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diff --git a/41781-0.txt b/41781-0.txt new file mode 100644 index 0000000..32eed68 --- /dev/null +++ b/41781-0.txt @@ -0,0 +1,2848 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 41781 *** + +Note: Project Gutenberg also has an HTML version of this + file which includes the original illustrations. + See 41781-h.htm or 41781-h.zip: + (http://www.gutenberg.org/files/41781/41781-h/41781-h.htm) + or + (http://www.gutenberg.org/files/41781/41781-h.zip) + + + Images of the original pages are available through + Internet Archive/American Libraries. See + http://archive.org/details/countryhousewith00chat + + +Transcriber's note: + + Text enclosed by underscores is in italics (_italics_). + + [oe] represents the oe ligature. + + + + + +Friendly Contributions for 1842. + +THE COUNTRY HOUSE, +(WITH DESIGNS,) + +Edited by + +LADY MARY FOX. + + + + + + + +London: +J. Murray, Albemarle Street. +MDCCCXLIII. + +C. Whittingham, Tooks Court, +Chancery Lane. + + + + + [Heading illustration] + + + + +PREFACE. + + +Hitherto the Contributions have appeared in a small volume: but a +friend having furnished me with the Manuscripts of the following +Letters, in order to do justice to the beautiful designs, it has been +necessary to increase the size of the work. I trust that the merit of +the drawings will reconcile my subscribers to the increased price. + +The observation on the style fittest for domestic architecture, the +description of the proposed house and the designs, are by Monsieur De +Chateauneuf; to these, Mr. Eastlake kindly added a very valuable Letter +on the Principles of Interior Decoration. + +Monsieur De Chateauneuf is already known in this country by his elegant +work, ARCHITECTURA DOMESTICA, and his design for the new Royal +Exchange; all who have visited Hamburg must be well acquainted with the +refined taste which characterizes the buildings erected under his +superintendance. + +It is but justice to M. De Chateauneuf to state that his letters were +written merely as matter of amusement, and arose out of a discussion +with a friend, as to which was the best style to be adopted for +domestic architecture; the letters have been translated from the +German, and unfortunately have not had the advantage of being submitted +to the writer for correction. + +It is proposed that the next volume should contain a reprint of the +late Mr. Whately's admirable work on Modern Gardening; this it is hoped +will be considered as a fit companion to the "COUNTRY HOUSE." I take +this opportunity of thanking Mr. C. Knight and Mr. Jackson, who kindly +furnished me with the blocks from which the vignettes have been +printed. + + MARY FOX. + + [Decorative illustration] + + + + + [Heading illustration] + + + + + ROYAL SCHOOLS OF INDUSTRY, + + AT KENSINGTON, THE POTTERIES, AND SHEPHERDS' BUSH. + + + Patron: + + HIS ROYAL HIGHNESS THE DUKE OF SUSSEX. + + + Patronesses: + + LADY ELIZABETH WHITBREAD, + LADY AUGUSTA GORDON, + LADY MARY FOX, + LADY (V) HOLLAND. + HONOURABLE MISS FOX, + LADY CALCOTT, + MRS. VALPY. + +IT is now ten years since the first of these Schools was established, +and instruction is now afforded to nearly _one hundred and fifty_ +children of the poorer class, who, but for this aid, would linger on in +idleness and ignorance. + +The teaching is not merely confined to reading and writing; the main +object of the Schools is to inculcate habits of industry, and to teach +the principles and practice of the Christian Religion. + +On the formation of the Schools, the plan of self-support was adopted, +each child contributing a weekly payment--Infants, 1_d._; Girls who are +taught to work, and the younger Boys, pay 2_d._; and the elder Boys, +who are taught to write, 3_d._ Although these payments go some way +towards the maintenance of the Establishment, yet the funds hitherto +have been found very inadequate, and the deficiency has been supplied +by voluntary contributions, the produce of bazaars, ladies' work, &c. +One of the most successful sources of profit has been a small Volume, +printed under the title of "Friendly Contributions;" the profits from +the sale of this Work have been applied to the support of the Schools: +three Volumes have already appeared, and the present forms the fourth. + +It is conceived that it is unnecessary now to urge one word in favour +of the absolute necessity of affording education to all; the question +is narrowed to the consideration of what are the most efficient means +by which this great object is to be accomplished; it is hoped that, +notwithstanding the many excellent charities which claim the attention +of the benevolent, few will be found unwilling to aid an Institution +which, in addition to teaching to read and write, instils habits of +industry and inculcates the principles of Christianity amongst the +children of one of the poorest and most populous districts around +London. + + + + + LIST OF SUBSCRIBERS. + + + THE QUEEN (five copies). + H. R. H. PRINCE ALBERT. + THE QUEEN ADELAIDE (ten copies). + THE DUCHESS OF KENT. + H. R. H. THE DUKE OF SUSSEX. + H. R. H. THE DUCHESS OF GLOUCESTER (five copies). + THE DUCHESS OF INVERNESS. + THE DUCHESS OF SUTHERLAND. + EARL AMHERST. + LORD ASHBROOK. + JOHN ALLEN, ESQ. + SIR H. BUNBURY. + LADY BUNBURY. + MRS. BASSET. + MRS. BLAKE. + MRS. BETHUNE. + THE ARCHDEACON BERENS. + HENRY BERENS, ESQ. + RICHARD BERENS, ESQ. + JACOB HANS BUSH, ESQ. + ROBERT BICKNELL, ESQ. + CHARLES DACRES BEVAN, ESQ. + ROBERT BEVAN, ESQ. + EDWARD BLORE, ESQ. + MISS HARRIET CLARKE. + THE COUNTESS OF CARNARVON. + LORD COLBORNE. + HON. R. CLIVE. + DR. CHAMBERS (two copies). + LADY MARY COLE. + I. G. TIMURAN. + MESSRS. COUTTS AND CO. (five copies). + MRS. BEAUMONT COLES. + RICHARD D. CRAIG, ESQ. + JOHN BONHAM CARTER, ESQ. + C. ROBERT COCKERELL, ESQ. R. A. + B. BOND CABBELL, ESQ. + THE HON. ANNABELLA CREWE. + DAVID DUNDAS, ESQ. + F. D. DANVERS, ESQ. + CHARLES PALMER DIMOND, ESQ. + SAMUEL DUCKWORTH, ESQ. + LEWIS DUVAL, ESQ. + MRS. LEWIS DILLWYN. + MRS. DIMSDALE. + MRS. GENERAL DORRIEN. + WILLIAM EASTLAKE, ESQ. + CHARLES LOCK EASTLAKE, ESQ. R. A. + GEORGE EASTLAKE, ESQ. + GEORGE EASTLAKE, ESQ. JUNIOR. + WILLIAM ETTY, ESQ. R. A. + HON. MISS FOX (two copies). + COLONEL FOX (three copies). + B. FRERE, ESQ. + MRS. B. FRERE. + J. B. FREELAND, ESQ. + LADY E. GOWER. + MRS. R. HANBURY GURNEY. + MISS GURNEY. + SIR J. L. GOLDSMID, BART. + G. B. GREENOUGH, ESQ. + J. R. GOWAN, ESQ. + J. R. GARDINER, ESQ. + HENRY GAWLER, ESQ. + MISS GORDON. + MISS GULSTON. + MISS STEPNEY GULSTON. + LADY (V) HOLLAND. + MRS. HOLLAND. + LORD HATHERTON. + MRS. HUSKISSON. + LIEUT.-GENERAL HUSKISSON. + RICHARD HARRISON, ESQ. + MRS. CHARLES HALL. + MRS. HOUSEMAN. + MRS. JOHN HOUSEMAN. + THE COUNTESS OF KERRY (two copies). + THE EARL OF ILCHESTER. + MRS. GEORGE JENNER. + DAVID JARDINE, ESQ. + SIR JAMES KEMPT. + MRS. H. BELLENDEN KER. + THE MARQUISS OF LANSDOWNE. + THE MARCHIONESS OF LANSDOWNE. + LADY ELIZABETH LEVISON. + SIR THOMAS BARRETT LENNARD, BART. + THOMAS BARRETT LENNARD, ESQ. + SIR DENIS LE MARCHANT, BART. + JOHN GEORGE LEFEVRE, ESQ. + EDMUND LUDLOW, ESQ. + HENRY LOWE, ESQ. + JOHN MALCOLM LUDLOW, ESQ. + JAMES LONSDALE, ESQ. + DOWAGER COUNTESS MONSON. + LADY MACDONALD. + LADY MAYO. + CAPTAIN MEYNELL. + MRS. MITCHELL. + THE HON. MRS. OFFLEY. + OLD WINDSOR BOOK CLUB. + LADY JANE PEEL. + LADY PELLEW. + LADY PECHELL. + MISS PRICE. + MR. PANIZZI. + F. PIGOU, ESQ. + J. DELAFIELD PHELPS, ESQ. + LOUIS HAYES PETIT, ESQ. + REV. J. LEWIS PETIT (two copies). + FRANCIS BARLOW ROBINSON, ESQ. + SAMUEL ROGERS, ESQ. + MISS ROGERS. + JOHN RICHARDS, ESQ. + SIR JAMES SOUTH. + LADY SOUTH. + RIGHT HON. V. SMITH. + MRS. V. SMITH. + CHARLES STOKES, ESQ. + CHARLES SWEETING, ESQ. + REV. CLEMENT STRONG. + THOMAS TEESDALE, ESQ. + J. THOMSON, ESQ. (Clitheroe.) + FRANCIS CHARLES TROWER, ESQ. + W. H. TINNEY, ESQ. + REV. T. M. TREHERNE. + MRS. TREHERNE. + SIR CHARLES VAUGHAN. + R. VALPY, ESQ. + MRS. VALPY. + M. VANDE WEYER (two copies). + LADY WALPOLE. + LADY ELIZABETH WHITBREAD. + W. WINGFIELD, ESQ. + MRS. WICKHAM. + MRS. WIMBERLY. + MISS WALLS. + R. WHITE, ESQ. + J. WINTLE, ESQ. + + + + + [Heading illustration] + + + + + LETTER I. + + + DEAR SIR, + +AS I am about to build a new house, I have determined to avail myself +of your assistance, should it be convenient to you to give it. I do not +by so doing intend that it should be supposed I think that the many +very intelligent architects in this country are incapable of giving me +good advice; but independently of my friendship for you, and great +respect for your talents, I wish to consult one who is not likely to be +so much wedded to the routine of modern Italian villas, Elizabethan +houses, and thatched cottages, as is the case with most of our English +professors: not that I mean to say anything in disparagement of a +Palladian villa, always beautiful, though not always best suited to our +climate. I am also fully sensible of many of the beauties of the old +Elizabethan houses, and also of some of the imitations of them; and a +small thatched cottage is very pretty. + +I shall begin by stating the sort of house we want, and give a short +description of the ground on which it is proposed to build it, in order +that you may in the first place, give your notions as to the site, and +the style which you would recommend. On the style, perhaps you would +give us your views in detail, pointing out, as far as your leisure and +inclination will permit, the merits of each, and which on the whole you +prefer. + +As regards the ground, we have no park, but sufficient extent of land +to make a large paddock very park-like: it would not suit our views to +have a park: the situation is not romantic; but as the ground is poor +and wild, we shall command more ornament than profit. To the north or +north-west there is a rising terrace, well sheltered with high trees; +this slopes down for about a quarter of a mile into the valley of the +Cray; the aspect is therefore south-east, and this comes best according +to the slope of the ground. If you prefer that the house should stand +high, you may have in front a good terrace of at least two hundred +yards long and eight feet high; if lower down the hill (half way), the +terrace will not be so good, but there will be better shelter from the +north wind, and at the back there will be rising ground, through which +the walks of the pleasure ground may be conducted, and still the house +will be well above the valley. In front, looking over this valley, and +across some fine orchards (for which Kent is celebrated) and some +waving fields of corn, there is a mass of wood on a rising hill, about +equal to the hill on which we are situated; on the right there is a +fine view of Knocholt beeches; in the valley there is the town of +Footscray, seen through the orchard at about half a mile distant, and +by a little dexterous cutting and levelling we shall be able to get a +glimpse of the small winding river. + +On the right of the hill on which we are to build, there is a small +spring at present rising in some swampy ground covered with alders; +this we propose to clear, and shall be enabled, if you think it worth +while, to enlarge into a small sheet of water. With this general view, +you will see that we are well off as to aspect, have woods in the +distance, and a valley (of no great beauty indeed, but still a valley) +with a quiet stream, and this is always pleasing. I think it may be +considered as a fair average specimen of English scenery, such as is +met with in the southern counties. + +Now as regards the house. There must be a good dining-room, a good +general morning room, which will serve as drawing-room, and a large +library; one or two small rooms, in which to receive persons on +business, &c. As regards bed-rooms, offices, &c. this will be matter of +future consideration, when we have settled the important matter of site +and style. I should, however, mention, that, as circumstances may make +it desirable to add to the size, it will be advisable that there should +be that irregularity in the plan as will admit of this, so that it may +be in the end, a house costing from £10,000 to £12,000. + +With respect to the offices, I think we make a great mistake in +England, as we manage to hide them, and lose all the benefit of +increasing the size and importance of the house by these additions. I +know, however, this is a very difficult point to manage, and merely +throw it out for your consideration. + +The general building material in this part of the country is brick, +though we are enabled, at no very great cost, to get some stone for +window or door frames, &c. + +I have been reading a little about the sites of ancient villas, but +shall not trouble you with my views until I receive your answer: +recollect we have a bad and variable climate, though we go out as much +in the winter as summer; so that there must be at once shelter from the +sun for our short summer, and warmth and shelter during the long +winters and cold springs. + + H. B. + + [Decorative illustration] + + + + + [Heading illustration] + + + + + LETTER II. + + +FOR your letter, accept my thanks. It is doubly flattering to me, being +a foreigner, to be commissioned to make the designs for the country +house you intend to build. Yet while I derive great satisfaction from +the task, I am impressed with the difficulties attending it, one of +which is, that I am at present prevented by business from discussing +the matter with you in person, and am therefore compelled to put my +ideas upon paper. Simple as the commission appears, it however involves +considerations of some moment, and which render it necessary that I +should previously state to you my opinion in detail in regard to the +style I propose to adopt. I have not forgotten what you once said to +me, namely, that in order to make himself intelligible to others, it is +essential that the artist should be clear as to his own meaning. I even +suspect that opinions once defined, if not clearly and sincerely put +down, may lead to misapprehension, and (inasmuch as they commit the +person who gives them) to the misleading of the artist himself. You +invite me, however, to give my opinion, and having freely stated the +difficulties of the undertaking, I begin with more confidence. + +What then, with a view to your individual taste, is the style I would +recommend as most suitable for the intended situation and purpose? And +if such a question is now become not an uncommon one, you must allow +that, sixty years ago, no one would have thought of proposing it to an +architect for his consideration. Every architect would then have at +once answered it by saying, "In that style which is in general use, and +according to my own particular views of it." Or during any of the +various epochs of the art, would any one have thought of suggesting to +a Greek, an Italian, or native of the north of Europe, &c. to build in +any other style than that belonging to their respective countries? It +ought also to be borne in mind, that if we occasionally meet with an +intermixture of styles, it is only in buildings of _transition +periods_, during the change from one mode to another; and such periods +were of only short duration, because the previous style had already +outlived itself. Circumstances are now totally altered. We recognize +and practically adopt various styles indiscriminately: nor is it +difficult to explain how it happens that we now employ one and then +another. For this, two reasons may be assigned: the first (a very +meritorious one) is, that we with a generalizing view, anxiously study +and investigate the most difficult examples of art. The second reason +however, is of a very unsatisfactory nature, which is that in our weak +hands no style has been so naturalized among us as to constitute a +permanent canon by which to regulate the modifications of any and every +architectural purpose. This is the cause of that indecision of style +which manifests itself more or less in modern edifices, and of +that changeableness of taste which has hitherto hindered us from +establishing the art upon fixed principles, regulated according to the +high requisites which our modern cultivation requires. + +We seem to be of opinion that variety of character is attainable only +by variety of style: hence our Museums are classically _antique_, our +churches after the mode of the middle ages, and so forth, according as +the buildings happen to belong to the class in which any particular +period was most distinguished for buildings of that class. The +character of such examples strikes us by its expressiveness; nor do we +find it difficult, with models before us that we are now acquainted +with and understand, to produce the same kind of effect and expression +by merely copying their physiognomy and style. He, however, who is well +grounded in the study, is aware that at different periods the art was +treated according to its own principles as resulting from different +modes of culture; and that consequently the adoption of a style +previously discarded, though it may suit the vitiated taste of the +artist, as the _haut gout_ pleases the fastidious palate of the +Epicure, yet it can never be pleasing to a really cultivated taste. You +may think me somewhat fantastical, but it appears to me that we cannot +read Homer with perfect relish in a saloon à la Louis Quatorze, or +Shakespeare beneath the roof of a Grecian impluvium; and that it is +only where the character of the surrounding forms and objects in some +degree accord, at least do not harshly contrast with our mental +occupation, that we can fully abandon ourselves to the imaginings of +genius. I might, however, without impropriety, substitute "_character_" +for "_style_" in the question you put to me, and my answer would then +be: Let it be as noble and as cheerful as possible. Still the making a +distinction between style and character does not entirely get rid of +the difficulty; for a person who is as intelligent as you are in +matters of art will say, "Even if you hit the character, the mere +_desire_ to invent an appropriate style does not of itself satisfy me, +and on this account I wish you to state more explicitly which of former +styles you intend mainly to select." This I will now attempt to do, and +begin by stating it as my opinion, that the most perfect architectural +style is that which admits at the same time of a refined style both of +sculpture and of painting:--that which, while it serves as the vehicle +of graceful embellishment, can maintain an equal excellence in itself. +Such, as it appears to me, is the ideal which an architect of the +present day ought to keep in his mind's eye. Yet before we proceed to +inquire which of the principal styles we are acquainted with possesses +such a quality in the most eminent degree, it will be proper to +consider what is the kind of relationship which the three separate arts +of architecture, painting, and sculpture, bear to each other. + +According to the usual metaphor, the consanguinity is that of +sisterhood. Yet in my opinion this is somewhat incorrect. In its origin +and development every organic style of architecture has preceded the +other two arts, consequently the relationship in which it stands to +them may