ider publ ic .
TH E ARCH I TECTURAL REVIEW .
Recent Excavations.The lectures on “
Recent E xcavat ions, given,
during thesummer by Mi ss Clai re Gaude t , w ill be repeated t h i s w inter onThursdays a t t he Bri t i sh Museum (by k ind perm ission of t het rustees) . The subj ect , as before , wi l l beginw i th the earl iestknownciv i l izat ionas shown by t he discoveries made w i t h int helas t few years inMesopotamia
,and w i l l inc lude t he excava t ions
a t Ur, and t h i s year 's work at Ki sh ,now known to have beent he
capi t al of t he firs t Empire in t he world ’s h i s tory , said to datefrom abou t B .C. The evo lu t ionof arch i tecture from t heseearly t imes unt i l the Romanand E arly Ch ris t ianperiods , show ingthe classical influence on a l l subsequent ar t up to t he presentday
,w i l l form t he basis o f t he lectures
,including whenever pos
sible t he art s and crafts of t he people . Further part icu lars may beobtained from the Hon. S ecre tary , 1 20 Cheyne W alk ,
Chelsea .
Goodw il l in Industry .The fol low ing are ext racts from a speech givenat t he Twel ft h
Conference of the Bri t ish Commercial Gas Associa t ion by theRt . Hon. J . R. Clynes , M.P. The speech has beenpublished bythat Associat ionand deserves w ide circu lat ion. Mr.Clynes saidI can see that am ongst ot her condi t ions of success for t he
indust ry at least three mus t find a prominent place . Fi rs t , thereis the level of generalnat ional prosperi ty ou tside secondly , thereis the degree of efficiency and t he quant i ty of t he ou tpu t from t hejoint energies of t hose concerned in the indust ry
,and t h i rdly
t here i s the maintenance of peace inthe indus try and t he spreadof goodw il l ini ts work ing . I do not th ink I am pu t t ing t he c laimtoo h igh when I say that in recent years a re lat ionsh ip betweenemployer and emp loyed in the gas indus t ry has beendevelopedwh ich i s as good as any to be found in the principal indus t riesof Britain. The leaders of t he men, I wou ld claim ,
are not unknownfor t hei r cu l t ivat ionof conc i l iatory and reasoning met hodsto adj us t di fferences wh ich inev i tably arise In t he earl ier yearsof our work , set t lements had to be made separately in eachtownand ineach c i ty
,bu t gradual ly t here grew up the recogni
t ionO i area standards and t he fix ing of part icu lar rates according
to t he siz e of the works and t he character and capaci ty of t heplant t hat was employed . These methods have cal led into beinga Nat ional Joint Indust rial Council. On the employers’ s ide ofth i s Counci l there are included t he represent at ives of CorporationGas Commi t tees and privately owned gas works ; on the men'sside t he representat ives are drawn from the Unions wh ich havegas workers
_
ih t hei r membersh ip . The Counci l operates th rougheleven regional counci ls wh ich cover well-defined areas in all
parts of Great Bri tain,and those counci ls have t he fate of t he
serv ice condit ions of gas workers in t heir keeping,and
ont he whole I c laim for them that they have improved the spiri tof co-operat ion amongs t emp loyers and emp loyed . But thecont inual use of th is new me t hod w i ll , inmy j udgment , requirebot h sides to explore the ques t ion of whe ther remunerat ionshou ld always be fixed in relat ion to some assumed s tandard oft he cost of l iv ing
,or be fixed on a basis wh ich wou ld raise that
s tandard and pay due regard to t he value of the labour perform ed .The mach inery for nego t i at ionand discussionis of the right k ind
,
and i f i t is r igh t ly used i t cango far to raise t he present level ofprosperi ty in every phase of gas product ion. The W h i t leyCounci ls were conceived in t he r ight spiri t , bu t i t i s unfortunatethat mos t of their work has had to be done under abnormalcondi t ions during the war , and s ince t he end of t he war. Anindust ry l ike that of gas product ionis subj ec t to seasonal changesand to new me thods of product ion,because of development andinvent ions wh ich int roduce improvements . These cond i t ionsgreat ly increase t he reason for t he management and t he menwork ing together for mu tual advantage . I f, however , on t hepart of the men, t here i s ever an inc l ina t ionto sh irk ,
t here i s nowno room for it
,. and i f ever onthe par t of the management t here
is a tendency to oppress , t hey w i ll be rest rained _byt he fac t t hatoppress ion is certainto be resis ted . Onthe whole ; t he gas indus
t ry has beenless subj ec t to s toppages of work and dispu tes t hansome o ther occupat ions , and the be t ter use of theW h i t ley Counci lsmigh t well increase t h is good fortune . Conv ict ions and principlesin relat ion to a soc ial order or to t he basis onwh ich indus trygeneral ly ough t to be conducted need not be forfe i ted by ei thers ide inthe endeavour of bo t h s ides to make the bes t , for t he t imebeing
,of condi t ions as w e now have t hem . Co—operat ion for
(Continued onp. x lvi , )
TH E“
ARCH I TECTURAL REVIEW .
CompanyLim ited .
DL5 3 BROUGHLONDONZ 4 CENT
THE ARCH I TECTURAL REVIEW .
immedia te good results is not h ing more t han t he appl icat ionandpract ice of that qual i ty of commonsense of wh ich , inprivate l i fe ,everyone claims to possess a share . The employers ingas manufac ture canbe cert ainof a greater degree of co—operat ion if t heyare w i l l ing to pay t he price for i t inaffording to thei r menthe bes tcondi t ions wh ich the indust ry w il l allow ; bu t t he bes t can be
assured only in exchange for the bes t effort o f the workmenthemselves who may be employed .1 wou ld ask you whet her t he. accepted at t i tude respect ing t hepay of workmen is after all t he right one, and to l is ten to acri t icism , not the weaker because i t may be frank ; for, indeed ,t he t rues t friendsh ip may oftenbe found int he fu l les t frankness .W e had be t ter speak our m inds , especially so far as we know theminds of t he w orkmento be . The rule wi t h many employers andmany departments of S tate in t he years preceding the war wast hat of never agreeing to improve wages or rates excep t accordingto a very quest ionable standard. and the s tandard was embodiedinthe ques t ionof what was t he least wh ich the work ing mancou ldl ive upon; w ha t remunerat ionw as suffi cient to enable t he manto mee t the ordinary simple needs of l i fe from day to day. Em
ployers did not ask themselves how much more the trade orbusiness cou ld afford to give ; they usually asked , as I say , wha twas the leas t sum onwh ich the work ing man cou ld manage tol ive . There is a grow ing revol t agains t that standard or that ideal ,and w orkmenw i ll not much longer submi t to be governed bysuch a st andard . They are ask ing for a h igher and a be t ter one.
The workman is seek ing opportuni t ies for greater leisure and formore tolerable condi t ions of home-l i fe and of serv ice int he workshop . He i s saying t ha t employers canno longer pursue t heircla ims w i thou t regard to the great humanneeds of t he massesof workers , and i f employers cont inue to try and se t aside t hosehuman considera t ions they are l ikely to fai l , w i t h disaster tothemselves and to the ir country . The human factors , t herefore ,must be more abundant ly recognized , and mus t be brough t moreand more before the no t ice of t hose responsible forthe management of men. That factor in indus t ry was too long.neglected ,
and t hat neglec t has beena fru i t fu l source of t rouble, and we are
now t rying to do rapidly what i t would have beenwel l for thecount ry i f employers had consented gradual ly to do years ago .
I remember experiences of u t terly useless e fforts and appeals madeto employers of labour years ago . I recall t he callousness andfolly on the part of employers in res is t ing mos t reasonabledemands . \Vhentrade was expanding , profi ts increasing , and theIncome Tax re turns showed t hat weal t h was going up and up ,we could not , w i t hou t a fight or a s t rike , ge t a weekly wage of apound for thousands of
_menwho were doing t he most arduous
work inmany of t he t rades of Bri tain.
W h ilst saying that on behal f of t he workmen, i t would bewrong for me not to point ou t the workmen’s du ty ; for righ t sbege t obl igat ions, and workmenmus t not overlook t he fact thatt here are o ther c lasses in t he communi ty besides t hemselves .The tendency is too common to look a t our nat ional problemsfrom j ust our group or grade standard . Communi ty interest i soften obscured by the v igour of c lass prejudice and by thedemands pressed for personal advantage . Indus t ry shou ld notbe regarded as anac t iv i ty to be sustained for sect iona l benefit .I t canprosper only if supported as a nat ional treasure , and nextto t he d amage wh ich wars and internat ional confl ict have inflicted upon indus t ry , i t has suffered mos t from internal confl ic tsoften caused from failure to recogniz e t hat there is a commonor mu tual interes t which canbe sustained only by act ion uponco-operat ive and reasonable l ines. I wou ld a lso appeal to workmen indiv idually and in thei r groups to have regard to thei rless fortunate fellows . There are many instances of h ighlydeve loped indiv idual abi l i ty left unrewarded because oppor
tunities for advance are denied , not by employers bu t byworkmen themselves . I t wou ld be a good th ing t herefore forworkmen to broaden thei r ou t look
,and give a fair opportuni ty
to o t her workmenwho have not beenfavoured by apprent icesh ipor by early educat iona l opportuni t ies of work shop training . In
short, the cause of Labour should be made to involve less and less
confl ict betweenworkmenand workmen indifferent t rades andindifferent departments .
_W orkmenwho demand t hat employers
shou ld be fair to t hem,shou ld at least agree to be fair to each
o ther. They shou ld be especially fair to those workmen whosuffer the handicaps of lack of educat ionorof training , and whoare thereby c lassed as less ski l led in the performance of t heirlabour. I say t here are numerous instances of out standing
{Continued onp. xlvni .)
THE ARCH I TECTURAL REV IEW .
natural abili t3 . of menw ho by indiv idua l study and endeavourha\ e equipped thcmsch cs for p i tuuot ion —f0r a rise in the
standard of their posit ion- and w ho are denied i t unhappi ly bythe act ionof t hei r fel low workmen.I have said
,M r. President , that one condi t ion re lat ing to t he
immediate prosperi ty of the gas indust ry is t he prosper i ty of ourcount ry as a whole . The ar changed many t h ings , bu t i t hasleft one t h ing qui te tmaltered. I t did not a l ter the fact t hat weare a great export ing and manufac turing communi ty. W e
canno t hope to keep our place in the markets of t he world if wetolerate anysystem of under-product ion. Ou tpu t canbe increasedby improved systems of product ion. by a fu ller use of mechanica ldev ices and appl iances , by more sk il fu l and agreed subdiv is ionof labour
,by rc-organiz at ion, by good t ime-keeping and by the
removal of anyo ld met hod wh ich may have h indered product ioninthe past . Employers , however , must not make t he mis take ofth ink ing t hat workmenw il l agree to produce more unless theycanb e assured of a greater share of the product . Ino ther words ,increased product ionmust mean, not merely greater commercia lprosperi ty and profit ; i t must meanan increased standard of l i fefor the workmanas for o thers— a standard wh ich w i l l give to t heworkmangreater purchasing power to buy and to consume moreof the produc ts resu l t ing from h is labour. Increased ou tpu tneed not necessari ly involve increased indiv idua l exert iononthepart of the w orkmen. I bel ieve that , g ivena readiness to accep tinprinciple t he desi rabi l i ty and the w isdom of increased ou tpu t ,means could be dev ised wh ich wou ld resu l t inan increase int hevolume of our products. The t rue measure of nat ional wea lt h i sthenat ional product . And we mus t produce w i th inthe means andw i th in the capac i ty of o ther peop le who buy our produc ts .Therefore any s tate of ar t ificial dearness is one of the wors tenemies of the workmen themselves . Trade is world-w ide
, and
i t oftenrequ ires a v iew wh ich mos t workers are not ina posi t ionto take. Real weal th canonly be expressed interms of work ,
andu hateyer else may be sough t as a solu t ion for present day difficult ies, at least two t h ings are essent ia l . One i s that emp loyersshould t ry to secure t he confidence of their workpeop le inexploi ting indust ry for the mu tual benefi t of both sides , and t he o ther isto conduct their businesses so as to avoid lowering standards of
ou tpu t , causing immediately an increase in cost , wh ich at oncetends to dimini sh opportuni t ies for employment by raising theprice of t he art ic le produced . I t is , I th ink ,
a lamentable fac tthat many workmens t il l remainunder the delusion that the lesswork t hey do the more work there w i l l be for others to do.
Normus t i t be forgot ten that prices are now too much at t hemercy of syndicates and associat ions wh ich exact a level of profith igh above t he value of t he serv ices rendered . The recent publication of the findings of the impar t ial commi t tees of inquiryshows that evenwhere employers and employees as producers int he first instance , do t heir best int he sphere of manufacture , t heirserv ices are frus trated by h igh prices improperly fixed by dealers
,
t raders, and o thers who oftenhave t he publ ic at their mercy.
I would al lege— and I h0pe i t i s a statement that can be sust amed— that the workman, at heart , i s not less of a patriot thant he ci t izenof anyo ther class int h is count ry . Inface of recurringtrade dis turbances , t he ques t ion some t imes has been asked bysome who are not of t he work ing class , and asked w i t h seriousnessand anx ie ty :
” I s the workman bent on ru ining h is country ?
That ques t ion i s usual ly asd by t he manwho is comfortableand secure , and who has no cause to fear any of t he risks ofdis tress and hardsh ip that are part of t he common l i fe of t heaverage workman. I do not t h ink there i s anyidea inthe mindof t he average workmanof doing h is country harm
, and i f t herewere
,t he workmenthemselves would be the first to feel t he effects
of anyi l l wh ich del iberate ly t hey migh t intend .W hen there was abundance of goods , and money had a h ighpurchasing power , the country cou ld afford to face w i th equanimi ty recurring indus trial s trikes and periodical stoppages
,w i th
ou t any sense of serious loss . But that margin of securi ty hasdisappeared . Our marginnow depends on overseas t rade , andt hat
,inturn
,depends uponindus trial peace at home and second ly
uponpeace inEurope as a whole . I t is not part of my t heme todevelop t he quest ion of how far unemployment now is due tointernat ional confl ic t
,bu t my conv ict ion is that we canno t
approach eventhe t hreshold of the indus trial prosperi ty for wh ichwe are so anx ious unt i l pol i t ical se t t lement and unt i l relat ionsof real friendsh ip are establ ished be tweent he nat ions of Europe .W e have a degree of unemployment , deeper and worse now
(Cou i imwd onp. l .)
BY APPOINTMENT
RCH ITECTURA L ECORAT ION S
F IBROUS PLASTER
W OODW ORK
CARTON PIERRE ORNAM ENT
W OOD CARV INGFRENCH STUC W ORK
G . JACKSON SONS. LONDON , W 1
TH E ARCH I TECTURAL REV IEW .
because of i ts durat ion, al t hough actually t here are fewer nuemp loyed than,
say,tu o years ago ; bu t the intensi ty of the suffei
ings and the deepening anger accompanying t he grow ing hungerare a menace ina larger measure at th is moment to ou1 country sinterests t hanwas t he case some two years ago . W e have , sofar
,was t ed enormous sums of money inmere rel ief payments to
masses Ofworkers w i t hou t calling in exchange for any serv icewhatever. As far as i t i s possible , by organizat ion,
by t heacceptance Ofnew ideas , by direct ion as far as i t is possible weshou ld see to i t t hat we never give away any th ing for not h ing .I t i s a very bad th ing for t hose compe lled to give and perhaps aw orse t h ing for those who constant ly receive .Let me i llust ra te th is bya reference to figures publ ished a fewdays ago relat ing to one Of our larger and poorer boroughs in
London. Many of you here represent great munic ipal bodies andcorporat ions
, and you have beenbese t w i th pecu l iar difficu l t ies ,and I would like to say — and you may take i t as sa id w i thou tany insinceri ty or flattery— t hat t he degree Of will ing serv icegiveninthe publi c interest wi t hou t fee or reward by t he menwhoconst i tu te t he municipal bodies Of th is count ry is some th ing ofwh ich we have every reasonto be proud . I sympath iz e w i t h thediffi cul t ies of these muni cipal bodies, especially in connect ionwi t h their financial embarrassments , for in large measure th i sproblem Ofunemployment i s one Offinance firs t and nex t one Of
organiz at ion. Compare t hen the enormous sums we are givingfor no th ing w i th the small sums we are paying inwages for workdone. Th i s part icular borough gave these figures : t hat in t heyear just concluded (192 2 ) t hat borough paid for work performedunder i ts auspices and direct ion— work specia lly organized torel ieve t he unemp loyed— a to tal sum of wh ile in thesame year that same borough gave away for no th ingNow insim ilar degree you have th is same condi t ionaffect ing thegreat municipal bodies Of th i s country . Th is , of course, i s not aplat form for any party cont roversy, bu t I note w i t h pleasuret hat the Prime M ini ster, speak ing at the great Imperia l gat heringrecent ly , expressed h is deepes t concern as to t he condit ions ofunemployment in t h i s count ry , and incidentally referred to t hegreat sums we cont inue to pay ou t through the Unemp loymentInsurance Act . W e pay collect ively— the S tate , the men
,and
t he emp loyers a year for benefi t t hrough that Act
a lone . I suppose that the to tal cost of unemp loyment now ,
t hrough re l ief agencies , the Unemployment Insurance Act , andmany other agencies prov iding support
,w il l not be less thanabou t
aweek . I wou ld l ike to see much of that moneychangedfrom dole money to wage money , and thus ge t a larger amountback in the way Of capi tal and in the way of wealt h wh ich thelabour would produce i f menwere organized and appl ied to i t .That is not sole ly a munic ipal problem ; i t is mainly a parl iamentary problem
,wh ich many of us cont inue to press upon t he
House OfCommons W e ought to make fu l ler use Ofour internalresources , for i t is clear t hat for a long t ime yet w e shall have tocarry the burdenof trade depression, and therefore we mus t turnmore and more to our own internal capaci ty . I would urge thatfor reasons Ofcharacter , for reasons Ofconduct , for what might betermed reasons Of psychology— for broad moral reasons— th iscount ry is losing enormously because thousands '
of young men
who came ou t Ofthe army are s t ill ou t Ofa job , being t rained inno thing bu t misch ief
, and de teriorat ing in their persons as wel las int hei r efficiency as weal t h producers .I have already t respassed too long , and I only want to add
w i t hou t at temp t ing to develop many of t he t hemes to wh ich Ihave only briefly alluded— that I am here frank ly to say some Oft hese th ings as one who w i shes well in t he best sense of the termto t he great indust ry w i th wh ich I have beenassociated since theage of twenty-two . At that t ime I left ordinary labouringemp loyment to become
,ina humble way , anOfficial Ofwhat was
t hen t he GasW orkers’ and General Labourers’ Union.
W e must s ti l l regard t he ou t look as grave and disturb ing , bu ti t i s a source Ofcongratu lat ionto us all—~ inspi te Oft he grim con
dit ions and t he great hardsh ips that have to be endured bym il l ions of our people int he las t few years— it is a source Ofcongratulat iont hat a leve l of general internal peace— t hat i s to say,
a freedom from rio t and di sorder and a general rule Ofgood conduct , have beenmaintained by our people . There is someth ingint he Bri t i sh character wh ich
,I th ink
,w il l see t h is t h ing th rough ,
and we shall be helped to t hat end t he speedier by a greater concent rat ionOf our quali t ies Of commonsense and a desire for cooperat ive effor t Th is w il l go far to save us, and anAssoc iat ionof t h is k ind is making i ts cont ribu t ionto the sum Ofgoodw i l l 1nthe free and frank discussionof these subj ects.
TH E ARCH I TECTURAL REVIEW .
An Encyclopaed ia of Imperial Trades.The Federat ion of Bri tish Industri es have been act ive lyengaged for some t ime in exam ining t he quest ion of interimperial t rade. The labour involved during th is invest igat ion,
in collect ing and collat ing econom ic informat ion abou t theEmpire , and par t icularly as to i ts resources and requ irementsin raw mate rials , led the Federat ion to bel ieve tha t a comprehensive survey in a form convenient for easy reference by theordinary business man would be of \ ery subs tant ia l value inpromo t ing the deve lopment of Empire t rade.They have t herefore under taken t he compi lat ion of a comprehens ive survey of t he resources and possibi l i t ies Of t heEmpire . The idea is to collec t all avai lable informat ion l ike lyto be of serv ice to the producer of raw mater ials , the manufacturer
,t he merchant , or t he financial house , and, infact , to compi le
a convenient encyc lopaedia of Imperial t rade .I t will be realized that t hi s is a large t ask , bu t t he Federat ion
have beensuccessful inenl ist ing t he suppor t and co-operat ionofthe various Governm ents of t he Empire in supplying much ofthe informat ionUponwh ich the work w i l l be based .The survey , wh ich w i l l be included in several volumes , w i l lcover the resources of t he Empire in food and raw mater ials ,and also t he requirement s , present and prospect ive , inrelat iontoproduct ion. I t w ill be arranged as far as possible by groupingt hose materials wh ich fall toge ther one volume w ill bedevo ted to Non-Ferrous Metals, ano ther to Communicat ions,and
'
so on) . By t h is means t he products, requirements , andundeveloped resources of t he different part s of t he Empire w i l lbe dealt wi th , and wh i le a s taff of special edi tors has beencal ledtoge ther to deal w i t h the separate vo lumes , the whole work w i l lbe under t he general ed i torsh ip of t he F.B.I .
The following br ief summarybf the contents w i ll give an ideaof t he nature of the task wh ich i s being undertaken
, and of t heme thods proposed for car rying i t ou t .Vo lume I— FOOD S U PPL IE S . Part One (Crops and Frui ts) w il l
include : Cereals , Pu lses, Meals and F lou rs , Clover and GrainS eeds,
THE DEVON FIRE
The “Devon Fire gives a select ion of 60different designs and over 100 colourschemes
No one knows better than the your most exact ing requireexperienced architect that an ments.unsui table or inartistic fireplace The Devon wins favourmaymar the whole beautyor everyw herebecause ofitsbeauty,h is work. cleanl iness
,sound construct ion,
moderate price, and pronouncedeconomyinfuel .W rite for our I llustrated Catalogue of designs and pricesand the Resul t of the OfficialGovernment Test.
CANDY CO. LTD.
87 Newm an S treet , Oxford S treet , London. W .lW ork s : Hu thfl eld S tation, New tonAbbot.DeVOn.
You can guard against this ifyou specify“Devon Fires on
your plans, for amongst theirw ide range of art ist ic designsand art colourings there is sureto be one which exactlyfulfils
S ugar , Fru i ts (inc lud ing Dried Frui ts) , Ri ce , Hops, Rootcrops,Vegetables , W ines , A les , and Spi ri ts.Part Tw o (Meat , Fish ,
and Dairy Produce) wi ll inc lude : L ives tock,Pou l t ry
,Rabbi ts
, Dairy Produc ts, Meat (Fresh ,Froz en, and
Canned ) , Fish (Fresh , Cured , and Canned) , Bacon,H ams .
Vo lume I I— TIMBER AND TIMBE R PRODUCTS (includ ing Papermaking materials) , wi l l include : H ewn Timber, S awn and S p l i tTimbers, Pit Props , S leepers , S taves , Mat t ing,
Baske t Materia l s ,\Vood Pu lp ,
RagPu lp .
Vo lume I I I — RU BBER , TE A , COFFE E , AND S prcns,w i l l include
Rubber, Tea, Coffee, Cocoa , Tobacco , Sp ices,Nu ts.
Vo lume IV— TEXTILE S AND TEXTILE YARNS ,w i l l include : Cotton,
W oo l, S i lk ,
F lax,H emp ,
Rami and Coi r, Jute , A rt ificia l S i lkMohair.Vo lume V —LEATHE R ,
H IDE S,FU RS , The ,
w ill include : RawH ides, S heep S k ins , Goat S k ins , S ea l S k ins, Rabbi t S k ins , Leather ,Furs , Fea thers, Bones and Horns , H airs and Brist les , Ivory and
S he l ls.Volume V I— FU E L , w i ll inc lude : Coa l , Petro leum , Lubricat ingOil,
Coke,W ood Peat .Volum e VI I— METALS AND M INE RAL S . Part One (Ferrous Meta ls)
w i ll inc lude I ron, S tee l , Ores, Sme l ted Products .
Part Two (Non-Ferrous Meta ls and o ther M inera ls) w i l l inc ludeCopper, Go ld ,
Lead , Manganese S ilver, Tin, Zinc , M ica , Antimony,
B ismu th , Chrom ium , Nick e l , Other Me ta ls , Pyri tes Of Copper,Lead Pigand Shee t, Talc , D iamonds , Other Precious S tones.Volume V I I I— OILS AND FATs (exclud ing Animal Fats) , wi l linc lude OilS eeds , TrainOil, B lubber Oil, S perm Oil, Cat t le Feeding
S tuffs, Palm Oil, Tallow Oil, Other Oils, Gums , W axes .Vo lume IX— CH EM ICALS , DYE S , AND , FLRTILIZERS , w i l l inc lude :
Chem ical s, Op ium Drugs , Ferti l iz ers, Phosphates, Basic S lag,
Manures ofAnimalOrigin,Dyeingand Tanning S tuffs, Dye W oods .
