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diff --git a/41781.txt b/41781.txt deleted file mode 100644 index 2fbdcfe..0000000 --- a/41781.txt +++ /dev/null @@ -1,3240 +0,0 @@ -The Project Gutenberg eBook, The Country House, by Alexis de Châteauneuf -and Sir Charles Lock Eastlake, Edited by Mary Fox - - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - - - - -Title: The Country House - With Designs - - -Author: Alexis de Châteauneuf and Sir Charles Lock Eastlake - -Editor: Mary Fox - -Release Date: January 5, 2013 [eBook #41781] - -Language: English - -Character set encoding: ISO-646-US (US-ASCII) - - -***START OF THE PROJECT GUTENBERG EBOOK THE COUNTRY HOUSE*** - - -E-text prepared by Clarity, Sandra Eder, and the Online Distributed -Proofreading Team (http://www.pgdp.net) from page images generously made -available by Internet Archive/American Libraries -(http://archive.org/details/americana) - - - -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_). - - - - - -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 L10,000 to L12,000. - -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 a 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 aera 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 Gaeta, 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 ueber Landshaftgaertnerei. - 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, _a 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 virtu 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 raisonne_ 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'oeil. 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 Forli, 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 perche arguiscono ingegno, -politezza, civilita 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." 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