more properly be termed maternal, it being under her fostering +protection that they have afterwards grown up: nor would it be +difficult to exemplify this sort of connexion between the three arts by +instances taken from different styles of architecture; and one who has +applied himself to studying the motives and principles governing the +formation of those different styles, will easily follow me in my +remarks. + +The two daughter arts were unknown to, or did not exist for the +earliest Asiatic architecture; on which account, imposing as its +gigantic remains are, they oppress the mind by the feeling they excite +of stern and monstrous vastness. In the Egyptian style the growth of +the children arts appears to have been stunted and repressed by the +servitude in which they were kept; nor have any later race or nation +attempted to rival the massiveness of its edifices, tattooed over with +hieroglyphics. + +It is only in the genuine architecture of ancient Greece itself, and in +the Italian style of the fifteenth century, that we meet with all the +three arts growing up to completeness together, and as is universally +acknowledged, brought to a very high degree of refinement and +perfection. + +Notwithstanding the long continued progressive formation and manifold +development of Gothic architecture, that style failed to attach to, and +as it were to incorporate with itself the two kindred arts, which were +checked both by unfavourableness of climate, and by war and political +disturbances. Architecture was therefore compelled to trust chiefly to +its own power and resources, employing sculpture and painting merely as +subordinate decoration. And who shall say that this style, so full of +creative power, would not have preserved itself more pure, have avoided +falling into the cold and gloomy on the one hand, the bizarre and +overloaded on the other, could it have availed itself of the assistance +of sculpture and painting, so that they should have accompanied it in +all the varieties of its times and developments? This was to an extent +the case with Arabian architecture,[1] which, both in regard to the +dominion it obtained and its organization, has many points of +similarity with the nearly contemporary Gothic style, notwithstanding +the marked distinctions which prevail between them. This reminds me of +the remark of a poetical friend, who once said to me, "Like a rainbow +on the horizon of art, Gothic architecture stretches itself across +Europe from Byzantium to Portugal; while Arabian architecture may be +compared to its reflection, somewhat flattened however, commencing from +the same point, and crossing along the north coast of Africa till it +reaches Spain: or to a reflection in the water, whose wavy surface +occasions some little difference of appearance; and in fact we behold +both styles united together in the amphibious city of Venice." This +simile would be more literally appropriate had the uses to which the +two styles were applied been more nearly alike. + + [1] As regards _Arabian architecture_, the parent art may be said + to have been entirely childless, depending entirely on its own + resources, discarding all representation of animal life, whether in + painting or sculpture. + +With respect to modern architecture, it may be said that it has quite +rejected the services of the other two arts, and, as I fear, greatly to +its own detriment; while these latter arts, notwithstanding the +eminence they have attained apart from architecture, are not so solidly +united as they otherwise would be, nor capable of so completely +developing their powers, had the union of the three been complete. + +It is well known that, owing to the fetters imposed upon them in Egypt +by the religion of the people and its priesthood, it was only in Europe +that sculpture and painting could at different epochs attain to +maturity. But it is not perhaps so generally known or considered, that +it is one characteristic mark of European architecture, that it has at +all times, whether those of its progress and advancement, or its +decline, availed itself of natural forms, both vegetable and animal, +for purposes of decoration; while the Asiatic styles were confined to +geometrical figures for the ornaments. + +The above cursory glance at the history of the art, may at least serve +to shew how incumbent it is upon the architect of the present day to +make himself acquainted with the creative power and processes of his +art, by studying them as they actually manifest themselves at different +epochs, and according to the different views and purposes to which the +art was applied. By so doing, however, he is in some danger of being +worked upon by conflicting impressions, occasioned by the diversity of +styles and the opposite tastes they exhibit. Yet, unless I am greatly +mistaken, the whole system of the art, as developed in the different +styles, must henceforth have considerable influence upon our modern +architecture. + +Limiting our views for the present to those architectural productions +in which a union with the other arts is more directly attainable, we +find Grecian or early Italian architecture the predominating style. The +last grafted on the former, may be said to be more or less complete in +the greater or less proportion in which it derives its nourishment from +the parent stem. If we look, for example, to the progress or course of +painting in Italy, that art flourished there in proportion to the +nourishment it derived from the antique. The works of Mantegna, M. +Angelo, Leonardo da Vinci, and Raphael bear testimony to this; and +those great men would probably have attained to a higher degree of +excellence, had they been as well acquainted with the sculptures of the +Parthenon, and the Greek bronzes, as they were with the works of the +Romans. Most assuredly a knowledge of the architecture of the time of +Pericles, or of that of Pompey, would not have been without its +influence upon such men as Bramante, San Gallo, and Baldassore Peruzzi, +nor have failed of being turned to account by them: observe, however, +that this remark is not intended to depreciate what they actually +accomplished, nor to disparage the style which they formed. These +explorers had unquestionably discovered new veins in the rich mine +which had been opened by the Greeks; as the Romans, who were the +immediate imitators of the Greeks, had already extended the one first +of all worked. In all subsequent operations, as in what the French term +the _Renaissance_ style, nothing more was done than to go on +excavating, seldom, however, with sufficient pains or caution, so as to +separate completely the gold from the dross. When, therefore, I propose +to make a design in the "Greek style," I wish you to observe that I +understand by this term a striving after the purity of this canon, but +at the same time with a reserved right to the free use of those modes +and motives with which later European architecture supplies us. If a +determinate name must be given to the style, I propose I should call +it, "the Renaissance style of the nineteenth century." + +But many may say, "How conveniently he contrives to get rid of the +Gothic architecture!" while others will exclaim, "According to such +principles, a very pretty sort of medley is likely to be produced." In +answer to the first set of objections I reply: "If you can introduce +modern sculpture and painting into Gothic architecture without +prejudice to _them_ or _it_, I will say that you have attained a great +end." To the others I should reply: "You misunderstand or pervert my +meaning. I have not spoken of a merely mixing up of different styles, +but of compounding them together; between which two processes there is, +I conceive, a wide difference, the ingredients being merely put +together in the one case, without losing their respective qualities; +while in the other they amalgamate with each other, and produce an +entirely new combination: and it is in accomplishing combinations of +this kind that the power of genuine art manifests itself; and the +distinction may be likened to the difference between a mechanical and a +chemical combination. Nor are some compound styles of architecture less +beautiful than others which are quite unmixed." + +I know not whether these remarks will prove of much service to you, but +I trust they will at least enable you, after seeing what are my views +generally on the subject, to make your own suggestions in return for my +further guidance. + + I am, &c. + + A. C. + + + + + [Heading illustration] + + + + + LETTER III. + + + DEAR SIR, + +THANKS for your letter in answer to mine, or rather in part answer to +it, for you have confined yourself solely to a discussion of the style +to be selected. A subject which has hitherto, I think, not been +sufficiently considered; at least in England. I believe that amateurs +order a Grecian Palladian, or Elizabethan house without having much +speculated on what are the different merits or demerits of each, but +merely with reference to some one example which may be in their +recollection, and which may have pleased them; or what is oftener the +case, they submit to be guided by the bent of their architect, who in +general, are wedded to some particular favourite style. Thus, we have +Mr. ----, all Gothic and Elizabethan; Mr. ----, all Italian, with a +dash of the Byzantine, Renaissance, &c. + +I am, I own, much pleased as well as instructed by this discussion, and +I hope you will not consider me as intruding too much upon your time +and patience, if I venture to seek further elucidations of some of the +positions in your letter. I quite agree it is clear that as yet we have +a style to choose, and that in future ages, no architect will be able +to apply any definite character to our present mode of building. I +must, however, premise what indeed my letter will fully prove, that +your partiality has induced you to give me credit for greater knowledge +in matters of art, especially as regards architecture, than I possess. + +I agree that the style which best admits of being combined with the +sister arts (or filial if you please) of painting and sculpture, must +be the one to adopt, and that it is clear their union is always a +mutual improvement. It seems you come to the conclusion that the pure +Greek style of architecture is that which best admits of this union. +Now, as regards domestic architecture, I am not sure that I have any +very clear perception of what is pure Greek style. I suspect our notion +as regards a house of pure Greek style, is a cube of building of mock +stone with a portico, if a large house; or if a small one, with some +thin paste-like pilasters, and a certain number of parallelogram holes +cut into the walls for windows, with two smaller cubes for wings; and, +in the inside, a repetition of the outside, in the shape of the rooms; +that is, two oblong rooms for dining and drawing rooms, with an oblong +hall placed the other way: the usual accompaniment of folding doors, +and two or three small and often dark rooms at the back. There are +certainly some changes rung on these forms, but the theme is always the +same. I call Sir R. Smirties' Post Office a gigantic small Grecian +house. I am aware that the Palladian improvements, or additions, (which +ever you will) have multiplied the resources, and have given us much to +delight; namely, the circular dome, pillars, and gallery, and the +consequent change in the disposition of the apartments. I mention these +points to let you see the nakedness of the land, and trust to your +kindness for better instruction. + +You assume that the Grecian style is the best adapted to pictorial and +sculptural decoration, but I do not see the reason of this; in fact, +without a more precise definition of what you mean by Greek style, as +adapted to domestic architecture, I do not see how this can be shewn. +You state that the Gothic style is not so well adapted to the union +with the filial arts, and that hitherto when so used they were +subordinate only. I shall be the more ready to agree when I have some +further exposition on this point. Though not so distrustful as our +Royal Society who adopt "_Nullius in verba_" as their motto, yet cling +to an old monkish law maxim of Lord Coke; I may say of your position +what he says of law, "_Lex plus laudatur quando ratione probatur_." I +am aware that the Gothic churches are often overloaded with ornament, +and that the sculpture often seems as if merely stuck on, and the +pictures are hung up as ornaments, not as part and parcel of the +building; and, I believe, that tapestry was often called in aid to +decorate our cathedrals, and with great effect; but is it of necessity +so? Are there no exceptions? at all events, it is not so in the +Byzantine style, which approaches so nearly to the Gothic; and, as +regards the Arabian, (take for instance the Alhambra) the fair +daughters unite in great harmony with their beautiful mother. You have +besides omitted, I think, one point in which Gothic architecture has +been greatly aided by the pictorial art, namely, the painted windows: + + With hues romantic tinged the gorgeous pane, + To fill with holy light this wondrous fane, + To aid the builder's model richly rude, + By no Vitruvian symmetry subdued. + +I begin to feel that it is probable I have entirely mistaken what you +mean by Grecian style, and that it does not preclude the use of arches, +groined ceilings, domes, &c. I have been the more diffuse on this point +because I own I have a leaning to what we have called ELIZABETHAN; +conceiving, whether true or not, that there is more fitness in it for +domestic architecture than in the Grecian style; that the regularity +and repetition of form, which in a great building is delightful, in a +small one does not please from the diminutive size of the objects. And, +again, as regards the material and colour, as we use Grecian style in +this country, the material is either white stone or white stucco, which +in our climate appears cold, and does not give half so much the notion +of warmth and comfort as the fine rich-toned red brick; and what refers +to the exterior, is perhaps equally applicable to the interior. +Although in a building on a grand scale the mind is pleased with +symmetry and regularity, "in little" this is irksome, and gives the +notion of poverty, in fact, too soon lets you into the secret of the +whole house; there is no surprise, no discovery to make. Shew me a +Palladian villa a mile off, and I could draw you the plan of the inside +at once. Indeed, I could walk blindfolded into the drawing-room, +dining-room, library, and boudoir, and go up to bed in the best +bed-room, without a guide, or a light. Here are no + + Rich windows that exclude the light, + And passages that lead to nothing. + +A good deal also, I am willing to own, arises from association and +national prejudices; some of our most delightful houses are built in +this style, and they have, at all events within, signs of harmony in +the style of decoration, and in the accessories. The gardens and +out-buildings were often made more appropriate and better suited to the +house than in any other architectural attempts that we have made; and, +I believe, no Englishman ever fancied building a house that did not +have the large bay window and the large fireplace (against all +principles of good grates and Arnott's stoves I admit,) and the low +groined passage and the panelled hall in his mind. But it seems you +think it most difficult + + ----------"To reconcile + The willing graces to the Gothic pile," + +or rather say coy than willing. I beg you will not suppose I am +opposing your views, all I mean is to canvass and to be sure that I +understand them. + +I have to repeat that I agree entirely that the style is best which is +most susceptible of uniting the three arts; but I only wish to know why +the Greek is most susceptible; and what is the kind of sculpture and +painting you wish to unite; in order to see that such a union is +suitable to our climate, and can be obtained at a reasonable cost, for +you must bear in mind that I want to build a country-house, not a +palace! + +It is a long time since I was in Italy, and when I was there I did not +pay so much attention to architecture as I should do, if I were to go +over the same ground again, now that I have got a house to build; but +there is a strong impression on my mind that the other parts of Europe +may rival or surpass us in palaces and grand architectural monuments, +yet that there is no country which would present so many good hints in +domestic architecture as England; always referring to the great points, +convenience, and comfort; for I own, as _fitness_ is the guiding +principles of all perfection in building, I conceive it essential in +purely domestic architecture, that a character of fitness for +habitation and comfort should always be prominent. + +I am a great admirer of Balzac, and I think one of his best +descriptions of still life is the account of the house in his +"Recherche de l'absolu;" it is so good that I should be tempted, if it +were not too long for a letter, to copy and send it to you as a model, +if not of what a house should be, at least of how one should be +described.