Volum e X~ —COMMUN ICATIONS , w i ll include ; Sh ipp ing,Rai lway
Transport , Road Transport , Air Transport , Trave l , Tourists’Faci l i t ies , Ho te ls.
TH E ARCH I TECTURAL REVIEW . ii i
THE ARCH I TECTURAL REV IEW .
TH E ARCH I TECTU RAL REV IEW .
ALPHA BETICA L INDEXPAGE
A .1 Engrav ing Co London”\danmon T. H . Sons, London x .“ i i i
Arch itec tura l Prtx s. I td . X\ I xxx, lxiiAssociated Port land Cement Manufacturers .
1.td .
Bagués . Ltd .LondonBath Artcraft, BathHeavenSt S ons, Ltd , LondonBel l ‘s PoiIi teand E \ cri tc Co l td LondonBellman. Ivev&Cart er Ltd , LondonB lock ley'
5 Ltd Had leyBoot.H enry,&Sons (London) . I td .. LandonBoul ton81 Pau l . Ltd Norw ich
Brnt t Colhm 11&Co..LondonBritish Commercial Gas Associat ion.LondonIlri t t h LuxfcrPri sm Syndicate. l td .. LondonBri t ish Pipe less Central Heating. Ltd LondonBri tish Port land Cement Manufacturers, L td .
Bri ti sh Reinforced Concrete Engineering Co . ,
I.td ., London81 Manchester xxxvi Ivi , Ix ivBri t ish Thomson-HoustonCo., L td London lxi
Bri tish Vacuum C leanerCo ., Ltd ., London i i
Bromsgm ve Gu ild , Ltd .,Bromsgm vc Ii i i
Brookes'
Ltd . Lo ddonBrus ter, 8: De Launoit
.
LondonBryden, John, St S ons, Ed inburgh
Cafi em ta Co Ltd New ark-upon-TrentCal lender's Cab le Construct ion Co I td
LondonCallender, Geo . \I ., Co Ltd ., London v i i i
Candy Co., Ltd LondonCanonCompany, Carron, S tirlingshi reCastle
'
5 S hi pbreak ing Co., I td ., LondonCement MarketingCo ., Ltd , LondonChatwood Safe Co., Ltd ., BoltonChurchi ll , Chas , Co., Ltd., LondonColourMagaz ine, London xxxv i
Courtenay, C. \V., Lo udou xv iConrens Ak ers , Ltd Birm ingham xxxi v
Cu llum , H . Co., Ltd" London xxxv i i i
Cuthbert, G . C 81 Co., London
Dawnay, Arch ibald D., 81 S ons , Ltd., LondonDau nond , John,&Son, I td ., LondonDelta Metal Co. Ltd , LondonDorman, Long Co., M idd lesbrough 2: xlv i iDuncanW atson Co ., London xxvi i i
li hner, Jos . F London Ii
Structu ral
Telephone No:
5 85 , 5 86, 2 103 Hop.
ou t W EI
V
Ioco R ubber Co Ltd ., G lasgowJackson G S ons, I.td LondonJohnson5 Reinforced Concrete EngineeringCO,
I td . Manchester
Kave Co., Ltd . R ugby
KernerGreenw ood 81 Co. , K ing 5 LynnK ing, J . A . Co., I ondon
Laiug, Jolm , 81 S on, Ltd , London
Law rence , W alter, 81 S on, Ltd LondonI ister. R . A , Co , I td ., London
London E lectric Co Smi ths LtdLondon
Major, H . J . Co. I td ., BridgwaterMartin, Earle Co., L td .
\Iart x11 H . H . Co., Chel tenhamMeasures Bros I td ., I ondonMessenger84 Co., I.td., Loughborough
xxxiv
Steelw ork
EveryDescr1pt i on.
TO ADVERTISERS .
Sectz'
afl B
Eslimmer
Applicat ion
PACE
xxxv i
E l l iot t , S amuel , 81 S ons, Ltd ., ReadingEmrns , J . Londonl-Itchells.Congdon Mu ir, Ltd ., Manches terE xpanded Metal Co ., Ltd London
Thai . Co Ltd LondonFaraday S on, L td LondonFlavel. S 81 Co . , Ltd ., Leam ingtonFralcy, I I . 81 S ons, Ltd Birm ingham
Gaz e , H Sons, K ingstonGeneral E lectric Co ., Ltd LondonGray, James, Ltd ., London
Haden, G . N ., S ons, Ltd ., LondonHamp tons.LondonHard tni u th , 81 Co ., LondonHart .Maxw ell M .,
G lasgowHart ley81 S ugden, L td ., Hal ifaxHask ins. Samuel , 81 Bros , Ltd .,
Haywards, Ltd ., Londonlleuley
'
s Telegraph W orks Co I td W .
’
l‘
LondonH iggs 81 H ill, Ltd LondonH i l l , R ichard , 81 Co., L td ., Mi ddleslnoughHollow ayBros. (London) , Ltd .
Homan Rodgers, ManchesterHope, Henry, 81 S ons, Ltd., B irminghamH oward S ons, Ltd . London
Metropoli tan-V ick ers E lectrical Co Ltd ManChester
Morris, \I'
illiam ,81 Co.
,“'
estm inster
Nat ional Bu i lding and Engineering Brick
Federat ionNat ional Rad iatorCo., Ltd ., H i llN ickeloid Co., Ltd . (The) , London
Old Delabole Quarries, Cornwal lOrr, John, 81 S ons, G lasgowa nai r, Ltd ., London
Parker.W inder81 Achunh , L td .,B irm ingham
l’arnall 81 Sons, Ltd ., Birm ingham and Bristo lPeace 81 Norqnoy, Ltd ManchesterP late G lass Pub lici ty Bureau , LondonPol lard , 81 Co., Ltd ., LondonPratt , C., Sons, LondonPrendergast E lec trical Engineenng Co ., Ltd
LondonPride, F . l
-I ., London
Ravenhead S anitary Pipe 81 Brick Co., Ltd
S t . H elensRed path , Brown81 Co Ltd . , LondonR ichson81 C0 LondonRuberoid Co., Ltd ., LondonRudd , Thos. R .,
81 Co., London
S cale, G i lbert , 81 Son, LondonS inger, J . W ., S ons. Ltd . , Frome
Smi th , Chas ., Sons 81 Co ., Ltd .,B irm ingham
S pens ers, LondonS tark Bros..Ltd LondonS teven,
A . 81 P Ltd .,G lasgow
S tevenson, A ., 81 Co., Ed inburghS u lzerBros , LondonS w anser81 Son, London
’l‘onks, Ltd ., Birm inghamTrussed Concrete S teel Co ., L td LondonTake 81 Bel l , Ltd LondonTu l lis, D . 81 J., C lydebankVi troli te Construct ionCo., London
\Vaygood-Otis, Ltd ., London
W hi te,W i lliam , Abergavenny
W hitehead , J., 81 Sons, Ltd ., London\VOuldham Cement Co ., Ltd .
\Vragge, Ge0., Ltd .,Manchester
TH E ARCH I TECTURAL REVIEW .
v i i i TH E ARCH I TECTURAL REVIEW .
is .allthat is left of the
best pencil I’ve everhad
— myKOH-l-NOOR
— but I treasure it stil l .
In I7 different degrees, from 6 B to 9 H .
From S tationers, Artists'
Matertat Dealers, and S tores.
81 C. Hardlmulh, 29 Kingsway, London, W .C.2.
Are you usingPELICANW aterp roofDraw ing Inks
TH E ARCH I TECTURAL REVIEW .
TH E ARCH I TECTURAL REV IEW .
J.Hflom .
xi
You cannot burnCaffe rata slabs.but you
can saw them and nail them w i th ease.
Cafferata is just pure plasterreinforced w i thw ashed reeds. Part i t ions and isolat ingw alls are erec ted w ith great rap idi ty andfac ili ty.
.Caiferata slabs are made in one“
si ze only 3 It. by it: and tw o thicknesses,2 ins. and 2% ins.
Cafferata Co ., Ld
New ark-u p on-Trent .
W rite for Handbook and“Fixing Instructions.
x i i TH E ARCH I TECTURAL REVIEW .
xiv TH E ARCH I TECTURAL REV IEW
IDEAL
W rite for IllustratedNOR TH. W OOLW ICH S \
t eralure 6” Samples'E xpam ct Concrete S w imm ing Pond
\Voolw ich Borough Engineerand S urveyor Mr. J . S utcl iffe,THE EXPANDED METAL CO., LIMITED
Patente es and Manu fac tu rers o f Exp anded Me ta lYORK MANS ION,
'
PETTY FRANCE, LONDON,S .W .I
WORKS ; W EST HARTLEPOOL
THE ARCH I TECTURAL REV'I‘I
EW .
W ARDS ARCHITECTURAL METALW ORK.
Ornamental G laz ed Doo rs to a“t ral-Pint! Mansion. Des igner! and Execu ted byHnywanls Lim ited .
HAYW ARDS LIM ITED .
Ofi ces : UnionSr., Bo ro ugh , S .E . I . HOP 3642 )
56 KingswayW .C.2 . (‘Tff 3 2 394)
Works : LONDON A ND ENFIE LD .
xv i TH E ARCH I TECTURAL REVIEW .
BRITAIN’S FOREMOST
LIGHTING PLANTArchi‘ecls canadvise the use of Electolite
'
CountryHouse LightingPlant w ithentire confidence. A lthoughsold at a competitive price it is a plant designed forsatisfactorypermanent service. Hundreds have beeninstal led in the United Kingdom. Runs dependablyonparaffin luel. Descrip tiveBook let No.A.R. 7 L ott
-ingfu ll particulars and Reduced Prices. w ill be sent free on
request.
NORW ICH m s: E77;LONDONOFFICEZl35 'l57.QUEENVICTORIA ST[CTelegrams.Boutique.Cent LondonTelephone-4642Cent
x v i i i TH E ARCH I TECTURAL REV IEW .
AND
ESTIMATES SUBMITTED FOR
ALL KINDS OF JOINERY WORK,
MOULDING S , PANELL ING .
BANK FITTINGS , PARQUETRY.
PATENT REVOLVING DOORS .
CHURCH WOODWORK, ETC.
S CHEMES S U BM I T T ED OR
ARCH ITECTS DETA ILS CARE
FULLY CARRIED OUT.
LONDON OFFtCE : 18 H umverS treet , W .
'
l‘
etephouc : 436 and 43 7 Read ing.
Isl ingtonM unicipal Bu i ld ings. E . C. P. Mori son, 1135 t Architect.
All the decorat ive woodwork in the above was executed hv us.
TH E ARCH I TECTURAL REV IEW .
A Selection from the
TrusconFlooringContractsnow in
progress.
Adelaide House, E.C.
S IR JOHN BURNET, R.S .A.
Clare College, Cambridge.
G. GILBERT SCOTT, R.A.
Bri tannia House , Old S tree t. E.C.
HERBERT O. ELLIS 6L CLARKE.
Addenbroolte Hospital, Cambridge .
THOMAS HENRY LYON. M .A .
New Convalescent Home , Felixstow e.H . MUNRO CAUTLEY.
Broadway House , W . 6.
J. E. FRANCK,
S idney S ussex Co l lege , Cambridge .THOMAS HENRY LYON, NLA .
Portsmouth Reservoir.HERBERT ASHLEY (Engineer) .
Training College , Carmarthen.
CHAS . W M. ENGL ISH. F.R.I.BA .
THE TRUSSEDCONCRETE STEEL CO LTD
22 CRANLEY GARDENS ,SOUTH KENS INGTON.
LONDON, S W . 7.
xix
XX TH E ARCH I TECTURAL REVIEW .
YOUR S PEC IFICATIONS SHOULD INCLUDE
FLEXIBLES
OF OUR MANUFACTURE .
Copyright. L. B.Atkinson,Exclusive Licensees.
Members of the C.M .A.
PRICE L 15 7 ON A PPL ICATION.
LONDON ELECTRIC WIRE CO. SMITHS. LTD
Playhouse Yard,
Golden Lane, E .C. I
Telegrams E lec t r ic, London. Telephone Clerkenwell,1 3 88, 1 3 89,
(B IRM ING HA M )Bronz e M etalw ork
MANUFACTURERS OF
U N TE R G R I L
TRAD E TRADE
MARN
DE S IGN S A ND E STIM ATE S ON RE C E IPT OF PA RTICU LA R S
Works201 MOS ELEY STREET ,
Show roomsS T E v EN A G E H o U sE ,
BIRM INGHAM . HOLBORN VIADUCT, E .C . I
x x i i TH E ARCH I TECTURAL REVIEW .
THE ARCH I TECTURAL REVIEW .xx i i i
E S TABL IS HE D i 85 4
MES S RS . LEVER “Ros . LTD.,
MANCHES TE R OFFICE S .
Architects : \Villiam and Segar O wen.
KAYE C LTDSOUTHAM W ORKS , NEAR RUGBY.
Te lephone : 2 S outham .
Bi rm ingham Branch :Kings tonW harf, King Edward’s Road .
Telephone 2830 Central.
Manches ter Branch : 5 New BrownS t ree t .Kaye
'
s?Cement us‘fq i'} Telephone : 2 768 Ci ty .constr uct ion of this bu i ld ing.
S TOCKS AT BIRM INGHAM ,MANCHE S TE R , COVE NTRY ,
NOTTING HAM , LE ICE S TE R , ETC .
O
E . I. ll.
PORTLAND CEMENT
The t Cement ata compet i t ive pri ce
Instead ofstatingonyourspecificat Ions that
“the b e st Port land
Cement Is to be used, it isadvisableto speci fy
“Kaye
’
s PortlandCement.
’
Time after time tests byindependent experts have proved that forcementi tious value, crush ing resistance , and durab i l i ty, Kaye
’
sPort
land Cement is unexcel led.
Th is is because it is produced byscienti ficmethods fromLimestone ofthe Low erLias— amaterial containingthe essential ingredientsalmost inthe ideal proportions.
There is every inducement foryou to use
Kaye’s Cement, for, notw i thstand ing its
it costsnomore thanothers. Imliverycanbe givenforanyquan
tity, foralldepots carryample stocks.
xx i v TH E ARCH I TECTURAL REVIEW .
THE MORRIS ART BRONZE FOUNDRYBRANCH OF W I LL IAM MORRI S AND COM PANY (\N E STM INS TER) LIM ITEDMORRIS HOV SE,
”
ROCHESTER ROW , W ESTM INSTER,LONDON, S .W . I .
TELEPHONE VICTORIA 6443 (3 LINES) TELEGRAMS : MORlSITANT SOW EST LONDON
xxv i TH E ARCH I TECTURAL REV IEW .
giving utmost satisPip eIess CentralHeat inggivessatisfactionwherever it is installed.
'
Ihe testimonialwhich follows demonstrates the success ofPipelesseveninanexposed positiononthe top ofa hIlI.
Mr. W . D. writes
LONDON. Head Oflices <9 S howrooms. 5 4 V ic toria Sum , s.w .i
is for basement houses or large buildings. The BlRMlNC-HAM . Works G S howrooms, 67-7 1 Pershore S treet.“
BRITISH W ONDER"
beam ,“ NON“ MANCHESTER. Ofi ce (9 S howrooms, 8 9 Bridge S treet .BASEMENT Houses, Flats. etc.
EDINBURGH 055“ (S‘ S howrooms. 1 1 ] George S tree t.
It may interest you to know that the heater which youhave fixed in m house is giving the utmost satisfaction.The house, w hic has anarea of about cubic feet,stands in an exposed position on the top of a hi l l
The w hole house is beautiful ly comfortableW ishing you all the success your heater deserves.
(Original onfile.)Pipeless‘ is simple to instal —very economical infuelconsumption, andsui table for Non-basement Houses, Flats, etc., as well as BasementHouses, Factories, Public Buildings, Churches, etc. Prices from £ 45
W rite for $ rochure or call and see healers at work.B R IT I S H
METROPOLITANNICKERS ELECTRICAL
Gal/erg. ”fl/k.
mcv i i i THE ~ ARCH I TECTURAL REVIEW .
xx x TH E ARCH I TECTURAL REVIEW .
TH E ARCH I TECTURAL REVIEW .
A chievem ent is bu t another m ilestonealong the highw ay of p rogress
— th e
end of the j ourney lies ever beyond.”
THE CHATWOOD TRADITION
The.:modern fight ing Ship is a m iracle OfLm echanical sc ienceand; ingenu it y. It is a vast and complex machine that in all
its details is so exqu isit ely and int imately inter-related as
alm ost to resemble a living organism .
It is designed and bu ilt for destruct ion— yet i t stands for securi t y. It is asa defence against aggressmn that it is constructed and comm issioned.
The Chatw ood Safe and S trong Room are, in their ow n sphere, just asremarkable examples Of m odern science and craftsmanship applied to
essent ial protect ion.
Long experience, w i th experiment and test under all kinds of condit ions,have dictated the ir design— and only the first-class grade of material and
the most high l y spec ialised mechanical skill go to their making.
W hat The Chatw ood Safe has— it holds, for delivery only to the keeper of
the key. It is the cheapest safe that can be bought , having regard to the
contented secu ri ty i t offers.
W e have carried ou t securi ty contracts for the leading Bankers throughou t
the w orld, w i th a result that this w ide experience'
has given'
us,
m ost_useful
data and m emoranda w hich is alw ays at the disposal Of the Architect and
those w ith treasures to protect, w ith w hom w e are alw ays pleased to
consult w i thou t Obligat ion ofany sort.
S INCE 18 5 8 THE NE W CHATW OOD SAFE BOOK
The gu iding factor in the p re parat ionofthis book has beena desire to convey som ething of the standard of q ual ityofw ork and high ideals ofthe firm in the hope that theirw orth may be gauged in som e m easure by the ir aim s as
w e l l as the irachievem ents. It contains 5 8 pages, m any infu l l co lou r, and inc ludes the fu l lest particu lars ofeachmode lof The Chatw ood S afe and S trong Room . A com p l im entary copyw i l l be sent gratis on rece ip t ofa p ostcard.
THE CHATWOOD SAFE CO LIMITED,
Banken’Engineers,
mmi BRANCHES LON l3ow Gmue eburt-b S treet , EC . Phone : Avenue 1218.
M A NCH E S TE R—Royal Exchange. Phone : Clty8018.
GLA S GOW —12Greenlodge Ternce, Greenbead. Phone : Bridgeton068 .
“ x i i TH E . ARCH I TECTURAL REV IEW .
PANELLED OAK S IDEBOARD.
Messrs. Trol lope 6 Calls, Ltd., Messrs. Palmer6» Turner,
General Contractors. Architects.
Revolving Doors byThe Van Kmmel Revolving Door Co.,
L! I,
S T A RK BROT H E RS LTD . ,
(Designers andMakers ofFurniture.
One ofthe three innerscreens, insol id bronze,19 ft. high.
1 CHURCH S TREE T , KENS ING TON’ W HS(or the main entrance of the new prem ises for the
Hongkong S hanghai Bank ing Corporation in'
S hanghal.
ARCHFTECTURAL' METAL V/ORKERS8L BRONZE FOUNDERSare »
. FROME8,BATHURS T STREET.LANCASTER GATE W 2 . SOMERSET
75/9/ahm rp, Paddingt
’
on5 43 5 .
HE succcss of a good bu ilding rc
quircs much consideration'
by the
Archi tect and intelligent co-opcralion
on the part of the Bu ilder using the best
materials. I t is the same w ith good fur
niturc— dcsigm requ ire carefulthought , the
lim i tations of w oods must be considered,
the timbcr must be the best,w hile the ln.
ztcrcst ofthc shillcd craftsman is essent ial.
ll’
cleccnlyapprccz'
atc zhcsc point-5 , andw c
arc ablc to cxccutc the finest w oodworkfor
thc interiorfurnishings of anybu ildings.
flrchilccls are invited to a'r-ilcfora
catalogue or to calland inspcct the
p ieces w hich soc how oncxhibilion
at. I Church S trcct, Kensington.
xxx i v TH E ARCH I TECTURAL REVIEW .
Telephone Central5 309. Telegrams Couz heat
B’ham.
Heating S p ecialists.
COUZENS AKERS,LTD.,
2 1-24 New spaperHouse, Corporation S t.,
B IRM INGH A M .
We invite enqu i ries forall Classes ofBu ildings.
CleanW i thou t
HE Heatingof the Church of
the English Martyrs , Sparkhill
(see special article and illustrations) ,w as carried out byus , spec ial attentionbeing given to the H eat ing of
the Nave without radiators beingfixed in prom inent positions . Thisw as successfully achieved to the
satisfaction of the A rchitects :
TH E ARCH I TECTURAL REVIEW .
HERE i s no need to s tress the
economicaland p racti cal advantages of Poilite
"in domest ic
arch itecture : they are manife st. But
Poilite has another asp ect that alsohas part icularinterest to the A rch itectits facil ityinlending it se lf to arch itectura lexp re ssion. For examp le , a roof in
Poilite Russe t Brown Pant ilesimparts a note of co lour that is re stfuland distinctive.A Poilite Root laid w ith Diagonal
cw t. per square
4 to 7 cw t. W ithcw t. w ith mastic
be finished w ithacement fillet.Comparative Req u irement of Timber
per sq uare ofRoofingFoot runat Foot runofRafters. Bat ten.
Po l l i ta S tandard Ti les.laid to Zi Tn. lap.Rafters. 30 in. centres.
flattens. 9 in. centresMast ic T i les. laid to 4 in.
gauge.
Rafters. 12 in. centres.
Battens. 4 in. centres “0 3m‘Pot
'
lite I: made ina wide range offarms andthis neu u for roofs. panelling and ceilings.T e fullest information on application.
Bell’s Poilite and Everite Company Limited
Retro Unt i ed A sbestos Co. L td . ( Po i /He S ec‘tnn:l fi ri llnlr v ri fc and A h 't h
‘
li h' ‘t'
t lrk l . Lt
Dept. E.~A4bcuoo Home. Dep t. E.
Southwark Street. PeterS treet.London. S .E l Manchester.the. only Manufacturers who have studiedAsbestos-cementfrom the Architect 's point ofview .
The Famous Po ili te
Everi tc p roduct : are
t Shee t.
Not foranAge bu t forall t im e.
x xx v i TH E ARCH I TECTURAL REV IEW .
The
W onderful Monthly
M A G A Z IN E
CONTAINS all the latest m odern p ictures by the w orld'
s greatest Artists, faithfu l ly rep roduced in
black and white. and co lour. Invaluable to the A rt S tudent ; essential ly a magaz ine for m en and
w om en of re finem ent w ho ap preciate all that is new , beau ti fu l and c lever, in Art and Literature
OBTJINJBLE AT ALL BOOKSELLERS . S ubfcrI'
ptfo-n. rale 2 0/ per annum port frat any part of the w orld.
COL OU R M A GA Z INE , 3 7 King S treet , Covent Garden, London, W .C.2.
S EW AGEPU R IF ICA TION
with minimum attention.
WRITE FOR BOOKLET No. 19
2 0 Danvers St .,Chelsca, London, s.w .3 TUKE AND BELL, LTD” LONDON2 7 L INCOLN'
S INN FIELDS ,W .C.2 . W orks : L ICHFIELD.
PR E N D E R G A S T
PAINTERSELECTRICAL ENGINEERING CO., LTD.
m AND wWIRING IN§TALIATI0NSREPA IRS and ALTERATIONSARCHITECTS’ SPECIFICATIONS
122 \X/IGMORE STREET, W . 1Telephone : MAYFA IR 1 183
S IM ILA STONE .
S IM ILA-STONE is a S tucco simi lar to .S tone in Grain,Texture, Durabi l ity, and Colour. Doesnot scale orcrack.
I t canbe app l ied to Brick, Stone, Concrete, orTimberBui ldings.No Cuttingawayforcores forMouldings, Caps, Pi lasters, etc.
S IM ILA-STONE ” Mouldings, etc., are re inforced w ith M i ldS teel Bars and Expanded Metal .
Permanent , Non-absorbent, W eather and WaterProof.Low initial cost. No Paintingorotherupkeep expenses.
THOMAS R. RUDD &' CO.
Fibrous Plaster S pecial ists, Arch itectural M odellers,Art ificial S tone and P lastering Contractors.
2 LansdowneGdns ., South Lambeth Rd., London, S .W.8Telephone : BRIXTON 2637.
Xxxw ii TH E ARCH I TECTURAL'
REVIEW .
an Improvement onthe usual type ofhollow block Floors.
Large Numbers of Arch i
tects for w hom w e have
carried ou t w ork w illgladly
confirm this statement .
The V Joint makes
a S trong Job.
E LJC/f.
The “ Cullum Floor.