[2] + + Yours, &c. + + H. B. + + [2] Unfortunately these letters were written long before the + appearance of Mr. Fonnereau's very intelligent and instructive + Observations on Architecture were printed. + + [Decorative illustration] + + + + + [Heading illustration] + + + + + LETTER IV + + + DEAR SIR, + +BUT for the trouble of answering your letter I should have been much +amused by your remarks upon what, at no very distant period, used to +pass for Grecian architecture; but thank heaven we have passed over +that barren tract of human invention. Continuing in the same strain, +you would fain have me believe you are one of those pilgrims to the +shrine of art, who fancy they have now luckily gained a verdant and +flowery oasis; or rather that they have discovered the true Eden +itself, which it seems is no other than the Elizabethan style; and to +complete all, you treat me as the evil spirit, harbouring deadly enmity +against this fair paradise. + +It is easy enough for you to give your opinions off-hand on these +matters, but with us the case is different: the architect finds it less +difficult to exhibit his ideas in his design, than to explain all the +motives which lead to it,--how the ideas exactly arose, and how far +they may have been influenced, either by our studies or our fancy. I +must be allowed, therefore, to return to my former examination of the +subject of style, and my deduction from such examination. + +You will call to mind that the principal different manners which have +prevailed in Europe, are, first the Greek style, and the additions made +to it by the Roman adaptation of it, then the Gothic in its different +periods, and the different treatments of such periods in the different +countries; and under this period may be added the partial adoption of +the Arabian style in the south. Then this great æra of the revival or +Renaissance style, as it seemingly arose in Italy, France, Germany, +Flanders, and England. This being, as regards England, your boasted +Elizabethan style. + +It is only very recently that my attention has been bestowed on that +style which in the north of Europe succeeded to the Gothic; whereas, +till then, it had been all along imagined that the Italians alone had +comprehended the spirit of the antique, and been able to revive it in a +newer form of their own; an error against which we should be upon our +guard. Why should we not recognize the various modes of treating the +antique, as we find them in different countries; and admit them to be +all emanations from one common source and principle. In like manner, +the Gothic principle or style was in common adopted and worked out +through the whole of Europe, and was in common consentaneously +abandoned wherever it had flourished; and the elements of ancient +architecture became as commonly substituted for it. And this +abandonment of the Gothic, it may be remarked, is the first instance in +all history, when the creative power of a people (and, by people, I do +not mean a single nation, but the whole of Christendom, united by one +common religion) has survived the style of architecture, originally +invented and brought to perfection by themselves. + +This last subject would be an interesting and fertile one to +investigate, and would throw considerable light on the development of +the human mind throughout Europe. Such consideration, even confined +merely as regards architecture, would be one too far from the present +subject now to discuss. Since, however, the Gothic as well as the +revival of the antique principle have extended over all Europe, in +order to attain a knowledge of either, we should not confine ourselves +to isolated specimens of particular countries. It is only by taking a +survey of the entire field of Gothic architecture, that we can rightly +comprehend its varied powers. Is it possible I would ask, from the mere +acquaintance with English Gothic to imagine, or from its elements to +compose a tower like that of the Minster of Freiburg in Brisgau, or a +loggia of similar character to that called the Loggia da Orcagna, at +Florence? On the other hand an acquaintance with continental Gothic +alone will furnish no idea of the peculiar character of the English +perpendicular class. The Renaissance style which is fraught with so +much plasticity and variety, springs also but from one root. In like +manner as it is impossible for a botanist to understand all the species +of one particular family without tracing all that are found in +different parts of the globe; so too, is it impossible to become +acquainted with the power of any one style of architecture without a +similar comparative study of all its specimens, as exhibited in the +works of different nations which have adopted it. To the north of +Europe must justly be allowed the merit of having exhausted the whole +circuit of Gothic architecture, and the application of its principles; +this was certainly not accomplished in Italy. It is therefore on this +side of the Alps that we observe many of the motives and principles of +the Gothic retained to a very late period not disturbed, as was the +case in Italy, by types from the antique. At the same time it must be +admitted, that when the style founded upon this latter, began to find +its way northwards, the two sister arts, painting and sculpture, though +they followed in the train of architecture, did not strike root very +deeply, but were for the most part treated capriciously and +mechanically as mere handicrafts; and this was especially the case in +England. It is therefore remarked with some truth, that the Renaissance +style is characterized in Italy by greater delicacy and beauty than +elsewhere; in France and the Low countries by greater richness, and in +England by capriciousness and extravagance. Lest, however, the term +itself, Renaissance, should be thought too loose and vague, it may be +proper to define it as used to signify "that style which everywhere +succeeded immediately to the Gothic." + +In Italy, this first period of the proper application of the antique +terminates with the tendency of Michael Angelo, to destroy the true +proportions of his buildings by colossal details; on the other parts of +the continent it disappeared in consequence of the diffusion of M. +Angelo's taste by the Jesuits; and in England it terminated at the time +of Wren. Accordingly, this architectural period extends very little +beyond a single century, commencing in other countries about the time +when it was already on the decline in Italy. + +In what I have just been stating, I must be understood to allude to one +uniform aim, namely, the free appropriation and adaptation of the +elements of the antique style to modern purposes; consequently it is +evident that the so-called Elizabethan style is only one of the links +of a progressive series of such attempts. You must, therefore, admit +that architecture which is capable of producing independent works out +of its own resources, and from its own principles, is degraded to what +is little better than mere decoration and scene painting, when, +(apprehensive of falling into contradiction and want of harmony, unless +it retains all the individual particulars of extant examples,) it +timidly strives to imitate the dialect of a single province. How short +a time, however, must the impression produced by such mummery last! and +how long the impression of a work of architecture is destined to +remain! It is because we are ashamed of, or mistrust the results of our +own study and conviction, that we venture to exhibit ourselves to +posterity, merely as the copyists of examples; the repute of which is +already established, and which may be learnt and repeated by rote? At +various periods men have shewn themselves either barbarous or puerile +in their notions on art; yet never till now such slavish copyists, such +mere plagiarists, such mocking-birds in style. You may judge by this +sally in what an ill humour I am, at finding that you would shut me up +in a cage and there make me sing. If you examine your Elizabethan +architecture with some little critical attention, you will hardly fail +to perceive that, with all its richness of expression, the elementary +sounds are no more harmonious than the crowing of a cock, or the +braying of an ass. + +All this concerns merely the STYLE, as style; for in other respects we +often meet with much that deserves praise; convenient arrangement, and +contrivance, striking effect, and much cleverness of construction and +execution, although so far from being pure or refined, the taste +displayed may be decidedly vulgar and coarse. I freely confess that the +merits I have just mentioned, were retained in the architecture of the +north of Europe during the sixteenth and seventeenth centuries: I say +retained, because the Gothic style that was then abandoned, had been +treated with masterly and skill, and shewed disciplined artificers in +all that belongs to mechanical execution; consequently, the ability +thus produced had only to employ itself upon a fresh task. At the end +of the last century, on the contrary, so completely had every thing +like a school of the art disappeared, that at the University of +Gottingen, architecture was taught as supplementary to the elementary +course of mathematics. Is it then to be wondered at that we should have +been filled with stupid wonder at the sublime works then newly brought +to light, or that we should have set about copying them for the nonce, +out of the affectation of classical purity, but without bestowing any +study on the peculiar motives to be detected in them, or on the +necessary alterations to be made in consequence of new exigences? + +If we allow that as far as it proceeded, Grecian architecture is +stamped by perfect beauty, it is of little moment to our argument +whether it was so comprehensive as it might have been, and had +sufficiently developed itself for those purposes which we now more +especially require; since the perfection it did actually attain in the +direction it took, ought to be sufficient to inspire the artist. It was +not necessary that the latter should surrender up the freedom belonging +to him as such, and confine himself to following Grecian motives and +intentions. In fact, the peculiar charm,--the grace and freshness of +Grecian architecture become withered as soon as we begin to treat it +according to dry systematic rules. The Vitruvius, capable of +legislating for it according to its genius and true spirit perhaps is +not yet born! For indulging at such length in these somewhat abstract +remarks upon style alone, I must again entreat your pardon. You ask for +some more distinct and explicit ideas on the subject; and are +apparently, like many others, of opinion, that the remains of a few +temples, such as we behold in Stuart and Revett, comprise nearly the +whole of Greek architecture. The chief point for our present +consideration is, how far it had accommodated itself to buildings for +domestic purposes: and here I must remind you that Pliny's description +of his villas are still extant. It must, indeed, be confessed that +those two residences do not belong to the epoch of Pericles; yet they +belong nevertheless to that same series of actual Greek plans and +constructions which have been preserved to us at Pompeii and +Herculaneum, and which Sir W. Gell's tasteful delineations have +rendered so familiar to all. Many remains of the same class in the +vicinity of Rome, and more especially in the Golfo di Gaeta, at +Puzzoli, and in the environs of Naples, sufficiently attest the fancy +and variety with which the ancients availed themselves of the +conditions imposed by peculiarities of ground and locality,--contrived +to combine the advantages of coolness and shade on the one hand, with +the glow of sunshine on the other; to provide a frame and foreground +for the prospect from the house; and to produce happily imagined +effects and picturesqueness of character by means of the irregularity +and declivity of the ground. + +Each of those ancient villas presents us with a new idea, and may be +taken as an architectural study. Look, for instance, at those examples +of the kind on the Lake of Albano and the Gulf of Gaëta, where the +dwelling itself is connected with grottoes offering cool retreats, +either for sitting in or for the purpose of baths, and upon entering +which the visitor is so fascinated by the magic effect of reflected +light from the water, that he almost fancies the whole scene to be a +visionary and unearthly one. Water, it may be observed, either gushing +in a stream, or exhibiting an expanded mirror-like surface, appears to +have been considered by the ancients indispensable to the charm of a +villa residence. In both the destroyed cities, even the smallest town +houses offered upon entering them the reflection of the sky on the +surface of the water contained in the basin of the impluvium. In larger +dwellings, water was introduced more abundantly, and also in greater +variety of modes; and residences upon the coast were built out quite +into the sea. Besides much else that they have derived from the +ancients, the modern Italians have retained this fondness for the +combination of water and architecture, as many of their villas testify. +For examples of the kind I refer you to the Villa Madama near Rome, and +also to several at Frescati; and yet there the water and the +architecture are not so intimately connected as in the villas and +houses of the ancients. The climate of the north, in a great measure, +prevents our availing ourselves of water as a means of producing +reflection of light in the interior; but we may imitate this principle +in a due arrangement of light and shade, and also in some cases by the +use of mirrors in place of water. + +Another very great, though little regarded point of excellence and +architectural effect in the latter consists in the covered ambulatories +and porticoes, which, indeed, were intended chiefly as a defence +against heat and sun, yet recommend themselves equally to us, as +affording protection from rain and wind. Nevertheless it is rarely but +in cloisters that we find this architectural convenience retained. +Great attention seems also to have been paid by the ancients to +planning the internal communication in such a manner, that the +domestics could pass to and fro, and have access to the different +rooms, without incommoding those occupying any of the suite; and in +this sort of arrangement they frequently exhibit so much ingenuity and +contrivance, that we may study for some time ere we shall be able to +surpass them. + +For the present, these few hints and suggestions must suffice; but I +could discourse to you for days together of the varied effects of +light, the manifold diversity of form, the richness of play in regard +to decoration, and all the combinations and beauties, both with respect +to circumstances of locality and arrangement, that are to be met with +in the remains of ancient domestic architecture. + +Among other questions which you have submitted for my consideration, +is, whether pure Greek architectural forms and details will bear to be +united with such a material as coloured brickwork? And by way of +removing your doubts, I beg to remind you of the highly praised brick +edifices of King Mausolus, described by Vitruvius. Texture and colour +of materials are to be considered merely as the vehicle made use of by +the artist, and may be employed in one style almost equally as well as +in another. Another doubt suggested, is whether arches and vaulting can +properly be admitted into the style above-named? Now, were you to +consult the Delphic oracle, it would probably return you some such +answer as the following: _When the edge of an aperture in a wall forms +a right angle, the archivolt may still descend to the base without +being interrupted by an impost. In vaulting, the diagonal crossing +lines must be considered as secondary ones._ + +Perhaps this will but ill satisfy you, and you will say that, instead +of solving one enigma, I have merely added another. Yet of one thing +you may be assured, namely, that those difficult problems and mysteries +in art, which have been expounded in formal terms, have been already +actually decyphered, and explained more clearly by the practical +solution of them in productions of art. + +It seems you think I have not yet given you any satisfactory reason for +my position, that the present improved state, both of painting and +sculpture, renders it difficult to reconcile them with the conditions +required by Gothic architecture. I admit this would be otherwise were +we to go back to the hard dry style of the Van Eyck school. I can only +say that such an attempt has been made by some of the best artists in +Germany, and that after persisting in the trial for some time, they +have now abandoned the imitation of the early German style, and have +preferred the Italian. At any rate, my opinion is not contradicted by +history, since the latter informs us that the powerful impression +produced by the broad handling and simple masses of the ancient works +of sculpture, then first discovered in various parts of Italy, had the +effect of giving the representation of nature an entirely new +direction. It is also a striking circumstance that, owing to the fresh +impulse which both painting and sculpture hence received, not only the +taste for Gothic architecture declined, but the system itself was +opposed both by painters and sculptors, who attempted to make +architecture subsidiary to their productions. Such being the case, as +they alleged, in regard to ancient art. With what eagerness not only +the learned men of Italy, and the architects who were urged on by them +to the study of classical antiquity, but also both sculptors and +painters, entered the lists against Gothic art, is sufficiently evident +from Ghiberti's journal; and again afterwards, when a decided victory +had been already obtained over it, from Raphael's report to Leo X. on +the ancient edifices and other remains at Rome. + +It is perhaps not so generally known, that in more northern countries +it was the painters who set up for reformers in architecture. Holbein, +there is reason to think, erected the first specimen of the antique in +England: the portal of Wilton House, for his patron the Earl of +Pembroke, still existing. About a hundred years later, Rubens, with the +view of giving the death-blow to the still lingering taste for Gothic +architecture in the Netherlands, made drawings of the Palaces of Genoa, +and caused them to be disseminated in engravings. At the present day, +indeed, we may be excused for smiling at the classical zeal of the +worthy Peter Paul, who, in his preface to that collection of designs, +inveighs against Gothic architecture as barbarous, at the same time +that the plates themselves which he gives, are little better than +hideous caricatures of the modern Genoese style, which, at the best is +by no means remarkable for purity of taste. + +Should Gothic architecture, which is just now employed upon a liberal +scale, and with more or less of true feeling for it, in your country +ever obtain firm footing there again, depend upon it my professional +brethren who have, I think, adopted it without due consideration of the +present condition of the other fine arts, will have to encounter +serious, and, perhaps, unforeseen difficulties from the painters and +sculptors. Were some gifted sculptor to apply himself to architecture, +I am persuaded he would drive us all out of the field, for the charm +with which that art is capable of investing architecture by a skilful +union of the flesh-like sculpture with the hard bones of architecture, +would produce an irresistibly fascinating effect. + +From this long letter you will collect that, whilst on the other hand I +do not mean to be confined either to a servile imitation of a pure +Pompean house; so, on the other, I do not mean to be tied down to +repeat your Elizabethan architecture, or the Gothic of Germany or +England. Nor do I propose to give you a fac-simile of any building of +the Renaissance school. To the best of my power, I propose (as the best +style) that which adopts the pure broad principles of beauty in +building, and which were, I sincerely believe, best propounded by the +Greeks; and which all experience has shewn to be best suited to receive +addition from the highest style of painting and sculpture; and which +are, in fact, parts of architecture. How far I may succeed is another +point. + +It is indeed difficult in all cases, even to select what is best; but +with the most lofty aspirations, I am aware that I may indeed fall very +short of the execution of my wishes; perhaps, I have already done +myself some harm in this very discussion of style, by preparing you to +expect too much. + + Yours, &c. + + A. C. + + + + + [Heading illustration] + + + + + LETTER V + + + DEAR SIR, + +THE letter you send in answer to mine, on the question of the most +preferable style, I must allow, contains many good reasons in support +of your opinion and views; and laying aside prejudice and early +associations, I am willing to admit that it is wise to adopt that style +which possesses the most completely the elements of beauty, and which +is most susceptible of being united to painting and sculpture, +essential accessories of architecture, or rather, important branches of +that art. Some of the facts which you mention are very interesting and +striking, indeed, convincing; and the more I have reflected on the +subject, the more I feel the advantage of breadth, and the superior +beauty of the simple and grand lines of Grecian architecture; and my +curiosity to see the mode in which you will follow out your precepts by +your example, is hourly increasing, although I am quite aware that one +specimen of a building will not be sufficient to illustrate the general +positions you have, I think, so well established. + +I almost wish that you had been tempted to extend your letter, already +long, for the purpose of entering still further into a subject of such +interest. I should be curious to learn to what extent the arts of +painting and sculpture had been applied, in conjunction with the +Gothic; and where they had most failed, and to ascertain whether those +instances fully corroborate your positions. As regards your oracular +distinction between the two styles, I am not sure I quite understand +you. I shall, however, leave this till the termination of the +discussion of the plan. The merits of the arrangements and contrivances +of the ancient villas, as ascertainable from the descriptions extant, +and the plans of those of Pompeii had not entirely escaped me. In +addition to the published information, I recollect to have received, +many years since, much information and instruction on the subject from +Mr. Cocherell, soon after his return from Italy; he having devoted much +attention to the arrangement of ancient villas, and having selected +some very interesting materials to illustrate the ingenuity of the +contrivances, and the judicious selection of the sites, &c. + +Every part of your letter is tantalizing, and makes me regret that you +have merely touched on subjects of such deep interest; whilst reading +it, I forgot that I had commissioned you to give me the plan of a +house, not to write a complete treatise on ancient and modern +architecture. Conceding to you the choice of the style, convinced by +your reasons and arguments in favour of its superior beauty and +capability, I own to you I do so reluctantly, not without a sigh, and +not without much hesitation. Although, abstractedly, a building +constructed on the principles you advocate, may have more beauty than +our own Gothic or Elizabethan, and may be more susceptible of a union +of the three arts; yet there is one part of the subject to which you +have not adverted, and on which, perhaps, you are not likely to feel so +strongly as we do in England, the most aristocratic country in the +world. Some of our most beautiful houses are in this the rejected +style, and with them are connected all the prejudices and associations +of antiquity, of ancestral dignity and greatness; and a house of this +kind carries the mind back to other times, and awakens recollections +that it has been enjoyed by a long line of ancestry, and hence, +perhaps, has in a great degree arisen the desire of many who have built +modern houses, to imitate those of the elder time; not indeed from any +attempt actually to devise and construct a forgery, but to avail +themselves to a certain degree of the associations to be derived from +the recollections associated with the buildings of former ages, and in +the construction of which, at least, the most skill and talent had been +employed; and again perhaps, the very clumsy and unsuccessful +adaptation of the principles of the revived Grecian and Roman, or +Palladian architecture, to our modern houses, (especially in the +smaller ones,) may have tended to keep alive the prejudice in favour of +that style, which even if it were not the best, was at least the best +executed; more especially in its adaptation to the fitness of domestic +arrangements and comfort. Whilst I have been advocating the merits of +our Elizabethan houses, you must not suppose I refer to the multitudes +of grotesque little villas which grow up every summer round London; or +to those alterations and adaptations, by which one sees Gothic spires, +plastered over with stucco, starting up out of one half of an old farm +house; the walls notched into battlements, and uncouth animals set a +grinning against each other over the gate posts, and the hall crammed +and fortified with rusty swords and pikes of all ages and fashions. And +on the other half, Venetian windows slices of pilasters, balustrades, +and other parts of Italian architecture. Although I have not such a +greedy appetite for every thing Gothic, as Horace Walpole had, yet I +own I partake somewhat of his feelings, as expressed in a letter from +Stowe, when he says, "The Grecian Temple is glorious, this, I openly +worship, but in the heretical corner of my heart I adore the Gothic +building." Though I own the character he gives of the Gothic building +he so adores is barbarous enough, for he says, "That some unusual +inspiration of Gibbs has made it _pure_ and venerable, with a +propensity to the Venetian, or Moresque Gothic; and the great column +near it puts me in mind of the Place of St. Mark." Strawberry Hill, +however, is a sufficient proof of his knowledge and taste for pure +Gothic. There is one point on which I entirely agree, which is that the +style of decoration should be consistent with the style of the +architecture. I think we have been more deficient in attention to the +style of decoration, than even to the choice of the style of the +building itself; and nothing is now more common than to plaster the +walls of a modern London house with the Gothic paper of Henry VII.'s +Chapel, and to fill it with a load of old carving of all ages and +times; and to finish with a cartload of Louis XIV.'s clocks, and other +similar ornaments: but of this, more when we come to discuss the +decoration of your rooms. + + + + + [Heading illustration] + + + + + LETTER VI. + + +BY my first letter you will see I have explained to you the _site_, and +I think the next point which we have to settle will be the advantages +and disadvantages of _aspect_; and whether the house should be placed +at the top of the low hill I have mentioned to you, or half way down, +or at the bottom. I think in general, the modern fashion has been to +seek a lofty spot, without reference to shelter; so that the +architect's work should shew well to the surrounding country. My object +is that the house should be placed in the most convenient spot as to +_shelter_, with the best aspect suitable to our uncertain climate, +always taking care that there be sufficient drainage, an essential, +though often a neglected point. + +Having explained the essential, I come next, to the ornamental; I do +not think it is so necessary that the house should form a handsome +feature of the surrounding landscape, as that it should form an +harmonious picture in combination with the grounds in immediate +connexion with it; I must refer you again to a description of the +_locale_. I have nothing to add to this. You will see that the spot I +have chosen has somewhat of an amphitheatrical shape, and that I have +the means of making a terrace; that I am well backed at the north by +trees and hill, and open well to the south-east. You have the choice of +aspect within the range of south-east to south-west; yet the house, for +meteorological reasons, should not be placed too low down in the +valley. I refer you to Mr. Professor Daniell's essays on the subject of +the difference of temperature between the top and bottom of a hill; +this, though it applies principally to the position of a garden, has +some weight even in the site of a house. + +It will be necessary that the approach should be from the south-west; +and as regards plantations and protection from wood, I am well defended +on all sides. I had meant to have added some observations on the +_picturesque_, of which we fancy we are the discoverers; but at +present, I have not time. I may, perhaps, (if I find you inclined to +enter into the subject,) send a few remarks on this; particularly, as I +believe it is considered that the ancients did not, in the situations +of their houses or buildings, consult those principles of taste which +we call the picturesque. I think Dr. Copplestone, in his lectures on +ancient poetry, states this, and yet one should judge otherwise, from +seeing the sites of many of the Roman buildings in this country. That +at Bignor in Sussex is particularly beautiful, nay, grand; but yet it +was low: perhaps, the advantage of a running stream was the general +cause in former times of building quite down in the valley. + +I think it will be an object to have as much veranda as possible, +closed in and very wide, but not, perhaps, in front of the best +windows; but somewhere so as to have both a shaded and a winter's +sheltered walk. + +I must apologize for the indefiniteness of this letter, but I think I +have given enough to serve as a text for the answer. The style and site +settled, I propose we should at once come to materials to be used, +ground plan and elevation. As regards offices, I will mention such as +are essential; as you may, in consideration of the plan, like to know +this; there will be one small lodge at the entrance on the south-west, +and should have no objection to a back entrance at the north; as this +may be used as a labourer's cottage. There will be a double +coach-house, stables for six horses; a small ice-house and gardener's +cottage. The two latter may be arranged so as to form part of the +garden wall. I mean the kitchen garden, which will be at some small +distance from the house, at the back, or north; but I mean it to be +connected with the house by the flower-garden and plantations. + + Yours, &c. + + H. B. + + [Decorative illustration] + + + + + [Heading illustration] + + + + + LETTER VII. + + + DEAR SIR, + +WE come now to fix upon a part of the grounds that shall appear most +healthy, neither too confined nor too exposed; commanding a good +prospect, yet well sheltered. This is a very material point, and not +indeed altogether free from difficulty; nevertheless, proper attention +to the two circumstances just mentioned would perhaps, in the +generality of cases, lead at once to the selection of the most +favourable site for building upon; both as regards prospect from the +house, and the view towards it; so that as regards the latter, it would +display itself to the utmost advantage. With respect to the mode of +combining buildings with the surrounding scenery, the following +principles and directions are laid down by the ablest of our writers +in the German language, on the subject of landscape gardening.[3] "If +due care be taken to distribute the masses of light and shade, so that +they shall judiciously relieve and balance each other, satisfactory +effect, as regards the general grouping and composition of the scenery, +can hardly fail to be secured. Grass, water, and level lawns, which +throw no shadow upon other objects, but merely receive those which the +latter cast upon them, are to be considered as _lights_ in landscape +gardening, while trees, woods, buildings, and rocks, (should there be +any) afford the artist his _shadows_ and darker tints. In making use of +these contrary elements, care must be taken lest breadth of effect be +destroyed, and a disagreeable spottiness substituted for it; in +consequence of there being too many separate and partial effects +independent of each other; or else by there being too great a +proportion of unbroken _light_. On the other hand an equal fault is +committed, if a few dark masses of shadow are allowed so to +predominate, as to overpower all besides; or again, if lawn and water +exhibit naked unbroken surfaces of light too harshly defined; whereas +they ought to be left partially to lose themselves in indistinctness, +or the shadow of deep vegetation; or to detach themselves from a darker +background as brilliant lights opposed to it. With respect to +buildings, these ought never to stand perfectly isolated, because in +that case they become spots, and look as if they had no business there, +nor belonged to any of the rest. Besides, a partial concealment is +always advantageous to every kind of beauty, and it is highly desirable +that the imagination should be interested by there being something for +it to exercise itself upon, and to divine. The eye frequently rests +with more satisfaction upon a chimney peeping out in the distance, and +emitting a gray volume of smoke from amidst the dense foliage of trees +that embower and exclude from sight the building whose presence is so +indicated, than it does upon a large formal mansion standing fully +exposed to view, with no shelter or skreen on any side, with nothing to +break its outline, with nothing to render it an appropriate and +consistent feature in the general scene." From the beginning of what I +have here extracted, you perceive that this writer treats the subject +in a masterly manner, taking a comprehensive view, and is guided by +such sound theoretical principles, as to be able to determine +beforehand, the results of his art with almost as much certainty as an +architect can judge of an intended building from its ground plan. + + [3] Prince Puchler Muskau. Andenkungen über Landshaftgärtnerei. + Stuttgart, 1834. + +Having determined upon the precise site, that which seems most +recommended by considerations of healthiness, convenience, &c.; we have +next to attend to what appertains exclusively to architectural +treatment and character. The general idea of the building, as to its +chief masses and parts, extent and arrangement, being sketched out, +regard must be had to the greater or less space of the immediate site; +to obtaining for it due effect of light and shade, and a background +calculated to set it off, upon all which circumstances, it depends +nearly as much as a work of sculpture does. In like manner as statues +in general have only three sides from which they are calculated to be +seen, so also have buildings; nor can I help being of opinion that much +harm has been done of late years, both in architecture and sculpture by +the attempt at equal display on all sides. The greater part of antique +statues were evidently intended to have a wall or background behind +them; nor is there, perhaps, any thing more at variance with the effect +which statues ought to produce, than the present frequent practice of +erecting them in the centre of large squares. + +Nearly all productions of architecture, more especially structures +adapted for habitation, offer one side stamped as the principal or +front, and another, which is its reverse; in which respect they bear a +greater analogy to living beings than to plants; the latter having no +definite foreside, on the contrary, any part becoming the front, that +is towards the spectator. Such being the case, the same rules that are +to be observed for displaying a statue, or representation of a living +figure to advantage, ought to be attended to in regard to the position +of buildings. Agreeing with you that a sheltered situation is the most +desirable for your intended villa, I will attempt to explain it upon +the theory of the following general principles; namely, upon our +beholding any building of the kind, it ought immediately to be evident +wherefore it is so placed, and that by being placed precisely where it +is, it is part and parcel of its immediate vicinity. + +But to confine myself to our particular instance. I think I shall be +able to provide an exceedingly agreeable site for your residence, as I +learn that a supply of water may be obtained in the grounds, capable of +floating superficies of about fifty thousand square feet, and depth in +proportion. Accordingly I propose, after the manner shewn in the +accompanying ground sketch, (Plate I.) to avail myself of this +circumstance, in order to give animation to the now comparatively tame +and lifeless character of the place. The reservoir on the upper terrace +would keep the basin constantly filled to the level of the lower +terrace, before the water escapes into the valley below. By this means, +a sheet of water may be provided almost in the centre of the grounds, +and my plan suggests, that the house itself should be erected +immediately on the north shore of this artificial lake. On the spot +where I have placed it, the ground floor would be about fifty feet +above the level of the brook itself, and that part of the grounds +through which it runs, consequently would not be exposed to any +injurious exhalations from the lower grounds. + +I need hardly point out to you the unusual agreeableness and even +piquant effect of a residence so situated; and when I send my plans for +the house itself, you will see what are the apartments that will occupy +this side of the building, and what a charming prospect they will +command of the lake immediately below, and the grounds on its opposite +banks. At present I will only remark as regards the increased effect +thus to be gained, that a building immediately on the edge of a piece +of water appears more considerable than in any other situation; and +that the reflected image of the architecture will form a brilliant +contrast to the darker reflections of trees and foliage. Besides which, +the most favourable point of distance for viewing the building itself +on this side, would thus become fixed--being that from the opposite +bank of the lake. + +A very cursory examination of the plan of the ground will convince you, +that the whole of the buildings you require are massed together in one +group. Such an arrangement certainly contributes to convenience; and I +agree with you by shewing the various offices, instead of attempting to +mask or screen them, the house itself may be made to possess greater +importance and apparent extent; that is, you will get a large looking +country house at a small cost. It may be further remarked, that by +adopting such treatment of the plan, some kind of architectural +foreground is introduced into the prospects seen from the house itself, +together with much contrast and variety, and that too without incurring +unnecessary or extra expense, since the same accommodation must be +provided. Another advantage is, that the subordinate buildings of this +kind attached to the main structure, may be made use of as a kind of +connecting link between the more artificial and studied regularity of +the latter, and the natural objects in its immediate vicinity; without +which sort of intermediate transition, a house is apt to have the +appearance of a mushroom structure that has over night started up out +of the ground. + +From the north east angle of the house, the stables extend northwards, +while the conservatories run in an eastern direction from the same +point. By this means an open avenue is left before the north side of +the house: and on the east side a flower garden, which is screened +towards the north. The piece of ground enclosed on two sides by the +stables and hothouses or conservatories, and therefore not exposed to +view from the house itself, would be occupied as the stable-yards, &c. +Further on, towards the upper terrace, is the fruit and kitchen garden, +stretching out more eastward. At the end of the conservatories is the +gardener's lodge, the upper part of which forms a small dovecot. + +[Illustration: Plate I. Drawing of the ground plan and upper story.] + +I have not yet said any thing of the west side of the house, although +it forms one of the principal elevations of the external designs, the +carriage entrance porch being placed there; the approach to which +latter is over a bridge, and by the road which runs to the south-west +towards the village. You therefore perceive that, before they actually +arrive, visitors will obtain a distinct view, across the lake, of the +entire range of the buildings from east to west; from the gardener's +lodge and tower along the line of south front and terrace, to the +bridge itself; of which group of architecture, the greater part, would +be reflected in the water, from which it appears immediately to rise +up. + +You will observe, I have _not_ carried the approach to the house in a +curved or serpentine direction line, as is generally done, whereby the +object to which the visitor is hastening, is now seen and now again +suddenly lost sight of; but in a _straight line_, so that the building +displays itself more and more plainly to the eye at every step. + +From the high road, the approach is on the north-east; and of the +portico lodge and gate at that entrance into the grounds, the sketch +prefixed to this letter will afford you an idea. The direction of the +drives and paths, the arrangement of the plantations and groups of +trees, wherein I have taken care that the greater part of the fine elms +shall remain untouched. + +The source of the stream and the weir, from which the superfluous water +finds its way into the lower valley, would almost of course suggest the +propriety of erecting seats at those points of the grounds. + +A more detailed description of the house follows by next post, with the +plans and elevations.