HORACE EW . CULLUM CO., L td
Britannia S treet , KING’S CROS S , w .c.1.
Phone : Museum 1797. Wires: Kulmco, Kincross, London. Code ABC 5 th Edition.
S ilo tt ing ecialists
27 Summer Row , Lodge Causew ayB IRM INGHAM Fishponds, BRISTOL
Designers and Manu facturers of S hop Fronts,S hop
Fitt ings, S how Cases,and S tore Equipment of every
descript ion in Hardw ood or M etal .
Enqu iri es Invi ted
TH E ARCH I TECTURAL REVIEW .
Unobtrusive and silent ; simple and perfe c t control ;guaranteed performanc e under all c ondit ions—that'sS u lzer Heating. There is no problem in heat ingw e w il l not undertake to so lve, and not one of the
installat ions designed andinstalled by us has failed to doexac tlyW hat w as required.
L Z E R BR O T H E R SHeating Bu nch Telephone : Museum 48 18
7 Bedford S quare. London. W i C. l
PARI S . e zm mm. M ILAN. BRU S S ELS .
AMS TERDAM. BucuAmt sT. CAIRO. Kmart .
Our great experience is at the sem ice
ofanyone interested. We are glad to
adv ise, and our adv ice is free.
x1 THE ARCH I TECTU RAL REVIEW .
For (he
NIGERIAN GOVERNMENT.
BYA ppointment,
BRITISH EMPIRE EXHIB ITION, 1924.
AN EXHIBIT OF NIGERIAN-GROWN TIMBER
FOR DECORATIVE JOINERY AND FURNITURE.
Designed and in course of manufacture by
25-27 BERNERS STREET, W .
and CLEVELAND WORKS , w . 1.
196 TH E ARCH I TECTURAL REV IEW .
1 .7. THE TEATRO OL IMPICO AT V ICENZA : THE STAGE AND S CENA S TABILE .
lords of t he t ime,pra’nced and perfo rm ed a t hundering
“Danza a Cav allo ” ov e r t he i r h eads . Th a t was long ago ,in 1728. I s tood and t ried t o catch t h e echo and in mym ind ’s e ar caugh t the neares t t h ing t o i t .Then I tried to imag ine t he event of 1690, Wh en t h e floorabove me w as flooded wi th w a t e r , and on t h is lake , sp lend idboa t s infu ll sai l manned by anc ient gods and heroes , pushedou t and sa iled t o t h e Indies .I cam e so near imag ining t h i s t h a t I g lanced up anx iou sly
t o look for c racks int he arch es over m y h ead . I saw crack s .Ye t t h e p lace had h eld t hese t ons of w a t er , t h ese sh i ps , t h esesix t eent ramp l ing horses . I fe l t t h a t I mus t go u p once moreand beho ld t h a t p lace which had cont ained t h e bold spect at orsand s t i l l bo lder h os t who dared do a t h ing so sp lend id ly .\Vhile t h ink ing in t h i s w ay and see ing wit h my mind 's eyet h ese o ld h appenings , I adm i t I was forge t t ing a l l abou t t h epoe t s and t h e more de l i c a t e t h ings of t h e sou l . Fat
Ranucc io I I , Duke of Parm a , h ad not fo rgo t t en t h em ,bu t
h e h ad rememb e red wh a t mos t o t he r Dukes fo rge t t h a t h ewas ent er ta ining h is gues t s ; t h a t of t h em were notenough t o p lease h im , and t h a t fo r him t o p lease hemus t rememb er to gi ve t h em a good show
, and even t henh eneed not om i t t o su pp ly t hem wi t h good ve rse . Tha t i snever d ifficu l t o r cos t ly unt i l poe t s o r dram a-w ri t ers indu lgein mak ing big sum s of m oney ou t of t he i r verse o r prose .Th en,
in London, Pari s , and New Y ork,we g ive t h em
banque t s and pay t h em com p l im ent s ; and t hen,s ince the
ac tors se ize t h e nex t bes t sh are , t h e re i s no t h ing lef t ove r fo rt h e spec ta tors .As I went u p t he fi f ty or s i x ty s teps which lead from t h ef ront of t he bu i ld ing to t h e inner rooms of t h e t ea t ro
,I
passed t h e l ib rary . I s topped , peered in,s aw wi t h p leasu re
t ha t a l l t h e poe t s and o t h er litterati (t h e Barries of t h a tage) we re repos ing in t h ei r h andsome rooms in l ea t h erb indings , and on t h e i r we l l-dus t ed she l ves
,a l l were com for t
ably w e l l off -Frugoni , M e tas t asio and o t h e rs , so that w asall righ t . Not t h a t li rugoni o r M e t as t as io eve r lorded i tq u i t e so successfu l ly as som e of ou r mo re m odernlib re t t i s t sdo . Theywou ld h ave beensa t onby Ranucc io h ad t hey doneso . I asked for Commenda tore Ma rio t t i
,wh o m ade an
appointment t o see m e la t e r , for I w ant ed his h e lp abou tS abbione t a and I passed onand up unt i l I s tood b efore t h et h ea t rica l doors of Ranuccio’s su perb t h ea t re .
3 . PLAN OF THE TEATRO OL IMP ICO , V ICENZA .
At Vicenza the S cam: S tabi le w as composed of five streets, but atS abbioneta of one only. Th is is t he most. fai th fu l p lan of the
Teatro Ol impico , done in byAntonio Mugnon.
By my s ide s tood al
lit tle o ld manwi t h t h e keys . He h adfo l lowed me u p from t h e l ib rary . I t was my second vis i t tot h i s wonderfu l dream of a p lace . I was inno hu rry to go in,
fo r I h ad som e fear t o ' go in.
Places w e love , which , wh enwe fi rs t saw t h em,seemed to
us so S p lend id , run t h e r isk of d i sappo int ing u s wh ennex tw e come to look . And I had gone away from t h i s t hea t reaf te r fi rs t see ing i t , feel ing t h a t I had never b een in so w el lspread nor so perfec t a p layhou se in a l l my l i fe,nor inone
more v as t or ha l f as m ag ica l . And I wondered,w as all t h a t
an i l lu s ion? I feared i t wou ld prove so . M a ter ia l t h ingsare , af te r a l l , more t h anmort al . Wha t is a column \Vhat
i s an arch ? ” asks M r . S t .John M a t t e r—oi-Fac t . I canno ts t ay for h is answ er , to hear t h e scep t i cs Dus t
,fo r t h e keys
are j ing l ing , t h e o ld man is opening t he pos t e rn door . He
has d isappeared . I look u p a t t h e scenograph ic h erald icsh ie ld which i s ove r t h e ent ranc e be tween t h e im i t at ionp i l lars . I wi shed a wi sh . I h ad prepared t o lose som e t h ing ;I w ished a second Wi sh ,
and I dashed in af t er t h e o ld manw i t h t h e keys .I emerged int o t h e vas t amph i th ea t re in doub le— t rip le
— am azement (Fig. I t w as more g loriou s t h an b efore .I t was as v as t as ever , and w ill now be so foreve r andeve r , Amen.
TH E THEATRE. OF SABBIONE TA. 197
4. THE TEATRO FARNE S E AT PARMA.
Thi s wou ld be much to say of t h e p lace we re i t not t h eTea t ro Farnese , and of t ha t p lace no one wil l ever be ablet o say qu i t e enough .
S ignor Lombard i h as sa id much , and his b rochu re of 1909i s one of my part icular favou ri tes ; he tel ls me t ha t h e i spreparing a b ig book ont he su b j ec t . No one e lse canpossi b lya t temp t i t bu t he.
Int he Teat ro Famese we find wha t i s not found inVicenza—S pace ! S pace ru les , and all, as i t we re , s t ands back toa llow S pace room ,
all t h ings s trive to al low S pace t o o ffe rhe rse l f t o grea t pe rfo rme rs , and immense spec t ac les andd i vine vo ices . No t h ing pushes fo rward conce i ted ly to ca t chou r eve . The archi t ec t h ad indeed unders tood wha t wasexpec ted from him . In V i cenza , Palladio’
s h ad beena t rifleCom ic
,as l ike a “ d ry as dus t he made t ha t l i t e rary t hea t re
of h i s (Figs . 1 , 2 , and Here Aleot ti had a princeins t ead of an acad emy of pedant s to p lease .I s tood t h i s second t im e o f view ing t he p lace , and saw my
l i t t le manof t h e keys advanc ing ahead of me into t h i s spaceunt i l he seem ed los t . I seem ed a lone unt i l I heard a vo iceq ui t e c lose to me say 11 Duca Ranucc io il secondoand t he res t I los t , fo r I w as fi l led wit h su ch wonder a twha t I pe rce ived t ha t t he t h ings be ing sa id made noimpression on my car more t han t h e hum and bu rr o fno i se . The speaker was my l i t t le old man, and,
byAleot ti he was fa r o ff t h e re in t h e m idd le of t he s t agesome 1 20 fee t from me !
Aleott i was the designer and bui lder of the Teatro Fam ese .
I floa ted downt he floor of t he p lace sw aying he re wi t h t hewaves of 1690,
avo iding t h e ho rses of 1728 , unt i l I mooredup a longs ide t h e l i t t le key manand I asked h im M ay I s t ayhere alone , for ha l f-an-hou r , fo r an hou r ? I want t o drawth i s p lace .”
S i , s i , S ignore , he said si,s i . I gave him two l i re .
S i , s i , pad rone , h e said , r i torno inun’
ora. S i , s i . And
he went aw ay and aw ay li ke t he proud young po rt erand I w ent downonmy bended knee .
Eve ry t h ing in t he. p lace seemed to be s ing ing around meas I scri bbled and recorded some beams an archw indows and anhou r la t e r I was gone .I went af te r t he l i t t le por te r into “ ano t h e r. room in
t h e Pa lace to ge t perm ission to see. t he Tea t ro d iS abb ione t a .I supposed i t to be a very d ifficu l t t h ing to ent er S abbione t a
and t o be a l lowed t o see t he t hea t re . I h ad never ye t me tanyone who had seen t h e place and only two menwho h adeve r spoken of i t ; and I was rat her doub t fu l as to wha tCommenda tore M ario t t i wou ld rep ly . 80 I was doublysu rpri sed when he to ld me t here was no d ifficu l ty a t a l lprovided I wou ld take t he t roub le t o go so far . “
But
su pposing t h ey do not le t me see t h e t hea t re Commen
dat ore M ario t t i took u p a penand b eganw ri t ing . He t henre ad to me a shor t le t t e r add ressed t o t he S indaco ofS abb i one t a .
198 THE ARCH I TECTU RAL REV IEW .
I am of a ra t he r imag ina t ive tu rn of m ind , and wh enany t h ing offi c ial comes near m e , when I h ear of S indacos,
of Adm inistratori , and t he l i ke , I fee l t ha t t h ings are com ingrigh t at las t . For t h ings to come righ t fo r m e
,would b e fo r
au t hori ty to b e res tored t o t hose who h av e au t h ori t a t ivenames and no pow e r , o r who have the powe r and mayn’tuse i t , or have t he pos i t ionand possess no power , o r h ave thepos i t ionand t he powe r and are checkma t ed by ano t her whohas le ss pos itionand power .Had I gone
“to S abbione t a in 1 588,h ad I b een S camozzi
h im sel f,I should only h ave gone t he re i f t h e Duke V espasiano
h ad asked m e t o as h e asked S camozzi . I shou ld haveent ered
,gone wh ere I wi shed , and h ad not h ing and no one
to h inde r m e . And I suppose som e such ins t inc t procu redfo r m e t h i s le t te r to t he S indaco
,alt hough— as a m a t t er o f
fac t— I neve r saw th e S indaco and I neve r de l ivered t h el e t t e r. S t i ll I fe l t d i s t inc t ly more someone as I lef t thepresence o f S ignor M ario t t i w i t h t h e le t t er in my b re as tpocke t . I was qu i t e aware t h a t som e foo l a t t h eo t he r end m igh t say Commenda tore M ar io t t i
,who ’s h e ?
Don’t know him ! Th e t h ea t re i s c losed and you can’tge t in.
S t i ll, I d idn’t t h ink of t h e evi l chances,b e ing convinced
of my power t o sweep t hem all away. Y ou can suppose Iimagi ned t here wou ld be ob s t ac les becau se no one I knowof ever seems to h ave go t in.
A t e igh t o’clock I was in t h e t ra in and passed t h roughCo lom o
,t ha t sea t of the Fam ese wh ere Bi b iena bu i l t t h e
t h ea t re,and arrived a t Casalmagg ioreabou t nine . Casalmag
giore i s ug ly enough . W h en i s t h e nex t t ra in leaving fo rS abb ione t a ? I asked . You mu s t go into t h e t own
,t o
ano t he r s t a t ion. I w ent into t h e t own,and d i scovered
the t ra inwas a l i t t le toy-l ike affa i r wi t h a m ini a tu re eng ine ,wi t h Cassel s t amped on i t
,f rom w h ich c i ty in Ge rm any
i t appears mos t of t he sma ll eng ines in I t a ly came . But
t he t ra in s tood lone ly inh igh grass , not in a proper s t a t ion,
and was not to s t ar t fo r abou t two hou rs and a h a l f . So
I w ent u p a long road and arr ived a t a large Pi azz a , a tt h e end of which s tood the Town H all. On t h e righ ts id e of t he Pi azza was a l i t tle d raper’s shop
,in t he window
of wh ich I saw som e wh i t e bone penho lders,two v ery
small ba ll s o f grey s t r ing,an immense am ount of fl anne l
and co t ton, and— I be l ieve— a wi re baske t w i t h som e eggs .Th e pens , t hough , made m e rea l ize t h a t t h is w as t h e neares tt h ing to a l i b rary in t h e town. I w ent inand asked t hemi f. t here was a gu ide t o S abbione t a i
. any book .
I mus t say I was su rp rised wh en t he l ady of t he shop produced a ve ry nice l i t t le book all abou t S abb ione t a wi t h som efi f ty or s i x ty i llu s t ra t ions .I went to t h e café t o wa i t my two hours com for t ab ly
,
and looked a t my gu ide . Th ere were two illu stra t ions oft he t hea t re , one an ex te rio r and one an int eri o r , bo t h o fwhi ch d isappo inted me grea t ly . I had expected som e t hingqu i t e d iffe rent .S t i l l , i t was a beau ti fu l d ay in au tumn and t he re w as
no t h ing to comp la in abou t,and before long I w as in t h e
m inia tu re t ra in and hus t l ing a long t h rough vineyards byt he side of t he open road . I su ppose i t took h al f an hou rbefore t he t ra in s topped and I go t ou t ; not , as I supposedI shou ld do , a t a town— bu t a t a cross-roads resp lendentw i th green and yel low foliage
,t h ick w i t h i t
,h igh h edges
and t rees a l l around . I go t down, and t he t ra in wound
i t s way in b e tween t h e b ank s of fol i age and was gone l i kea rabbi t .
I t w as a d is t inc t cross-roads, and ano t he r t ra in w as t o
be expec t ed shor t ly a long t h e l ine which crossed t he onecom ing from Casa lmagg iore . A f ter abou t ten minu t es’wai t ing , ano t her t ra in d id slowly come along . I go t in,
and af t e r puffing onfo r I suppose abou t a quar ter of anhou ri t pu l led up and t he conduc tor sa id S abbione t a . Theywe re in a hu rry t h a t day and t h ere w as no t ime t o argue
,
and t he t ra inwent on l eaving m e aga in on a count ry,road
and not a s ign of a town anywh ere green fol i agea l l around .I t w as a mos t cu rious s i tu a t ion fo r m e to hear t he wordS abb ione t a ” cr ied ou t by a li ving b eing
,to j ump ou t of
t he t rain, look'around, see t h e t rain going , and fe e l myse l f
ho'ax ed . S t i l l , of cou rse , I knew qu i t e we ll t h a t t h e hoaxwas only an I t a l ian one ; ou t of which one t h a t you cou ldb e ce r tain som e t h ing good wou ld com e . So I wa lked u pt h e road a few yards
,t hen down again
, and t here suddenlythrough the t rees , I perce ived c lose t o me , 'a fine t h ick wal l ,t h e w a l l wh ich su rrounded t h e whole citv of S abbione t a .I t i s a cons id erable wa l l
,fo r t h e p l ace w as once a
for t ress .I w as so de l igh t ed to ge t t h i s fi rs t g l impse of arch i t ec tu re
t hat wou ld lead me to t h e t h eat re t h a t I fo rge t wh a t t h ega t ew ay looked l i ke as I went qu ickly t h rough i t ; I almos tforget wh a t t he t own looked l i ke .But I p assed t h rough t h e Pi azz a d’
Arm i,took a tu rnto
t he righ t , and arr ived a t t he Palazzo M unicipa le , b eh indwhich I s aw th e t h ea t re which s tands by,
i tself.'
Beh indthe t heat re , I found t h e t ra t to r ia .Having m ade sure t hat t he t hea t re was t he re (and t h e
t ra t toria) and ac tual ly d id exi s t , I dec ided to w as t e goodt im e , and was t e i t we l l in t h e t ra t t o ri a before I cam e tot h e cons iderat ion of t h ings e i t her more or less seriou s .I t w as a splendid t ra t tor ia , only for t h e fac t t h a t t herewas no t h ing fo r m e t o ea t . I b e l ieve t h a t eve ryt h ingge t s w eak er and w eaker in t hose places where c ivi l iza t ionadvances ; bu t in t hose p laces wh ere c iv ili za t i onrem a inswha t i t was five o r s i x hundred years ago
,I b e li eve t he
sam e o ld s t reng t h ab i des . Th erefore,when the lady of
t h e inn b rough t me a spaghe t t i Vespasi ano and I t as t edi t , I pu t down my fork and looked ou t of t h e window and
did a spe l l of hard t h inking . I was t ry ing t o b ringmyse l ft o reali ze t h e fac t t h a t I have j u s t ment ioned . I supposei t w as t h a t -but I cou ldn’t t h ink a t all.I looked ou t o f t he w indow
,fe l t h e lp less and ra t he r cross.
All ph rases su ch as “W hy can’t you provide for human
be ings and“\Vhat sor t of food is t h is ? and Br ing
me t h e m enu ! and a t leas t tw enty o t herschased one af te r ano t h er t h rough my b rain,
came to t he t i pof my tongu e and I w as g lad t o swallow t h em . For t h erewas no t h ing e lse to swa l low , nor anyu se in u t t e ring t h em .
The re was bread ; one can a lw ays ea t b read . I t was sou r ;bu t the cru s t w as b rown
,and t h en h a l f a fork full of spag
h e t t i w it h t he s t rong suggo a l la Vespasi ano m igh t b et ackled . I rem ember I took a quar t er of a p la t eful andt hen ordered o t h e r t h ings a t random bu t a t e very li t t leof anyof t hem .
I t was a dark , s tone-flagged,low -ce i l inged ki tch en of a
p l ace , a t t h a t t ime t h e only t ra t tor ia in S abbione ta . And
in t h i s l arge , low , ru s t ic looking place,wh ere m aybe
t he old ac tors had . lodged , s a t a coup le o f c l erk s oft h e Banca d i S abbione t a , an auc t ioneer , fou r p easant s ,a commerc ia l t rave l ler
,and t h i s o t h er kind of t rave ller
myse l f.
200 TH E ARCH I TECTURAL REV IEW .
I had no bus iness t o be t here a lone . I shou ld h aveb rough t a sandw i ch w i t h me because , t hough I h ad t akent h e mos t remo t e corne r when I cam e in,
’e re long , I w assu rrounded by t he fou r hungry peasant s who munch edand d rank t h e i r sou p sque lch ing ly. But cons ideringt ha t l was t he int ruder , I had no t h ing t o say ; bu t.t h ey mus t h av e d e t es t ed my presence more t h an I didt h e i rs .Then I went round t o t h e t h ea t re . Th e door Was open
and I ent ered t he passage-l ike hal l . I saw a doo r on eachsi de o f m e and knocked a t one o f t hem . I t opened andbe fo re m e s tood a v i s ion; a woman wi t h d ish evel led h a i r ,rubb ing he r mou t h wi t h t h e back o f h er h and ;5 and i f notree ling d runk , t h e nex t t h ing t o i t . Th i s o f cou rse prom i sedwe l l
,fo r I was in t he home of Drama . But I d id not think
t he Dram a o f S abbione t a wou ld look like'
that .
S t i l l sh e w as am iable enough , and when I asked togoin sh e ins i s t ed uponOpening a l l t h e doors and showing meround . Hu rl ing h erse l f aga ins t the. fi rs t doo r
,i t gave w ay
wi t h a resound ing crash,and I cam e d i rec t ly upon t h e
cent ra l ai s le,or ra t he r into t h e aud i torium
,only to be m e t
w i t h ano t h e r d rama t ic shock . Th is t ime i t w as in t h egu ise o f 5 75 sm al l flags garlanded on s t r ing around t h ep lace , ac ross t he p lace , and doWn'
the p lace . L i t t le flags ,not more t hana foo t long and five inches wide ; li t t l e th ingsfrom Amer ica , Eng land , S pain, J apan,
e t c .Th ey a l l hung l im p and flutterless
,and as I whee led
around , the t h i rd shock cam e crash . A c inema tograph , byVespasiano ! Flags , c inem a , and a drunkenwom an; and Ih ad come all t h e w ay from Parm a t o see t h is . But not onlyto see,
'
for sh e w as vo luble , t h i s t ha t h ad t aken t he p lace o ft he S indaco . And I , not yet ou t of my d ream ,
feebly askedt h i s h ideous creat u re , I s t h is wh ere t h e ac tors s tood ? I st h i s wh e re t h e Duke went ? Perh aps t h e re w as a scene
stabile t h ere At which , in I t al ian,she kep t on t e l l ing m e
t o “Go on
I tu rned as t h e u su a l t ou r is t tu rns . I looked u p and around .
I hea rd my own foo t s t eps in t h is anc i ent shrine,and fea red
not to make more. I took in t h e s t age , and the sea t s o f t hem igh ty , I w ent u p into t he grea t cu rved logg ia fol lowed byHeca t e ; I saw t he scra t ch es on t h e w a l ls , t h e f rescoesp rac t ically obl i t e ra t ed by t he scra t ch es of nai ls
,and I no t ed
two new gli t t e ring na i ls t h a t h ad gone in las t M onday fort he sake of a J apanese fl ag .I went into t h e two s ide rooms
,t h e re t i r ing room s of t h e
Duke , whe re h e u sed to go for refreshment be tween t he ac t s .I t oo w ent fo r re l ief . I w ent on t o t h e s t age
,saw th e h a l f
b roken ce i l ing . I fe l t t he damp creep ing round m e ; andwha t I d idn’t do and shou ld h ave done w as t o go up to t h ec inem a tograph and sh ake myfi s t a t i t .But I d id b e t t er t h an this . I w ro t e t o Corrado Ricc i ,
t h e M ini s t er of Fine Art s , and h ad t h e d amn t h ing t ak enou t toget h e r wi t h t he flags ; bu t I hope t h e o ld hagw as spared . From t he Mini s t er I received a t e legramsaying “
Consternato indicebile s ta to t ea t ro S abbione t a .Ringraz iola de lla no t izi a provvido pe r r ipri s t ino ins ignemonumento . La t er on a no t e cam e t o say I ] Teat rod i S abbione t a e in ord ine . Il Kinem a e s t a to leva toe non s i ent ra m a i piu . ’
l‘
Translated : Very concerned as to condit ion of theatre at
Sabbioneta. Thank you for new s,w i l l provide for repair of renowned
monument .f Translated The Teatro of S abbioneta is in order. The K inema
has beenremoved and w i l l never enter again.
” EDW ARD GORDON CRAIG '
I t hen w ent over the pa lace , wh i ch i s r eally extraordi
mari ly int eres t ing and very of t en b eau t i fu l , e ach room beinga sm al l model and not rea l ly a pa la t ial room , only asm al l model fo r. a grea t pa la t ia l room . I t w as t he t h ea t reI came t o seeand I sh a l l com e t o speak of , but I canno tspeak of i t now ,
b ecau se I could not recollec t i t unt i lI h ad lef t t he p lace .And I had a good dea l of. d ifficu l ty in leaving S abbione t a .I d id not want t o s leep in t h a t innand so I asked for a cab.
No su ch t h ing. cou ld b e found, so I dec ided to wa l k back to
Casalmaggiore , bu t b efore doing th is , made ano t he r e ffor tand obtained a cab .
I wes back inParrha t h e sam e nigh t , and af t er d innera t t h e Croce Bi anca , whi le smok ing a Toscana , I calledup t h e remem b rance of wha t I h ad seen in Scamoz z i
’
s
t h eat re . (Fig. 5 )The s tage amere space
,for t he scena stabile h ad been
sw ep t away,goodness know s where. W i ll i t somed ay be
found inS abbione t a and r es tored t o i t s pos i t ion You seeby t h e d iagram wh a t t he scene once looked li ke , how i t wasfixed . Those who h ave v i si ted V i cenza w i ll recognize t ha ti t i s by the sam e man,
_ only tha t , whereas five s t ree t s formt h e cent ra l par t o f t h e scene in Vicenz a , t here was onlyone s t ree t in t h e scene in S abb i one ta. So much fo r thescene and t h e s tage . No th ing rema ins , t h ere i s no th ingt o be said .