[4] + + Yours, &c. + + A. C. + + [4] Plate I. shews the ground plan, &c. + + + + + [Heading illustration] + + + + + LETTER VIII. + + +AT length I have sent my notions on the site, and _generally_ as to the +house with which I trust you are satisfied. Now that I come to more +particular description, and to speak of my design in detail, my +confidence is somewhat abated, it being exceedingly problematical how +far my ideas will accord with your own wishes and expectations. To the +best of my ability I have endeavoured to meet both; to fulfil the +conditions belonging to the particular subject and occasion; for be it +remarked, every production of art is like every poem, a composition on +some particular occasion or theme; and if it fails of its purposed aim +as such, it may be said to be a failure altogether, and doomed to +oblivion; or rather, in my case, to be stuck up as a monument of my +ignorance. All that I dare hope as yet, is that the drawings have not +been met with a hasty and decided "It won't do;" but that you at least +suspend your judgment until I explain more fully my ideas and the +motives which have guided me. + +The principal sitting-rooms face the south, by which means they will +have not only the most favourable aspect, but as it so happens, the +best prospect also; therefore, so far you are not likely to start any +objection; neither, I presume, will any exception be taken at the +situation and aspect of the dining-room, which is towards the east; +which last circumstance has induced me almost, as a matter of course, +to place the entrance at the west, or opposite end of the house, it +being on many accounts objectionable; (with regard to quiet and +privacy,) to make the corridor, or inner vestibule running behind and +serving as the communication between the principal apartments +immediately connected with, or in continuation of the first entrance +into the house from the open air; for one reason, because it is hardly +possible in such case to prevent a continual current of cold air +through the whole of that part of the building. Another point here +attended to, is to place the dining-room beyond the other sitting +apartments, so that it shall be the last and the most distant from the +entrance. Attention to these circumstances have led to that arrangement +of the space afforded by the plan which I have adopted. In order both +to give some play to that part of the plan, and to avoid all +sky-lights, I have broken the north side of the plan by a small court; +surrounded on three sides by the house, in such manner that from the +corridors, &c. turned towards it, a free prospect of the court and +grounds shall present itself from various points of view; whereby an +architectural foreground, and the natural scenery beyond it are +combined; so that you feel yourself in every part of the house quite in +the country. + +Permit me now to receive you at the entrance, and be your _cicerone_ +over the building; in which character I must, before we proceed +further, call attention to the exterior of this part, as you will have +perceived by the designs it is carried up loftier than the rest, for +the purpose of breaking the outline, and of providing a conspicuous and +important feature in a distant view of the building. This tower-like +portion of the structure does not carry with it any formidable +appearance; it has neither battlements nor watch-turrets, for which +there exist no historical grounds. On the contrary, crowned by a rich +cupola roof, and ornamented with statues, it serves to announce that +the house belongs to a lover of the arts and muses, who may be supposed +here to enjoy at once, the refinements of literature and art, and the +beauties of cultivated nature. The ground floor of this mass of the +building is occupied by the entrance vestibule, which has a vaulted +ceiling whose arches descend rather low, and which is lighted +directly, by only a single small window at some distance from the +floor, but which receives a strong reflected light through the +doorways. It is highly desirable that a vestibule, entered immediately +from the open air, should be moderately lighted, in order that the eyes +may not be too much strained at first, but accustom themselves to +in-door light; and also that the other rooms may derive additional +effect from the contrast. Most assuredly too, a subdued degree of light +will suffice for a vestibule which is not intended for a sitting-room, +nor for reading, writing, or any other occupation, consequently, it +very properly admits of a kind of Rembrandtish effect, which here +becomes rather a merit than a defect; especially as it tends to set off +all that follows. A group of statues against the wall facing the +entrance, would here produce a good effect on account of the stream of +light which would fall upon it from the window, and would make a +pleasing impression on the visitor as soon as he had crossed the +threshold. Instead of seeing from this vestibule any of the other parts +of the house, the situation of the rooms, or those who may be passing +through the corridors, we have first to turn to the left, where we +perceive the staircase, not however exposed to full view, but merely so +as to allow the upper part of it to be seen through a screen, formed of +columns placed upon a lofty stylobate; which I conceive would produce a +more than ordinary picturesque bit of interior architecture. We do not, +however, enter the staircase, but pass on to the hall or inner +vestibule, which affords immediate access to the sitting-rooms. Perhaps +I may as well mention here, that the servants' hall, &c. for the +men-servants would be in the basement at this end of the house, +consequently would be just by the entrance. + +The hall or inner vestibule is a spacious room overlooking the small +flower-court above mentioned, the avenue leading to the stables, and +the larger trees on the north side of the house. A small door opens +into the court, while one of rich architectural character forms the +entrance to the suite of rooms occupying the south or water front of +the building. This last mentioned doorway leads into a small anti-room, +right and left of which are two moderate sized drawing-rooms, capable +of being used as one when the company is numerous. The folding doors +being thrown open, and the smaller intermediate room becoming the +centre-piece of the triple apartment thus formed. In front of these +three rooms is an open loggia on a somewhat lower level, there being a +descent to it of four steps, looking immediately upon the water; this +loggia would form a sheltered terrace immediately connected with the +sitting-rooms which it would also serve to screen from the sun. + +The library, which, according to your wishes, is made one of the +principal suite of rooms, is the last of those in this front, it being +on the south-east angle. It has an alcove or deeply recessed bay with a +window in it, which not only affords a very agreeable little snuggery, +bower, or whatever else you may term it, for reading or studying, or +meditating in apart, but also gives additional spaciousness and variety +to the whole apartment. From this room a jib or concealed door opens to +the small private staircase, and another of the same kind leads into +the flower garden. The larger door on the north side of the room, is +that by which we enter the dining-room, to which, as it is upon a lower +level, there is a descent of a few steps. The reason for this +difference of level is that the room being more spacious requires to be +of more height than the others, and also that it may be upon the same +level as the terrace looking out upon the flower garden. + +Beyond the dining-room, is the serving room, and behind that the +kitchen, which, however, does not form part of the body of the house, +but is included in the same range of buildings as the stables, being +under the same roof. Attached to it is a kitchen court, and it is +connected with the rest of the house by the servants' staircase, which +last leads both down to the cellars and rooms in the basement, and to +those above for the female domestics, to the childrens' rooms, &c. + +The stables and conservatories call for no other explanation than what +the drawings themselves supply; we will therefore now return to the +principal staircase, on one side of which are two rooms not yet +mentioned, one of which may be used as a business room. + +On ascending the stairs, we have first two stranger's rooms on the +left, on the right a billiard-room in the tower, and an upper hall or +corridor over that below, and of the same size though not so lofty; +this would serve for the children to play in and exercise themselves in +winter or bad weather. On the south side of this are two sleeping, and +two sitting-rooms, the larger of which might be used as a winter +breakfast-room. The larger of the two sleeping-rooms, namely, that over +the library is the one you would yourself occupy, it being adjoining +the private staircase. On the south side of it is an alcove, raised a +few steps above the rest of the floor; and on the east a small +dressing-room looking out upon the flower garden. The upper part of the +tower contains two other handsome sleeping-rooms, which, as they +command a fine prospect, may be appropriated either to visitors or to +the grown up members of your family. + +It has been my endeavour to give an agreeable variety, play and +contrast to the different parts of the interior, which I hope will not +displease you; and I trust that the drawings and descriptions of the +several apartments, their architectural character and decoration, which +will form the subject of my next letter, will shew that while I have +adhered to one uniform style throughout, I have neglected neither the +variety in the individual parts, nor harmony and unity of expression in +the ensemble, but have reconciled together those two, somewhat +contrary, yet highly desirable qualities.[5] + + Yours, &c. + + A. C. + + [5] N.B. The Plates II. III. and IV. shew the south, north, and east + elevations. + + [Decorative illustration] + + + + + [Heading illustration] + + + + + LETTER IX. + + + MY DEAR SIR, + +FROM the two letters, and the accompanying plans, I think I fully +understand your views. On the whole I am much pleased with the design, +and own your example has fully supported your precepts; and bating all +pleasure to be derived from associations, as I have before noticed, I +willingly subscribe to your views, as to the beauty of the principles +of Grecian architecture applied as they have been in your pleasing +design. There are only two points on which, perhaps, you have allowed +your imagination to carry you too far: first, you have taken rather a +poetical notion of the means to be applied in building, what will, I +fear be a very expensive structure, and larger than was intended; and +next as regards the lake, on the borders of which you propose to place +the house. I fully subscribe to your notions as to the beauty which +would be gained by the proposed sheet of water, and feel all the +advantages of the broad expanse of light, and the extent and variety to +be derived from the reflection of the building in this natural mirror, +&c.; but there are disadvantages, some of which are not to be overcome, +and others, of which in my opinion, more than counterbalance all that +is to be gained in beauty and variety. + +I suspect you have been misinformed as to the possibility of making the +lake as you propose, and next the expense to execute this perfectly and +so as to ensure that it should always be filled with fresh and +transparent water, would be very considerable, and indeed at times it +would be impossible to accomplish this at any cost. But our climate I +think is an insuperable objection to have a house actually bordering on +still water; recollect how few months in the year the notion of the +coolness of water would add pleasure to the prospect from the library +or drawing-room window, and how often one should shudder at the very +notion of it; moreover that according to our apportionment of the +seasons for town and country those very months will be passed in +London,--April, May, June, and generally July, being the time when +"every body is in town." Although I believe the neighbourhood of water +may not always be unwholesome, still there is much prejudice to +overcome on this subject; not a toothache, cold, or rheumatic twinge +would be felt by a person in the family, from the stable to the +drawing-room, but would be attributed to the _pond_, for when angry, +nobody would call it the LAKE; malignant malaria would be discussed in +every variety of tone and phrase, and Dr. Chambers would think it his +duty to enter his protest against any patient of his ever venturing to +make a visit of twenty-four hours to the proscribed spot. I am, +however, not sorry that you had conceived the notion of the lake, +because it has given an opportunity of shewing what a beautiful +accessory water becomes to a house, applied as you have suggested, and +because I believe you will have no difficulty in substituting some +broad expanse either of turf or gravel, which, though it will not give +you the reflections of the buildings and the play of light you require, +will still afford a flat surface for the receiving the shadows, and +will not interrupt the harmony and simplicity of the general lines of +your building. The loggia though it may not look out upon the water as +you propose, will always be delightful as affording shelter in the +winter, and shade in the summer; and the portico is, I think, a +valuable addition. Our unhappy rage for adaptation or rather perversion +of the Grecian portico; hitherto the portico has increased rather than +diminished, the distance which has to be traversed in cold and rainy +weather, from the door to the carriage. The perfection of this +maladaptation is to be seen in our unfortunate National Gallery, where +is annually erected a tarpaulin lean-to in order to prevent people +being drenched in rainy weather in their progress to the entrance door, +the access to which is opposed by an inaccessible portico. I quite +agree with you that there being no historical associations connected +with the site, it is right that the tower should have no battlements, +and should not show any angry front where no defence against invading +enemies, (whether chartists, socialists, or bread-taxing tories), is +intended. I agree in the advantage to be derived from the variety of +line and the grandeur of the tower, and am willing that the ornaments +you propose of statues should indicate (as it will truly) the +propensities of the owner, especially as terra cotta affords the means +at a small cost, of obtaining examples of fine statues. However, as +regards the shape of the tower, and especially the cupola, some doubts +of its beauty have been expressed, more however by others than myself, +though I cannot help feeling that, if this part partook more of the +tall tower of the modern Italian buildings, finishing with the nearly +flat roof and long projecting eaves, the effect would be more +picturesque and less pretending. I mention this merely for your +consideration, and am quite willing that your greater knowledge and +better taste should determine its shape. + +As regards the exterior in general, I have little or nothing further to +suggest, except that I may observe that I have remarked in most of the +best modern houses the cornices and ornaments are in my opinion too +thin and minute, and this, I take it, is owing to the too servile +copying from buildings designed for a country where the sun shines +nearly throughout the year, and where the light colour of the material +(unstained by damp or weather) marks more sharply and completely the +light and shade than is the case in our gloomy season, and where the +walls are soon disfigured and weather-stained. Although I assume that +the project of the lake is to be abandoned, yet I should wish still +that the ground floor should be at least raised as much above the level +as it at present is. Although every facility of access to the gardens +and grounds is desirable in a country house, yet I think it is +disagreeable to be on an actual level with the walks; both from the +interior and from the exterior, it gives the notion of the house +springing from the earth as a mushroom, as you have observed. I will +now follow you through the building at your invitation, observing that +I agree as to the choice of aspects and the arrangements of the rooms. +With reference to this, the west is well arranged so as to avoid that +aspect for any of the rooms to be generally inhabited, and I subscribe +to the notion that the entrance should be somewhat gloomy, at least +enough so, as to create a feeling of pleasure on emerging into more +light. As regards the large hall, perhaps for the size and style of the +house there is a little too much sacrificed to it; but as I think it is +an object of importance to obtain an open and airy access to the whole +suit of rooms, and as this will afford ample scope for ornament, and +casts of statues and bas-reliefs, and perhaps fresco ornamental +painting, I am willing that some sacrifice should be made. The