But t h e aud i tor ium ,wi t h i t s gradina t a of five s t eps and
i t s twe lve s t a te ly co lumns,i t s co rnice and i t s s t a tues , t h ese
are t h ings which make t h a t aud i torium a very remarkableli t t le affa i r. In the drawing w e ge t a w rong impressionof t h e bu i ld ing . I t i s byno means b road i t i s t all and s t a t e ly.
Unless one real ize t h a t i t i s a mode l for a larger t h eat re ,one wou ld b e ap t t o cri t ic iz e i t as b e ing too cram ped .S omehow ,
each s t ep of t h e grad ina t a looked t oo large ,a l t hough t o see t h em as t h e arch i t ec t saw them wou ld b efi rs t to fill t h em wi t h lad ies and gent lem en dressed in t h es i lks and sa t ins of 1 588. Th a t wou ld cove r , l ike flowers infu l l b loom
,w h a t now cer t a inly look like emp ty flowe r
box esThe s t a tu es on t h e ped iment w ill not do , to my eye ,
for t h ey are int ended t o s t and up ligh t ly and b righ t lyaga ins t a b lue sky. They are int ended to b e t h e las tt h ing on ear th ,
wh ereas here,wh en b rough t ins ide a
room,t h ey h ave a w re t ch ed cei l ing over t h em . I t i s
sa id t ha t t h e cei ling h as been low ered . Does t h a t meant h a t when S camozz i made i t , i t w as domed and blue ,and t h a t h e som ehow l igh t ed t h i s b lu e so t h a t i t gavea t ransparent open—a i r e ffec t ? Y es , t h a t i s wh a t i t doesm ean and t hen t he figu res wou ld look very w el l . Th eya lso say t ha t t h e wa l l s w ere once covered w ith decorationsby Be rnard ino Veneziano , t he wall s which are now coveredby wh i t ewash . In a sm a l l bu i lding l ike th i s , i t mus tb e touch and go whe t her the t h ing succeed o r fa il. As
fo r lowering a ce i l ing,mak ing t h e round fla t , and whi t e
w ash ing t h e w alls , t h a t mus t b e enough t o rob i t of agood ha l f of i t s va lue. The s t age , emp t i ed of i t s scene ,rob s i t s t i l l more
,so t h a t when I saw t he o ld t h ea t re ,
t h ere really w as bu t one—th i rd , i f as much , of i t s o riginalb ri lliance lef t .But I do not doub t a t a l l t h a t when t h e I t alianscom e to res to re t h i s bu ild ing , t h ey w ill show u s t h a t i twas one of t h e mos t perfec t p riv a t e t h ea t res t ha t w ereever bu i l t .
The Gothenburg Exh ibi t ion .
W 17th Photographs by
F . R. Yerbury, The Architectural Review .
OTHENBURG been a proud c i ty in1923 andnot w i t hou t reason. Tha t a por t of no more t han
inhabi t ant s shou ld be able to s tage anex h ib i t ionof Swed ish h i s tory and ar t and indus t ry
fine enough t o d raw v i s i tors from all ove r t he world i s acau se fo r p ride . And we inGrea t Bri ta incan savou r t h a tpri de w i t h fu l l sympa t hy and more t h an a l i t t le int im acy.
Gus t avu s Ado lphus founded Go t henburg t h ree centu riesago m idway in t ha t grea t re ign which p laced Swedenamong t h e Powe rs. He re l i ed grea t ly on S co t t i sh so ldiersof for tune , and t he S ir J ohn Hepbu rn,
who commandedt he S co t s Brigad e , h ad h i s knigh t hood from t he Swed i shmonarch . I t was a t l .u t 7.enin 163 2 ,
int he fi rs t grea t ac t i onwh ich Gu s t avus fough t wi thou t S co t s regiment s at hisback
,t ha t h e fe l l— a mont h aft er H epbu rn had lef t h im .
W hen He pbu rn recons t i tu t ed h i s force of S co t s i t was tose rve Lou is XI , bu t t h e au t ho ri ty was a warrant of ourCh arles t he Fi rs t , and t h is regi ment i s Th e Royal Sc o t s ,fi rs t of t he L ine
,and t h e seni or uni t of ou r Regu lar A r my .
Go t henbu rg has a t rad i t ion of fri end l iness to Eng landwhic h comes ou t in t h e ni ckname o f Li t t le London.
So i t happens t h a t Engl i sh v i s i tors t o t he grea t po r t in t h i svear of j ub ilee have found , not only a we lcome of ex t rao rd inary w arm t h , bu t an a lmos t di sconcer t ing knowl edgeof ou r pub l i c affai rs , ou r l i t e ra tu re , and ou r art . Perh apst h ere l ingers inEng l ish minds from t he days o f war somememorie s o f imperfec t sympa t h ie s
,some lack of t h a t v ivid
fr iend l iness t ha t Denmark and Norw av showed : but i tmus t be remembe red t ha t w e we re on t h e side o f Russi a ,t he age-long enemy of Sweden. W i t h Russ ia b roken and
no longer a nigh tmare of oppression across t h e Ba l t ic ,Swedenhas been free to renew those t i es o f sym pa t hy w i t hou rse l ves t ha t are roo t ed in a common love of l iber ty and
inno t able l ikeness in ou t look .
The Exh ib i t ion held up a cha rm ing m i rro r to Swedishl i fe and work . Perh aps t he mos t s ig nificant impress ionI t ook away w as of a h igh indus t ri al efiiciency wh ich i ssh aking off t he bonds of ug l iness . In Eng land we have
ou r Des ign and Indus t ry Assoc ia t ion and ou r Br i t ishIns t i tu t e o f Indus t r ial Art , and now t he Roya l S oc ie ty ofAr t s i s to t ake. a h and in the t ask of ge t t ing b eau ty intocommon t h ings S weden is ahead of us in t ha t . Theyhave a S oc ie ty of Art and H and icraf t wh i ch i s su ccessfu l lyb ringing t h e m anu fac tu rer into t ouch not only wi t h the
ar t is t,bu t w i t h t h e m idd leman and the re ta i ler , ve ry
impor tant peop le,fo r t hey buy and sell t he goods . In
po t t ery,fo r examp le
,a j ury of ar t i s t s , manu fac tu rers and
sa lesmenexam ines new pa t t e rns in t he l igh t of t hei r b eau ty ,t he i r u t i l i ty
,t h ei r possibi l i ty of econom ica l manu fac tu re
and t hei r marke table qual i t i es . Those pi eces t h a t sat i sfyt he j u ry may hear t he h all-mark of t he S oci e ty : i t
‘i s
sa t i s fac tory to no t e t ha t the w ares o f t h e Rorstrand and
Gus t avsberg W orks , wh en so marked , are a grea t commercial success . Th a t so U t op iana resu l t h as beenach i evedi s due inno sma l l measu re t o t h e sp lend id ent hus iasm ofM r. Odelberg of Gu s t avsberg . I t is not a l i t t le no tablet h a t his fac tory
,a m irac le of effic iency in a se t t ing of rural
beau ty and pa t riarcha l com for t nea r S tockho lm , shou ldem ploy nine hundred sou ls in mak ing po t tery , with. ba l lc lay from Dorse t
,ch ina clav from Cornwa l l , and coals f rom
Newcas t le .W ork produced in t h e sp iri t of ent hus ias t ic commonsense was t h e no t e of t he Go t henbu rg E xh ibi t ion. I tshowed h igh effic iency m arri ed t o a sense of t h e beau t i fu land anapprec ia t iono f t h e fi t . The publ icsp i ri t of Go t henbu rg bu i l t a t t he por ta ls of t h e E xhi b i t i on a permanentArt Ga l lery , wh i ch i s typical of t he fine s imp le qua l i ty ofmodern Swedi sh Arch i t ec tu re in gene ra l and in part icu laro f t h e sk i l l of t h e Exh ibi t ion Arch i t ec t s , M r . Bj erke. andM r . E ri cson. They gave t o t he t em porary par ts o f theE xh i b i t ion j u s t t h a t qua l i ty of fant asy , t h a t touch. ofexaggerat ed ga ie ty which i s not only perm iss ible bu trigh t eous . A bu i lding t h a t i s to serve for only si x mont h si s mee t sub j ec t for humour and experiment . W hen M r .Bj erke designed t he E xh ibi t ion Concer t Ha l l , wh ich i swho l ly of t imbe r
,bu t i s t o remain fo r a few years , h e d id i t
202 TH E ARCH ITECTURAL REV IEW .
A RE STAURANT.
This bui ld ingw as designed to screencertainhouses ou tsidethe exh ibition. I t is b lack and w hite, and the restaurant
inside is treated inshades oforange .
in t h a t sp i ri t of sob rie ty wh ich info rm s h is perm anent work .
The Ci ty of Go t henbu rg is not be ing re-bu i l t so rapid ly asS tockho lm ,
bu t M r. Bjerke’
s'many bu i ld ings t h ere ,
and spec ia l ly a grea t new school , are no t abl e cont ri bu t ionst o Swed ish b rick arch i t ec t ure . ’
It i s inthe cap i tal, howeve r ,t ha t t h e t endenc ies of t he day are more c lear ly seen. Thegrea t Engelbrek ts Ch u rch i s now abou t ten.years o ld and ,
desp i t e i t s defini t e m eri t s , the savou r of se l f ~ consc iou sm od e rni ty and c raf t smansh ip makes i t a l ready a li t t leo ld-fash ioned . Th e new Town Ha ll i s fu l l of vi ta l i ty andt h e s t i l l new er Hogalids Chu rch m ark s t h e preva i l ingpassionfor s im p l ic i ty and h e igh t . Int h e la t es t commerc ia lbu i ldings t h e re i s a grea t freshness of t re a tment ine leva t ionst ha t some t imes m ake a cu r t sey t o c lass ica l t rad i t ions bu tneve r fo l low th e book . Swed ish arch i t ec t s a re ent hu s i as t sabou t Eng l i sh count ry arch i t ec t u re , and po l i t e abou t newRegent S t ree t s and such ,
bu t i f pressed to be frank t h eyconfe ss t o finding u s not ve ry advent u rou s . In Sw edent h e fresh m ind is ab road , and I find t he resu l t s o f i t great lys t imu la t ing and s ignifi cant of t h e nat iona l effi c iency .Th e E xh ib i t i onArt Gal lery a t Go t h enbu rg hou sed examp lesfrom a l l S cand inavia and so inc ludes t h e Norweg ian,
Danish and Finnish ar t of t o-day . Th e scu lp tu re seem edto m e fre sh and pow e rful, bu t I h ave t o confess m y lacko f comprehens ion wh en i t comes t o S cand inavian pa int ing .Zorn i s bu t la t e ly dead , ye t h e i s a l ready o ld—fashioned .Th e paint ers o f t o-dav are b i t t enwi t h so m odern a m e t hod
A RE STAURANT ENTRANCE .
The entrance to the main restaurant on the eastof the Great Court . In colour it is orange, pale
green, and gi l t .
t h a t I am lef t wondering whe t h er I am wi l fu l ly bl ind t onew presentments
’
of form , or t h ey t o t h e l imi t s wh i ch acont emp t of t rad i t i on does not wi se ly overs t ep .In t he ar t of E xh ibi t ion-making Go t henbu rg has not beenunaware o f t he fine precedent s se t by M unich . Ind ividua ld i sp l ay h as b een d i sc ip l ined w i t h in a fram e of o rderedseem l iness flowe ring int o ga ie ty a t eve ry t u rn. Perhapst h e d i sc i p l ine was a l i t t le too severe
,a t rifle cont emp tuous
of t he needs of commerc ial di sp l ay . Th e ind i vidualex h ibi to r , even .
in so order ly a na t i on as Sweden,mus t
h ave fe l t t h a t aes the t ics h ad made a who le burnt-offeringof pub l i c i ty, bu t i t w as infini t e ly refresh ing t o t h e vi s i to r .The bu i ld ings we re a m i racle o f t imb er cons t ruc t ion
,as i s
fi t t ing ina count ry whose ch i ef wealt h i s inhe r fo res t s . The
l igh t ing effec t s a t nigh t were as b ri lli ant as one expec t sin a l and whe re unl im i t ed wa te r pow er g ives e l ec t r ic i tya t a nom ina l cos t . Th e hygienic ski l l of t he Swede and h issoc ia l wi sdom w ere m arked by a ch i ldren’s parad ise int h e E xh ib i t ion grounds . Parent s cou ld leave t h e i r youngsters t he re t o p l ay in a vi l lage of L i l li pu t ian bu i ld ings
,
which made one rem emb e r wh a t ch i ld ren owe t o ano t h erS cand inavian
, H ans Andersen.
Peop le t h ink o f Sweden as far aw ay,bu t I cont r ived to
see Go t henbu rg . and S tockho lm be tween a S a t urday and
t h e fo l lowing Monday week, and w ith
'
infinite com for t .I b rough t away
'
w ith me memor ies o f uncount ed k indnessesina count ry whic h pers is t ent ly refused to seem foreign.
LAW RE NCE W EAVER.
TH E ARCH I TECTURAL REV IEW .
MAlN ENTRANCE PLACE LooK iNG'
EAsr'
Portico above connects w ith the. Entrance Cupola w h ich leads into the Long Court . The Art Gal lery is on the ri gh t .
THE
'
MA IN ENTRANCE PLACE LOOK ING W EST .
A view of the W est Flank of the Place from the low er steps of the Art Gal lery.
THE GOTHENBURG EXH IB IT ION .
Plate102 3 .
THE ART GALLER Y .Arvid Bjerke and S igfrie d E ricson, Archi tects.
The Art Gallery i t the only { wt/manent bu ilding of the Exhibi tion. I t faces the entrance and enclosedonm rle side bythe bu ild ings film /m ini rm the opposi te page. The ci ti zens ofGothenburg intend eve-ri tuallyu ) form he” lb.
” artist’r of the ci ty, and lo flank the Art G i ll/Ff? Mr (1 (‘
nnrcrt Hall and a. Theatre.
THE ARCH I TECTURAL REVIEW .
THE GOTH ENBURG EXH IBI T ION.
The Chu rch of the English'
Martyrs, Bi rm ingham .
Designed by Sandy and Norris.
L'
ST . off t h e S t ra t fo rd Road in Sparkhil], an im
po rt ant par i sh in Bi rm ingh am , l i es t h e Church oft he Eng l i sh M ar tyrs , des igned by E . Bowe r No rr i s o fSandy and No rri s , and recent ly opened by Card ina l
Bou rne . The si t e i s regu lar and l evel,
and present s no d iffi cu l t i es ; prov i s ionhad t o be m ade fo r t h e Chu rch and
Presby t ery , t h e la t t er p rov iding fo r t h erec to r and one cu ra t e .The des ign was evo l ved from a s tudyof t h e Byzant ine Chu rche s o f Rome a tt h e express w i sh of t h e c l i ent
,t h e Rev .
31. O'
Hagan. All unnecessary fea tu reswere e l i m inat ed in o rder t o ge t aneffec to f ex t rem e s imp l i c i ty .
The chu rch prov ides sea t ing accommoda t ion fo r 481 peop le , w i t h room for anadd i t iona l twenty in t h e gallery . All t h ebu i ld ings a re cons t ru c t ed of ZJ
E-in. mu l t i A LAYO UT THE SCHEME .
co lou red b rick s wi t h r us t i c fini sh . Th eroofs are covered wi t h pant i les , and t h e int er ior o f t hechu rch re l i e s fo r i t s effect xmainlyupon t h e co lou r o f t h eS i enna m arble co lumns and t h e rough fini sh of the p las t er
THE CH URCH AND PRE SBYTERY FROM THE ROAD .
work , wh i ch w as lef t j u s t as i t cam e from t h e fe l t-woodfloa t .The to t a l cos t o f t h e Chu rch and Presby te ry was
£18000,and t he who le grou p of bu i ldings
,inc lud ing
t h e campani l e,w as bu i l t in t h i r teen
mont h s .Th e scheme of h ea t ing in t h e ch urchi s a po int of spec i a l interes t . As bo t ht rench es and rad i a tors wou ld h ave b eenob j ec t ionabl e in t h e body o f t h e chu rch
,
t h e sch em e w as des igned t o e l im inat et h ese as far as po ssible
,and to b r ing
t h e hea t int o t h e bu i lding a t t h e po int sm os t l i able t o co ld draughtsf that i sunder t h e w indows . Large chases w erethere fo re formed in t h e t h i ckness o f t h em ain wa l l over t h e arch es
,and sem i
concea led z -in. p ipes w ere p laced '
in t h eai sl e roo f
,t he h ea t t hu s genera t ed b e ing
conduc t ed t h rough t h e ch ase into t h espl ayed sill of t h e c lerestory w indows . Th i s sys t em , combined wi t h t h e rad i at ors bu i l t in t h e recesses in t h e a i slew a l l
,proved ent i re ly s at i s fac tory .
TH E ARCH I TECTU RAL REV IEW
A GENERAL V IEW FROM THE BACK .
F'
lR S T f‘
L oo e DLA N
I ran O~ e Q ungru z I~ cu u au ONG foo ?
PLANS OF THE PRESBYTERY.
THE CH URCH OF THE ENGL lSH MART YRS, BIRM INGHAM .
FRONT OF THE PRESBYTERY .
THE BACK OF THE PRE SBYTERY
I
.) TH E ARCH I TECTURAL REV IEW .
am ) : m all ” V1:
2 14 TH E ARCH I TECTURAL REVIEW .
r R A‘
N D . S T R ‘ A N D S T R A N D
(I K V K I S (I N Y H I'
S G R V H I . S
THE STRAND \V ITH SOMERS ET HOU S E AND THE CHURCH OF ST. MAR Y-LE—STRAND .
W a te r loo Place , wh ere M essrs . Cox Co.
’
s new bank h asse t t h e sea l on an almos t comp l e t e t rans format ion— a
t ransfo rm a t ion so d ras t ic th a t prac t i c al ly no t h ing ofNash ’s work ,
inc lud ing h i s own res idence , r em ains .The changes I h ave no t ed h ave beench anges in e leva t i on,
and h ave not affec t ed ma t erial ly t h e a li gnment s o f t h e s t ree t sinwh i ch t h ey h ave occu rred . I f we go into Trafa lgar S qua re,
howeve r,t h e cas e i s ve ry d i fferent . Tal l is ’s v i ew of t h a t open
space w i l l show a t a g lance how much has h ere beena l t ered— not on t h e nor t h , eas t , and w es t s ides , wh ere t h e Na t iona lGa l le ry , t h e b lock containing t he Go lden Cross Ho t e l , andt he Union Club and Co l lege of Phys ici ans
,r em a in to pre
serve t h e o ld ou t l ines ; bu t in t h e l ay ing-ou t of t h e cent r alpo r t ionof t h e square , and the erec t ionof Nelson’s M onumentflanked by Landseer ’s lions , which w ere t h e resu l t s ofBarry ’ssch em e (a l t hough hi s or igina l des igns w ere on a far grandersca le) , and which w ere not com p le ted t i l l som e tenyears af t erTall is i ssu ed h i s V i ew . S t i ll
,more m arked are t h e ch anges
on t h e sou t h side . Tha t g lor iou s pi le,Northumberland
House , was r ut h lessly pu l led down in 1874 t o m ake w ay fo rNor t humbe rland Avenu e , which i t is now recogni zed m igh th ave b een carr ied t h rough wi t hou t any su ch demo l i t i on.
M any of t h e o ld h ou ses and shops be t ween i t and W h i t eh a l lh ave beenrebu i l t ; wh i le , oppos i te, t h e compara t i vely recentopening int o t h e M a l l has changed
,and h ere changed for t h e
b e t t e r (int h a t w e ge t a vi s t a a l t hough wi t h some d i ffi cu l t y ,of t h e green t re es) t h i s pa rt of t h e qu ad ra t e .Ano t h e r spo t wh ere t h e s t udent of Tall i s wou ld h av e
difiiculty in recogni zing hi s wh ereabou t s i s t h e S t rand .In t h e fi rs t p lace
,apar t from such th ings as t h e convers ion
of Ex e t e r H al l into a res tau rant,t h e d isappearance o f one o r
two t h ea t res , t h e demol i t i onof a por t ionof Adam ’s Adelph iabu t t ing on t h e t horough fare
,wi t h t h e se t t ing b ack of t h e
newly-bui l t Tivol i , t h e Lowthe r Arcade , dear t o ou r ch i ldhood , and wh ere S ir James Ba rr i e once b ecam e possessed o fan h is to ric smoking-t able , i s no more , and M essrs . Cou t t sCo. reignina mass i ve bank oni t s very s i t e .But i t i s t h e S t rand eas t o f W a t erloo Bridge wh ere t h emos t im por tant and d ras t ic ch anges h av e t aken p lace .T here t h e grea t Aldw ych and Kingsway recons t ru c t ionhas
so al t ered the l ines of thenor t h s id e o f t h e t horough fare t ha tne i t he r T al l i s norW hit tock wou ld recognize t h e pl ace , unlessi t w ere t h rough S t . M ary's Chu rch
,whi ch a lmos t a lone
rem ains as i t w as in t hei r day . Th e immense t emp les t ha th ave a risen
,Bush House be ing t h e la t es t
,in t h i s quar te r
h ave long s ince obl i te ra t ed from our m emor ies t h e ex iguousshops t h a t flanked t h e chu rch ; and Ho lywel l S t ree t (t h ebook-lover’s parad ise) and VVych S t ree t , are bu t d im recol
l ec t i ons , as i s t h e o ld Ga ie ty , whose modern successor seemsto shou lder like som e g igant ic l iner i t s m ass i ve bu l k into t h ew aves of t raffi c t ha t h eave around i t .Ano t h e r spo t wh ere demol i t ion has obli t e ra t ed o ld landmarks and h as lef t u s a s t ree t ou t l ine very d ifferent f rom t h a twh ich Ta ll i s knew
,i s t h e sou t h end of W h i t eh all. In form er
d ays,as many of us rem em be r , Parl iament S t ree t caused t h i s
par t of W h i t eha l l to be narrow a l t hough not unp i c tu resqu e ;now
,wi t h t h e nor t h s ide of t he o ld s t ree t demo l i sh ed
and t h e ex tens ion of t h e Gove rnment bu i ld ings , t h e who lethorough fare h as been made a uni fo rm w id t h
,great ly t o
t h e advant age of a i r-space , and a ffo rds an‘
uninterrupted
vi s t a of Par l i am ent S quare and the Abbey beyondApar t from wholesa le demol i t ion and recons t ru c t i on t h ee rec t ionof ind iv i du al bu i ld ings h as g iven a new appearancet o m any of London’s s t ree t s . Piccad i l ly
,fo r ins t ance
,has
been pecu l iarly su bj ec t to t h i s . Th e R i t z h as dwarfedDevonsh i re H ouse even m o re t han d id i t s p redecessor
,
VValsingham Hou se ; t he Piccad i l ly Ho t e l h as crea t ed qu i t ea new atmosphe re in i t s immedia t e ne ighbou rhood ; t h e twomass ive bu i ld ings flank ing S t . James ’s S t ree t have begun t ocarry a m odern a i r even int o t h a t s t ree t of o ld fash ion.
Vas t s tores,as the Amer icans call t h em ,
su ch as t hose ofM essrs . Debenh am and Freebody, M essrs . S e l f ridge , M essrs .W aring , and num ber less o t h ers wh i ch t h e reader wi ll e as ilycall t o m ind , h ave carri ed into s t ree t s , wh ich o t h erw i sep reserve not a l i t t l e o f t h ei r anc ient a tmosph e re , t h e t ouchof a la t er and more p re t ent iou s day .In t h e E as t End rebu i ld ing h as been as respons i b le foral t ered ou t l ines as int h e wes t , a l t hough i t h as o f t en t akenp lace inquar ters less exposed to genera l not ice , and ins t ree t swh ich Ta ll i s ’s su rvey d id not cover . M os t of us, fo r ins t ance ,
LONDON Now AND THEN. 2 1 5
I O L I O I H
HOLBOR’N H IL l. “
'
ITH FURN I VAL '
S INN
remem ber the’
row of.beaut ifulOld hou ses inS ee t h ing Lane .
They h ave long s ince d isappeared to make w ay for t he Por toi ondon Au t ho ri ty ’s new and impos ing headquar te rs .Talli s does not deal w i t h S ee t h ing Lane , bu t h e does wi t h avery d i fferent quar te r , v iz ., Ho l born H i l l .
_The famous
declivi ty is not shown,bu t t he houses on bo t h s id es of i t
are c learly ind ica t ed . I t i s sufii cient to com pare t hesee leva t ions wi t h wh a t now obt ains t he re , to j udge wha t adifference t h e com ing of t he Vi aduc t has m ade int h i s quar t er.Compare , too , the c lass i c f ront of Furnival’s Inn, fo r eve rno tab le as be ing t h e b i r t hpl ace o f Pickwick ,
" wit h t h e vas tred-b rick ed i fi ce t h a t h ouses t he Prudent ial InsuranceOffices, and no te t h e ch anged e ffec t produced by t h e ra is ingof Hol bo rn’s h ighway and t h e consequ ent submergence ofS t . And rew 's Chu rch ,
t h e base of which s t r uc tu re (inTal l i s’sview) i s shown leve l w i t h t h e roadway . E ven Cheaps idepresent s an al tered appearance , and t he only fam i l iarob jec t s in Ta l l i s 's v i ew are t he seem ing ly pe renni a l t ree a tt he corner o f W ood S t ree t , and t he mass ive front of BowChu rch .
Ofcou rs e , much of wha t i s now anint egral part of Londonw as
,a t t h e t im e of Ta l l i s’s su rvey (183 8 bu t ou t ly ing
port ions of t he Ci ty ; almos t , indeed , separa te v i l lages l ikeBrom p ton and Kenning ton,
and even Kni gh t sb ridge , andconsequent ly he does not give us anyv i ew s o f t hese loca l i t i es .But h ad h e done so wha t changes wou ld h ave ca l led fo rno t ice ! Th ink , for exam p le , of Kensing tonH igh S t ree t asi t is to-day and as i t was , not mere ly eigh ty , bu t even fo r tyyea rs ago. Ca l l t o m ind t he Brom p tonRoad , w i t h i t s ra isedpavement on bo t h s id es (one a lone rema ins -t he m os tpic tu resque bi t of s t ree t elevat ion in London) , w i t hou tHarrod s , and fu r t h er wes t , w i t hou t t h e Ora to ry and t h eVi c to ria and Albert Museum , wh ere t he Brom ptonBoi l ersand t h e t ree-h idd en pic tu resque o ld houses nes t l ing bes idet h em
,and t h e o ld Be l l and Horns , W hieli only d isappeared
I l l ].
AT THE BOTTOM R IGHT-HAND CORNER .
a few years ago , were once t h e mos t ou t s tand ing fea tu res.All abou t t h i s pa rt t h e Grea t E xh ib i t ion of 185 1 has lef tt races o f i t s influ ence
,and t he acres covered by splendid
museums and ins t i tu t es , whi ch are bounded by Queen’s Ga t eand Prince ’s Gat e and t h e Cromwe l l Road
,are t he resu l t
of t ha t financ ia l success . But Ta l l i s and h i s v i ews werebefore t h i s m e t amorphosi s
, and ,t hen
,Glouces t er Road was
Hog Lane,and marke t gardens spread t he i r lengt h and
b read t h wh ere,to-day
,rows u pon rows of mass i ve houses
h ave crea t ed a fash ionable cent re more ai ry t hanBelgrav i aand less c rowded t h anM ayfai r . Int hose days a M e t ropo l i t anRai lway was as l i t t le suspec t ed here as a M ega losau rusBefore t h e advent of the s t ruc tu ra l co lossus all mannero f fam ili ar landmark s h ave d i sappeared from sigh t andmemory . Formany of t hese we h ave not to go far afi e ld .The mass ive co lonnades o f No rm anS haw ’s Piccad i l ly H o t e lhave d riven from our m inds t h e S t . James’s H al l andj immy’s , t h e h aunt Of t he fledg l ing undergraduat e ; t h erange of new bu i ld ings j u s t eas t of S t . J ames ’s S t ree t h aveobl i te ra t ed t h e o riental facade of t he Egyp t ianH a l l— t ha thome of mys t e ry ; t h e two top corners of S t . James ’s S t ree tare who l ly d iffe rent from wha t t h ey were when Tal li s produced h i s e leva t ionof t ha t par t of Pi ccad i lly, a t a t im e whent he mos t expensi ve p iece of w a ll inEng land ran i t s leng t hwh ere i s now t he front age of t h e new Bu rl ing t onHou se wh i charose in t h e early ’sevent i es , a t t he wave o f M essrs . Bank s’and Barry ’s a rch i tec tu ra l w and . Piccadi l ly Ci rcu s and
Le ices t er S quare exh ibi t changes no less dras t i c . Indeed , int h i s quar te r
,so symp toma t i c of o t h ers inal l par t s o f London,
few t h ings save t h e Bu r l ing t onArcade and t h e Al bany andS t . J ames ’s Chu rch are capab le of recal l ing t he London ofe igh ty years ago,
whent h e energy of Ta l l is and t h e ingenu i tyof W hittock produced t hose inva luable records by whose aidwe cana lone reca l l t he fea tu res o f a forgo t t enci ty .
F2. BERE S FORD CHA NCELLOR .
NOTE — We have made arrangements to issue, monthly, beginning in j anuarynext, a series offacsim iles of the now extremely scarce
Views of London, published by Tallis about 18 38—40. Each number of THE ARCH ITECTURAL Revruw w ill contain a complete section of
these interesting and valuable elevat ions, which w ill be m companied bya page of descripti ve letterpress by M r. E . Beresford Chancellor.
I t is hoped that in time the whole of Tallis’
s Views may thus be reproduced ; and those who cannot obtain the originals (an excessively
difiicult , ifnot well-nigh hopeless,
task ) w ill thu s have an opportuni ty of preserving the facsimi les together w i th the notes byso well-known
anauthori ty onLondon as M r. Beresford Chancellor. Apart from their rari ty, these views, show ing, as they do, the elevations of all the
principal streets ofLond on, are j ust now particularlyvaluable, whenso manyofthe landmarks delineated have di sappeared, orare di sappearing.
Cross Deep,
Tw ickenham,
Su rrey.
W i th Photographs by
F .
'
R. Yerbury, The Architectural Review .
HERE i s an essay by Ch est ert onon a manw ho j o inedt h e a rmy
, and dec lared t h a th e was a Methuselahite. He
was asked wha t h e meant by t h i s , andh e rep li ed t h a t h i s re l igi onwas to l iveas long as poss ib le . The man mayh ave been a foo l , fo r on t h e face o f i tt h e l as t profess ion a Methuselahi te
ough t to choose i s t h e army . But i t ismore probable t ha t h e w as a ph i losoph er ac t ing on t h e assump t ion t h a ta manonly saves h i s l i fe by fl inging i taway ; inwh i ch case h e w as a personofh igh wi sdom
s
“W h a t I h ad I gave ,
says t he ep i t aph,
"wh a t I gave I kep t ,wha t I kep t I los t . W e are al lvague ly aw are o f t he t ru t h of t h i sparadox . And i t i s m ent ioned he rein regard to t h e u se of homes b ecauset here are m any peop le , espec i a l lyamong t he I'lCh ,
W hO hoard u p a l l t h e I . THE FRONT OF THE HOUSE .
mos t prec iou s t h ings inl i f e ino rder t oenj oy t hem ,
only t o find t h em selves cheat ed . There i s t heman who m akes su ch a fuss of pro t ec t ing h i s t reasu rest h e “ ob j ec ts o f bigo t ry and v i r tue dear t o t he h ear t o f t h eKernobz er
”—t h a‘t t h ey
' m igh t as we l l not ex is t , fo r h e neve rhas any use Of t hem . And
'o t h ers s t ar t w i t h t h e prai sewor t hy desi re t o m ake t h e i r homes beau t i fu l , and end bymaking t hem too
'
beautiful t o l i ve in— ano t he r kind ofpervers i ty . Indeed
,a home -in all i t s aspec t s i s a mos t
de l ica t e organism . I t i s a lways indanger o f ex t rem es . I twil l?b e too form a l o r too info rm a l ; and may becom e a sor tof m i l i t ary academy or d egene ra te int o a refuge from t h econvent ions and cou rt es ies o f t he world , a p lace o f s lovenlyrelax at ion.
The ideal com bine s b eau ty wi t h com for t,a cer t a in fo r
malitywi t h int imacy , t h e na t u re o f a home wi t h t h e pe rpetual de l igh t o f -a work of ar t . I t
_mus t h ave in addi tionce r t a in phys ica l -fe a tu res wit hou t wh ich t h e synt hes i s i sincomp le t e .Cross Deep , t he r i ve r home of S ir George H as t ings , h as
t he qua l i t ie s a house should h ave— home l iness,love l iness
,
h igh w a l ls,fine t rees , a garden o f l awns , and,
above a l l,
wa t e r . Here runs t h e Thames herse l f,smoo t h in he r w ay
and s i lent , ye t unobservablyinmo t ion. At wh a t hou r youl ike you m ay cross t he lawn t o t he spo t where t here i s aw a l l and t he wa te r benea t h ,
and you m ay see the s lowpassage of t he grea t r i ve r
,an armyon a secre t march .
There i s a sound,t oo
,t he infini t e mu rmu r o f mov ing w at e r
,
and perh aps t he dist ant criesof boa tmen from t h e v i l lagedowns t re am . I f t he t ime i s m 'orningt h e sun i s u p ove r t h eopposi t e bank . He flings t he sh adow s o f t h e t rees ac ross t h e
-l awn , and faces the back of the housebravely (Fig. And i t i s here tha tyou may discern the inexplicable ' in
fluence exercised by “
a"
r iver,
over abuilding . For th i s face of the house
,
lovely w i th the simple re t icence of itsGeorgian cult ure , i s ye t all gay andoddly
'
reminiscent of a noah ’s '
ark'
ora dol l ’s house . Dol ls’ houses owe thei rpecul i ar vivaci ty to the fac t tha t theyare made, no t for the st ree t , bu t for thenursery floor ; wh ich has the n ature ofoceans and rivers in that i t i s the sceneof al l the rich and b izarre inciden ts l i kepi ra te figh ts and the sigh t ing of deser ti sl ands . I n that exac t ly l ies the secre tof our fascinat ion for the sea and theriver . Any good shee t of water is i n asense a large -nursery floor . And thebui ldings on i ts b rin k belong to thenursery rather than to the st ree t .W here the doll’s house effec t of
Cross Deep lies -it i s diffi cult t o sayperhaps in th e veranda w i th i ts vene t i an b l inds
,or in the
l i t t l e form al trees , or in the staring regu l ari ty of th e w indows—perhaps in al l these . A t any rate , the no te of droll e ry i sthere . '
That i s because for two hundred years i t has balancedon the edge of the Thames .The fron t faces the road away from the river and has los tth i s charac ter . I t i s more urban and has-less oi-the qual i tyof the fai ry tale
,ye t i n i ts way i t i s charming. TheW alpole
Go th i c w indows w i th thei r b lack panes , and the tall doorwayw i th i ts green door , are su i tab l y i n t roduced to the st ranger“th rough the in terst i ces of a del ica te wrough t-i ron ga te hungbetween two tal l bri ck piers surmoun ted by urns . The housei tself , tal l and square , ret i res from the curious gaze beh inda h igh wall in wh ich the ga te i s the only breach . I f youare bold enough to en ter so exclusi ve a por tal
,please to do
so ha t i n hand , w i th no th ing more than a pol i te glance a tthe statue and formal t rees on either
'
side of the s toneflagged pa th (Fig . Bu t once you have summonedthe bravado to stand before the fron t door and as i twere challenge i t by a knock — once you have gainedthe hal l inside , you may pu t off your deference . For i ti s t he nature of the houses bui l t by our grea t-grandfa thersto be austere w i thou t , bu t they are the sou l of gracioushospi tal i ty w i thi n .
The' hal l l eads on the lef t to the s taircase (Fig . and . on
th e right to thedraw ing-room door before wh ich_stands a
magn ificen t b l ack boy (Fig . The s taircase l eads up tothe main bedroom floor , and down a few s teps to the servan ts’. quar ters . -A door on the wall opposi te t he en t ranceleads in to t he garden hal l (Fig . the main living-room of
A 18 THE ARCH ITECTURAL REV IEW
6 . THE BACK OF THE HOUSE .
The back faces the Thames w hich lies at the bot tom of the law n illustrated above . The w ing on the left containsthe draw ing-room , and that on the right the d ining-room .
The din ing-room (Plate 3 ) i s a symphony in green ,wh i te
,
and gold . The ce i l ing has been pain ted a venet i an green ;the wal ls spring from the ch air-rai l a crowd ofgreen fol i agewi th yel low and red frui t , through wh i ch l i t t l e houses peep ;s topping before the corn ice is reached to l eave an expanseof plain wh i te paper . The e ffec t w i th the gold sunburs t clockand hanging lamp
,and t he wh i te corner cupboard w i th i ts
green and gold pi las ters , is o riginal by day ; and by n igh t ,under the shaded l ights of a dinner tab le
,i t has the charac ter
of a piece of scenery in a play . The draw ing-room is a studyin greyand purple , w i th a no te of deep cerise a t one or twopoin ts where the eye i s desi red to l inger . The wal l s arecovered w i th a landscape paper of t rees
,wh i le the hangings
and chai r coverings are in various shades of purple . The
ch imneypiece is the focal poin t of the room,an orna te
bu t handsome obj ec t admirab ly fin ished by the Ch ineseCh ippendale mirror above i t (Fig . There are o therin teres t ing rooms in the house , bu t these are the mos timpor tan t .From the road the ground slopes in a gradual descen t tothe river. So the leve l on the garden s ide of the house islower than a t the fron t . You therefore descend a fl igh t ofs teps from the veranda in to the garden ; where you mayei ther turn l ef t to the croque t lawn
,wh ich i s crowned by a
garden temple (Figs . 2 and or cross the main lawn to theri ver 's edge . \Vere every form of diversion prac t i sed i n th isgarden the river wou ld s t i l l provide the i nexhaus t ibl e topic .
The doorwaygives access to the garden hall.
H . DE C.
From the hour t ha t i t w in ks in the fi rs t sun to the hour tha tn igh t covers i t th e river w i l l al ter in heigh t , in tune , in colour ,i n l ight
,i n volume . Yet i t w i l l remain invariab ly the same .
I n i ts very si lence i t w i l l domina te the scene and even whenthe t raffic i s such tha t there is hardly visib l e be tween t hepun ts and the sunshades a pa tch of wa ter , the Presence ofthe ri ver w i l l dwarf the laughter , the songs , the gramophones ,to an impert inence . Ona Sunday to wa tch the Thames fromthe garden is to be a secre t spec ta tor a t a pagean t . A grea tarray of boa ts
,a diversi ty of people , the sun ,
the wa ter,the
greenban ks,and a col l ision— where is there a be t ter prospec t
for fi l l ing a quie t Sabba th w i th l i feI f you w i l l now final ly descend the s tairs to the wa ter
i tself,and row ou t in to the s t ream , you w i l l be i n a posi t ion
to apprec ia te the las t aspec t of a river house : tha t in wh ichi t appears no t so much a house wi t h a garden as a uni ty inwh ich the house and the garden col labora te . One i s theexpression of the o ther
,and nei ther i s an en t i ty in i tself .
The garden is thus formal and square l i ke the house , wh i lethe house i s the principal ornamen t of the garden . From thewater th i s un i ty of house and garden is pa ten t a composi t i onof red brick
,t ree
,and l awn . And from the wa ter a fami li ar
spo t wal led and hedged in from i ts unfriendly neighbours i sl i ke a l i t t le paradise , famil iar ye t i nfin i tely remo te . Youhave the sensat ion Adam experienced when he firs t s toodou tside the Garden of Eden .
CROS S DE EP, TVVICKENHAM , S URREY .
Plate I I I . December 19 2 3 .
THE D IN ING-ROOM .
'
The Dining—room is rarried out ina scheme ofgreen, w hi te, and gold. The cei ling i s a venetian
green. The rarpel and the p ilasters of the corner cupboard are the some. The dado, mantelpiece,
amt cupboard are white,and the wallpaper a combination of green orange and pomegranate:
trees, w i th. orange and redfm it, and a bar/aground ofneutral-toned buildings. The hang-ing lamp ,
clock , and capi tals of the pilasters are gold.
[0 THE A RCH ITECTU RAL REV IEW .
CROSS DEEP, TW ICKENH AM . 2 2 1
Th e H i sto r i ca l D ev elopment o f A rch i t ec t u ra l
Draw ing to t he End of the E igh teenth Centu ry .
IV .—T |i e E ighteenth Century (Part I I ) .
H ILE Erg'
md was
easilv holc1rg herown in th fi eldo f geom e t r cal
draugh tsmansh i p ,l i t t le a t ten
t i on was pa id to the p-c‘
.ori alr i cord of lu i
'
dings. Jan K ip ,
a Du tch engraxrr,produced h i s
two volumes of Bri tann iaI llus tra ta , the firs t in 1 709 ,
the second in 1 717 (Fig . The
drawings were made by LeonardKnyff. K ip also engraved theviews in Atkyns’s Gloucestersh i re
,and in S tripe’s edi t i on of
S towe ’s Survey .
"Towards the
end of the cen tury some no tab l ework was done by the Mal tons . 1
Thomas Mal ton ,the elder , pro ~
duced some careful water-colourdraw ings of bui ld ings in Englandand I reland
,marked by a great accuracy of detai l and
perspec t i ve . His techn ique was typical of the early watercolou r school . The tones were fi rs t l aid in , i n I ndian ink ,and the colour appl ied over i t in th in transparen t washes .H is son ,
ano ther Thomas Mal ton,worked for Ackerman
,
th e pri n t pub l i sher . He made some excel len t aquat in ts ofimportan t bui ld ings in London
,wh i ch were even tual ly
collec ted ,i n 1792 ,
under the t i t le of “ Pic turesque Tour ofthe Ci t ies of London and W estmins ter (Fig . He alsoproduced , in 1 802 , the Pic turesque V iews in the Ci ty ofOxford .
”
He was assisted in the draw ing of h i s figuresby Francis W heat ley . James Mal ton , probab ly ano ther sonof the elder Thomas Mal ton
,worked in Dub l in . H is
Pic turesque V i ews of the Ci ty of Dub l i n appeared,a t
in tervals,be tween 1 791 and 1 795 .
On the whol e , Engl ish arch i tec tural draughtsmansh ip i nthe eighteen th cen tury had become t ri te . I t had los t i tsindividual i ty . I t was mannered . The me thod ,
th e arrangemen t , was simple and di rec t . The execu t i on was a t fau l t .Bu t fresh i nfluences were a t work . Abou t the middle of thecen tury a new school of though t arose . The roman t icmovemen t began . The old school adhered to the classict radi t ion . The new sough t salvat ion in pre tence andmediavalism . Sen t imen t took the place of scholarsh ip .
Draugh tsmen found a be t ter marke t for thei r waresw i th the new school than w i th the old . Crumb l ingabbeys , moonl igh t , and cl inging ivy were their s tockin trade . Arch i tec ture gave way t o l andscape
,and from
topography , guided by'
the Sandbys, Varley , Gir ton,
and de W in t , came the E ngl i sh school of water-colourpain t ing. Again , the eigh teen th cen tury was th e age ofthe Grand Tour— and the Grand Tour mean t Rome ,ruins
,and romance.
K I P and KNYFF .
BurlingtonHouse, Piccad illy. DrawnbyKnyff, engraved byK ip .
From “ Britannia I llustrata,
There was,in I taly
,a ready
sal e“
for draw ings of Romanremains and pic turesque views .Of those who suppl ied thedemand the bes t are Pannin i
,
Canale and Guard i . Pannin ihad s tudied under Locatel l i andBenede t to Lu t i . H is innumer
ab le composi t i on s ofan t iqui t iesare charac terized by a gracefulcharm and a quick inven t ion .
He drew the figure be t ter thanmos t draugh tsmen of h i s k ind(Fig . An tonio Canale
,or
Canale t to , was the son of a scenepain ter , and theat ri cal decorat ion was h is firs t in t roduc t ionto ar t . A t the age of twen tytwo he took to the lucrat i veprac t ice of vi ew making. He
spen t the grea ter par t of h i s l ifei n Ven ice
,bu t he worked also in Rome
,and visi ted London ,
where many of h i s fines t draw ings were made (Fig. His
mos t famous pupi l was Francesco Guardi (Fig . I n some ofhiswork Guard i surpassed h i s mas ter . I n much he fell belowh im . Canale main tained an even level of passabl e
,saleab l e
workmansh ip . Bu t h i s art i s somewhat of the mechan icalorder . He drew w i th one kind of l ine , an in teres t ing ,c rinkly l i ne , bu t i t never varied . Guardi
’
s work includesthe mono tonously du l l and the bri l l i an t ly sugges t i ve . A t h isbes t
,he indicated arch i tec ture w i th remarkabl e fac ili ty and
ski ll. H is draw ings are fi l led w i th ai r and sunsh ine . The
w ind moves round h i s bui ldings and h i s figu res . H is workis l i vely
, Canale’s i s no t .
Mauro Tesi special ized in in teri ors ; l i ke Canale h i s l inetends towards the mechan ical . The charm of h i s work isthe reflec ted l igh t i n the shadows . As much of th i s e ffec twas obtained w i th yel low ochre the t ransparency i s no tobvious in the reproduc t i on (Fig .The Bib iena devo ted thei r talen ts main ly to theat r i cal
decorat ions— vas t arch i tec tural s tage se t t ings were then thevogue . The Bib iena’s sk i l l in perspec t ive was un limi ted .
Not so thei r mo t ives . The wi ldes t of barocco forms in terminab le vis tas , and endless s tairs , r ising fl igh t upon fl igh t ,made up the sum of them . Impossib l e , unconstructionableas th se scenes of ten are , the studies for them , bri l l i an t lydrawn
,show tha t some idea of a pl an form was main tai ned
in thei r prepara t i on (Fig. The mos t famous member ofthe fami ly was Ferdinand Bib iena. He pub li shed two books ,“ Arch i tet tura Civi le , ” and.
“ Varie Opere d i prospe t t iva.The la t ter con tains numerous designs for ca tafalques andbaldach in i
,finely draw n and engraved in plan ,
sec t ion andelevat i on . As draughtsmen of barocco convolu t i ons theBib i ena were indeed unsurpassed .
I
.)l
.)
4.
5 . JWAURO ANTONIO TE S I (attribu ted) .
A Dome. Pen and ink washed w ith grey and yellow ochre.
These I tali an draugh tsmenwould alone have di st inguishedany o ther
_age . Bu t draugh tsmansh ip , i n the eigh teen thcen tury
,i s dominated by the t remendous figu re of
Giamba t t is ta Piranesi . Ye t Piranesi owed much-to h i s predecessors and con temporaries . Li ke al l grea t men he wasa t once a produc t of h is age and a fac tor in i ts moulding .
Though h e prided h imsel f on h i s archaeology he excel ledas a Roman t icis t . W i thou t the roman t ic movemen t therehad been no Piranesi , bu t in h im that movemen t receivedi ts h ighes t expression . The grea tness of h i s ach i evemen t layno t in the record of the remains of ancien t Rome— grea tas tha t ach ievemen t was— bu t. i n h i s v i vid in terpre ta t ionof the grea tness of the Roman spi ri t .Pi ranesi
,li ke every true ar t i s t , was a proph et , a h igh
pries t of social progress . His work was a passionate pro tes tagains t t he emp t iness , the hollowness of Roman morals inh i s day ; agains t , indeed , the t rivial i ty and di le t tan t i sm ofhi s age . H is work i s s t ill an inspirat i on . Others had givensuperficial sen t imen t , Piranesi gave genu ine emo t i on . Th i si s no t to say tha t he never fell from h i s h igh purpose , nevers tooped from h i s exalted aim . Many of h i s arch i tec turaldesign s are quest i on ab l e , illogical, w i thou t meaning . Bu tth ese designs are no t the measure of h i s power . No o therman had ever shown
,has ever expressed
, w i th such arres t ingin tensi ty , the magic grandeur of immense scale , the trememdous maj es ty of grea t arch i tec ture . Beside these insis ten tquali t ies
,though men had created them
,men appear
insign ifican t . For wha t o ther reason those los t , ges t icu la t ingfigures A t one peri od of h i s l i fe ac tual bui ldings , possib l econs t ruc t ion
,seemed to curb h i s imagi nat i on, hal t h i s
in terpre ta t ion . And thus we h ave the amazing invent i ons of the Carceri draw ings . These vas t in teri orsof prisons
,w i th thei r wh i r ling wheels
,l imi t l ess vaul ts ,
THE ARCH ITECTU RAL REV IEW .
6 .
"
FRANCE S CO GUARD I .
AnArchitectural Composition. Brown ink and bistre w ash .
gh as t ly engi nes,show a mind so unusual , so extraordi
nary,tha t Piranesi has been called mad . Bu t Piranesi
was no t mad,though a t t imes terrib ly close to men tal
derangemen t .Gen ius and madness are border neighbours , bo th havethei r origin “ i n the pathologi cal realms of dream andhal lucina t ion . Bu t there i s th is difference between them .
Madness h as no escape . The mind is locked in i ts owndon j on , imprisoned in the e ternal n igh t of megaloman ia .