two +rooms beyond the staircase will be useful, and indeed are necessary. I +have already appropriated one as a gun room and audience chamber for +those whose shoes may not be clean enough to be admitted to the best +library. + +I like the disposition of the two drawing-rooms; perhaps, however, it +may be worth consideration whether it may not be better to make some +sacrifice of symmetry, and convert them into two rooms, one large and +one small; keeping the small one at the end next the staircase, and +making it either octagon or circular; either shape is pleasing, and +admits of variety in decoration. In that case it would be advisable to +make separate entrances to each room for the interior hall: indeed, if +the present arrangement is retained, this may be desirable, so as to +avoid using the middle room entirely as a passage room. As regards the +library, I have no observation to make on its shape or disposition. I +assume that the two windows will sufficiently light it. At first I +thought that it might be advisable to have the means of shutting off +the recess by sliding doors from the large room, making a kind of inner +library or study of it; but I presume, as this would leave but one +window, the large room would be too dark. I think it would be desirable +that there should be an entrance to the dining-room across the hall and +through the corridor, as well as through the library. There might be +occasions where it may be inconvenient to pass through the library to +the dining-room, although this might be considered as the usual and +grand entrance. I do not see where you have placed your fire-place in +the library. I should conceive from its size, that you might want +either two fire-places, or at least one stove and one fireplace to warm +so large a room. The mention of fireplaces reminds me that I see no +chimneys in the drawing, I suppose they are hidden by the balustrade. I +shall be glad if this is so, as it will be well to get rid of so +unsightly an object as chimneys generally are. + +As regards the kitchen, it certainly is well placed with reference to +the convenience of access to the dining-room; but though not under the +same roof with the house, I should fear that not only the smell of the +cooking, but the noise of the offices may reach the dining-room. This +is a common evil, and one which it is essential to avoid. When we come +to discuss the offices more in detail, this point must be well +considered. I approve of the dining-room windows opening on the +flower-garden, as this will also (unless when we are alone) be the +breakfast room, and occasionally the morning room in hot weather; +perhaps, however, to avoid any notion of coldness, only _one_ of the +three windows should go down to the floor and open on the garden. + +As regards the kitchen, there must be added some additional offices, +such as scullery, out-door's larder, &c. &c. but as I see space +sufficient for these in the direction of the orangery, this will make +no material alteration in your plan. In addition to the wine and beer +cellars, I think the servants' offices may be well included in the +space under the east and south fronts, particularly as I think it will +be necessary that some sleeping rooms for servants should be obtained +in the attics, and I presume your plan will admit of this without +deranging your elevation; though I am aware something must be +sacrificed in the height of the rooms; but though there may, for the +purpose of protection of the lower part of the house, be a sleeping +room for one or two men-servants, yet I think the women's sleeping +apartments will not be conveniently arranged on the basement story. As +it is important to economize, I should suggest to you that it will not +be necessary to continue the basement story on the west front, and +perhaps not under the interior or large hall. As regards the +arrangement of the sleeping-rooms, if the attics are obtained, I think +those you propose sufficient. If any more should be required, perhaps +the large corridor or hall might be abridged, and at all events the +billiard room may be made into another bed-room, and the billiard table +taken down to the hall: increasing moral habits and the spread of +useful knowledge, prevents our employing so much time as formerly in +mere games of amusement, and I observe that the billiard room is +somewhat going out of fashion, and that where it remains, is rarely +used. I should, however, be sorry to give it up altogether. It is a +very useful and innocent assistant with a dull party on a rainy day, or +during a long evening at Christmas; and occasionally is a good "bore +escape." The dressing-room at the east angle is inaccessible except +through the bedroom, but this is an evil which cannot be in all cases +avoided. + +I have thus given you in detail the observations which occur to me on +going over your plan, and except such alterations as occur to you as +necessarily arising out of the rejection of the lake, I would not wish +that any alteration should be made, and I shall be glad to receive +from you the details as to the interior, and your opinion as to the few +alterations I have suggested. + +You have not stated to what use you design to put the building at the +top of the north-east end; this, I presume, is to remain open, and so +merely designed as a balance for the tower. Perhaps, however, it may be +put to some use, either as a store or lumber room: I think it adds much +to the picturesque appearance of the whole. Although I have rejected +the lake, I should be sorry to lose the bridge in the approach, but as +the ground in front slopes, a terrace may be well substituted, and +perhaps the bridge may remain as passing over some road, or may form +some part of the arrangement as to the angles of the terrace. + +As regards your observations of the position of the house, I agree with +what you state, but when I consult you in detail on the order and +disposition of the grounds, I propose to make some suggestions on the +subject. With respect to the materials, I assume you mean to have light +coloured brick with stone at the angles, and for the moulding. I +presume the additions of painting and sculpture (one of the grounds for +the rejection of the Gothic) will play their proper part in the +interior; as in the exterior, except in respect of the figures in the +tower, no addition is gained from them in the elevation. + + Yours, &c. + + H. B. + + [Decorative illustration] + + + + + [Heading illustration] + + + + + LETTER X. + + +THANKS for your letter approving of my design in the principal parts of +the interior; I shall now briefly point out the materials which I would +recommend to be employed for the floors, walls, and ceilings. + +For the entrance hall, I propose that the doorcases, chimney-piece, and +the socle or dado should be carried up about four feet high, and should +be of yellowish Derbyshire marble, and the walls in stucco, but made to +show the joints of different courses, and marbled in fresco of a +lighter tint than the rest, while the vaulted ceiling should have the +ribs coloured white and brown upon a pale blue ground; for here in the +lower part of the tower it will, I conceive, be most proper to +indicate as forcibly as possible to the eye, solidity of material and +construction. + +In the second or inner hall, which we enter from the preceding one, and +beyond which is obtained a view of the staircase, as seen through the +columns placed on a stylobate, serving as a screen to the stairs, the +walls might be marbled of a light greenish tint, intermixed in the +socle with brown lines. The columns and entablature should be white; +and the ceiling panelled in wainscot, with coffers or compartments +containing ornaments in relief on a green ground. As regards this part +of the interior, I would remark that should such be deemed preferable, +there would be no objection to filling in the upper part of the screen +(that is, the openings between the columns) with glass. While this +would prevent all draught from the staircase, and in some degree +intercept sound also, it would not in anywise affect the general +design; but rather might be made to conduce to it, by adopting some +ornamental pattern, of course in a corresponding style. Both in this +and the preceding vestibule, the floor should be paved with marble or +coloured stone, as should also that of the corridors; but the large +hall should have a parquetted wood flooring, because that room will +occasionally be made use of for dancing. In this last, the walls should +be wainscoted and panelled with oak, to the height of about seven feet; +and the doorway which forms the entrance to the suite of sitting-rooms +should be distinguished by richness of carved decoration in the same +material. I further recommend the application of embellishment of +inlaid woods or marquetrie of different colours, for the cornice or +upper mouldings of this wainscoting, so as to produce a rich border or +band along the walls, above which there will remain space for pictures +in frames, (inclining forwards) and even if these paintings are of no +very great value in themselves as works of art, they will be of use as +contributing to the general design, and add greatly to its effect. The +upper part of the walls might be painted in fresco in imitation of grey +marble streaked with red, which last mentioned colour should be that of +the coffers in the wainscoted ceiling. + +The ante-room or first room of the suite being smaller than the others, +should have a coved ceiling, in order to diminish its apparent height; +and this might be painted with Arabesque ornaments on a white ground, +somewhat after the manner of several of the ceilings of Julio Romano in +the Villa _Lanti_. The walls of this and of the two adjoining rooms +should be hung with silk or other stuff of a quiet sober hue, so as to +give the greatest relief to the pictures, I taking it for granted that +you would be inclined to place here the principal part of such pictures +as you may possess. + +Though the ceilings of the two drawing-rooms should not be much +ornamented, yet they may be relieved by the introduction of gilding in +parts. For all these rooms I propose that the doors, &c. should be +white with gilt mouldings. In the library, the ribs or bands of the +vaulted ceiling should be gilt upon a white ground; and as regards the +bookcases or shelves for books, they ought to be of some light coloured +wood, highly polished, and not go higher than the corbels or consoles +from which the vaulting springs, in order that there may be sufficient +space for busts, vases, and other ornaments of that kind upon the +cornices; and this will avoid the inconvenience of having the upper +shelves quite out of reach, except with the help of high library +steps--always inconvenient. For the lunettes or arched spaces between +the corbels, I have not proposed any particular decoration, as they +might be filled up by reliefs and casts let into the wall. + +The dining room with the arcs-doubleaux and compartments of its vaulted +ceiling afford scope for fresco painting of a superior style; and the +pencil of our friend Eastlake, who has already shown so much classical +talent in decorating the dining-room in London, might render this one +of the most striking and charming apartments of its kind in England. It +is true that fresco is so little practised in your country, and +consequently its process so imperfectly understood, that he would +probably have to encounter some difficulties at the outset; but I +flatter myself I could be of considerable assistance to him, as regards +the practical details, having already succeeded in introducing that +mode of painting in spite of most unfavourable circumstances. I would +advise that the pictures should be confined to the ceiling and the +lunettes, and that the walls should be merely stuccoed, as being upon +the whole more in accordance with the destination of the room itself, +and affording a quieter background to the company seated around the +dinner-table; at the same time that the frescoes in the upper part of +the room would thereby show to greater advantage. You will observe that +the fresco requires a bold broad style, and has an advantage over oil, +as it is very effective even when not seen by a strong or favourable +light. Should somewhat more of decoration be thought advisable, I would +suggest the adoption of glass-mosaic in narrow upright pannels at +intervals. Of this species of embellishment, which was much used by the +Romans, and after, much in vogue throughout Italy during the middle +ages, for pulpits, monuments, &c. I have lately introduced an +application in a room fitted up by myself, the effect of which is +allowed to be singularly striking and good. + +The remaining drawing shows the large corridor on the upper floor. + +I need hardly remark that these designs are only intended to convey an +idea of the general character and style of the different rooms, as +submitted to you for consideration. Much yet remains to be definitively +settled, there being a variety of circumstances with which I am at +present but imperfectly acquainted; nor can I possibly say what +modifications of the plan I should advise, until I know wherein you +consider it objectionable, or wherein it fails to meet your precise +wishes. Some objections I may probably be able to combat; others may +possibly, by leading me to consider the points in difference afresh, +enable me to hit upon variations that may not immediately occur to me. +Much will depend upon your collection of works of art, which is as yet +but imperfectly known to me; much also upon my meeting with clever +workmen, capable, not only of entering into my ideas, and executing +without further trouble any piece of decoration that may be required, +but also, as has not seldom happened to me, of suggesting valuable +hints during the progress of the work. So far indeed am I from wishing +you to decide at once in favour of what I propose, I am most of all +solicitous that you should as completely comprehend not only the +general scheme, but the contemplated effect of every part. Undoubtedly +it is very pleasant to an architect to meet with an employer disposed +to give him _carte-blanche_ and permission to follow out his own ideas +unrestrictedly; yet it is still more delightful to meet with one who, +instead of merely passively acquiescing, assents from conviction after +deliberate study of the ideas submitted to him, and from the lively +interest he takes in them. + +If I have ventured to propose marble, gilding, fresco painting, and +glass-mosaic, do not be alarmed at the seeming extravagance, or imagine +that any great expense will be incurred. In architecture the most +durable materials are the most economical, and they carry with them a +nobleness of appearance not attainable by even lavish ornaments, costly +at first, yet of a perishable nature. Consider what large sums are +expended in the course of a few years in keeping up houses that have to +be repaired or refitted up from time to time as regards all but their +bare walls, in consequence either of the materials getting soiled and +shabby, or of the changes of fashion, which having been the only +guidance in matters of taste at first, must continue to be consulted +and conformed to, otherwise the whole looks out of date; whereas, that +which is originally beautiful, independently of any particular fashion +of the day, will so remain, let the caprice of fashion change as it +will. I do really believe there are many rooms that would have cost +their owners less, had they been entirely lined with marble, and +otherwise ornamented with fresco painting and mosaic, than they have +done in consequence of being furbished up every now and then by +decorators and paper-hangers, and often in very questionable taste, +while after all, the effect for the time is at the best of an inferior +kind. + +Besides by economy and a little dexterity of management even materials +may be obtained at a comparatively moderate cost: works in _Carrara_ +marble, for instance, may be executed in Italy from designs sent over +for that purpose, at about half the price, including freight and duty, +which they would cost in England. The only inconvenience is that they +cannot be furnished so promptly, it being requisite that the orders for +them should be given some time beforehand. You will perhaps recollect +the circumstance I have stated in respect to this matter in my +"ARCHITECTURA DOMESTICA." + +As to gilding--oil-gilding is cheaper than water-gilding; which last +has only the advantage of looking more brilliant than the former at +first. Fresco painting, again is less expensive than any mode of +painting in oil; for it necessarily demands far greater rapidity of +execution, and the effect being produced at once, instead of the work +proceeding through all the different stages from dead colouring to the +last finishing. How very poor a succedaneum for fresco painting is +Gobelius tapestry! in which latter the execution is entirely +mechanical, giving a mere soulless plodding transcript of the original, +while as some of the colours fade sooner than the rest, the whole +becomes in a short time quite inharmonious. I am moreover convinced +that there are many able artists now living, who would execute designs +in fresco for the same price that is paid for designs in tapestry; so +that durability being considered, the saving accruing from the former +would be considerable. Nor is it the least important consideration of +all, that art itself would be extensively benefited by the adoption of +such practice. I at least am thoroughly convinced, that a single room +painted in fresco by an able artist would do more for the advancement +of sound art in England than a score of commissions for oil-pictures, +or than a hundred so called illustrated editions of popular works, with +wood cuts. Pre-eminently gifted as is England with a true feeling for +colouring, there is no doubt but that her school would be able to +impart a fresh vigour to fresco painting, and would set a bright +example to the continent in this branch of the art. Yours, &c. + + A. C. + + N.B. Some further observations of M. de Chateauneuf's, in defence + of his views regarding the fit style of architecture for a modern + house, and also his design for the interior, have been omitted: I + regret this, and so, I think, will the reader; the additions, + however, would have made the work too expensive. The plates at the + end will give a clear idea of the general plan and the elevation, + and the last plate contains the proposed alteration of the tower, + and omitting the lake. _Editor._ + + + + + [Heading illustration] + + + + + LETTER XI. + + + TO CHARLES LOCK EASTLAKE, ESQ. R.A. ETC. + + MY DEAR SIR, + +AT length I write to claim the performance of your promise, viz. that +you would give me your advice as regards the decoration of the house +designed by M. de Chateauneuf, the drawings and plans for which you +have seen. After some discussion, and a struggle on my part in favour +of the Elizabethan, the Perpendicular-gothic, or whatever the style is +to be designated, M. de Chateauneuf has triumphed, and the Italian, or +revived antique, (essentially