Bu t gen ius has the key of freedom . I t reac ts on reali ty andso overcomes th e world of magic . And Piranesi held toreal i ty . The frai l bri dge wh ich connec ts the real worldw i th the world of fancy was never broken .
Giovann i Ba t t i sta Piranesi was born in Ven ice , i n the year1 720. He Was the son of a s tone mason . A t the age ofeigh teen h e travel led to Rome
,where he firs t took to
theat rical pain t ing,under Valeri en
,and learned th e ar t of
e tch ing from Giuseppe Vasi . He tw ice a t temp ted to begi nprac t ice as an arch i tec t in Ven ice . E ach at temp t fai led ,
and
each t ime h e re turned to Rome . After the second fai lure hedecided to devo te h imself to engraving. H is firs t e tch ings ,four composi t ions of ruins
,were made i n 1 741. Seven years
later the An t ich i taRomane dell a Repub l ica appeared .
I n 1750 h i s “Opere Varie ” was issued by Bonch ard . They
included the famous Carceri d’
Invenz ione. From th i s
7 . ANTON IO CANALE .
View of London from above K ing’s Cross.
8 . B IBIENA .
S ketches for Theatre Decoration.
Brown ink and greywash.
Brown ink .
TH E ARCH ITECTURAL" REV IEW .
THE ARCH ITECTU RAL REV IEW .
ST. GEORGE D I SARM ING : A MEMOR IAL FOR THE NORTHERN C IRCU IT.
Executed byL. S . Merrifield from a sketch design byW . G. New ton.
Plate I . December r9 23 .
ST . GEORGE . D IS ARM ING ;(S ee page
Exh ib i t ion s.rm: GOUPIL GALLERY S ALON — The th irteenth exh ib i t ion of
th is ser ies opened inOctober , and ex tends into December. Th isis one of the most importan t autumn show s, and one alw ays looksfor ward to i t in expec tat ion of seeing an in terest ing col lec t ion ofp ictures. The ch ief th ing that d ist inguishes the Goup i l Salon isthe w ide range of w ork show n th is part icular exhibit ion conta insw orks by some tw o hundred art ists, represent ing a very largec ircle of art ist ic interests. I t is, therefore, as wi ll be seen , notunder the dom inat ion of any one cl ique .Th is year 's show is bet ter than i t has been for some years past ,part ly because w orks have come over from the Cont inen t . Th iswas alw ays a feature of the autumn salon , bu t the source ofsupply had been cu t offfor some t ime . One is therefore glad tosee that the flow of pic tures has again set in -for i t is st imulat ing
,
both to the art ist and to the publ ic , to see Engl ish works inj ux taposi t ion w i th those by Cont inen tal art ists . The only p i tyis , that in most cases , the modern French art ist— for i t is theFrench who are referred to in th is connect ion— does not send h isbest w orks to England. There are also here various pa intings bymen of an older generat ion , w hose names are w ell know n , w ho
have fough t the ir bat tles andwon posi t ions as the gian ts of the irper iod .
Cam ille Pissarro’
s Le Havre , Temps gris (73 ) is a beau t ifulexample of Impress ion ism , and one can see how certain art istsof the presen t t ime, push ing th is method forw ard in a log icalway, and discarding the broken colour , un i ted the j agged edgesw i th flow ing tones, and made the form s they dep icted and thesurround ing atmosphere one and the same thing. Th is is w herethe post-impress ion ist came in . Be ing unsat isfied with purelyatmospher ic effects, he m ingled w i th them defin i te and scrupu
louslyselec ted forms . The impression ist really d id not care verymuch w hat he painted , anyth ing was good enough for h im tohang his theories of atmosphere upon
fi which is i l lustrated bythe story of Monet’s forty paint ings of the same haystack
,done
from the same po int of v iew bu t each under a d ifferen t aspec t ofl igh t
,determ ined by the hour of the day.
There is too much work in th is exhibi t ion to allow of ind iv idual not ice , bu t one m igh t single ou t the w ork of Mr. Luc ienP issarro
,w ho has been in England a long t ime and pa ints
Engl ish landscape w i th sympathy and feel ing. He show s s ixvery small coloured draw ings , wh ich are del igh tful, and give anaston ish ing sense of spac iousness in so small a scale ; they arehappy expressions of h is del igh t in the open country.
Among the sculpture the work of Mr. Er ic G i l l is outstanding,
as indeed i t w ould be in any exh ibi t ion . He has a wonderfulfeel ing for h is material , and know s to a n icety how much he canget ou t of i t , and never at tempts to force i t to do anyth ingunsu i table. There is a sense of r igh tness in the appl icat ion ofthis know ledge in h is l i t tle figures carved in stone. The l im i tat ions imposed by the hardness of the material , and the adm iss ionthat they are simply carv ings and noth ing more, g ive them acompleteness as sculptured w orks, and a d ist inct value asdecorat ions .rm; GROSVENOR GALLERY .— An exh ibi t ion consist ing of the
w orks of Mr. Allan Gwynne-Jones, Mr. Henry Rushbury , Mr.Vernon W ethered , and Mrs. K . H i l ton Young (Lady Scot t ) washeld in th is gallery.
Mr. Gw ynne-Jones’s w ork is very even in qual i ty, somet imesto the po in t of monotony. \Vith the except ion of a ratherpleasing qual ity of pain t , h is portrai ts are commonplace, but h islandscapes are qu i te d istinc t ive and ind iv idual , though they allseem done in a k ind of green tw il igh t . The st i llness in all h islandscapes , where every tw ig on every branch holds i tsel f r ig idlyat the salute , gives a queer , breathless, and frigh tened effect :everyth ing of w h ich h is p ic tures are composed seems to bel isten ing and w ai t ing in alarmed expectancy.
Mr. Gwynne-Jones’s w ork is allvery consc ient iously done —he
never allow s a sense of humour to in terpose i tself betw een h imand h is inflex ible sense of his du ty tow ards Nature . Some of usm igh t consider th is a defec t rather than a qual ity— for intenseser iousness
,unrel ieved by any l igh t or humorous touches
,
somet imes dangerously approaches dullness. The pictures byth is art ist w h ich have the most poetic feel ing in them are twosmal l I rish landscapes : Kennedy's Lake , Donegal— Sunset ”
and Cot tages at Tw i l igh t , Donegal both of 'w h ich,
bathed in a soft glow of l igh t , have great charm. SpringEven ing, Froxfield has been purchased for the Ci ty ofBirm ingham Art Gallery.
Mr. Henry Rushbury’
s w ork in dry-po int is well know n . Onth is part icular occas ion he show s a ser ies of draw ings inw hichhe ma intains h is h igh standard of craftsmansh ip. Here and thereh is work show s a new elemen t of freedom— a looser and morenervous react ion to impress ions. Thi s is spec ially not iceable inThe Fel ies Bergere , Rouen wh ich has rather a Daum ierlike quality, both in the method and in the observat ion ofcharacter.Mr. Vernon W ethered
’
s o i l pain t ings have in them the ev idenceof a luxur ian t sense of paint , and one feels that the mere manipulat ion of th is mater ial gives him pleasure—w h ich he somet imesalmost succeeds in convey ing to the. observer. But general lyspeak ing
,h is work is rather r iotous and chaotic . I f they can
poss ibly imagine a m ixture of the styles of Mr. W ilson S teer andMr. Tom Mostyn , my readers w i l l have grasped a very fair ideaof the nature of Mr . W ethered
'
s w ork.Mrs. K . H i lton Young show s by her work that she is a very
s incere and capable sculptor, hav ing considerable knowledge ofher craft , added to w h ich in some cases there is a great deal offeel ing
,as in the portrai t of Mr. Galsw orthy, wh ich is a very
finely real ized head. W here th is art ist at tempts to be strong andrugged she is least effec tual , ev idence of w h ich can be found inthe portrai t of Mr. Charles Shannon Herstrength l ies in thegen t le d ign i ty d iscern ible in some of her w orks. Someth ing ofth is last qual ity is presen t in the simple gestures of the full-s izedfigure of the you th in 1914
—18. These had Most to G ive "
THE GIEVE S GALLERY. — Ev iden t ly a new stun t is be ing tried toinduce the publ ic to at tend pr ivate view s for it is now beingat tacked through i ts suscept ibili ty to the theatr icalprofess ion .
M iss Sybi l Thornd ike Opened Mr. Gausden’s show at the GievesGallery the other afternoon , and of course everyone wen tprimar i ly to see and hear M iss Thornd ike . I t was qu i te atheatrical afternoon , and among those presen t w as M iss E l lenTerry. All th is opens up new poss ibi l it ies regard ing the rec iprocalreac t ions of the var ious arts upon one another , and w e mayeventually go to the Old Vic in order to see and hear Mr. W i lsonSteer ‘or Mr. W alter S ickert open ing a performance of “ Medeaor The Troj an W omen . And w hynot P I t does not mat terw hether they know anyth ing about the subj ec t or no t— the mainth ing is to get the crowds. As for M iss Thomdike’s remarks aboutMr. Gausden’s w ork , they were innocen t enough : she j ust fel tunpreten t iously abou t for w ords that w ould imply some connect ion w i th the techn ique of the painter , and thus produce thetouch that would make her k in to any of those of the art w orldw ho m igh t have been present . But M iss Thornd ike ev ident lyfel t on safer ground when deal ing with furn i ture , and she turnedw i th rel ief to some designs for furn iture des igned by Mr.Gausden.She humorously dwel t on the poss ibl e exc i temen t regard ingv isi tors unaccustomed to new styles of furn i ture, for, as she said ,
one always knew exact ly how people would behave w i th theord inary k ind . Upon look ing at the designs afterw ards, I wasrather incl ined to agree , part icularly in the case .of a chair whichprom ised allthe elemen ts of the unexpected to anyone w ho m igh tventure to si t upon i t . M iss Thornd ike concluded her speech byhoping Mr. Gausden’s exh ibi t ion w ould have the success i tdeserved. Le t ’s hope i t has .THE TW ENTY-ONE GALLERY f
—A small collec t ion w as held hereof w orks by W i ll iam W alcot , R .E ., W . E . Ri ley , andMr. Robert G ibbings . Mr. W alcot
’
s w ater-colours are the usualsmart ly executed w ater-colours we expec t from h im . H is
draw ings from the nude w e are less famil iar w i th , and _these showh im under new c ircumstances. They are capably done, bu t he isincl ined to general ize too much
,draw ing from h is knowledge of
forms rather‘
thanfrom fresh research . Anart ist should alw aysdraw th ings as though he had never seen them before.Mr. Gibbings
’
s w oodcuts are effi c ien t ly carr ied out , but are notvery expressive. Take, for example ,
“ Gut ting Herr ings ” (6) andPain ting Myosot is ” W i thou t the trick of the serrated edges ,these would be qu i te commonplace ; a s i t “ is this j ust saves them ,
CORRE SPONDENCE . 2BI
bu t gives a fict i t ious effect of an art not really at tained . Innumber eigh t there is a certain fresh gaiety about the horse
,
w h ich is obv iously enj oy ing a romp in the fields ; some of w hi chgai ety is transm i t ted to the beholder.Most of Mr. Ri ley’s work is m inute w i thout being inform ing
.
But in some of h is w ater-colours there is a pleasant feel ing of theactuali ty of sh ipping and of sea-go ing ac tiv i ty
.
BEAUX ARTs GALLERY .— The exh ib i t ion of Mr. Gerald Moira’s
w orks in th is new and w ell-l ighted gallery show s. th is art ist as a
pain ter rather than a decorator. Sometimes the m ix ture of bothspo i ls h is w ork , v iew ed from e ither of these angles . W hen Mr .Mo ira paints easel pictures he is not alw ays conv inc ing
,because
the indiv iduals he dep icts are lack ing in character . H is figuresare suppl ied from h is store of know ledge
,both of anatomy and
general character istics , and thus have not the fresh in terest ofd irec t observation . Norare they suffic ient ly aloof to be classicalthere is everywhere not iceable a sense of uncertainty as to theat t itude he should assume, and th is generally ends in an unfortunate comprom ise . The one large decorat ion show n is nota very good example— the interest be ing too scat tered to arrestthe attention .
I t is in the decorat ions w hi ch Mr . Mo ira did for the Old Ba i leythat show h im at h is best ; bu t unfortunately ,
probably thosepersons w ho could see h is w ork there have things of more momentto th ink about— and one does not go there for pleasure
RAYMOND MCINTYRE .
THE AUTUMN EXH IB ITION AT L IVE RPOOL — Liverpool mayclaim one of the largest yearly prov inc ial exh ib i t ions . Itis promoted , arranged and hall-marked by the Ci ty Counc iland is a source of c iv ic pr ide . The impress ion th is year’sExhibition makes is that of a m ixture of the Royal Academv,
some of the All ied Artists ' show s, and some very remote prov inc ial
exh ibi t ions enmasse. There are some good pictures of
Correspondence .
BATHROOM AT SHERFlE Ll) COURT.
Papered w ith Underground posters.
VOL. I. |v—A A
Sherfield Court,Hampshire.
To the Editor of THE ARCH ITECTURAL REV IEW .
S IR,
—In the most recen t issue of your magaz ine I w as part icularly interested in the account you gave and the photographsyou reproduced of Sherfield Court , Hampsh ire, the residence ofLord Gerald W ellesley . I t is a splendid record . Among themore detai led accounts you men t ioned the fact that one of thebathrooms had been decorated w i th Underground posters . Th isis of particular interest to me , and I daresay to many more i tw ould be equal ly so . W ould i t be poss ible actually to see byphotograph prec isely w hat use has and can be made of contemporary posters ? And may I add that the pleasure youraccoun t has given me justifies fully my bel ief that thi s bathroom is w orth see ing
Fai thfully yours,E . McKNIGHT KAUPFER.
I 4 Cheltenham Terrace ,London , S .W .
[NOTE .— Thc bathroom referred to in the article on Sherfield
Court is il lustrated in the opposi te column . The low er part ofthe w all is t iled,
bu t the w hole'
of the rest of the room ,
includ ing the ce i l ing,is covered w i th Underground posters by
var ious art ists . Amongst the art ists represen ted are Herrick ,Nev inson , Burroughs , Nancy Sm i th , and McKnight Kauffer.
The general effect is exh i larat ing but not overpow er ing , forthe decorat ive qual i ty of the indiv idual posters enables themto interm ix . They combine qu i te happily in to a smgle pat ternl ike a bold w al lpaper . I t
_is amus ing to note that the roomadj o in ing the bathroom is papered w i th German and otherpractically worthless fore ign banknotes— ED.]
the academ ic sort , some w orks borrowed from permanen tcollect ions— th is year the pass ion for quan t i ty has led to theinclus ion of var ious w orks w h ich belong to Liverpool ’5 ownpermanent collec t ion , w h ich w orks
,being alw ays v is ible free
of charge, have proved annoying to season-t icket buyersbut quant i ty must be maintained. There has also been aneffort to include some French w ork —A11guste Mat isse
,Bast ien
Lepage , Raffaell i , Carolus Durau , etc . , and a fine th ing byj . L. Forain . These acquisi t ions have perhaps been d iffi cul tand om issions must be forgiven . In w ork nearer home theom issions are less excusable and some of the select ions areyery curious . The feel ing that there could have been no selectingj ury (al though one know s that there has) promotes the men talassoc iat ion of the show with AlliedArtists’E xh ib i t ions of the past .I t is a Brobdingnagian medley and as such has interest . Onenever know s w here a good w ork or abad one may be found,
though the bad , as alw ays in such cases, seem predom inant .Art is one of the subj ects in w h ich mass product ion fai ls . W e
know that many bad p ictures are painted,bu t if w e see too many
of them at once, w e get a d isl ike for art in general . By infect iongood w orks look bad , and th is is_ the danger in all exh ib i t ionsw here selec t ion has e i ther been left unat tempted or has seemednon-ex istent . There are very good reasons for elim inat ionby selec ting j uries , and advantage m ight accrue from such asystem at Liverpool . The al ternat ive w ould be to comm iss ionsome outstanding au thor i ty to take ent ire charge . of the proceedings and give him unl im i ted pow er. As nei ther of thesesuggest ions has the least l ikel ihood of finding favour w i th themakers of the show , the Liverpool publ ic must cont inue to takei ts art in the presen t form— and select for i tself w here i t can .
I t is , unfortunately ,a very commerc ial public , and rather apt
to feel a certain pr ide in ignorance of cultural subj ects , so thati ts selec t ion may e i ther be faulty or ent irelybald.
J . VVALKER STEPHENS .
2 3 2 TH E ARCH ITECTURAL REV IEW .
The Protection ofNational Treasures.To the Editor ofTHE ARCHITECTURAL REVIEW .
S IR,
—The Countess Mart inengo Cesaresco’
s let ter,in your last
issue,deal ing w i th the Protect ion of Nat ional Treasures
,raises
again the quest ion of Law . I have spoken to several people ofthe importance of hav ing a law to safeguard our h istor ic treasures bu t one and allconsidered the idea impossible . Yet
,if the
idea 15 imposs ible , how is i t that both France and I taly actuallypossess law s safeguarding them in th is respectI t w ould be valuable if one could d iscover how the fore ign
law s operate .Yours very truly
,
FRANCI S BUGLE .
W al ton Street , Kn igh tsbr idge , London .
Tompion C locks.To the Edi/orofTHE ARCH ITECTURAL REVIEW .
S lR,
— Referr ing to the let ter of your corresponden t S . inthe November issue , I cannot understand how I am expectedto modi fy the op in ion expressed in my October article
,nam ely,
tha t the number 1 3 2 cannot imply that Tomp ion made 1 3 2 longcase clocks w i th arched di als . Tomp ion d ied in 1 7 1 3 ,
and hehad then ret ired from bus iness for nearly four years . The
arch-dial w as a rare feature in long-case clocks,before 1 720
at leas t , so I cannot accept the theory that Tomp ion madeanyth ing l ike th is number .Regarding the arch-d ial clock by Quare
, w h ich your correspondent possesses : th is maker died in 1 724,
and h is businessw as carr ied on after h is death , and h is name w as affixed(especially on applied lozenges
”
) for many years after 1 724.
Added to th is I am of op in ion that Quare was a factor asw ell as a mak er, as I have seen many examples of h is w orkw h ich vary from the extremely fine to the excessively mediocre .I cannot understand a fine maker produc ing a poor clock atth is peri od .
I am also tak ing i t for gran ted that your corresponden t ’s clockis genu ine . Quare w as ex tremely forged .
Yours fai thfully,
HERBERT CE SCINS KY .
-5 Mort imer Street,London
,W .
Houses at Mont Roc in France.
To the Editor ofTHE ARCH ITECTURAL REVIEW .
S IR,
— S everal of the main val leys of Sw i t zerland seem to havetheir ownspec ial types of houses , such as , for instance , the Vald
’
H ireres and the Arolla d istrict ; and there is to be seen in theChamon ix Valley qu i te a dist inct trad i t ional type of sem idetached houses repeated in i ts main features over and overagain in bu i ldings of var ious dates .
In these houses , instead of the catt le being in the low erstory , as in many other d istric ts , they have their quarterson the same floor as the people and
,in fac t
,use the same
fron t door.The accompanying i llustrat ions show the preva i l ing arrange
men ts and are taken from a bu i lding at Mon t Roc, w h ich placeis si tuated in French Sw itzerland four or five m i les from
, and athousand feet above , the busy townof Chamon ix .
Asw i l l be seen , the two sets of stables are planned together inthe centre w i th the l iv ing rooms round them
,the only ligh t the
stables enj oy hav ing to come through the small doorw ayand thatcan happen only w hen the fron t doors are open . These latterdoors are from 8 ft . to 9 ft . h igh as they have to serve notonly for the inhabi tants, both man and beast , bu t also forthe bay to be taken in and stored in the upper part of thebuild ing, w h ich is pract ical ly all one barn shared by the tw osets of inhab i tan ts .The sec t ions show the rather up and dow n arrangemen t of
floor levels w h ich are reached by wide movable step—ladders,
ordinary staircases not ex ist ing.
Yours very t ruly,
2 1 Hart Street ,Bloomsbu iy Square , London .
I
HOUS ES u t Aw im fi ggnfl ) \n the Cf'
lADXON lX VA LL EY 'FPANCC ~
ecass sac r iow . S ECT ION I“. B
M ANK
TW O HOUS E S AT MONT ROC .
The animals live more or less w ith the fam ily, and their stable
is reached through the front door.
This pair of houses happens to be rather larger than usualow ing to the add i t ion of tw o fireproof rooms at e i ther end .
The v il lage peop le of these moun tainous distr icts are verymuch alive to the danger of fire in the ir t imber-bui l t hou’ses
, and
al though in th is valley,w here su i table stone is abundan t
,the
main w alls are of stone there is much heavy t imber w ork in therest of the bu i ld ing.
To shut off these end rooms there are iron doors to them onthe ground floor
, and the rooms over are ingen iously reached onlyalong the outs ide gallery , w h ich runs almost the w hole length ofthe bu i lding . These bedrooms are ce iled by stone barrel vaul tsunder the t imber roof , as show n in Sect ion A— B
, and as'
a furtherprecaut ion the.gallery floor j ust outs ide the doors of the se roomshas a large stone landing
,all the res t of the gal lery be ing of w ood.
These houses happen to stand on steeply sloping ground andtherefore have the advan tage of an upper en trance to the barnfrom the road at the back .
2 34. TH E ARCH ITECTU RAL REV IEW .
Pencil Points.Good Practice in Construction. ByPH IL IP G . KNOBLOCH .
D’Espouy. One hundred selected plates from Fragments d '
Arch i tccture
Antique . New York . The PencilPoints Press, Inc.
The Penci l Po in ts Library is des igned to mee t the requ iremen tsboth of the atel ier and the offi ce . The let terpress is br ief and theplates are numerous . The success of the first v olum e of theser ies , “ Sketch ing and Render ing in Penci l has led to theearly appearance of the nex t . . The second
,Good Pract ice in
Constr uct ion , cons ists of fifty-tw o plates of var ious detai ls ,w indow s , doors , eaves , foundat ions , sta irs , hearths , roofs, etc .They are all draw n in the clear, conc ise method charac ter ist icof the Amer ican w ork ing drawing, and w i th fine legiblelet tering. Al though there are tradi t ional differences in some ofthe detai ls betw een the methods of England '
and Amer ica,there
is much that w i l l be found of value for the office and stud io th iss ide of the At lan t ic .Another branch of the Penc i l fPoints Press act iv i t ies is the ir
Library of Arch i tectural Documents, w h ich is to cons ist of aser ies of volumes of reprin ts from old books and architectural
plates . Th is , the second volume , consis ts of a reproduct ion of ahundred plates from D
’
Espouy'
s“ Fragmen ts d’
Architecture
An t ique . D’
Espouy w as a professor at the E cole des BeauxArts , and h is book cons isted of tw o hundred draw ings selectedfrom amongst the w inners of the Grand Prix de Rome
,during
the ir stud ies at the French Academy at Rome . This volumecon tains a hundred , or half the or iginal plates , and show s all thew ell-know n bui ldings of ant iqu i ty w i th w h ich i t behoves thes tuden t
‘to fam i l iar ize h imself, toge ther w ith var ious sheets ofcompos i t ions and restorat ions .Unfortunately the reproduct ions are not alw ays as clear as
m igh t be desired : th is is doubt less ow ing to the very laudabledes ire of the publ ishers to keep the pr ice of the volume w i th inthe reach of all ; nevertheless i t is probable that half the numberof plates reproduced tw ice as w ellw ould
,on the w hole
,have been
of greater value . The nex t three volumes w ill deal “respec t ivelyw i th Goth ic , Romanesque , and Span ish arch i tecture“.
French Art on the Rh ine.
L’Art Francais sur le Rhinnu XV I II° S iécle . ByLOU IS REA'
U . Paris.
L ibrairie Edouard Champion. 8vo. pp . v iii 1 86 . I llus. 1 2 .
Tw o names emerge from a study of th is interest ing book :Robert de Cot te and Robert Le Lorra in
,arch i tect "
and sculptor.There are others
h lacques Francois Blondel , Nicolas de Pigag‘
e,
Jean—Charles Mangin , arch i tects , and some not so w ell know n .
These ind icate to w hat ex ten t French influence was ~ exerted onthe R hine , for they are all respons ible for importan t work
'there.