the Grecian,) has been finally agreed on. + +You are aware how strongly I feel that one of the best modes of +advancing the fine arts, is by paying greater attention to the interior +decorations of our houses, than has hitherto been the fashion in +England. The best proof of your own opinion on this subject, is the +kindness with which you devoted much time and labour to the designing +and executing for me the Pompeian room so deservedly admired. +Entertaining this view on the subject of ornament, makes me the more +anxious to take all possible pains in selecting the style of +decoration, so as the house should prove that its owner is a lover of +art, and that it should, as far as is compatible with a reasonable +economy, be considered in some degree as a pattern of what might be +accomplished in the matter of decoration. I never think on the subject +without calling to mind the principles laid down for the ornamenting a +country house, in Mr. Rogers's "Invitation to a Friend:" indeed, +looking to his intimate knowledge of the whole circle of fine arts, and +lastly, the specimen of refined taste which his own town house +exhibits, my _beau ideal_ is a house decorated under his direction; but +as this cannot be obtained, I trust that you, who possess so much of +his spirit and refinement, will, as far as may be compatible with your +engagements, afford me the benefit of your assistance. Although the +subject of decoration, both as regards houses and public buildings, has +been hitherto much neglected in this country, I think now every one is +becoming fully alive to its importance. The establishment of the +Government School of Design, in which, for the first time in England, +the art of design, as applied to decoration, is systematically +taught;--the opportunity afforded by the building of the Houses of +Parliament;--the Committee of the House of Commons, which has already +reported on the subject of their decoration;--and the Royal commission +entrusted with the further consideration of the subject,--cannot fail +to produce within a few years a great alteration in the views and taste +of the public. I may here observe, that the School of Design, and the +training of young workmen, will mainly tend to assist those who may be +inclined to give up the ornamenting their saloons and halls with cheap +printed papers, by producing persons who will be able, at a moderate +cost, to execute the original designs of eminent artists, or to copy +the great works of antiquity. Hitherto, except when foreigners were +introduced, it has been scarcely possible to obtain the assistance of +workmen capable of executing anything beyond the commonest and simplest +scrolls or straight lines; or if such assistance were obtained, it +could only be procured at a cost which put any extensive scale of +decoration beyond the reach of any but the affluent. + +As regards the style and mode of execution of the proposed decorations, +I should, of course, wish to be guided by your judgment. Whether it may +be expedient merely to copy or adapt from known examples, such as the +baths of Titus, and the paintings of Pompeii, or from the great masters +of modern times, such as the designs of Raphael and Giulio Romano;--or +whether an entirely new style, founded on a study of the general +principles of art as applied to decoration, should be attempted, is for +you to determine. Again, it may be a question, whether in different +rooms a different course should be pursued, for the sake of variety. +Respecting the vehicle, whether encaustic, fresco, or oil, or all +three, should be used, must be determined by you. + +You will observe there is the outer hall, and staircase, the inner +hall, the library, the two drawing rooms, and the dining room, all +requiring your attention. + +The library, I should wish to be devoted as far as possible to art, +especially as the books it will contain relate principally to painting +and sculpture. + + I remain yours very sincerely, + + H. B. + + * * * * * + +P. S.--I should state that this application is made to you, with the +perfect assent, nay, indeed, at the request of M. de Chateauneuf, who +is desirous that his design should have the benefit of your advice, as +regards its ornament: the specimen given in M. de Chateauneuf's work on +Domestic Architecture, of the embellishment of the house executed by +him at Hamburgh, and indeed some observations he has sent to me, +sufficiently prove that he is in nowise deficient in this important +branch of an architect's duty. + + [Decorative illustration] + + + + + [Decorative illustration along left margin] + + + + + LETTER XII. + + + MY DEAR SIR, + +I SHOULD willingly refer you to abler advisers if M. de Chateauneuf's +house were as real as it deserves to be; but although the conditions +which you and the architect have proposed to yourselves have led to +very definite arrangements in the structure itself, a pleasing +uncertainty may be assumed to exist with regard to the decorations: in +a word, I can scarcely shrink from a responsibility as ideal as the +subject of our speculation. + +I am sorry you have again referred to a certain "Pompeian" room; +believe me, too much has been said of what you know was a rough +experiment, to see the effect of a particular kind of decoration for +small rooms, and which, as regards its details, can only deserve +attention from the skill with which Mr. Harvey executed the animals +that are introduced. + +The word "decoration," however appropriate to fantastic ornaments, and +in some degree to insulated figures, has, as you know, been considered +vilifying when applied to works that are addressed to the mind. But, as +we have no other term, we must consent to use it in both meanings. It +is, indeed, important to remember, that no works of art, however +elevated, can dispense with the appeal, the impressive or winning +appeal, to the eye. Thus much for our definition of terms. + +As a general principle in decoration, I would recommend that the eye +should be solely or chiefly addressed where a passing glance only can +be given to the work, and that the attention should be more taxed where +leisure and surrounding circumstances permit or invite contemplation. +The reverse of this would be manifestly wrong; but the recommendation +itself is not to be understood too literally. Every display has its +legitimate exuberance: the "over and above" in decoration can only be +that of quality, for mere taste is supposed to define all that relates +to quantity. As common poetic description sometimes exalts its subject +less by accumulation than by supposing costly materials where mean ones +would do, so in art the augmenting excellence ascends from sense to +thought. If, therefore, the intention to afford mental pleasure is very +apparent even in situations where this may appear superfluous and in a +manner thrown away, the impression must of itself be elevating. But the +indispensable condition is, that a gradation should still be +maintained; that higher excellence should still be in reserve. What +must be the character of works of art to which Raphael's Corridor in +the Vatican forms the mere approach? The answer is given by the +perfection of the works in the Stanze. All that is to be insisted on, +therefore, is a due gradation in conformity with the principle first +proposed. In the remarks that follow, I cannot strictly follow the plan +of the house, but must often generalize; the observations submitted, if +tenable at all, will, however, be easily applicable to your purpose. + +The pavement of the halls might be enriched, but I can hardly approve +the occasional practice of the ancients in placing mosaic "histories" +under their feet:[6] the objections are sufficiently obvious. The forms +and hues employed should be merely calculated to gratify the sight. +Among other preliminary considerations, I would also include the nature +of the mere surface, as well as the distinction of every apartment. +Thus a pavement, however decorated, should still express the character +of firmness and solidity. For this reason I would banish even the +lowest kind of life, (that of plants,) and every approach to +perspective. Geometrical forms would thus be alone admissible: the +variety is infinite; but even here I would again exclude abrupt and +irregular contrasts of colour, which have sometimes the effect of +making the evenness of the surface doubtful: the last consideration is +even applicable to carpets. With respect to the classic fashion of +inscriptions on the threshold,[7] I merely remark, that letters are +only ornamental in architecture when disposed symmetrically, and +enclosed in a regular frame-work. + + [6] The passion for this kind of decoration was carried so far that + the ornamented floor of the dining-room sometimes represented the + scattered fragments of a repast. _Plin._ I. xxxvi. c. 25. + + [7] Even the Mosaic floor at the entrance to bed-rooms, had + inscriptions; a pavement of this kind was found at Brindisi, wit + the words BENE DORMIO. + +In approving the common practice of placing statues and bas-reliefs in +the principal hall, I do not depart from the spirit of our first +principles. A statue has generally the advantage of being seen in +various points of view, and thus commands attention in situations where +paintings could not. The rich effect of bas-reliefs is sufficient to +recommend them; associations of classic taste are naturally connected +with the classic materials of marble or bronze; and architecture, when +displayed as such, seems to acquire additional solidity by the presence +of sculpture. But works of sculpture of the first excellence should be +admitted to the library or drawing room, and even fragments of rare +beauty should be enshrined with like distinction. For the present, +however, we are in the hall. I do not recommend mixing mural painting +and sculpture: no painted devices should compete injudiciously with the +bas-reliefs. But let us suppose that your bas-reliefs are in the outer +hall, and that you have only some sculptured vases on detached +pedestals in the inner hall or corridor, then by all means decorate the +walls of the latter with arabesques: to these we shall return. In the +staircase, also, it will be necessary to make your election between the +two arts. I will assume that you decide for painting. Few people linger +in a staircase; still fewer break their necks to look at a painted +ceiling. If the scene affects the eye and the imagination agreeably, +this may be considered sufficient. When we see the whole Pantheon on +the ceiling and walls of great staircases, this undoubtedly might be +defended on the ground that a mere passing impression of magnificence +is intended: but the exuberance of quantity rather than of quality is +here obvious. In whatever mode the walls of the staircase are adorned, +the decoration should be entirely subservient to the architectural +effect. This involves a more radical objection to the mythologic crowds +before alluded to, because they have frequently the effect (and +intentionally so) of destroying all idea of the angles of the building. +I am of opinion, on the contrary, that the decorator should dispose his +paintings in shapes which shall appear to grow out of and complete the +architecture. The inclination of the panelling of the wall to agree +with the line of the stairs, may be considered incompatible with +paintings: a horizontal termination, perhaps level with the chief +landing-place, is essential, and the triangular spaces, or sections of +such spaces, between this and the stairs, had better be left nearly +plain, and not very light in colour. Of all mistakes, that of +introducing painted figures, sometimes the size of life, where living +figures must so often come in contact with them, is the worst. + +The compartment or compartments above the horizontal line might be +painted in fresco, certainly not in oil on the wall, nor in the newly +revived encaustic, at least not till it has been further tried. The +figures should not extend to the angles of the walls where the +staircase turns; the pseudo or real compartments which form the frames +might finish at a little distance from the angle; the real wall is, in +short, never to be lost sight of; and whatever merits ocular illusion +may have in paintings generally, it would be injudicious to attempt it +here. Where the light is unfavourable for painting, the flattest style +of bas-relief is still admissible. But as you are especially desirous +of having your staircase coloured, I really can propose nothing fitter +to gratify the eye and imagination merely, than the more refined and at +the same time familiar subjects of the Greek mythology; such as the +personifications of Poetry, the progress of the Hours and of Light, and +so forth. Such subjects afford the best materials for mere beauty of +line and drapery, for composition generally, and, if not too +statue-like, for colour; and even when they suggest no profounder range +of thought, (not that their import is necessarily thus superficial,) +they leave an elegant impression on the mind. The objection is, that +they are old; but there would be some novelty in treating them as +detached compositions, instead of beclouding and peopling the whole +space in the style of the seventeenth century. It is to be remarked, +that Raphael and Michael Angelo bounded their compositions of this kind +by definite forms, especially on ceilings. Pietro da Cortona and the +machinists generally, were as intent on destroying the connection +between painting and architecture as the great masters were to preserve +it. + +But this separation of the compositions into compartments supposes at +once a great latitude in the choice of subjects. Milton's smaller +poems, and many other English sources, might be preferred to classic +inventions; only it should be remembered, that fresco, from the nature +of its means, is privileged to aim at the ideal rather than the actual +world, and that the character of the decorations required for the place +must necessarily influence the selection and treatment of the subjects. +Dark effects are equally unfit for the situation and for the powers of +fresco. In the ornamented divisions of the compartments, perhaps +partial gilding might be employed with better effect than colours; on +the ceiling both might be introduced, (in merely decorative forms,) +unless your staircase ends in light, in which case your glass must of +course be ornamented, even if colourless. + +Dining rooms, strictly so called and employed, are generally unadorned +with pictures: this hardly seems necessary. In theory we may admit that +subjects requiring some contemplation would be out of place in a room +exclusively devoted to "the table;" but portraits of celebrated +individuals, and landscapes, although they cannot be duly examined in +such moments, may convey associations, to which the spectator, even if +not particularly conversant in pictures, is supposed to be alive at all +times. Portraits of the class alluded to, as historic texts, are +connected with _time_; and landscape, especially if founded on actual +scenes, suggests the conditions of _place_. A room used for the purpose +in question, and for _nothing else_, is, however, not the place where +fine works of art should be bestowed; and I incline to think that this +is the fittest field for small frescos and arabesques. This, in short, +is one of the occasions to please the eye and the imagination merely. +Accordingly, in the mode proposed, no definite idea is presented to the +mind, but an air of elegant and festive splendour surrounds the guests. +There should, however, be endless variety; scarcely a form should be +repeated in the details, although an architectural symmetry is, as +usual, to be preserved in the masses. + +A dining room _per se_ is not uncommon; but a professed and exclusive +breakfast room supposes a degree of order in the family migrations, to +which the muses could hardly be expected to accommodate themselves. +Nevertheless, to complete my catalogue, I will suppose one; or rather I +will suppose that one of your drawing rooms is used chiefly as a +morning room. Indeed, without condemning a family to betake themselves +to particular rooms at stated hours, it may be allowable to decorate +and furnish apartments on such a supposition, by way of ensuring a +marked and agreeable variety of character. Lucullus had even a series +of dining rooms from the "Apollo" downwards; and we learn from +Vitruvius,[8] that the opulent Romans changed the scene of their +banquets according to the season of the year. The morning has its own +feelings even for those whom affluence frees from any kind of labour. +The purposes of the day are unfinished--every thing is contingent. +Under such circumstances the character or subject of pictures is to be +adapted to the mind--not the mind to the subject. The open face of +nature by sea and land may here enliven the walls, and agree with the +excursive feelings of the hour. The chase and its incidents may here +triumph. The English pastoral is here strictly in its place. Solemn +themes, solemn effects, should not be admitted; while all that responds +to buoyancy of spirit would, on the contrary, be appropriate. It need +not be gravely objected, that accidental or even average states of +feeling may be little in unison with the impressions which the arts +profess to give; for the same objection is frequently applicable to all +of the accompaniments of civilized life, nay, to the beauties of +nature, which so often appeal even to cultivated human sympathies in +vain. The occasional contradiction is unavoidable, where, of two +conditions, one is permanent, the other mutable. + + [8] De Architect, 1. vi. c. 7. + +Corridors on the ground-floor, or even upstairs in houses where +pictures do not abound, may be fitly decorated with arabesques. The +same kind of ornament might be applied to garden pavilions, and, in the +present instance, even to your portico next the lake, if there are no +statues there, but not to conservatories, where the conventional forms +and tints of art would contend injudiciously with nature. In these +decorations it is absolutely necessary to set out with an architectural +scheme, and subdivide the spaces with some attention to congruity and +subordination. In the details, pleasing masses and forms are essential, +because here nothing can be concealed; there is, strictly speaking, no +chiaro-scuro, no perspective: form and colour are the chief means. The +possibility of approaching and even coming in contact with the painted +wall, suggests the necessity of a small scale in the objects, and of +precision and delicacy of outline; yet, from the circumstance of the +forms and hues being relieved on a light ground, they are at the same +time effective at a considerable distance.