Inmany c it ies of Germany , as in those of the nat ions farthernorth , the splend id arch i tects of France w ere invoked ,
but therewas an in tens ive French culture from Cologne southw ards throughBonn , Coblenz , Mayence, Mannhe im , Heidelburg ,
and S trassburg'
,
and ex tending eastw ards into the Palat inate,
’
The electorsw eregenerally respons ible in that beauty-lov ing t ime
, w hen greatarch i tects; sculptors , and pain ters w ere alw ays in demand. Andthere w ere great art ists in those days and magn ificen t w orks camefrom the ir hands . The Rohan Palace at Strassburg
,of de Co tte
and Joseph Massol the Hotel de Tour and Tax is-at Frankfort,of
de Cot te and Gui llaume Hauberat , and the ir Chateau de Popples(lorf
, and the Chateau de Briihl w i th i ts fine inter ior pa in t ingand'
sculpture and i ts gardens . In this book are given i llustrat ions of great arch i tectural proj ects, some of wh ich w ere neverreal ized , but the arch i tects had had the j oy of design ing themM ichel d
’
Ixnard’
s E lectoral Palace for Coblenz, 1777 ,
agrandiose affair ; de Cot te's s imple and d ign ified facade of theE lectoral Palace for Bonn . Many other arch itects and the irw orks are deal t w i th , bu t de Co tte in th is connect ion seems tobe of greatest importance . Through the middle ages “French artpredom inated on the Rh ine , but i ts cons iderable expans ion inthee igh teenth century is one of the examples '
of the .w onderfulart ist ic v ital i ty of the nat ion . Lou is Réau has deal t w i th h issubj ect in a very bus inessl ike w ayby descr ibing the ch ief w orks
of the ch ief art ists , and add ing to these descr ip t ions a number ofdocumen ts from the arch ives , of the greatest interest and valueto arch i tects , including con tracts , deeds , and let ters, ex tendingpract ically throughout the century. The book is
,how ever,
'also
of interest to all who care for the art w i th w h ich i t deals andw ould be a splendid gu ide to the der ivat ive arch i tec ture of theRh ineland for anyone mak ing the tour .
KINETON PARKE S .
Sign W riting.
The Modern S ignw riter. Published by the Decorative Art JournalsCo. Ltd . Manchester. Price 1 2 5 . 6d . net .
H .J. B .
Good let ter ing certainlyhas a decorat ive value of i ts own tha tis to say
,a person unable to read , bu t , nevertheless , sens i t ive
to beau ty of form ,w ould der ive pleasure from a w ell-let tered
fasc ia ; and that is because there are certain absolute standardsof good proport ion w h ich are in themselves sat isfac tory
,and to
these all good le t tering must conform . Th is does not mean tosay that let ter ing can be p inned dow n to unyielding geometr icalrules . Th is w as, indeed ; at tempted by Di 'trer in h is geometr icalalphabets wh ich are , for the most part , less pleas ing than thosein w h ich a more human lax i ty is apparen t . Compare
,for in
stance,h is geometr ical roman alphabet w i th the let teri ng on
the Traj an column , perhaps the most perfect know n example ofRoman let ter ing— the greaterfiexibilityof the ser ifs in the lat teris
,. in i tself
,sufficien t to make the let ters more beaut iful . I t is
the s tr iv ing after the unusual,the freak ish , the blatan t , w h ich
leads to some of the monstrous let ter ing that w e st i ll see abou tour streetsHow ever no observan t person can have fai led to have noted
that a general improvemen t in the let ter ingin publ ic places istak ing place, j ust as there 1s a return to the use of good type inpr in t ing
,and a general discard ing of the vulgar freak ishness of
the lat ter years of the last cen turyThe trend of th is improvemen t is clearly enough show n inThe Modern S ignw r i ter . Here are to be found many examplesof chaste and elegan t let tering together , i t must be adm i t ted ,
W i th a few that had be t ter have been excluded . For the mostpart they
_
are based on good examples , of w h ich fortunatelythere are plen ty
,so that one w onders at the unnecessary aberra
t ions in w h ich so many have seen fi t to indulge ." S ign-w r i t ing w as or iginal ly mainly connected wi th the s ignboard w h ich , before read ing became a general accompl ishmen t ,w as the usual means both of advert isemen t and iden t ificat ionTo day anyex tens ive re in troduc t ion of the s ignboard w ould bean anachron ism ,
and i t surv ives only w i th publ icans , i ts usew i th Whom ,
as early as the four teen th cen tury , w as a compulsory obl igat ion . How ever , there is a poss ible field fordevelopmen t in ‘ d ist inct ive v i l lage s igns . I n France , duringthe war, i t became usual to pain t the name of v il lages inthe war area in
’
large let ters on the flank wall of the end
hous‘es . ‘
The motor ist certainly finds the need for some such identificat ion to day,
the smal l inscr ipt ion over the pos t-office be ing theonly s im i lar means . Here , then,
is an opportun i ty for boldclear letter ing, with or w i thou t a s ignboard.
‘
fThe Modu
ernS ignw r i ter ” is edi ted by Mr . W . G . Sutherland ,
and is essen t ially 'a pract ical book,con tain ing much techn ical
informat ion,not only abou t let ter ing ,
spacing , set t ing ou t , andthe l ike
,but also abou t tools , pa in ts , mater ials , the ir use and
care . There is , how ever , much in the volume that w i l l be ofuse and in terest to the arch i tec t . Every arch i tect l ikes goodlet ter ing for “ i ts own moreover , as the arch i tec t r igh tlyassumes more con trol over the detai l and equ ipmen t of h isbu i ldings i t becomes h is task to gi i e at ten t ion to such mat tersas the inscr ipt ion on a shop fasc ia , w h ich can upse t the mostcareful ly conce ived des ign . The des ign of w ar memor ials andtable ts , too , calls for a fam i l iar i ty w i th the best examples ofle t tering ; for th is reason w e recommend the book to thosew ho des ire to see a general improvemen t in the standardof let ter ingas w el l as to those actual ly engaged in the craftof s ign wr i t ing.
‘
THE ARCH ITECTU RAL RE V IEW .x l i
MASTERPIECES IN MARBLE”
GREGORYAUGUSTINECHAPEL
W ESTM INSTER CATHEDRAL
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oi. tone andcolour are obtainedbythe skilfu l useofMarble.
Thi s i s manifest in the w ork ofthe A rchi tectofW estminster Cathedral .
W hether the marbles used are rare and cost ly ,or are those of the cheaper and more usualent combinat ions inharmony and cont rast can
pert handling.
Anold'established business has a unique store.
ofknow ledge
accumulated and tested during years ofpract icalexperience.
J.W HITEHEAD E93 SONS ,LTD (Founded1 82 1)
MARBLE EXPERTS
IMPERIAL W ORKS ,KENNINGTON OVAL,
LONDON, S .E. 1l
Telephone Hop 1603 .Telegrams S culptors, Vaux .London.
TH E ARCH ITECTU RAL REV IEW .
S irEdw inLutyens onModernArch itecture.
The November issue of The \Vorld’
s \Vork ” contains anarticle by S ir Edw in Lu tyens , R.A . , on arch i tecture , fromw h ich the follow ing ex trac ts are takenThere are signs that for Brit ish arch i tecture the nex t halfcentury may be one of great ach ievemen t , despi te the heroicvulgar i ty of bu ildings that are ris ing allover the trading d istrictsin our ci t ies . Pupi ls of rare prom ise are leav ing the schools ;and ,i f that promise fulfils i tself
,the forthcom ing fi fty years
cangi ve the future a landmark as dist inc t ive as w as the per iodinw h ich \Vren created masterpieces of class ic harmony.
The endeavour of the generat ion to w h ich I belong'
has beento pave the w ay for such an era . \Ve have at tempted , w i th inthe l im i ts of our ab i l i ty and our mater ials , to end the, vog ueof p icturesque flamboyance that dom inated Victor ian England ,
and to returnto the tradi t ion of w hat w as best in Engl isharch i tecture
,as represented by the w ork of W ren , In igo Jones ,
and ,later
,of Norman Shaw and Ph il ip W ebb .
\Vhen I first w oke up to arch i tecture,the Rusk in influence
w as very much alive , w i th \Vaterhouse as i ts most prom inentexponent . The Rusk in fol low ers gave vocal powers to al lthat they did . They saw w ith the ir ears instead of their eyes ,and focussed the imaginat ion by the same d istorted pract ice .
They planned a bu i ldi ng so that i t m igh t express someth ing.
The resul t was l ike a n ineteen th-cen tury Academy picture ofthe “ l i terary " school— a book of w ords w as needed.
As a young man,then
,I was for a w h ile sens ible to the Rusk in
influence ; w h ich influence may be noted ,I daresay, iri a few of
my early bui ldings . Every young man begins w i th tremendousen thus iasm , w h ich is ready to overflow in to elaborat ion . As hegrow s older h is ou tlook clar ifies , and he becomes more reserved ,
more tolerant, more restrained.
I started to realize that w e w ere be ing led in to errdr for thesake of ideas product ive of w hat canonly be descr ibed as ugl inessand m isforrnation. I accepted the truth that in arch i tecture.the final appeal must be made to the eye alone
,and that only
the eye can be the j udge. I understood that— as in the case of
To the instruct ions and draw ingsHamptons are always pleased to prepare
Colour Schemes
for any Interior.Hamptons supply, free of charge,
competitiveE S T I M A T E S
for every description of
S tructural A l te rat i on s , S an i taryand E l ec tr i cal W or k , I n te r i o r o rE x te r i o r Deco rat i on , Pane l l ing.
Now READY— Post Free. H AM PTONS’
new Book,D 207 ,
illustrating the latestproductions inBaths, Lavatories, and
Sani taryFi ttings.
of Arch itectsBATH ROOM
(as illustrated herew ith) .— The w alls are
faced w ith Vitreous glass tiles, aboveich is a speciallydesigned border and
a moulded frieze rail allofsame material.Hamptons’ “
Popular” cast-iron parallelBath. w ith 3 in. roll edge, w hite porcelainenamelled inside
,nickel-plated ’
fvalvesandplug waste. Inside dimensions 5 ft. '
6 in.
Pri ce £10 10 0
Hamptons’ No. 5 1. zym. by 19 in.w h i te earthenware Lavatoryonaluminium
stand.Pri ce £9 0 0
Hamptons’ 36 in. by 30 in. by 1} in.
nickel-plated single 3-bar hotwater tow elrail.
Pr ice £7 10 0
Archi tects are specially invi ted to wri te for a copy of the new book
INTER IORS BY HAM PTONS ’
Works
43 BELVEDERE ROAD, S .E .l
Factories
INGATE PLACE
Q U E EN S ROA D,
BA TT E RS E A , S .W . S
CONTRACT DEPARTM ENT.
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fru i ts w hich are pleasan t to the eye but ev il to taste— althoughone sense can inform another
,i t cannot replace another.
I w as gu ided into th is developmen t of understand ing by theteach ing in s i lent stone of great arch i tects .Norman Shaw , a Scotsman permeated w i th the Engl ish
classic trad i t ion , w as free ing des ign from i ts l i terary aspect ,and w as focussing d irectly on the opt ic v is ion . During thes ix ty years of h is career he advanced from early exper imen tsin the Goth ic manner "to the fine classic ism of Chesters
,in North
umberland ; and meanwh i le he, more than anybody else , releaseda new force in arch i tecture . To know that here was an improv inginfluence, I had only to go round the corner and study h is threehouses bu ilt on the east s ide of Queen’s Gate
, London .
Con temporary and paral lel w i th Norman Shaw ’s w ork w as
that of Ph i l ip W ebb , a master of bu ilding, w ho show ed thew ay to the beau t iful use of modern materials, and w ho ratherrevol ted against the “ arch i tec t-ton ic pract ice
,then prevalent ,
of borrow ing fore ign features , such as those of I tal ian or Germanpalaces , for the sake of novel ty and or iginal i ty.
All modern arch i tecture ow ed and ow es much to these twomen , and to Norman '
Shaw in part icular . Inev i tably Shawmade us look back and cons ider the w ork of In igo Jones and othergreat designersAfter G i lbert Scot t , Shaw , and W ebb , w e had more recen t
arch i tects se iz ing the imaginat ionwith or iginal concept ions .S ir Reginald Blomfield 18 of th is band
, and so i s S ir Aston W ebb ,
w ho, although not an entire classic ist , has an out look that isexcel len t ly free , and w ho helped us tow ard more sober at ta inmen ts— attainmen ts w h ich have g iven both London and thecoun trys ide build ings of sat isfactory proport ions in the tradi t ionsof modern class icism. The WarOffice and the Offi ce of W orks’new bu ild ing in Storey's Gate belong to th is category
,as d id
the bare snaced W estminster Cathedral before they decoratedi t w i th such magn ificence .So , in i ts own fashion ,
does the Bush Bui ld ing inK ingsw ay.by Mr. Harvey Corbet t (an Amer ican ) , w h ich deserves dec idedpraise , although the scale may be inconsiderately large for i tsneighbourhood. L ike the skyscrapers w h ich i t approaches
,
(Continued onp. xliv.
THE ARCH ITECTU RAL REVl .
i t has the benefi t of fine patternage. Skyscrapers can hold theimaginat ion because '
of the ir tremendous opportun i t ies in theuse of w indows .I t may be that
,inmy enthusiasm for the restored trad i t ions
of s impl ic i ty and class ic ism , I have given the impression thatthe Go th ic ornateness of the n ineteen hundreds has producedno aftermath other than the bu ild ings i t left in our m idst , To
correc t a possible m isapprehension ,I must recur to my earl ier
reference to the introduct ion of picturesque fore ign forms forthe sake of novel ty. Th is d id not end w hen the Goth ic rev ivalwas broken up ; as wi tness the Port of London bu i lding. I sth is not too “magnificen t for the degree of craftsmansh ip atw h ich w e have arr ived ?
Cons ider the metam orphosis of Regen t Street . The skyl inein Nash ’s Regent Street , from Langham Place to '
W aterlooPlace, was w i thout j ars or j ags . The curve was absolute , themain corn ices w ere con t inuous : a great ach ievement , th is , ifyou cons ider the gradients .But that , w h ich belonged to the pre-Rusk in trad i t ion , has
gone, and w e are the w orse off for i ts disappearance . Instead ,
w e have in Regen t Street and other parts of London commerc ialbuildings covered w i th domes,
tow ers, w eird excrescences , and
flamboyantlyuneven Skylines .The arch i tect ’s relat ions wi th h is publ ic should be improved .
I great ly regret that he is not better placed for soc ial serv ice ,sat isfac tory though the changes in th is respect have been duringthe last two decades. I should have li ked , for example, to seethe Royal Inst i tute of Br i t ish Arch i tects
,with i ts affil iated
soc iet ies , placed in a pos i t ion to manage and engineer_ thenat ional housing schemes in a publ ic-spi r i ted manner for thepubl ic good .
And I should l ike the arch i tect to be more of a un iversalist ;more comprehensive as a creator
,nearer' in spir i t to Leonardo
da Vinci , w ho,w hen submi t t ing h is qualificat ions to Lorenzo
the Magn ificen t , recorded that he w as an arch i tect , a sculptor ,a mathemat ic ian, and an obedien t servan t . In conclusion ,
thegen ius who pain ted undying beauty in the S ist ine Chapel declared : I also paint ."
Electric Light Fi ttingsof Beau ty and D i st inc t i on
In Cu t Crystal Glass and Art Me tal.
S ell-coloured C lan. Mosaic Bow ls and Tab'e Lam p s.
The manyexamples inourmagnificent show rooms are unparalleled for
beautyand originali tyofdesign, and the pr'ces are. ~ urprlsinglymoderate
inproport ion to the unusual degree ofqualityand at tractiveness.Over
exclusive designs
P15 3” . 2 11 8 in. byl i t. lum. 6 candles. 1 light interior. Infinest cut crystal glass w ith metal inoxydised silverorold gold.W HOLES ALE AGb NTS FOR KOMET E LECTRIC FIRES .
M anufact u rers, I mp ort ers and E x port ers.
RICHSON co. sw ord se nroam ;
The last Engl ishmanof th is splendid type was Alfred Stevensclassicist
,excellen t sculptor
,good pa inter , and inspired architec
tural des igner who nearly starved w h ile Rusk in preached.
I t is not unl ikely that there w il l be others of h is un iversal i tyamong the br i ll ian t young men who have j ust left , or are aboutto leave
,the schools
,and that they w i l l be more fortunate than
w as Stevens . The irs is the future, theirs the fulfi lmen t w hichw e have earnest ly tr ied to prepare .
The Rebui ld ing of Ypres.Mr. G . Topham Forrest , the ch ief arch i tect to the London
Coun ty Counc il , del ivered a lecture recen t ly at the Hall of theRoyal Society of Med ic ine on the subj ect of The Rebuilding ofYpres . The chair w as taken by Mr. I. A Gotch , the Pres iden tof the Royal Inst i tute of Bri t ish Arch i tects, and amongst thosepresen t w ere the Earl of Cav'
an , Ch ief of the Imper ial GeneralStaff
,the French and Belgian Ambassadors, Lord Preston , the
E arl of Haddo , Lieu t . C— olonel Lord Bury ,Lord Riddell , S ir
Law rence W eaver , S ir Arthur Griffith Boscaw en , and Mr. I . C.
Squ ireThe lecturer said that at the end of the war the devastat ionof Ypres was so complete that i t looked as if the tow n w eredest ined to be a great s i len t mound— a pathet ic token of thestruggles of the Br i t ish Army on Belgian so i l . Fortunatelyne i ther the Belgian people n'or the ir rulers shared that v iew andat the present t ime the r uins w ere being rap idly transformed in tothe Ypres of pre w ardays .In addi t ion to the town of Ypres nearly tw o hundred and fi fty
commun i t ies in Belgium suffered greater or less devastat ion ,and
all over the coun tryincalculable inj ury had been done to theroads
,rai lw ays, telegraph ic and telephon ic installat ions, w ater
w orks and canals,and as soon as the capi tal was re-e ,ntered the
Belgian Governmen t announced that one of the first duties of thecoun try was to consecrate the nat ional energy and resources tothe task of help ing the devastated regions to make good the irenormous lossesYpres
,wh ich among al l the ru ined d istr icts was the one w h ich
(Continued onp. xlvi.)
THE ARCH ITECTU RAL REV IEW .xlv
TH E ARCH ITECTURAL REV IEW .
had suffered most from the devastations of w ar, w as,w i th
Louvainand Dinan t , those other great Belgian sacr ifices, amongthe firs t commun i t ies to benefi t from th is special law .
About the m iddle of 1919 i t w as,as i t w ere
,adopted by the
nati on ,and from th is fact , w as assured of the techn ical and
financ ial assistance of the State and of those organ izat ionsspec ially created to assist in the prompt rc-establ ishment of thecountry.
Thanks to th is aid important prov isional arrangements w ereat once made for housing the necessary publ ic serv ices and thefirs t repatriated inhab i tan ts .The task was at th is t ime most d ifficul t , for means of com
munication,rai lw ays , w aterw ays , and roads had totally disap
peared ; transport failed , and labour espec ially w as lack ing.
The w ork w as, ne\ ertheiess, carr ied on rapidly, and in a fewmonths qu i te a smal l tow n of nearly huts was bu i lt in theneighbourhood of the si te of the van ished town.
Those w ho d id not see the r uins on the morrow of the arm ist iceor during the mon ths immed iately follow ing, can form no ideaof the labour and energy requ ired to render the reconstruct ionposs ible The masses of ru ins , fal len in d isorder , had obli teratedalmost the verv trace of the streets ; in most parts the destruc tionw as so complete that the foundat ions even had d isappeared.
The devoted zeal of the author i ties and serv ices, therefore ,w as ben t on the pat ien t and methodical clear ing of the ru ins ,on the class ificat ion of the recovered mater ials
,on the slow and
laborious search for traces of the tow n ’s commun icat ions , onthe patien t uncover ing of the w ater serv ices and sewers, bothdestroyed and dispersed underground ; on th is herculean task ofrecovery and class ificat ion , stone by stone and br ick by br ick ,
of w hat once had been a beautiful and br ill ian t h istor ical c i ty.
The task called for w eary months of self-den ial and goodw i ll,
and more than w orkmen w ere engaged on i t unceasingly.
I t was only then that i t was .up to the beginn ing of 192 1 .
suffic ient ly advanced for a first beginn ing to be made '
on ac tualbu i lding w ork .
I t is to the reconstruct ion of pr ivate dw ell ing —houses , asthe fol low ing table show s , that the au thor i t ies have spec ially
devoted themselves, and w hat only some three years ago w as an
immense field of desolat ion and death , is to-daya vast w orkshopin full act iv i ty w here homes are already r ising by hundreds w i tha rapidi ty w h ich show s a dai ly progress .
Reconslr-z-tctionofPrivate Hoases.
Number of houses before the wardestroyedleft on
S i tuat ion at the end of September 1923Dw ell ings inhabited
fi t for habi tat ionin .
_c,ourse of reconstruct ion
Temporary bu i ings , hu ts , etc .
Obituary.
Mr. Carl C. K rall , w hose death w as‘
announced recent ly , w as
a craftsman w ell know n to arch i tects and ecclesiast ical authorit ies both at home and abroad. Born in He idelberg in 1844, hestudied in Mun ich , Paris , and Berl in ,
and came to London w hena young man . He w as a foundat ion member of the Art W orkers’Gu i ld , and was respons ible for art metal w ork in nearly everycathedral in the coun try ,
includ ing importan t pieces of w ork inS t . Paul ’s , \NestminsterAbbey, Liverpool Cathedral , and Can terbury. The si lver al tar ofS t . Mark’s
,Ph iladelph ia, is comparable
with the superb . silver altar wh ich , now exh ib i ted in themuseums of Florence Cathedral , w as carr ied year by year to theBaptistery.of the Cathedral to be used on the feast of St . Johnthe Bapt ist , and was designed by Ant . Pallajuolo and h is brotherart ists.
TH E ARCH ITECTU RAL REV IEW .
The Victoria and A lbert Museum .
The departmen t of W oodw ork of the Victor ia and AlbertMuseum has recen t ly been enr iched by a gif t of unusual in terest ,cons ist ing of a se t of three cha irs , for the master , sen ior w arden,
and j un ior w arden respect ively of an old lodge of Freemasons(No. 76) const i tu ted in 1 730 and mee ting at the “
W h i te Bear , ”K ing Street,Golden Square . In 1 779 th is lodge was named the
W ell-d isposed Lodge , and removed to W al tham Abbey ,Herts ,
bu t had become prac t ically dorman t by abou t 1 805 . In 1 81 3
the Duke of Sussex ,Grand Master of the Un i ted Grand Lodge ,
des ired to have a pr ivate lodge under h is immediate con trol forthe use of dis t ingu ished masons generally selected and proposed byh imsel f , and he selected th is lodge for the purpose , removed i t toKens ington Palace in 1 81-1and changed i ts name to the “Alpha,
and after wards to the Royal Alpha ” lodge . The chairs nowexh ib i ted inRoom 5 7 of the museum are about of the date of theoriginal lodge , and came , by th is course of success ion ,
in to thepossess ion of the South M iddlesex Lodge (No. by the W or
sh ipful Master and members of w h ich they have now been mostgenerously presen ted to the museum . From the h istor ical po intof v iew they are part icularly valuable as i l lustrat ing the per iodof trans i t ion from the later style of Queen Anne to that of theearl ier produc t ions of Ch ippendale . They have finely carvedand modelled claw-and-bal l feet , backs w i th scrolled term inalsand cen tre splats also boldly carved . Each chair is inla id w i ththe emblems appropr iate to the master and w ardens ; and the setforms a very valuable add i t ion to the ser ies of chairs made forspec ial purposes , now draw n together in the same room . Theseinclude the chair of the Pres iden t of Lyons Inn , which has forsome t ime been in the col lect ion , a charac ter ist ic example of achai rman ’s cha ir in the style of Robert Manw ar ing , of abou t theyear 1 760,
and another in tha t of Robert Adam (c . w i thsh ield-shaped back of French type , and carved vase w i th garlandsand gu i lloche ornamen t— the tw o lat ter be ing recen t acqu is i t ions .The departmen t has also acqu ired , by purchase , supplemen tedby a gi ft from F . C. Harper , Esq , an in terest ing reading~ table ofcarved mahogany
,wi th square top rest ing on tr ipod s tand ter
m inat ing in scroll feet ; the top be ing h inged so that i t can beraised to form a read ing—desk and w i th four draw ers prov iding
compartmen ts for pen and ink . This table w as,wi th other fur
niture, made in 1 770 by W i l l iam France for the l ibrary at Kenw ood , under the superv ision of Robert Adam ,
w ho bu il t the housefor Lord Mansfield . The b i ll is st i l l in ex istence and show s thatFrance rece ived the sum of £6 14s . 0d. for the table now in themuseum (Room
Casts of Med iaeval English Scu lpture.The w est half of the Cast Court at the Victoria and AlbertMuseum ,
w i th the except ion '
ofa smal l str ip at the south end,has
j ust been reopened to the publ ic . Th is court now con tains animportan t ser ies of casts from medimvalEngl ish sculpture
,includ
ing the twelfth-cen tury doorw ay of Barfreston Church , the carvedslabs from Ch ichester and Bradford-ou-Avon
,and Romanesque
sculpture from Durham and York,the magn ificen t th irteen th
cen tury angels and annunc iat ion group from W estm inster Abbey ,
and a number of casts from the sou th door and the Angel Cho irat Lincoln ,
w i th detai ls of sculpture from W el ls and elsew here,
and a r ich collect ion of casts from fourteen th and fi fteen th cen turym iser icords , bes ides recumben t effigiesand arch i tec tural de tai ls .