[9] Stucco ornaments in very +low relief, mixed with the painting, are admissible, (as they can +hardly be said to come under the head of sculpture,) but they require a +strong light to display them. + + [9] The best examples of decorations of this kind are now accessible + to all, in a recently published work by Thurmer and Gutensohn, + containing the arabesques of the Vatican, the Farnesina, the Villa + Lanti, and the Villa Madama: edited by Ludwig Gruner, to be had of + Mr. Murray, Albemarle Street: with this work may be classed the + publications of Zahn, on the ornamental inventions of Giulio Romano + at Mantua, and on the decorations of Pompeii. + +I cannot recommend frescos for the sitting rooms of dwelling houses. +The sum of enjoyment to be derived from one or two large paintings is +not to be compared to that which the contributions of various schools +can afford, even assuming the highest merit. It is true, frescos like +those of the Villa Madama near Rome, from the school of Raphael, may be +beautifully executed in a small size, but they still seem fitter for +open galleries than for rooms. (I have only ventured to except the +dining room.) The impossibility of change in such situations is an +unpleasant feeling; in a public building, on the contrary, it is +satisfactory, and a staircase approaches this character. I may here +observe, that a staircase covered with ancient family portraits is +seldom agreeable to the eye; indeed if it were a desirable kind of +decoration, centuries must often elapse before the materials would be +ready. The first impression on seeing a quantity of portraits in a +staircase is, that it is an accidental if not a troublesome +accumulation, and that there is no room for the pictures in better +situations. Far be it from me to speak with any disrespect of the taste +for family portraits so peculiar to the English. The domestic +"charities," it has been often observed, are pleasingly fostered by +them; but I hold it not always necessary to place the portraits of the +household in prominent situations. The interest such works inspire is +in most cases strictly domestic and private. The portrait has, in +short, no pretension to be conspicuous to all eyes till the individual +is celebrated, or till the work of art is canonized. These conditions, +I admit, may often exist from the first; but then, _à fortiori_, a +staircase is not the place for such a production. The Romans +appropriated one of the most public rooms of the house (the _tablinum_) +to genealogies, records, and inscriptions relating to the family +history, and covered the remaining space--often the _atrium_ as +well--with the portraits and busts of their ancestors.[10] This does +not appear to have been the custom with the Athenians. + + [10] Juv. Sat. 8; Plin. 1. xxxv. c. 2. + +We have decided against frescos in what are called sitting rooms: your +oil pictures are, however, to be selected. I shall consider the library +as distinct from the drawing rooms; but it is quite possible to blend +their character. The library in the ducal palace at Urbino, had a room +or study adjoining it, decorated with portraits (in this case, by the +way, they appear to have been frescos) of learned men of all ages. In a +library, literally to be used as such, pictures of extensive interest +seem to be inappropriate. They may be said to divert the attention from +the business or amusement of the place. But the portrait of the poet, +or the sage, is a source of pleasing and elevating associations, and +may sometimes command a deep interest. The library may contain the +cabinets of gems and medals, the collections of engravings, the terra +cottas, &c.; or if the drawing room is ample enough, all these +treasures of virtù may be deposited there. I prefer a library without +coloured decorations; the wood-work may be carved in flat relief, even +to the panels of the walls; a mode of decoration now beautifully +supplied by embossed leather, which need not be dark in colour. +Whatever colour appears, except in the portraits, miniatures, or +illuminations hung around, should be in the books; these should strike +the eye, and be, so to speak, in the foreground of the picture. Vases, +or busts, may surmount the cases. The ancients preferred the latter; +and many, like Asinius Pollio, collected in their libraries the +authentic, and even imaginary, portraits of great men. Among the latter +was the bust of Homer.[11] The light is generally so unfavourable in +the upper part of modern rooms, that busts when placed so high, are +reduced to mere ornaments, and require the addition of names. This, +indeed, is not objectionable in any case, for the interest of a +portrait commonly depends on historical associations. I see no +objection even to inscribing both the subject and the name of the +master under works of art generally: a volume bears its title and +author's name; and pictures, to many, are as sealed books till inquiry +is stimulated or interest quickened by similar means. When the +description is too long to admit of this, the words "see Catalogue, No. +--" might be added. + + [11] Plin. 1. xxxv. c. 2. + +If colour is admitted any where in the library, it might be in subjects +on the ceiling, allowable here, if at all, in the region of easy chairs +and occasional meditation; perhaps too, to a certain extent, in the +windows. The introduction of subjects on ceilings has not been +recommended generally, but in the system of arabesque painting the +universal decoration of the walls requires to be carried into the +ceiling. Sculpture, from the reasons already given, or rather in +accordance with the same taste, is quite admissible in the library. +Cicero frequently writes to his friend at Athens, to send him any good +works in sculpture, fit to adorn the library and residence of a man of +letters.[12] + + [12] Epist. ad Attic. 1. i. c. 3, 8, 9, 10, &c. It is remarkable that + a bas-relief, in the finest Greek style, representing a philosopher + reading, was found in the ruins of Cicero's Tusculan villa. Some + English sculptors and myself, during an excursion from Rome, first, I + may almost say, discovered this marble, walled into the staircase of + the Episcopal palace at Grotta Ferrata. A mould was afterwards taken + from it, through the exertions of Mr. Gibson, and the cast is now + common in Rome. The marble was, I think, afterwards removed to the + Vatican. + +But the choicest works of taste should unquestionably be in the room +most occupied in hours of calm seclusion and leisure; and in order to +find wall enough for the pictures, this may be assumed to be the +principal drawing room. Here, therefore, may be the best specimens of +painting, and even of sculpture, if the space permits: here, the +chimney-piece may be by Flaxman, and the doors of the print-case by +Stothard. The pictures cannot be very large, on account of their number +and the size of the room. This, the objection which in a great measure +excludes the grandest works from our dwelling houses, was met by the +Italians, and by Nicolo Poussin, by reducing the grand to domestic +conditions. If you have only small pictures, however, you cannot cover +the upper part of the walls, for you are not supposed to have any work +of art _here_ which can be sacrificed. + +Enlightened connoisseurs see excellence both in the Dutch and Italian +schools, but they are often embarrassed in arranging them together. I +am convinced, however, from instances I have seen, that this is to be +accomplished satisfactorily. It is sometimes argued, that no one reads +Milton and Crabbe alternately; but this is hardly a parallel case. Many +go to a gallery to look at a particular picture, and see nothing else; +the eye is blind when the attention is not actively exerted. So in a +room, the spectator selects his favourites--his favourites at least for +the time, and scarcely looks beyond them. At another moment, he will +perhaps direct his undivided attention to works which he passed over on +a former occasion. A certain congruity is sometimes to be accomplished, +by attending to impressions rather than names and schools. Many an +Italian picture would not be out of place with the Flemish and Dutch +school; while Vandyck, Rembrandt, Cuyp, and others, might sometimes +harmonize in many respects with the genius of the south. The +arrangement of pictures comprehends some of the difficulties which the +artist experiences in the production of _one_; for a certain balance +and repose are as essential for the eye, as an harmonious impression +for the mind. Much must, therefore, depend on the nature of the +materials; and the (assumed) different character of your two drawing +rooms may here be an advantage. + +You, I know, will not ask whether the productions of the English school +are admissible in this "Tribune" as well as elsewhere. Such is the +variety of English art, that the more refined Dutch, the Flemish, and +the Italian taste, may be recognized in it by turns, and no modern +pictures harmonize with the scheme of colour and effect which +characterize the master-works of former ages so well as the English of +the last century. Thus much of schools, and those we have not mentioned +may be tried by the same tests. + +With regard to subjects, the mind as well as the eye must be respected: +the _ethos_ of painting is quite compatible with familiar and homely +subjects; and, on the other hand, the greatest Italian masters have +sometimes sought for poetic impressions in regions where it would be +unsafe to follow them. But, with this reservation, you must not be +exclusive: various minds, or the same mind in various moods, will like +variety of aliment. In other situations, which we have had occasion to +consider, the subject has been in a great degree calculated on the +probable feelings of the spectator; here, the subject is independent, +because the attention is free, and the whole art appeals by turns to +the whole range of thought. The leisure of cultivated human beings +should be so far complimented as to assume that all the strivings of +the mind are worthy to be ministered to. It is a mistake to suppose +that solemn or even terrible themes are always objectionable; I believe +it will be found that the grander efforts of invention (I speak of +works by the ancient masters) are very generally appreciated by the +gentler sex. On the other hand, the fondness for humbler subjects is +not always referable to the homeliness of the incident represented. The +subject often acquires elevation, and commands respect, by the evidence +of mental labour and power in the artist. To a true connoisseur, this +skilful application of principles derived from universal nature, +supersedes the mere subject; and the idea which he recognizes, whatever +may be its vehicle, is grand and poetical. Less experienced observers +are often deceived by the title of pictures: "A Court Yard" (de Hooghe) +sounds unpromising enough; but when it is seen that the painter has +represented _daylight_ with magical truth, and that all is subservient +to this, his aim must be acknowledged to be dignified. It is to be +observed too, that the influence of this high aim on the part of the +artist, often extends itself to the treatment of the materials which +constitute his ostensible subject. It is easy to see from the +unaffected feeling, as well as from the _relative_ character of the +execution in some (though not all) of the Dutch masters, that the real +subject of their meditation was noble. I should like to see a +_catalogue raisonné_ on the principle to which I have alluded, +distinguishing the title of a picture from the real intention of the +artist. Many frequenters of the National Gallery criticise Reynolds's +Three Graces, whence it appears they are not sufficiently aware that +the personages in question are portraits of three fashionable ladies of +the day, under the name of the Graces, &c. If some titles were +translated, what a contrast the real import of the work would present +to the actual name! What a change, for instance, from the modesty of +some of ----'s titles, "Crossing the Brook,"--"Coal-barges in the +Thames: Night," to the beauty and grandeur that would have to be +clothed in language! But what language would be adequate? + +With respect to the colour of the walls on which pictures are hung, my +opinion is singular without being novel. I am quite aware that it is +necessary to consider wall, pictures, gold frames, and all, in relation +to general effect: the gold, especially, is to be treated as part of +the coup d'[oe]il. But, though I remember examples of light walls hung +with pictures, producing an agreeable effect, I prefer a colour which +displays the pictures more, and must also maintain, that living +pictures are seldom seen to the best advantage against a bright ground; +the quantity of actual light (it may always be assumed) making +reflected light unnecessary: my idea, in one word, is, that the wall +should not be so light as the lights of the pictures; and this supposes +a sufficiently low tint. Of such colours, the most agreeable is the +long established rich red, which might be sufficiently allied to +purple, to give value to the gold frames and the warm colour of the +pictures. I need not recommend you to avoid too much unbroken polish in +the frames, since this is now very generally disapproved of. + +I have, as you see, exercised, apparently without scruple, the +dictatorial authority with which you have invested me; but the frequent +recurrence of "my opinion" becomes painful even to the arbiter who has +a _carte blanche_ to lay down the law. As a relief, I intended to have +given you some extracts from an Italian ethical work (printed about the +middle of the 16th century[13]) in which there is a chapter on the +"ornamenti della casa;" but they would have been, perhaps, little +suited to your purpose, and I have already far exceeded the space I +ought to occupy. As I may not, however, again have an opportunity of +alluding to this work, which is not unimportant in the history of +Italian art, I wish briefly to advert to one or two points. + + [13] Castiglione Saba, Ricordi ovvero Ammaestramenti, &c. Milano, + 1559. + +The list of pictures given seems to prove that the Italians long +remained faithful to the older masters. The names of Titian and +Coreggio do not appear! (I hope you will not follow the Catalogue in +such defects.) This is not to be explained, by supposing that the +writer speaks for himself only; for he repeatedly says, "Some like to +ornament their rooms with the works of ----, others, with those of +----," and so on, as if professing to give a variety of tastes. I can +only account for this in one way: the author lived in Milan, and it +would appear that the taste of Leonardo, closely allied as it was to +that of the schools of Central Italy, long continued to influence the +Milanese amateurs as well as the Milanese painters. + +I pass over the musical instruments, which, beside their chief use, +"piacciono assai al'occhio," especially when made by Lorenzo da Pavia, +or Bastiano da Verona. Donatello, Michael Angelo, Alfonso Lombardi, and +Cristoforo Romano, are the sculptors he enumerates. The terra cottas +are by Pagaino da Modena; the bronzes by Verocchio and Pollaiuolo. +Beside antique medals, he admires those of Giovanni Corona of Venice, +together with the chasings of Caradosso. Among the works of the latter, +he mentions a silver inkstand in basso rilievo, "fatica d'anni venti +sei! ma certo divina." Cameos and intaglios should be, he thinks, by +the hand of Pietro Maria, Tagliacarne, &c. but above all by Giovanni di +Castello. + +Now for his list of painters: Filippo Lippi, Mantegna, Giovanni +Bellini, Leonardo da Vinci, although, he adds, he left but few +works.[14] Then follow the younger Lippi, and Perugino, and, heralded +with appropriate honours, Raphael, accompanied by Giulio Romano. Pietro +della Francesca, and Melozzo da Forlì, are characterized well, as +indeed are all the painters. He next mentions some artists, all monks, +who wrought in inlaid wood; (commesso, tarsia;) but his highest praises +in this department are reserved for Fra Damiano da Bergamo, the artist +of the choir of S. Domenico at Bologna. The engravings he speaks of are +by Albert Durer and Lucas van Leyden. + + [14] The author says he was an eye-witness of the Gascon crossbowmen + making a target of Leonardo's model for the equestrian statue of + Francesco Sforza. + +Tapestries from Flanders, carpets from Syria, Turkey, and Barbary, +figured leather from Spain, are all admitted to be desirable ornaments: +"Tutti questi ornamenti ancora commendo perchè arguiscono ingegno, +politezza, civilità e cortegiania." The author next describes his own +treasures; but, except a head by Donatello and some rare books, he has +nothing to boast of. His tastes are characteristic of the age: though a +priest, his ambition is to have a collection of arms and armour, if +wrought by a good Italian or German armourer; and above all, he aspires +to the possession of a large steel mirror, of the kind made by Giovanni +della Barba, a German: the mirrors of glass then in use, were, it +appears, very small and imperfect. The author's judicious observations +(to which I refer you) on the chief use of mirrors, may reconcile you +to their occasional introduction over chimney pieces, which, for the +rest, are by no means the best places for pictures. + +The chapter ends with a pleasing story about a mirror and a lady, and +Galeazzo Visconti, Duke of Milan, a story not unworthy to be a +_pendant_ for "Collalto,"[15] and which might have furnished a subject +for the graceful pencil of Stothard; but it is time to make an end. + + I am yours faithfully, + + C. L. EASTLAKE. + + [15] See Rogers's Italy. + + + + + FINIS. + + [Illustration: _Maistre, il sembleroit que ne fussiez grandement sage + de nous escrire ces balivernes!_] + + + + + LONDON: C. WHITTINGHAM, TOOKS COURT, + CHANCERY LANE. + + + + +[Illustration: Plate II. South elevation.] + + + + +[Illustration: Plate III. North elevation.] + + + + +[Illustration: Plate IV. East elevation.] + + + + +[Illustration: Plate V. Proposed alteration of the tower.] + + + + +Transcriber's note: + +Text in small capitals was transformed to all capitals. + +The following corrections have been made: + +p. 22: "expect too much" Period added after much; "pure Pompean house" +Pompean changed to Pompeian; + +p. 36: "into a small anti-room" anti-room changed to ante-room; + +p. 40: "not a toothach" toothach changed to toothache; + +p. 42: "statues and bas reliefs" bas reliefs changed to bas-reliefs; + +p. 48: "particlar fashion of the day" particlar changed to particular; + +p. 50: "LOCK EASTLAKE, ESQ," Comma after ESQ replaced with period; + +p. 55: A misplaced line. The original text is [relevant part enclosed +by number signs (#)]: "In approving the common practice of placing +statues and bas-reliefs in statue has generally the advantage of +being seen in various points of view, and thus commands attention in +situations where paintings could not. The rich effect of bas-reliefs +is sufficient to recommend them; associations of classic taste are +naturally connected with the classic materials of marble or #the +principal hall, I do not depart from the spirit of our first +principles. A# bronze; and architecture, when displayed as such, +seems to acquire additional" This part was moved to after "In +approving the common practice of placing statues and bas-reliefs in" + +Footnote 8: "De Architect." Period replaced with comma; + +Everything else retained as printed. + +*** END OF THE PROJECT GUTENBERG EBOOK 41781 *** |