The National Gal lery: A Tit ianD iscovery.
A novel departure from custom has been made at the Nat ionalGal lery. For a shor t t ime Ti t ian’s “ Venus and Adon is w i ll beshow n there ina hal f-repaired cond i t ion . The state of the painting had for some t ime caused grave anx iety ,
and to preven tdisaster i t w as necessary to remove the old
,much-darkened
varn ish . The p ic ture had long been cons idered to be l i t t le morethan a stud io repet i t ion of one at Madr id . The removal of thevarn ish , how ever , ind icates that i t is a first exper imen tal versionof the subj ec t by the master himself
,and therefore exh ib i ts
Ti t ian 's style in the trans i t ion per iod be tw een the "Bacchus andAr iadne " and the hardly less famous “ Mo ther and Ch i ld . inthe Mand collect ion . Spec ially notable is the rev is ion of the treeforms to the left , over wh ich parts of the sky have been pain ted .
To enable th is rev is ion and other deta il s of handl ing to be seenclearly the w ork w i ll be show n for a mon th or tw o in i ts nakedst i te w i thout the repairs and the varn ish that are st i llneeded tobr ing i t in to proper condi t ion .
TH E A RCH ITECTU RAL REV IEW . x l i x
RCH ITECT URAL
C O R A T I ON S
A N A DA MPi l a s t e r Pane l m adefrom or igina l mou lds .
Arch itects are cordially inv i tedto cal l and inspect at theirleisure the very interestingAdam patterns and moulds
in our possession.
T hese patterns and mouldsform a un ique col lection of“Adam originals
,of w h ich
w e are the sole proprietors.
They w ere made under the
personal direc tion ofthe famous
brothers Adam ,and have been
and are beingr used w i thincomparably beaut ifu l effectin many of the h igh-classdecorations on w h ich our
reputation rests.
F{brow Planter,Carton
W oodwork, Carving,etc.
EXECUTED BY
G . JACKSON 8: SONS , Ltd.
49 RATH BONE PLACE
O X FO R D S T R E E T ,L O ND O N,
w . i
THE ARCH ITECTURAL REVlEW .
A Punch at the Punchers.In a recen t issue of “
The Arch i tects’ Journal, ” the mon thlycauserie by Karshish ,
ent i tled Jok ing Apart , treats w i thp osters under the superscr ipt ion A Punch at the Punchers.Th is causer ie is one of the most excellent features in curren tarch i tectural j ournali sm ,
and ex tracts are given below .
Posters,says Karshish,
” are so generally regarded as unnecessary ,
ugly,t iresome
, vulgar and assert ive , inim ical to arch i tecture,offens ive to the eye,
vex ing to the m ind and depressing to thesp iri t— as th ings in confl ict w i th our best hopes for c iv il izat ion ,
and as monstrous intrusions of the ind iv idual upon r ights andpr ivileges common to the commun i ty, that i t is a refreshmen t tohear their meri ts extol led and expounded by those master m indsw ho decree the shape , s ize , design , and posi t ion of the things.It has recent ly been my port ion to be thus refreshed— or, let mesay
,galvanized— w hen certain em inen t exponents of the trade ,
profess ion,or art (w h ichever i t is) of bill st ick ing, placard ing,
fly-post ing, sea-shore d isfigurement , sky—d irtying, deformation ofarchi tecture , eye-sore inven t ion , rai lw ay defacement v iolat ion ofn igh t
, and landscape destruct ion stood up and, W i th the easyassurance and intellectual calm of the r ichly-informed instruc tingthe ignorant , bestow ed upon us the garnered w ealth of thei rknow ledge and exper ience in th is comprehensive message“ Posters must have punch . A poster, w e are told , need not beverac ious nor beaut iful nor stat ioned w ith deference to publ icamen i t ies
,nor need i t convey any useful informat ion i t may w i th
equal fi tness be untru thful , ugly, annoyingly intrusive , anddesigned to v ictim ize ; the one essent ial is that i t should havepunch . A poster w i th the righ t sort of punch is j ust ified as a contrivance that unloads the goods ; one w i thout punch is negl ig ible .I w ill not develop my theory that the advertisemen t magnateis the last state of the street boy w ho chalks rai l ings and advancesto poet ical and pictor ial penci ll ings on the w al ls of publ ic places,nor will I w aste prin ters’ ink by abus ing poster advert isements ,for each of us cando i t thoroughly w ell and to h is own l ik ing, Ifancy . I t is more profitable to explore beh ind the scenes , bu tbefore do ing so w e may w ell take a v iew of the stage from thefron t . W e see arch i tec ture d isfigured by gigant ic let ter ing andsky s igns, as lately travestied by Mr. George Morrow in the pages
PROTECTED BY PATENTS .
of Punch " w alls, hoard ings, rai lw ays, p iers, and br idges, areplacarded far and w ide '
w hen w e travel w e are punched byadvert isemen ts on the ri sers of steps and on the doors of thecarr iages w here they defy all efforts at dest ruct ion , and i t is onlythe menace of handcuffs and pr ison gates that protects us from
our wear ied and disgusted eyes shr ink from the monotonousimbec i l i t ies that infest the n igh t l ike a legion of yapping dogs
,
and seek comfort in the honest pavement flags, the same bragging
dr ivel , reflected there by concealed lan terns in the shop window s,accosts them , and the unsleeping w indow s flash repet i t ions ofthe ir j aded boasts full upon us as w e pass.
“ B ird Lard — has anyone heard of the w onderful d iscoveryI first heard of i t at th is instan t,w hen I w rote the w ords . For
the occasion I am go ing to fi ll the part of the rogue w ho inven ts
del icate fat of b irds. I t wi l l not occur to you to ask w hat B irdLard ” is to be made of, for the name i tself sat isfies you completely, and you are aw are that such quest ions are ne i ther askednor answ ered. In po in t of fact i t is of no consequence w hat“ B ird Lard ” is to be made of
,w hether reduced from glycer ine
der ived from obsolete explos ives or expressed from the l ivers ofsharks , or obtained from any prom iscuous offal that may beavai lable. The one important th ing is that i t should be in troducedto the not ice. of the publ ic by posters w i th lots of punch
,to w h ich
end the advertis ing adep t w ould be asked to lend a hand w ere Inot conv inced that I— or any dullard for that mat ter— could dothe j ob as well as he can . B ird Lard’s " self—recommendat ionm igh t take the form of a poster dep ict ing a cen tral packet of thefraud em i t t ing rays suggest ing rad io-act ive mer i ts , and framedin an immense cloud of gai ly-feathered ducks and geese in ful lfl ight . B ird Lard
,
” I m igh t bellow from the sheet , “ is super iorto hog’s grease“ (common lard) as is the glory of the open sky toa p ig-sty. A godsend to human i ty.
” I m igh t also use the in t imate(Continued onp. Ii i .)
TH E A RCH ITECTU RAL RE V IEW .
domest ic punch and show a beautifullV dressed Voung w omanroll ing pastr} in the presence of chubby laugh ing ch ildren“Hurrah ! \ o tummyachc to dav. I t s ‘B ird Lard ’
l”
; andappend a sample of the godly admon i t ion punch w e are allfam i l iar \Vitli : Th ink of the del icate organs of your l i t t lek iddi es ! \ 011 w ould not embi t ter their young Il\ es w i th thedemon dyspepsia 9 Then use ‘Bird Lard ’
— and so on . I t 15 allas easy as lying. The one essent ial qual ification is a mor ibundconsc ience and an atroph ied sense of humou r.I t w i ll be obj ected , no doubt , that allposters are not fraudulen t
— I agrecg and that some are honest recommendat ions of veirit
able commodi t ies . I agai n agree . I w ish only to callattent ion tothe prevai l ing complex ion of posters as a w hole— the spir i t ofsly dece i t and hypocr isy in w h ich they are conce ived and presented ; and as for honesty - honesty depends upon what w ehappen to regard as d ishonest . Our c iv i l izat ion is bu il t upon a
presumpt ion of a code of honour w h ich is also inst inct ive inhuman nature. The common exploi tat ions of commercial en terprise trafiic on th is code, j ust as the success of a player w ho cheat sthe rules of a game depends upon others observ ing the rules .I t is ev iden t that a man w ho exerc ises h imself to get money
ou t of the publ ic by such a dev ice is subver ted and soph isticatedfrom the natural impulses w i th w h ich he w as originally endow ed .
Commercial sharks and bunkum punchers w ere once ch i ldren l ikethe rest of us , dot ing on shells , and pebbles , and feathers . andflow ers— stray emblems of God’s w orkshop ; they imagined themselves boun teous pr inces ; pol icemen and sold iers w ho did heroicth ings ; they grew to be w holesome boys, ambi t ious to play thegame among the ir schoolfel low s , or scouts , ” proud to rememberthe th ings a scou t does not do. W hen ,
then, and by w hom , w ere
they seduced to claptrap explo i tat ion of the fo ibles and necessi t iesof the i r fellow men
TRADE AND CRAFT .
A New Plaster.
I n all operations involv ing the use of plaster the question oft ime invariably presents someth ing of a problem .
The relat ively low cost .of l ime plaster has determ ined thegeneral adopt ion of th is med ium for everyday w ork . Limeplastering ,
how ever,has a ser ious d isadvantage in that i t depends
for i ts strength on the thorough absorpt ion of carbon d iox idefrom the atmosphere . A really hard wall is thus only obtainableby super imposing a ser ies of th in coats of l ime plaster one uponthe other. S ince several w eeks’ exposure to air may be requi i edfor each success ive coat
,the en t ire process is l iable to become
very protracted . Any at tempt to plaster a w all w i th a s ingleth ick back ing of l ime and sand inev i tably resul ts in the format ionof a th in , hard , ex ter ior fac ing. The bulk of the back ing isthereby cut off from contac t w i th the atmosphere and fai ls inconsequence to at tain to requ is i te strength .
Messrs. Cafferata Co.,Ltd.
, of New ark , haVe devoted manyyears of close study to the ent ire quest ion of plastering, and claimto have discovei ed a plaster w h ich overcomes these. defects . Prolonged research has finally produced in Mur i te a gypsum plasterw i th results sa id to be equal to the best h i therto obtainable
,and
L I NC O L N H O U S I
the first coat of w h ich br ings i t w i th in the scope of every est imate .Th is economy of cost is due en ti rely to the fac t that “ Mur itew i ll successfully carry a heav ier proport ion of sand than hash i therto been poss ible w ith any h igh-grade plaster ing mater ial .The back ing already descr ibed is i eadyfor the appl icat ion ofthe fin ish ing coat in a mat ter of tw en ty four hours . Tw o totw o and a-half hours suffice for the set t ing of the fin ish ing coa t .The drying-ou t is then rapid ,
as mos t of the w ater used ingauging comb ines chem ically w i th the “ Mur i te
,form ing a hard
crystall ine sol id . Immediately the w all is dryenough decorat ingmay be proceeded w i th .
For the conven ience of users Mur ite is made in four grades ,each spec ially adapted to spec ific needs and together cover ingthe w hole range of plaster ing pract ice .
An E lectrical ly—operated Curtain G ear.
The follow ingbr ief descript ion of w hat is bel ieved to be anen t irely or iginal form of bl ind w i ll be of cons iderable in terest toarch i tects and others w homay be faced w i th a s im i lar problem :
The Soc iety of Arts’meet ing room der ives i ts l igh t in the dayt ime from a glass dome
,the base of w h ich IS 1 2 ft in d iameter and
(Continued onp. liv
\V.C6 0 K ING S W A Y ,
Head Ofi cc (9 Works
TROW BR IDGE
TYNE
Architect : S IR Asrox \V l-zun, RA .
THE ADM l-RAL’
I’
Y BU ILD INGS
TH E ARCH I TECTURAL REV IEW l i i i
llrough! IronGates executed for Mongew e’l Park , Oxon. E . Thorpe, Esq , Architect.
(ByRoyal W arrant Metalw orkers to H .M . the King)
BROM SGROVE W ORCESTERSH IRELONDON GLASGOW MANCHESTER
199 PICCADH .I.Y. \V. l 18 BLYTH S W OOD SQUAR E 76 V ICTOR IA STRE ET
MONTREAL NEW YORK
M ETA LW ORK
W OODWORK
CARV ING
STA INED GLASS
Wrought IronGates and Railings executedforC/mn‘lz ofthe English
31artyrs, Spark/zit] , Birmingham. Alessrs. S andy Nor ris,Architects.
TH E ARCH I TECTURAL REVIEW .
some 40 ft . above‘
the floor level. The room is frequent ly used forlectures du ring the dayl ight hours , and to enable sl ides to beshowni t w as necessary to devise somemeans ofrapidly darkeningthe room . The covering and uncovering had to be carried outrapidly
,and rel iab ili ty was of fi rst importance ow ing to theheight . A fter considerable thought and experiment ing w ith
models the scheme described below w as decided upon.A t the base ofthe vent ilat ingcow l fixeda t the top ofthe dome
a ci rcular i ron ringwas al ready inex istence and to th is twelvestou t copper w i res w ere stretched to the base ofthe dome
,theseform ing the gu ides for the curtain. The curtain i tself was con
stru cted ofblack material made up in the form ofanumbrel lainsect ions to fi t the space enclosed by the above-mentioned gu idew ires. A t the points w h ich w ould be occupied by the ribs ofanord inaryumbrel laaseriesofringsw ere sewnonthe outside ortopof the curtainand threaded over the gu ide w i res to support i t .The edge of the curtainw as su itab ly w eighted round the w holeof i ts ci rcumference so that w hen the main hold ing cord wasreleased i t would fall by gravi ty. A t tached at equ id istant pointsto the bot tom and onthe inside ofthe curtainare six short pull ingcords, theseagainbeingjoined toonemaincord passingup th roughthe ring to w h ich the rope of the cu rtain and gu ide w i res arefi xed . The operat ionofopeningand closing the curtainis carriedout by asmall electric w indinggear fixed in. the base ofthe cow ] .Th is gear is fi t ted w i th l imi t sw i tches and is operated by remotepress-but ton control at the back of the room by the. op t icallantern. Thus all the lanternoperator has to do
, should he w ishto darken the room to show a sl ide,
is to press the bu t tonat hisside and the curtaindescends inabout four seconds
,completelydarkening the room . The reverse operat ion takes an equally
short t ime. Th is interest ing method of tackl ing a somewhatdifficult problem was w orked out joint ly by the arch i tect , Mr.A . T . Bolton, who was responsib le for the extensiveal terat ions to the Society’s buildings, and Messrs. EdmundsonsE lectrici ty Corporat ion, L im i ted , Broad Sanctuary Chambers,\Vestminster, w ho carr ied out the w hole of the new l ight ingscheme and special pow er requirements necessary for eXperimentaland other work inthe Society's lecture-room.
Hand-made Bricks 8: RoofingTilesOF EXCELLENT COLOUR AND TEXTURE .
Br icks in all siz es from 1% in. upw ards.
TH E VICTOR IA BR ICKW O R K S , B loxw i ch ,
Telegraphic AddressesBLOCKLEY
, HAD LEY.DOW NING , BEDW ORTH .
BLOCKLEY, BLOXW ICH .
H ead Offi ce : H A DL EY, S A LOP
Co-operative Housing in London .An ini t ial instalment of a large scheme for housing the em
ployees of the Great Western Railway Company at Hayes,
Midd lesex , is about to be commenced for the Great Western(London) GardenBu i ld ing Society , Ltd . The plans have beenprepared by Mr. T . A lw ynLloyd , 6 Cathedral Road ,Card i ff , and London.
The cont ract for the prel im inary scheme at Hayes has beenentrusted to Messrs.JohnLaingand Son, Ltd ., ofL incolnHouse,H igh Holbom ,
and Carl isle, L iverpool , and Card i ff .The lay-ou t covers anareaof60 acres, containingprovisionfor
628 houses at about elevenhouses to the acre. The prelim inaryscheme comprises the construct ion
'
of the st reets, footpaths andsew ers,
and the erect ionofthe fi rst fi fty houses. Th i rty ofthesew i l l have a l iv ing-room ,
scullery , three bedrooms,bathroom , etc.,
and tw enty w i l l have l iv ing-room ,parlour
,t hree bedrooms, bathroom
,etc. The houses w i l l be brick bui l t
,tw enty-six be ingfinished w i th Lu ton facings and t ile hanging,and tw enty-fourfinished w i th rough-cast . The roofs w i l l be covered w i th hand
made t iles. The w indowsgeneral ly w i ll have double-hungsashes,and the elevat iongeneral ly amost pleasingand econom ical one.
The Church of the English Martyrs.The cont ractors for the Church of the English Martyrs,
Bir
m ingham , designed by Sandy and Norris,w ere as follow sGeneral contractors— Messrs. J. Moffat and Sons, Bi rm ingham .
The fol low ing w ere the sub-cont ractors : Messrs. Couzens andAkers, L td ., Bi rm ingham (heat ing) ; Messrs. H . Prat t , Ltd .,Aston,Bi rm ingham (electric l ight) ; Messrs. Anselm ,
Od l ingandSons, London(marble columns) Messrs.W . H . Fraley and Sons,Bi rm ingham (marble w ork in sanctuary , bapt ist ry , and mosaicover main door) ; Messrs. J. H . Walker , Ltd . , West ' Bromw ich(steel easements and leaded l ights) ; ’Jos. F. E bner , London(w ood block and Ebnerite floors) ; Messrs. Parker; W inder andAchurch , Ltd.
,Birm ingham (door Blockley
’
s, Ltd .,Had ley (brickwork) Messrs. TheBromsgroveGu i ld , Ltd ., Broms
grove,w ere responsib le for the w hole ofthe railings and gates.
Old' style Erl sinbeau t iful colou rs w i th avery effect ive w avy face.
As suppliedforthe whole ofthe Facing work inthe Church ofthe English Martyrs, Spark/i t'll.These Br icks are being ex tensivelyused bymany lead ingA rch ieteets, and w e are constant ly rece iv ing let ters of app reciat ion.The Roofing Ti les are of cor rect tex tu re and in all shades ofcolour. A roof t i led w i th the darker colou rs immediately gi ves
THE IMPRES S ION OF AN OLD ROOF.
SPECIAL MADE RI
OLL H IPS AND VALLEYSIN KE E P I N G W ITH TH E T I L E S .
All kinds of Machine-made Bricksand Roofing Tiles, Quarries, etc.
lv i THE ARCH I TECTURAL REVIEW .
TH E ARCH I TECTURAL REVIEW .lv i i
S tocked byHardware and Builders'Merchants everywhere
Catalogues andW W W
BRANCHES : Corporat ionS treet,Birming W .Mham 37 AssemblyS t reet, Lei th easeNicholas
RUBEROID ROOFING HAS BEEN
USED ON THE LARGEST COMMERCIAL AND INDUSTRIALBUILDINGS FOROVER 30YEARS.
This surely is convincing proof of e fficientservice, and fittingly supports the claim thatRuberoid is the W orld
’s best roofing. Built upin tw o or more layers, Ruberoid forms a flat
roof unequal led for all services. It is equal lyefficient onslop ing or curved roofs ofw ood or
concrete. S late-surfaced Ruberoid also pro
vides a usefu l and artistic roofing for p leasure
and domestic bu ildings.
lv i i i THE ARCH I TECTURAL REVIEW .
ery '
day w e are making PrintingBlocks for pictorial publications, bookpublishers and fine/art publishersw ho know and appreciate the value
of good illustration,and are severe critics.
W e can give you the type of block thatsatisfies our publishing friends blocks w iththe perfect clarity of detail that puts pow er
into illustration and helps your printer togive you good printing.W rite for free Price List and Quotations.
The NICKELOID ELECTROTYPE Co Ltd.10 N EW S TR E ET H I LL, LON D ON, E.C.4
TH E ARCH I TECTURAL REVIEW .
Telephone : |064 Central. 52 GT. QUEEN ST LONDON.W .C.Z
MANUFACTURERS OFDECORATIVE METALW ORKFOR ARCHITECTURAL AND GENERAL PURPOSES .
BRONZE GATES .LIFT ENCLOSURES -COUNTER GRILLES. LETTERS .METAL HANDRA ILS.ENAMELLED BRONZE NAME TABLETS .
TH E ARCH I TECTURAL REVIEW . lxi
Te 7 h
NORW ICH New s; asLONDONOFFICESl35-IS7.QUEENVICTORIA ST.ECTelegrams:Boutique.CentLondonTe lephone4642Cent
S TRU CTURA L S TE ELW ORKFOR HOM E AND EXPORT
Allow Boullon81Paul to tenderonyourS tructural work.
CONTRACTORS Est imates submitted to any specification. or designsTO prepared to meet any req uirements. S teelwork or
g
S teel Bmldlngs supplled forallpurposes under expert“w 1 h"
supervision. Inspect ionofwork in progress mw ted.
”f ar 0' i
'
c',
Roiml Ojj ll
i
l
l'
urks, The PROMPTDELIVERY. Ourw orks possesswater front(
‘
rw e'h Agents [or the age, and w e canmake direct shipment fo b. London.
Ch loniss.English. S outhAmerican (m , [ um
-m ,
Liverpool , Hull , Antw erp , and other ports. MachineR i lh i a S and“u'
Shops, Hangars, Loading Sheds. Passenger S tations,S outh Af'ffi m ’W ' Crananes, Footbridges, Pow er S tat ions, Engineering
Shops. Car Sheds. Platform Roofs, Goods Sheds.("f f'f . 0
Transi t Sheds. Weavmg Sheds.Foundries, etc .
W R ITE TO DE PT . H K ’A .R .
lxi i THE ARCH I TECTURAL REV IEW .
Select Boohs
E S S AYS AND MEMORIALS . By JOHN w . SIMPSON,
A notew or thy cont r ibut ion to the l i terature of archi tecture and a book of rare dist inct ion and
charm. These essays w i l l be appreciated al ike bythe professionand bythe general publ ic for thei rlum inous exposi t ion ofarchi tectural pr inciplesand history. Price 1 2 1. 6d. Net ; Po1tage 6d. Inland.
S MALL GEORGIAN HOU S E S 1750 to 1820. In tw o
Volumes. BySTANLEY C . RAM SEY. Those w ho del igh t in the simpl ici tyand charm ofGeorgianDomest ic Archi tecture w i l l find these volumesofgreat interest and value. Vol. I Exterior1,
Price £ 1 11 . Net. Vol. II Interian and Berni/1, Price £ 1 5 1. Net ; Po1tage 9d. each Vol, Inlnnd.
RECENT DOME S TIC ARCH ITECTU RE . Bythe late ERNESTNEW TON, R.A.
,and W. G . NEWTON,
M .A.,
Th is volume is the harvest oftenyears ofdomest ic archi tecture
,19 1 3
— 192 3 . I t contains the w ork of the leadingArch i tects, andis divided under the mainheadings ofCountryHouses, TownHouses, SuburbanHouses, Bungalow s
,
and Cot tages. Price 1 11. Net ; Po1tage 9d. Inland.
THE S MALLER HOU S E . Being selected examples of the latest pract ice inDomest ic Archi tecture. All the work i l lust rated is bydist inguished archi tects. Plans and inter iorview s are given show ing interest ing treatment for l iving-rooms
,draw ing-rooms, entrance hal ls,
stai rcases, etc. Price £ 1 51. Net ; Po1tage 9d. Inland. (In the Press.)THE ART OF E . A. RICKARDS . Wi th a biographical ' sketch byM r. ARNOLD BENNETT. A select ion of the ar t ist’s work is finely reproduced inmonochrome
and colour, and his outstanding genius as draughtsman, designer, painter, and car icatur ist maybeadduced from the numerous examplesgiven. Price £ 3 31. Net ; Po1tage 11. Inland.
ARCH ITECTURAL W ATER‘
COLOURS AND ETCH
INGS OF W . W ALCOT. This i l lustrates allMr. W alcot’s most famous w orksreproduced both in monochrome and colour
,and also contains contribut ions byW. R. Lethaby,
S irReginald Blomfield, R.A.,W. G . New ton
,Malcolm C . Salaman, and o thers. Price £ 3 31. Net ;
S IR CHR ISTOPH ER W REN 163 2— 172 3 . The Leed1 Mercurysays
“ There isno other volume w hich displays so compact ly the ext raordinarypow er and br i l l iance of
Wren’s versat i le archi tectural genius ; not the least feature of the book is the profuseness and
excel lence of the i l lust rat ions. Price 71. 6d. Net ; Par/age 9d. Inland.
ENGLIS H ARCH ITECTURE AT A GLANCE . (FourthEdition.) A simple review in pictures of the chief per iods of Engl ish A rchi tecture w i thhistor ical notes byFreder ick Chat ter ton, Pri ce 11. 6d. Net ; Po1tage 4d. Inland.
THE ARCH ITECTURAL PRE S S
27-29fT0
'm 1LL Sm ear, Wasm msrea, S .W . 1
